Power, Plain English, and the Rise of Modern PoetryYale University Press, 01/10/2008 - 224 من الصفحات 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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الصفحة 11
... vision, and in so doing initiates a revolution of his own. Unlike Yeats, who tries to recoup the loss, Eliot supplies a new term for the special aptitude with which poets are endowed: not “imagi- nation,” but “consciousness.” As with ...
... vision, and in so doing initiates a revolution of his own. Unlike Yeats, who tries to recoup the loss, Eliot supplies a new term for the special aptitude with which poets are endowed: not “imagi- nation,” but “consciousness.” As with ...
الصفحة 28
... visions in the fancy ” ( II.11.2 ) , is used legitimately in works of “ enter- tainment and pleasantry ” ( II.11.2 ) . When employed in rhetoric to persuade , however , “ all the artificial and figurative application of words eloquence ...
... visions in the fancy ” ( II.11.2 ) , is used legitimately in works of “ enter- tainment and pleasantry ” ( II.11.2 ) . When employed in rhetoric to persuade , however , “ all the artificial and figurative application of words eloquence ...
الصفحة 37
... visions in the fancy " ( Essay , II.11.2 ) . Locke of course ascribes all works of art , of " entertainment and pleasantry , " to the oper- ations of wit . Poetry , which relies on “ metaphor and illusion , ” requires “ no labour of ...
... visions in the fancy " ( Essay , II.11.2 ) . Locke of course ascribes all works of art , of " entertainment and pleasantry , " to the oper- ations of wit . Poetry , which relies on “ metaphor and illusion , ” requires “ no labour of ...
الصفحة 59
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الصفحة 68
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المحتوى
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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Power, Plain English, and the Rise of Modern Poetry <span dir=ltr>David Rosen</span> لا تتوفر معاينة - 2006 |
عبارات ومصطلحات مألوفة
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