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 |
Im Buch
Ergebnisse 1-5 von 33
Seite 2
... follow : a storm- blasted landscape , and a speaker whose frame of mind is scarcely less troubled . Here , Lear , having been led to shelter by Kent , has just encountered Edgar , whom he takes to be a deranged beggar . Where his ...
... follow : a storm- blasted landscape , and a speaker whose frame of mind is scarcely less troubled . Here , Lear , having been led to shelter by Kent , has just encountered Edgar , whom he takes to be a deranged beggar . Where his ...
Seite 4
... Follow these rules , he concludes , and you will find it hard to deceive either your- self or others : " [ I have been considering ] language as an instrument for express- ing and not for concealing or preventing thought . If you ...
... Follow these rules , he concludes , and you will find it hard to deceive either your- self or others : " [ I have been considering ] language as an instrument for express- ing and not for concealing or preventing thought . If you ...
Seite 8
... follows is spent negotiating between his desire on the one hand to preserve this power, and on the other to reestablish himself as a healthy adult in a larger community. Far from the “soli- tary singer” (and thus, one might add ...
... follows is spent negotiating between his desire on the one hand to preserve this power, and on the other to reestablish himself as a healthy adult in a larger community. Far from the “soli- tary singer” (and thus, one might add ...
Seite 9
... follows.16 This is clearly not the way paradigms shift (to use the available metaphor) in literary history. Almost always, when examining a revolution in literature, one can draw a distinction between, on the one hand, new fundamental ...
... follows.16 This is clearly not the way paradigms shift (to use the available metaphor) in literary history. Almost always, when examining a revolution in literature, one can draw a distinction between, on the one hand, new fundamental ...
Seite 11
... follow Eliot into a poetry of consciousness—though, as a whole, they were less attuned than he to the underlying pathos of this gesture. In this light, I believe, both Pound and Stevens, may be understood as poets of consciousness ...
... follow Eliot into a poetry of consciousness—though, as a whole, they were less attuned than he to the underlying pathos of this gesture. In this light, I believe, both Pound and Stevens, may be understood as poets of consciousness ...
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