Power, Plain English, and the Rise of Modern PoetryYale University Press, 2008 M10 1 - 224 páginas 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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Página 1
... period : I look at the way poets from Wordsworth to Auden try to present themselves si- multaneously as persons of power and as participating members of their communities , able to speak on public issues . In my account , the modern ...
... period : I look at the way poets from Wordsworth to Auden try to present themselves si- multaneously as persons of power and as participating members of their communities , able to speak on public issues . In my account , the modern ...
Página 3
... periods. Theories of “the plain style,” however, something quite different from what I am calling “plain English,” had existed in the culture for some time. These grew out an argument between philosophy and rhetoric dat- ing back to ...
... periods. Theories of “the plain style,” however, something quite different from what I am calling “plain English,” had existed in the culture for some time. These grew out an argument between philosophy and rhetoric dat- ing back to ...
Página 4
... period I study , this distinction slips somewhat , for reasons I explore at length ; but ( especially ) when the low register first rises to prominence , diction comes to have a peculiar resonance , a special connotative value almost ...
... period I study , this distinction slips somewhat , for reasons I explore at length ; but ( especially ) when the low register first rises to prominence , diction comes to have a peculiar resonance , a special connotative value almost ...
Página 6
... period, and a ten- dency to devalue Modernists, like Frost, Moore, Eliot, or indeed Pound, who do not clearly fit the Shelleyan mold. In a more subtle way, modern poetry it- self tends to be devalued: old themes are seen to be repeated ...
... period, and a ten- dency to devalue Modernists, like Frost, Moore, Eliot, or indeed Pound, who do not clearly fit the Shelleyan mold. In a more subtle way, modern poetry it- self tends to be devalued: old themes are seen to be repeated ...
Página 7
... view is that the poetry of Yeats , Eliot , Auden , Pound , and Stevens was — what it was literally — post - Romantic : distinct from Romanticism, yet emerging from questions posed by the earlier period. Introduction 7.
... view is that the poetry of Yeats , Eliot , Auden , Pound , and Stevens was — what it was literally — post - Romantic : distinct from Romanticism, yet emerging from questions posed by the earlier period. Introduction 7.
Contenido
1 | |
15 | |
Wordsworths Empirical Imagination | 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 |
201 | |
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Términos y frases comunes
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