Power, Plain English, and the Rise of Modern PoetryYale University Press, 01.10.2008 - 224 Seiten 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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Seite 20
... ( compare “ edifice , ” “ mountain goat , ” or “ anomie ” ) , the problem for philosophy — the often tenuous , but also interdependent relation between words , ideas , and things — is all too obvious . Accordingly , Locke undertakes in ...
... ( compare “ edifice , ” “ mountain goat , ” or “ anomie ” ) , the problem for philosophy — the often tenuous , but also interdependent relation between words , ideas , and things — is all too obvious . Accordingly , Locke undertakes in ...
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... ( compare II.22.6 ) , and the most vul- nerable to semantic drift over time . Although these words are not subject , as those of simple ideas and substances are , to the double conformity problem , there being no idea / thing relation to ...
... ( compare II.22.6 ) , and the most vul- nerable to semantic drift over time . Although these words are not subject , as those of simple ideas and substances are , to the double conformity problem , there being no idea / thing relation to ...
Seite 39
... compare the passages at length. It is enough to note how, in the lat- ter, the exigencies of a rhyme scheme force Wordsworth to elevate his diction, somewhat undermining the spareness of his subject (“covert bare,” “desart air” the ...
... compare the passages at length. It is enough to note how, in the lat- ter, the exigencies of a rhyme scheme force Wordsworth to elevate his diction, somewhat undermining the spareness of his subject (“covert bare,” “desart air” the ...
Seite 182
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Inhalt
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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Häufige Begriffe und Wortgruppen
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