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 1
... perhaps the futility , of this effort . The 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 ...
... perhaps the futility , of this effort . The 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 ...
Страница 5
... 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 says much, however, for the ...
... 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 says much, however, for the ...
Страница 7
... perhaps necessary emo- tionally for the Modernists themselves , but precisely the kind of claim critics ac- cept at their own risk . My own view is that the poetry of Yeats , Eliot , Auden , Pound , and Stevens was — what it was ...
... perhaps necessary emo- tionally for the Modernists themselves , but precisely the kind of claim critics ac- cept at their own risk . My own view is that the poetry of Yeats , Eliot , Auden , Pound , and Stevens was — what it was ...
Страница 11
... (perhaps only) subject; in the Pound of the Cantos and his fol- lowers, we see the consciousness as an arranger of experience. My last chapter, instead of focusing on either of these poets, returns to En- gland and W. H. Auden, who ...
... (perhaps only) subject; in the Pound of the Cantos and his fol- lowers, we see the consciousness as an arranger of experience. My last chapter, instead of focusing on either of these poets, returns to En- gland and W. H. Auden, who ...
Страница 12
... its modern therapeutic guise, yet both finally resemble Words- worth in the structure of their poetry. Along with H.D., Auden is perhaps the first poet in English fully comfortable with modern psychology 12 Introduction.
... its modern therapeutic guise, yet both finally resemble Words- worth in the structure of their poetry. Along with H.D., Auden is perhaps the first poet in English fully comfortable with modern psychology 12 Introduction.
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