Power, Plain English, and the Rise of Modern PoetryYale University Press, 1.10.2008 г. - 224 страници 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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Страница 8
... similarities to Blake (an authentic visionary), Coleridge (indebted, unlike Words- worth, to German idealism), and Shelley (who from the start asserts his oracular gift), Wordsworth has been placed at the head of a Introduction 8.
... similarities to Blake (an authentic visionary), Coleridge (indebted, unlike Words- worth, to German idealism), and Shelley (who from the start asserts his oracular gift), Wordsworth has been placed at the head of a Introduction 8.
Страница 10
... Shelley as the Moderns ' most important direct " influence . " Rather , I suggest a kind of parallel evolution , in which the strategy of Keats is repeated ninety years later by Yeats , Eliot , and company . Specifically : the Shelleyan ...
... Shelley as the Moderns ' most important direct " influence . " Rather , I suggest a kind of parallel evolution , in which the strategy of Keats is repeated ninety years later by Yeats , Eliot , and company . Specifically : the Shelleyan ...
Страница 38
... Shelley , simply reverse Locke's ap- praisal . The mind's ability to combine impressions is seen by them as more po- tent , as a source either of pleasure ( for Burke ) or of truth ( for Coleridge and Shelley ) , than the dry ...
... Shelley , simply reverse Locke's ap- praisal . The mind's ability to combine impressions is seen by them as more po- tent , as a source either of pleasure ( for Burke ) or of truth ( for Coleridge and Shelley ) , than the dry ...
Страница 53
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Страница 70
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Съдържание
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