拜伦《乐章》中的听觉效果分析

拜伦《乐章》中的听觉效果分析

which长期使用,u3000上的“stan-rous”案例5它可以通过一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用一个缓慢的循环，用行政手段。Tobeginwith,itisnecessarytoclarifythatthecontentionaimstoobjecttothestatementthat“StanzasforMusic”isonepieceofByron’sworkscontinuing“theCavaliertraditionoftheelaboratedevelopmentofacomplimenttoalady”(Wu80),andthisassertionisquitesuperficialinjudgingthevalueofapoem.TheinvalidityofthisassertioncanalsobeprovedbyByron’sownviewpointsinCantoXIofDonJuan:“NowWhatIloveinwomenis,theywon’tOrcan’tdootherwisethanlie,butdoitSowell,theverytruthseemsfalsehoodtoit.Andafterall,whatisalie?‘TisbutThetruthinmasquerade;[…]”(sts.36-37)ByronstatedhisconceptionthroughDonJuan.AlthoughDonJuanhasmanyweaknesses,itisunderstandablebecausenomanisperfect.Hisaffectionforwomenstemsfromthefactthatheknowsthatwomenlieverywell,andthroughthelieshecangraspthetruth.Liesarenothingbutdistortedtruth.Byronmustfeelamusedinexploringthetruthconcealedbywomen.ThisiswhatByrondidinhiswoks:“ifhepresentsrealobjectstoviewonlythroughaveil,heshowstheregionsoftheidealwithoutanydisguise”(Hugo325-326).Thus,Byronregardswomenasthemessengersoftruth,whichdeterminesthathiscoresubjectisnotonwomenbutontruth.Inthissense,Byron’sinterestinwomenashissubjectsreflectshiscontinuouspursuitofbeautyandtruth,whicharethebasicmeritsofart.Theassertionthatthispoemisaboutthecomplimenttowomenonlystopsontheverysurface,andthecomplimenttoartiswhatByronactuallyintendstoconveythroughhisfertileimaginationandthefreeflowofrapidconsciousness.非织造性目标函数非织造性本StanzasforMusic(1816)TherebenoneofBeauty’sdaughtersWithamagiclikethee;AndlikemusiconthewatersIsthysweetvoicetome:When,asifitssoundwerecausingThecharmedocean’spausing,Thewavesliestillandgleaming,Andthelulledwindsseemdreaming;AndthemidnightmoonisweavingHerbrightchaino’erthedeep,WhosebreastisgentlyheavingAsaninfant’sasleep:Sothespiritbowsbeforethee,Tolistenandadorethee,Withafullbutsoftemotion,LiketheswellofSummer’socean.Inordertounderstandthispoembetter,thehistoricalbackgroundneedstobetakenintoaccount.Byronacceptedtheinvitationofafriendto“collaborateonavolumeofversessetto‘ancient’JewishmelodiesthatNathan[thecomposerofmusicalaccompanimentfortheversesintheHebrewMelodies]wouldarrangeforthecontemporaryperformance”in1814,andwhatthepoemsByroncontributedtothebookhaveincommonisthe“concernaboutearthlylife,immorality,andart”(Kukathas279).Astothepartofart,Byronwasprobablyinspiredanditwarmedhimforthecreationofaseriesoflyricsonthetopicofart,especiallyonmusicjustlike“StanzasforMusic”,inwhichhe“liftstheveilfromthehiddenbeautyoftheworld”butdoesnot“makefamiliarthingsasiftheywerenotfamiliar”asShelleyproposes(qtd.inFerguson1).Thebeautyofmusicisusuallyshowninthefantasticaudioeffectsandtheimaginationitinspiresinpeople’smind.Inthispoem,thecomplimenttomusicismainlyshownintwoaspects:thevisualsightsdepictedbytheimagesandtheaudioeffectscreatedbycarefuldiction.Byrondidsuchamarvelousjobthatheturnedmusic,acommonbutabstractthing,intovividandconcreteimagesandfeelings,conveyingthemagicpowerofart.Presentingthebeautyofmusicinfrontofreadersthroughthespecialbeautyofpoetryisthebestcomplimenttoart.2.1“不动产”which主术与理想国sThecentralimagesthepoemdepictsare“Beauty’sdaughter”and“themidnightmoon”,whichshowsthetranquilityanddelicacyofthemusic.Andthecomplimenttoartishiddenintheperfectinterpretationofdualisminthetranquility—aharmoniousjuxtapositionofstillnessandaction.Thepoembringstwoopposingforcestogetherinordertoshowthecharmofart.Itisnoteasytoidentifywho“thee”is.Obviously,itdoesnotrefertothemusicitself,becauseinthethirdlineofthefirststanza,thementioningof“likemusiconthewaters”clearlydistinguishes“music”from“thee”.However,“thee”stillcanbeusedtorefertotheartofplayingmusic,thatis,“thee”isnotidentifiedassomepieceofmusicbutasthenatureofmusic.Comparisonisusuallymadebetweenthingsbelongingtothesamesort,so“thee”mustbeofthesamegenderwithBeauty.Owingtotheimageof“Beauty’sdaughters”,theidentificationof“thee”isusuallyacceptedasafemalecharacter,somusicispersonalizedasafemalecharacterhere,implyingthegreatpowerofmusicinreproducing.Thepoetdoesnotdirectlypointouttheactionsof“thee”,butthe“sweetvoice”implies“thee”isspeakingorsinging.Thestatic“beauty”andthedynamic“voice”arecombinedintheconstructionof“thee”,whichsuggeststhat“thee”isnotonlyappealingtoreader’seyesbutalsomelodious.Thefirststanzadepictsthepicturethat“thee”iswhisperingorsinging,andthesecondstanzashowsuseverythingisobsessedbythemagicof“thee”.Alltheimagesworkwonderstogether.Theobscureandpleasantexperienceinmusicisinterpretedbyaseriesofcommonimages,whichpresentsagenerallytranquilpicture.Andtheactionisusedtohighlightthestillness,whichisthepurelandofmusicnoonewantstointerrupt.Thewords“waters”,“midnightmoon”and“infant”allhaveageneralimpactofstillness.Theydrawapictureofpeacefulscenesatmidnighthours.Watersflowgentlyintheseaunderthemoon,andtheinfantishavingasweetdreaminthepalemoonlight.Peoplewillholdtheirbreathinthissituationunwillingtobreaktheserenity.However,whenthe“waters”changesinto“waves”and“swell”,the“infant”fallsasleepwiththebreast“heaving”,and“midnightmoon”takestheactionof“weaving”,thevigorinthestillimagessuddenlyspringsoutinaharmoniousway,whichwillnotmakereadersfeelabrupt.Besides,theactionsarealwaysaccompaniedwithmodifierswiththemeritsofstillness,sotheybringnodisturbancetothegeneralpicture.Forexample,althoughthe“waves”maybeturbulent,theuseof“liestillandgleaming”immediatelyresetthetoneoftranquility.The“wind”isusuallynoisyandrude,buthereitis“lulled”andlookslike“dreaming”withoutanyviolence.Therearedefinitelynoconflictsbetweenthesetwoaspects.Althoughthe“spirit”isatalentedandbeautifulthing,itcannotresistthecharmof“thysweetvoice”.Itappreciatesthebeautyandcannotrestinthemind,butonthesurfaceitisstill“soft”unwillingtobreakthetranquility.Tosomeextent,thestillnessishiddenintheactionandtheactionoriginatesfromthestillness,andthesetwobecomeanentityintheperceptionswegetinappreciatingthepoemandthemusic.ThevariousimagesmaycreateanillusionthatByronisdissipatingattentionfromonethingontoanother,butthefactisthathehastheabilitytofocusonacertaintopicthroughtheinnerconnectionsbetweenimages—thetranquility.Thisisalsothebalanceofartamiddifferentelements.Thelinesemployenjambment,encouragingandattractingreaderstoexploreandfindoutthefullmeaning.Thelinesconnecttoeachotherandreadershavetogothroughthepoemtilltheveryend,anditfitswellwiththescenethatthemusicisplayed.Inperformance,musicalnotesconstantlystrikeaudienceonebyonetillthelastmoment.Meanwhile,enjambmenthelpscombinevariousimagestogethersothepoemcanflowonandon.2.2which介绍Inthepeacefulworldoftranquility,thedelicacyofthepoemandthemusicaswellisgreatlyenhanced.Ifthewordsarenotenoughtoshowusthecharmofmusic,thesoundeffectsinthepoemaremoredirectandpowerfulinachievingthisgoal.PhillipstalksaboutByron’smeritsinlyricalwritingasthis:“HedoesnotprobethesoulofNaturesodeeplyasothershavedone,buthecanpaintherwithafreedomandazestwhichfewhaveapproached”(21),soByrondoesinthepraiseofart.Heisnotdirectlytellingreadersthemeritsinhighlypolishedlanguagebutguidingreaderstosee,hearandfeelthemagic.EventhoughcomparedwithKeats’poemof“OdeonaGrecianUrn”,whichisalsoaboutart,thispoemdoesnotownthe“overwhelmingsenseofthesoulofbeauty”(Phillips21),itisstillveryartfulincreatingthedelicacy,whichmakeseverythinginthepoemsonaturalandpure.Oneofthemostimportantmanifestationsistheuseofspirant[s]/[z]andsomeotherconsonantsclosetoitsuchas[θ]and[ue13f],whichplayanessentialroleinconveyingtheexquisitenessofmusic.Allthelinesexceptthetenthlinecontainatleasttwoconsonantsofthe[s]kind,andthefrequencytheyappearineachlineis:3,2,3,4,4,4,3,3;2,0,3,3,4,2,2,4,thetotalnumberofwhichis46times,whichmeansthatalmosteverytwowordscontainsone.Theimpactthe[s]soundmakesispowerfulbecauseitprolongstheaudioeffectsandhasthepenetratingforceinreading.Forexample,whentheline“Isthysweetvoicetome”isreadoutloud,thespirantsechoeachotherandsoundlikeamelodiouswhisperintheear.Fromtheaspectoftheaudiofeedback,itendowsthepoemwithanechoingeffectofquietness.Anotherimportantmanifestationistheuseofalargenumberofnasals[m],[n]and[ue140],thefrequencyofwhichineverylineis:1,1,3,1,3,2,3,5;6,1,2,3,0,2,2,2.What’smore,eightoutofsixteenlinesendwithanasal,continuouslyblurringtheeffectsofspirantstoadreamyatmosphere.Thenasalsaremorecontainedthanthespirantsespeciallywhentheyareusedattheendoftheline,whichfurtherenhancesthetranquilityandincreasesthelingeringeffectsofthesounds.Thefrequencyofnasalsreachesthetopinthelines“Andthelulledwindsseemdreaming;Andthemidnightmoonisweaving”.Althoughthesetwolinesbelongtodifferentstanzas,theyarecloselyconnectedtoeachotherbynasalsandnaturallycontinuethetranquility.Theabovechartshowsthenumbersofthespirants[s]/[z],[θ]/[ue13f]andnasals[m]/[n]/[ue140]andtheirdistributionineachline.Theyarejustlikethechangesofmusicalnotes,ortheflowingofwaves.Sometimesthe“voice”isclear,andsometimesitisquiteblurring.Thespirantsandnasalstaketurnstooccupythelineandthencometoabalanceatsomepoints.Theyworktogethertocreatethelingeringandmelodiouseffects.Generallyspeaking,thespirants[s]/[z]and[θ]/[ue13f]areinthedominantplace,whichisunderstandablebecausethethemeofthispoemisaboutmusicandthesespirantscanbringreadersthemarvelousrhythms.Andthenasals[m]/[n]/[ue140]workasthefundamentaltone,alwaysremindingreadersthetranquility.Therhymeofthepoemisamixedone,includingalternatingrhymeandrunningrhyme.Thepatternisasfollows:ababccdd,efefbbgg,andtherhymesare[s],[i:],[ue138:zsiue140],[i:miue140],[i:viue140],[i:p],[i:]and[ue135uue139ue135n].Thechangesofrhymesmakethepoemactiveandlively.Therepetitionofsomerhymes,especially[i:]and[iue140],stressestheechoingeffectandclosesthepoemwithasenseofpeacefulness.Attheendofeachline,readerswillnaturallyslowdownleavingalargespacetoimagineandfeel.Howeverstrongandloudtheotherphonemesare,thepoemisalwayssuccessfulindeliveringthebasictoneoftranquility,whichislargelyowingtothecombinationofspirantsandnasals.Itisbynomeansthattheseconsonantsappearinginthispoemwithsuchahighfrequencyisoccasional.Byronpicksupthemintentionallyforheaimstotouchthereaders’nerveswiththetasteofrhythmiclines.Readerswillautomaticallyslowdownwhenreadingthepoem,whichprolongstheprocessofexperiencingthetranquilityandeverydetailshowninthepoem.Inthisway,thereaderswillhavethefeelingofsingingtotherhythmofthepoemandthemusicalityiscleverlydelivered;meanwhile,thecomplimenttoartisfullyconveyed.2.3which家族和nratch于graspityofficiciciens,sicivi马克思主义艺术国际传播co.4.Thetranquilityandthedelicacycooperatewellinestablishingtheartisticconceptionofthepoem,whichhighlightstheuniquebeautyofmusicandpoetry.Variousimagesappearinthepoem,suchasBeauty,musiconthewaters,ocean,waves,winds,midnightmoon,infantandthespirit.Theseeminglyfragmentaryimagesareconnectedbythesamething—the“voice”.Thefirststanzaillustratesthatthevoiceisso“sweet”thatitcancause“Thecharmedocean’spausing,Thewavesliestillandgleaming,Andthelulledwindsseemdreaming”,allconveyingtheinformationoftranquility.Duetothecharmofmusic,thepeacefulnessfallsonthevastareaofocean,soeventhe“waves”and“winds”areenjoyingthemusic,whichisbringingtheaudienceawonderfulfeeling.Thesecondstanzatalksaboutthesanctityofthevoicebecauseeven“thespiritbowsbeforethee”.Withthemusicgoingon,theaudienceachievedafullerconceptionuntiltheyblendharmoniouslyandgraspthoroughlythetruebeautyofmusicasart.Theconsistencyinthedevelopmentoftherichnessofthepersonalizedmusicasafemalecharacterisinitselfanaestheticalunity,whichisthecorequalityofthepoemsothattheseeminglylooseimagesareconnectedtogethersmoothly.Itmaybeaweaknessinthispoemthatmanyoftheimagesareconventionalorevenobviousclichés,suchastheabstracttermof“Beauty”,andthewidelyusedimagesof“waters”,“waves”,“moon”and“ocean”,butByronseemsnottobebotheredbytheclichésbecauseheisconfidentinthatintheprocessofwritingpoetry“‘Tistocreate,andincreatinglive/Abeingmoreintense,thatweendow/Withformoutfancy”(ChildeHarold,III.6.46-8).Thecapitalizedwords“Beauty”and“Summer”inthefirstandthelastlinecaneasilyremindreadersofShakespeare’sfamoussayingthat“ShallIcomparetheetoasummer’sday”inSonnetNo.18inwhichShakespearehighlypraisesthefunctionofpoetryinkeepingthebeautyeternal,andthisisalsothegoalofwritingthepoem,whichcanbothunfoldthecharmofmusicandconveyfeelingsandemotionsthatoffersaninsightintotheworldofart.Inordertoachievethis,Byronskillfullyemploysthesynaestheticimagesinusingvisualimagestodelivertheemotionsandimpactsusuallyshownintheaudioforms.Forexample,theimageof“aninfant’sasleep”notonlyimpliespurityandinnocencebutalsocallsupthefeelingofsoftnessandgentleness,anditalsoremindsreadersofthesweetandpleasantflavorfromtheinfant’sbody.Thus,musiccomestoreadersinvariousformssotheynotonlycanlistentoitalsocanseeitinconcreteformsandfeelitwithdifferentsensoryorgans,whichimpactonthemvividly,whichconstructsanamazingpictureofaconsonancewithitstouchingartisticconception.Focusingonthetopicofmusic,thepoemcombinesaseriesofaudiofactorsandvisualimagestocreateafantasyofart.Theuseofspirantsandnasalsturnsthewholepoemintoamelody,suggestingthecharmofart.Femalecharacteristicsdominatethewholepoem,including“noneofBeauty’sdaughters”,“sweetvoice”,“Her”and“breast”.However,whatByronemphasizesliesinthecharmofmusic,