英美诗歌选读ppt课件

Unit1GeneralintroductionDefinitionofpoetryExternalsofpoetryInternalsofpoetryGenresofpoetryApproachestowardspoetrytextanalysis,1,Definitionofpoetry,Themostcommonisthegenologicallevel,(genre)atwhichcriticsdefinepoetryasagenreofliterature,thecollectivebodyofcompositionstermedaspoems.Atthislevel,poetryparallelsfictionanddrama,formingwiththemthegreatestthreeoftheconventionalliterarycategorieswhichdividethepagesofpopularliterarytextbooks,suchasAnApproachtoLiterature(FifthEdition,1975)byC.Brooks,J.T.Purser,andR.P.Warren.,2,Anotheristhepopulartypographicallevel.Aspoetryisdefinedallthatisprintedinthelineformonthepage,people,includingmanycriticsofcourse,taketheircuefromtheappearanceindecidingwhatispoetryandwhatisnot;andthus,accordingly,theywillfailorrefusetorecognizethepassagebelowaspoetry.HowdoIlovethee?Letmecounttheways.Ilovetheetothedepthandbreadthandheightmysoulcanreach,whenfeelingoutofsightfortheendsofBeingandidealGrace.and,ifGodchoose,Ishallbutlovetheebetterafterdeath.,3,Itisnotrecognizedaspoetrybecauseitdoesnotlooklikepoetry,asthereaderbelievesthatpoetryisthewayitisorlooks.Asamatteroffact,thepassageisanewtypographicalarrangementofasonnetbyE.B.Browning.,4,Atthethirdlevel,thetechnicalrelatedtothetypographicalone,poetryisdefined,inwordsfromvariousdictionaries,as“metricalcomposition,”or“workinorofverse,”or“arrangementofwordsinverse,”or“rhythmicalcomposition,”or“metricalwriting,”or“writinginverseormetricallanguage.”Withthetermverse,thereexistsavastsystemofmetricaltechnology,concerningsuchdiverseaspectsasthefootformation,thelinestructure,thestanzaform,therhymetype,therhymescheme,andthesyntacticalform.,5,Externalsofpoetry,TheExternalsofPoetry:VersificationandProsificationThisintroductionappliesthetermversificationinseveralsenses.Itisagreatconveniencetoquotedictionariesforclarification.1)themakingofverses;theact,art,orpracticeofmetricalcomposition2)a.metricalstructureb.aparticularmetricalstructureorstyle3)aversioninverseofsomethingorig.inproseAndthetermprosificationisutilizedasanoppositetoversification,insystematicantitheticsenses.,6,Internalsofpoetry:Imagery,SubjectMattersandThemes,Theterm“imagery”coversverbal,and,or,non-verbaldescriptionorrepresentationofobjects,actions,feelings,thoughts,ideas,statesofmind,andanysensoryandextra-sensoryexperience.Morespecifically,imagerysignifiesthecollectivebodyofimages,orimagestakencollectively;alltheobjectsandqualitiesofsenseperceptionreferredtointhepoem;theformationandpresentationofimages.,7,Thetermsubjectmatterreferstothatwhichistreatedinthework,andthetermthemesignifiesthecentralideastateddirectlyorindirectlyinthework.,8,Genresofpoetry,Conventionally,genologistsclassifypoetryintotwomajordomains:thelyricalandthenarrative;.1)TheLyricalPoemThetermlyricsignifiesanyfairlyshort,nonnarrativepoempresentingaspeakerwhoexpressesastateofmindoraprocessofthoughtandfeeling.Lyricsfallintotwoclasses,thefolkandtheliterary.Andtherearesubgenresoflyrics.Theyincludeaubade,dramaticmonologueelegy,epitaph,epithalamion,lovesong,ode,pastoral,sonnet,andmanyothers.,9,2)TheNarrativePoemTherearethreemajorsubclassesofnarratives:epic,metricalromance,andballad;butthereareaverylargenumberofnarrativepoemswhichcannotbeeasilyclassifiedandwhichdonotfitintoanyofthesethreekinds.,10,Approachestowardspoetrytextanalysis,IntheTheoryofLiterature,ReneWellekandAustinWarrenclassifymethodsofthestudyofliteratureintotwotypes:theextrinsicapproach,andtheintrinsicapproach.the“extrinsic”studymaymerelyattempttointerpretliteratureinthelightofitssocialcontextanditsantecedents,inmostcasesitbecomesa“causal”explanation,professingtoaccountforliterature,toexplainit,and,11,TheIntrinsicApproachtotheStudyofLiterature:Thenaturalandsensiblestartingpointforworkinliteraryscholarshipistheinterpretationandanalysisoftheworksofliteraturethemselves.Afterall,onlytheworksthemselvesjustifyallourinterestinthelifeofanauthor,inhissocialenvironmentandthewholeprocessofliterature.,12,Part1MetricsofEnglishPoetry,13,SectionIThefootformationorthemetertype英语诗歌的韵步Asyllableisaphoneticalunitwhichcontainsavowelsoundoraconsonantactingasavowel.Syllablesaremetricalnotesorelementsinverse.,14,音节可分为单音节、双音节、多音节三类。单音节：you，day，me，big，make，bar等。双音节：begin，open，foolish，summer，mountain等。多音节：wonderful，revolution，satisfactory等。辅音也可构成音节，如people，rhythm中的ple和thm都属于一个音节。footformationsormetertypes:stressedandunstressedsyllablesco-occurorcombineinvariespatterns,hencevariousfootformationsormetertypes.,15,Thefourprincipalmetertypesiamb抑扬格:oneunstressedfollowedbyanstressedsyllableLetstakeShakepearssonnetShallIComparetheetoaSummersDayforanexample.Hereeachfootisseparatedby“|”,“_”representsunstressedsyllable,“/”representsstressedsyllable:_/_/_/_/_/Solong|asmen|canbreathe|oreyes|cansee,_/_/_/_/_/Solong|livesthis|andthis|giveslife|tothee.,16,17,18,trochee杨抑格：anstressedfollowedbyanunstressedsyllable/_/_/_/Whatthe|hammer?|Whatthe|chain?_/_/Inwhat|furnace|wasthy|brain?(WilliamBlake:TheTyger),19,anapest抑抑扬格：twounstressedsyllablesfollowedbyanstressedsyllable_/_/_/Iammo|narchofall|Isurvey;_/_/_/Myright|thereisnone|todispute;_/_/_/Fromthecen|terallround|tothesea_/_/_/Iamlord|ofthefowl|andthebrute.(WilliamCowper:TheSolitudeofAlexanderSelkirk)柯珀的亚历山大塞尔扣克的孤独：,20,dactyl扬抑抑格：onestressedsyllablefollowedbytwounstressedsyllables/_/_Takeherup|tenderly/_/Liftherwith|care/_/_Fashiondso|slenderly/_/Young,andso|fair（ThomasHood:TheBridgeofSighs）托马斯胡德叹息桥(轻轻将她拿起来/小心将她举起来/她长得身材真苗条/年轻而又那么漂亮。),21,SectionIIThelinestructure诗行结构Thenumberoffeetormetersdeterminesthemeasureoftheline,whichisformedinvariousstructuresorstructuralpatterns.Alineconsistingofonlyonemetricalfootismonometer;oftwo,dimeter;ofthree,trimeter;offour,tetrameter;offive,pentameter;ofsix,hexameter;ofseven,heptameter；ofeight,octameter,22,1)monometer:GodschaseRoundvase.Whatsay?Whatplay?Dontknow.Nice,though.(DesmondSkirrow:OdeonaGrecianUrnSummarized)神在追/绕花瓶。/说什么？/弹什么？/不知晓，虽很美。,23,2)dimeter:单韵步和双韵步组合的诗行：(W.C.Williams:TheRedWheelbarrow)TheRedWheelbarrowsomuch|dependsuponared|wheelbarrowglazed|withrainwaterbeside|thewhitechickens.这么多/全靠/一辆红轮子/推车/因为雨水/发亮/旁边是白色/小鸡。,24,3)pentameter:iambicpentameter,五音步抑扬格，mostcommonlyused.AlmostallofShakespearssonnetsareiambicpentameter,yetonefootwhichisnotiambicpentametercanbefoundinthem._/_/_/_/_/Butthy|eter|nalsum|mershall|notfade,_/_/_/_/Norlose|posse|ssionof|thatfair|thouowst.,25,26,SectionIIItheStanzaicForms诗节结构Astanzaisagroupoflinesofverseformingoneoftheunitsofapoem.Itisusuallyrecurrent,characterizedbyaregularpattern,withrespecttoorunderdeterminationof,thenumberoflinesandthearrangementofmeterofrhyme.Commonstanzaformsincludethecouplet,thetripletandthequatrainandotherstanzaicforms,27,couplet:双行诗节twosuccessiverhyminglines双行诗节指两行押韵或不押韵的诗行。双行诗节可以单独成为诗节，也可以存在于其他诗节中。七行体（又称皇韵体，rhymeroyal）诗和八行体（octarima）诗用双行诗节结束，莎士比亚的十四行诗也是用双行诗节结束全诗。双行诗节分开放双行诗节（opencouplet）和完整双行诗节(closedcouplet)两种。完整双行诗节如果是用抑扬格五韵步写成，就被称为英雄双行诗节(heroiccouplet)。,28,完整双行诗节不仅要求两行诗押韵相同，而且要把意思表达完整。英雄双行诗节是完整双行诗节中的一种，它是英语诗歌之父乔叟最喜爱的诗体，如他的坎特伯雷故事总引中对骑士的介绍。）Andeveremorehehaddeasovereignpris.Andthoughtthathewereworthy,hewaswis,Andofhisportasweekasisamaide.HenevereyitnovilainyenesaideInalhislifuntonomanerewight:Hewasaverray,parfit,gentilknight.,29,开放双行诗节指的是跨行的双行诗体，即两行诗有共同的语法和逻辑结构，但第二行的意思需要继续下去，直到在后面的诗行中结束。Athingofbeautyisajoyforever:Itslovelinessincreases;itwillneverPassintonothingness;butstillwillkeepAbowerquietforus,andasleepFullofsweetdreams,andhealth,andquietbreathing.Therefore,oneverymorrow,arewewreathingAflowerybandtobindustotheearth,Spiteofdespondence,oftheinhumandearthOfnoblenatures(JohnKeats:Endymion),30,triplet:astanzaofthreelines;anindividualpoemofthreelines.Heclaspsthecragwithcrookedhands;Closetothesuninlonelylands,Ringdwiththeazureworld,hestands.Thewrinkledseabeneathhimcrawls;Hewatchesfromhismountainwalls,Andlikeathunderbolthefalls.(AlfredTennyson:TheEagle)他蜷曲的爪子抓着巉岩；/下临荒山野，上近太阳边，/周围的世界是一片蓝天。/底下是蠕动着的皱海面；/他站在绝壁上细细观看，/接着扑下时迅猛如雷电。（黄杲炘译）,31,quatrain:Astanzaoranindividualpoemoffourlinesrhymedorunrhymed.ItoccursasthecommonestofallstanzaicformsinEasternandWesternpoetries,andlenditselftowidevariationinmeterandrhyme.Andmostrhymingquatrainfallintothefollowingpattern:abab,xbyb,aabb,abbaandaaxa.,32,吻韵（enveloperhymeorkissingrhyme）又称抱韵，其押韵格式为abba，其主要特征是第一诗行与第四诗行押韵，第二诗行和第三诗行押韵。这种格式通常被用在抑扬格四韵步或五韵步诗行的四行诗节中.,33,InMemoriaAlfredTennysonCalmanddeeppeaceinthiswideair,Theseleavesthatreddentothefall,Andinmyheart,ifcalmatall,Ifanycalm,acalmdespair;Calmontheseas,andsilversleep,Andwavesthatswaythemselvesinrest,AnddeadcalminthatnoblebreastWhichheavesbutwiththeheavingdeep.宁静、安谧充满这大气，/秋色把树叶染成了殷红，/而我的心中即使有宁静，/无非是宁静的绝望而已；/宁静的海是银色的睡乡，/睡着的波浪轻摇着自己，/海面起伏只因为它叹息，/它胸中的宁静一如死亡。（黄杲炘译）,34,OtherstanzaicformsAstanzamaycontainanynumberoflines,thoughthatconsistingofmorethantwelveisnotcommon.Thus,apartfromthecouplet,thetripletandthequatrain,therearesomeotherstanzaicforms:Quintain:astanzaoranindividualpoemoffivelines.Sexain:sixlinesHeptastich:sevenlines,itincludesseptetandrhymeroyal.Octastich:eightlines.Specialformsincludeottavarima,35,Dizainordixain:tenlinesQuinzain:fifteen-linestanza,itisrarebecauseofitslength.Spenserianstanza:astanzaofninelines,withthefirsteightiniambicpentameterandthelastiniambichexameter,rhymingababbcbcc.EdmundSpenserdevisedtheformforTheFaerieQueene.,36,sonnet:Theordinarysonnetusuallyconsistsof14lines,iniambicpentameter,withconsiderablevariationsinrhymescheme.Poetshaveproducedvarioussonnetforms,ofwhichthethreemajorare:thePetrarchan,theSpenserianandtheShakespearean.Thesonnet,however,issopopularthathandbooksandtextbooksofliteratureplaceitamongtheconventionalpoeticform:theepic,theballad,thesonnet,theelegy,theode,etc.,37,SectionIVTheRhymeandOtherSoundDevices英语诗的押韵Rhymeistherepetitionofthesamevowelsoundinwords,includingthelaststressedvowelandallthespeechsoundsfollowingthatvowel:gay,day,play,may;orwall,fall.,38,Therhymefallsintothreemajorstructuraltypes:singlerhyme,doublerhyme,triplerhyme,ormultiplerhyme,1)单韵或阳韵,SingleRhyme,orMasculineRhyme:Repetitionofonevowel,eitherasinglevowel,oradiphthongandtheconsonantbehindthevowel:AheavyweightofhourshaschainedandbowedOnetoolikethee:tameless,andswift,andproud.(P.B.Shelley,OdetotheWestWind),39,2）双韵或阴韵DoubleRhyme,orFeminineRhyme,twovowelsandthefollowingconsonantrepeated:ThushaveIhadtheeasadreamdothflatter,Insleep,aking:butwaking,nosuchmatter.(W.Shakespeare,Sonnet87)3）三叠韵TripleRhyme,orMultipleRhyme:repetitionofthreeormorethanthreevowelsinwords,orinphrases.（eg:slenderly-tenderly）,40,三叠韵是在双韵的基础上增加了一个音节，因此它可以被看成是双韵的变体。由于英语中符合三重韵规则的单词不多，因此三叠韵可以由两个以上的英语单词构成，这种押韵被称为马赛克韵（mosaicrhyme），即几个单音节单词同一个多音节单词或几个单音节单词押韵。如拜伦唐璜中的诗行：,41,Idontchoosetosaymuchuponthishead,Imaplainman,andinasinglestation,But-oh!Yelordsofladiesintellectual,Informustruly,havetheynothen-peckdyouall?(Byron:DonJuan)我在这一点上不想多费唇舌，/我是一个平常人，而且是单身，/但是啊！有知识的太太的老爷们啊，/老实告诉我们，她们没有虐待你们大家么？（朱维基译）intellectual有五个音节，其中lectual有三个音节，同下一行的peckdyouall押三重马赛克韵。,42,PositionalTypesoftheRhyme:Onthebasisoftheposition,therhymefallsintoseveraltypes.1）EndRhyme尾韵Themostcommontype,whichoccursattheendoftheline,如下面这首选自莎士比亚凤凰与斑鸠中的一段诗：,43,ThePhoenixandtheTurtleWilliamShakespeareBeauty,truth,andrarityGraceinallsimplicity,Hereenclosedincinderslie.Deathisnowthephoenixnest,Andtheturtlesloyalbreast,Toeternitydothrest.美，真，圣洁的情操，/单纯之中蕴涵的崇高，/已化为灰烬，火灭烟消。/如今凤凰的巢穴是死亡；/斑鸠的无限忠诚的胸膛/休憩在不朽的永恒之乡。,44,2）InternalRhyme行间韵Internalrhymeoccurswithintheverse-line,veryofteninthemiddle,splittingthelineintotwohalves.Spring,theSweetSpringT.NashSpring,thesweetspring,istheyearspleasantking,Thenbloomseachthing,thenmaidsdanceinaringColddothnotsting,theprettybirdsdosing.,45,3)InterlacedRhyme交错韵Alsoknownascrossedrhyme.Wordsinthemiddleofeachlinerhyme.Itoccursinlongcouplets,especiallythehexameter.HymntoProserpineI.C.SwinburneLaurelisgreenforaseason,andloveissweetforaday,Butlovegrowsbitterwithtreason,andlaureloutlivesnotMay.,46,4)BeginningRhyme行首韵Rhymethatoccursinthefirstsyllableorsyllablesofsuccessivelines.NoahsRavenW.S.MerwinWhyshouldIhavereturned?Myknowledgewouldnotfitintotheirs.Ifounduntouchedthedesertoftheunknown.,47,OtherSoundDevicesBesidestherhyme,thereareothersounddevicesemployedinverse,themajoronesofwhichincludeonomatopoeia,andalliteration,assonanceandconsonance.Alliteration,asaveryolddevice,olderthanrhyme,iscommoninOldEnglishverse,suchasBeowulf,andinMiddleEnglishverse,suchas“SirGawaineandtheGreeneKnight.”,48,如柯尔律治的古舟子咏第103第106行：Thefairbreezeblew,thewhitefoamflew,Thefurrowfollowedfree,WewerethefirstthateverburstIntothatsilentsea.（SamuelTaylorColeridge:TheRimeoftheAncientMariner）好风吹送，浪花飞涌，/船行时留下纹路；/这幽静海面，在我们以前/从来没有人闯入。（杨德豫译）,49,元韵(Assonance):identityofvowelsoundsinaccentedsyllables,withouttheidentityoffollowingconsonants.指诗行中的元音读音相同，而元音前后的辅音则不同。Sheseesthefallingleaves,thedyingleavesThatclingtherestill;aboveThroughthebrownhorroroftheboughssheseesTheempty,archingskull.(E.L.Mayo:Pool)她看见降落的叶片，垂死的叶片，/静静地挂在那里；抬头/透过数枝棕黄色的恐惧她看见/空旷的弓形骷髅。,50,和韵(consonance):similaritybetweenpatterningsofconsonants.,指元音读音不同而辅音或辅音组合的读音相同或相似。如叶芝第二次来临中的诗行：Thingsfallapart;thecentercannothold;Mereanarchyisloosedupontheworld.(W.B.Yeats:TheSecondComing)一切都瓦解了，中心再不能保持，/只是一片混乱来到这个世界里。（裘小龙译）这里,hold/world中的辅音ld押韵。,51,目韵指拼写看起来似乎押韵而读音其实并不押韵的尾韵。如弗瑞诺印第安人的墓地第四诗节：Hisbow,foractionreadybent,Andarrows,withaheadofstone,Canonlymeanthatlifeisspent,Andnottheoldideasgone.（PhilipFreneau:TheIndianBuryingGround）他的弓早已经引满待发，/那一支支安有石镞的箭/这只能说明生命离开他，/而非原先的观念有改变。（黄杲炘译）这里的stone和gone属于目韵。,52,Section6BlankVerse,FreeVerseandProsificationBlankverse,introducedbytheEarlofSurreyinhistranslationoftheAeneid(埃涅伊德)(c.1540),consistsofiambicpentameterlinesunrhymed,hencethetermblank.Blankverse,introducedbytheEarlofSurreyinhistranslationoftheAeneid(埃涅伊德)(c.1540),consistsofiambicpentameterlinesunrhymed,hencethetermblank.,53,J.Milton,forhisepicParadiseLost(1667),employedblankverseMiltonssuccessors,Tennysons“Ulysses”,followedtherevolutionaryawareness“beyondtheutmostboundofhumanthought.”The19thcenturypoetsprosifiedverseandestablishedprosificationofpoetry,achievinguniversallibertyforpoetry,fromthebondageoftheexternalsoftheverse.,54,PartIIGenresofPoetry,5