Power, Plain English, and the Rise of Modern PoetryYale University Press, 1 окт. 2008 г. - Всего страниц: 224 DIVIn this engaging book David Rosen offers a radically new account of Modern poetry and revises our understanding of its relation to Romanticism. British poets from Wordsworth to Auden attempted to present themselves simultaneously as persons of power and as moral voices in their communities. The modern lyric derives its characteristic complexities—psychological, ethical, formal—from the extraordinary difficulty of this effort. The low register of our language—a register of short, concrete, native words arranged in simple syntax—is deeply implicated in this story. Rosen shows how the peculiar reputation of “plain English” for truthfulness is employed by Modern poets to conceal the rift between their (probably irreconcilable) ambitions for themselves. With a deep appreciation for poetic accomplishment and a wonderful iconoclasm, Rosen sheds new light on the innovative as well as the self-deceptive aspects of Modern poetry. This book alters our understanding of the history of poetry in the English language./div |
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Стр. 1
... low register of our language , which I also call “ plain English , ” is deeply implicated in this story . Each of the poets I deal with makes use of the low register's power , as well as its peculiar and seemingly groundless reputation ...
... low register of our language , which I also call “ plain English , ” is deeply implicated in this story . Each of the poets I deal with makes use of the low register's power , as well as its peculiar and seemingly groundless reputation ...
Стр. 2
... register we observe even in a passage this brief is made possi- ble by the unique lexical structure of English , in ... low sub- ject matter ( a deranged beggar ) merits a low register : “ poor , bare , fork'd . ” Con- vention can hardly ...
... register we observe even in a passage this brief is made possi- ble by the unique lexical structure of English , in ... low sub- ject matter ( a deranged beggar ) merits a low register : “ poor , bare , fork'd . ” Con- vention can hardly ...
Стр. 3
... low register's special ability to signify the actual world. I will suggest shortly why this conclusion is anachronistic—or, at all events, why Lear's comments reflect neither the linguistic fashions of Shakespeare's time nor ...
... low register's special ability to signify the actual world. I will suggest shortly why this conclusion is anachronistic—or, at all events, why Lear's comments reflect neither the linguistic fashions of Shakespeare's time nor ...
Стр. 4
... low register owes its reputation for truthfulness in part to Locke ( who would be appalled by this conclusion ) . In most important re- spects , however , the two traditions are very different . The low register is , above all , a ...
... low register owes its reputation for truthfulness in part to Locke ( who would be appalled by this conclusion ) . In most important re- spects , however , the two traditions are very different . The low register is , above all , a ...
Стр. 5
... low register's tenacity that a poet otherwise op- posed to the British colonial legacy would draw on this idiomto convey the truth of his experiences. This book will track and account for the changes in plain En- glish over the last two ...
... low register's tenacity that a poet otherwise op- posed to the British colonial legacy would draw on this idiomto convey the truth of his experiences. This book will track and account for the changes in plain En- glish over the last two ...
Содержание
1 | |
15 | |
Wordsworths Empirical Imagination | 33 |
Certain Good W B Yeats and the Language of Autobiography | 73 |
The Lost Youth of Modern Poetry T S Eliot W H Auden | 123 |
Notes | 181 |
201 | |
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argument autobiography beauty Beggar begins Book Cambridge career century chapter claims Cold Heaven Coleridge crisis critics culture decade diction early Essays experience feelings finally Freud Green Helmet Harold Bloom human identity idiom imagination Jarrell John John Keats Juvenilia XVIa Katherine Bucknell Keats kind landscape language late later Latinate lines Locke Locke's low register lyric M. H. Abrams mature Maud Gonne meaning memory metaphor mind modern poetry Modernist myth nature object Orwell passage perhaps period philosophical plain English poem poet poet’s poetic political Prelude prose psychology Randall Jarrell reality recognize rhetoric Romantic Romanticism seems sense Shelley simple ideas social speaker stanza style suggest T. S. Eliot theory things thought Tintern Abbey tion tradition truth turn understanding University Press verse verse paragraph vision visionary voice W. B. Yeats W. H. Auden Watershed William Wordsworth words Wordsworthian writing Yeats's York