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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... never conversed, and who has not, to my knowledge, affected or contributed to this book in any way. He has, however, recently published, with the same press, a fascinating mono- graph on the meanings of lists in Western literature. An ...
... never conversed, and who has not, to my knowledge, affected or contributed to this book in any way. He has, however, recently published, with the same press, a fascinating mono- graph on the meanings of lists in Western literature. An ...
Стр. 4
... Never use a metaphor , simile , or other figure of speech which you are used to seeing in print . ( ii ) Never use a long word where a short one will do . ( iii ) If it is possible to cut a word out , always cut it out . ( iv ) Never ...
... Never use a metaphor , simile , or other figure of speech which you are used to seeing in print . ( ii ) Never use a long word where a short one will do . ( iii ) If it is possible to cut a word out , always cut it out . ( iv ) Never ...
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... never have been a poet, the poetry we will read originates in (a not always disagreeing) response to his position. It is thus with Locke, with his ideas of truth and language, that we also start. Chapter 1 Prologue The Secret Reference ...
... never have been a poet, the poetry we will read originates in (a not always disagreeing) response to his position. It is thus with Locke, with his ideas of truth and language, that we also start. Chapter 1 Prologue The Secret Reference ...
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... as thei love to go in forrein apparell, so thei wil pouder their talke with oversea lan- guage. He that cometh lately out of France, wil talke Frenche English, & never blushe at the matter . ” Hotter heads saw language 16 Prologue.
... as thei love to go in forrein apparell, so thei wil pouder their talke with oversea lan- guage. He that cometh lately out of France, wil talke Frenche English, & never blushe at the matter . ” Hotter heads saw language 16 Prologue.
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... never makes excellent things for mean or no uses” (II.1.15). His very premise in writing the Essay, he explains in his introduction, was “to take survey of our own understandings, examine our powers, and see to what things they were ...
... never makes excellent things for mean or no uses” (II.1.15). His very premise in writing the Essay, he explains in his introduction, was “to take survey of our own understandings, examine our powers, and see to what things they were ...
Содержание
1 | |
15 | |
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 |
Index | 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