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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... sense. Before that I was fortunate to write my dissertation under the direction of David Bromwich and Langdon Hammer. In conversation, in seminar, and in comments on my work (often pro- duced under considerable time pressure), they ...
... sense. Before that I was fortunate to write my dissertation under the direction of David Bromwich and Langdon Hammer. In conversation, in seminar, and in comments on my work (often pro- duced under considerable time pressure), they ...
Página 2
... sense ought to be con- cordant . An elevated subject requires an elevated style ; what is familiar ought to be familiarly expressed . ” 3 To put it another way : while the high pathos of a fallen king berating the elements requires ...
... sense ought to be con- cordant . An elevated subject requires an elevated style ; what is familiar ought to be familiarly expressed . ” 3 To put it another way : while the high pathos of a fallen king berating the elements requires ...
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... senses in Shakespeare's shift an intuition, far transcending literary etiquette, of the low register's special ability to signify the actual world. I will suggest shortly why this conclusion is anachronistic—or, at all events, why ...
... senses in Shakespeare's shift an intuition, far transcending literary etiquette, of the low register's special ability to signify the actual world. I will suggest shortly why this conclusion is anachronistic—or, at all events, why ...
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... sense of the word, “creative,” is what sets poets apart.18 I do not wish to overdetermine the case, but Eliot, with his peculiar mixed nationality, is per- fectly positioned to initiate this change. T. J. Clark is half right when he ...
... sense of the word, “creative,” is what sets poets apart.18 I do not wish to overdetermine the case, but Eliot, with his peculiar mixed nationality, is per- fectly positioned to initiate this change. T. J. Clark is half right when he ...
Página 12
... sense over otherwise tenden- tious views.21 A brief word about method. Chapter stands apart somewhat from the others: as I just suggested, my account of plain English begins with a work not of liter- ature but philosophy. And while ...
... sense over otherwise tenden- tious views.21 A brief word about method. Chapter stands apart somewhat from the others: as I just suggested, my account of plain English begins with a work not of liter- ature but philosophy. And while ...
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