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 2
... thing itself : unaccommodated man is no more but such a poor , bare , fork'd animal as thou art " ( III.iv.100-108 ) .2 This is a dramatic situation that we will be revisiting frequently in the chapters that follow : a storm- blasted ...
... thing itself : unaccommodated man is no more but such a poor , bare , fork'd animal as thou art " ( III.iv.100-108 ) .2 This is a dramatic situation that we will be revisiting frequently in the chapters that follow : a storm- blasted ...
Страница 14
... things that are within the reach of our un- derstandings, and launch not out into that abyss of darkness (where we have not eyes to see, nor faculties to perceive any thing), out of a presumption that noth- ing is beyond our ...
... things that are within the reach of our un- derstandings, and launch not out into that abyss of darkness (where we have not eyes to see, nor faculties to perceive any thing), out of a presumption that noth- ing is beyond our ...
Страница 15
... thing itself: unaccommodated man is no more but such a poor, bare, fork'd animal as thou art. I begin my discussion ... thing he does is tear off his clothes), but wrong: Edgar, neither deranged nor poor, is only a “thing itself”—manqué ...
... thing itself: unaccommodated man is no more but such a poor, bare, fork'd animal as thou art. I begin my discussion ... thing he does is tear off his clothes), but wrong: Edgar, neither deranged nor poor, is only a “thing itself”—manqué ...
Страница 16
David Rosen. neither deranged nor poor, is only a “thing itself”—manqué. Although living in a time of intense debate about the English language, Shakespeare plays only a peripheral role in the history I wish now to examine. As we will ...
David Rosen. neither deranged nor poor, is only a “thing itself”—manqué. Although living in a time of intense debate about the English language, Shakespeare plays only a peripheral role in the history I wish now to examine. As we will ...
Страница 18
... things , almost in an equal number of words . They have exacted from all their mem- bers , a close , naked , natural way of speaking ; positive expressions , clear senses , a na- tive easiness : bringing all things as near the ...
... things , almost in an equal number of words . They have exacted from all their mem- bers , a close , naked , natural way of speaking ; positive expressions , clear senses , a na- tive easiness : bringing all things as near the ...
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