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 3
... metaphor, a way of diag- nosing the hidden motives and justifications of Modernism, exploring the courses the poetry took, and the choices the poets made. Before going any further, I should offer a clarification. It is part of my claim ...
... metaphor, a way of diag- nosing the hidden motives and justifications of Modernism, exploring the courses the poetry took, and the choices the poets made. Before going any further, I should offer a clarification. It is part of my claim ...
Страница 4
... 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 use the ...
... 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 use the ...
Страница 5
... metaphor and personification, perhaps less reliant on image than tone of voice to convey its effect. As we will see, these differences are representative of changes the poetic use of plain English underwent in the twentieth century. It ...
... metaphor and personification, perhaps less reliant on image than tone of voice to convey its effect. As we will see, these differences are representative of changes the poetic use of plain English underwent in the twentieth century. It ...
Страница 9
... metaphor) in literary history. Almost always, when examining a revolution in literature, one can draw a distinction between, on the one hand, new fundamental premises and, on the other, their overt manifestations (practices, artifacts) ...
... metaphor) in literary history. Almost always, when examining a revolution in literature, one can draw a distinction between, on the one hand, new fundamental premises and, on the other, their overt manifestations (practices, artifacts) ...
Страница 28
... metaphor , which colored so many of the key literary debates through Romanticism , is best read in the light of passages like this one . “ Wit , " the faculty involved in assembling “ ideas , and putting [ them ] together with quickness ...
... metaphor , which colored so many of the key literary debates through Romanticism , is best read in the light of passages like this one . “ Wit , " the faculty involved in assembling “ ideas , and putting [ them ] together with quickness ...
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