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 10
... he shares with most of his fellow Modernists , and which , I suggest in chapters 3 and 4 , has both social and personal origins . Chapter traces Yeats's attempts to salvage a visionary authority, without 10 Introduction.
... he shares with most of his fellow Modernists , and which , I suggest in chapters 3 and 4 , has both social and personal origins . Chapter traces Yeats's attempts to salvage a visionary authority, without 10 Introduction.
Seite 17
... au- thenticity , over against an insurgent and affected middle class . Both strands have long survived their Tudor origins ; indeed , we will have occasion to revisit them in the chapters that follow , when examining W. H. Prologue 17.
... au- thenticity , over against an insurgent and affected middle class . Both strands have long survived their Tudor origins ; indeed , we will have occasion to revisit them in the chapters that follow , when examining W. H. Prologue 17.
Seite 26
... origin and most words for mixed modes are borrowed, seems a per- fect match for his gradient. Where Wilson, Cheke, and Hare can offer only na- tionalistic or sentimental claims for the low register, Locke's system seems to offer grounds ...
... origin and most words for mixed modes are borrowed, seems a per- fect match for his gradient. Where Wilson, Cheke, and Hare can offer only na- tionalistic or sentimental claims for the low register, Locke's system seems to offer grounds ...
Seite 42
... origin and to its possible uses . He begins trying to resolve these ambivalences in the major published poem of his early period , “ The Old Cumberland Beggar . ” He fails , and the poem is some- thing of a dead end . Dead ends can be ...
... origin and to its possible uses . He begins trying to resolve these ambivalences in the major published poem of his early period , “ The Old Cumberland Beggar . ” He fails , and the poem is some- thing of a dead end . Dead ends can be ...
Seite 47
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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