TELECOMMUNICATION.ppt

1、Sichuan Post and Telecommunication College,About English Prosody Unit 14,SPTC Chengdu, CN Wednesday, May 2st, 2005,Guo Liangyan Huang Deqiang Liu Jia Hu Jie,Unit14 Rhyme /,Aside from metre, English poetry depends heavily for beauty of sound on another device called the Rhyme. Rhyme seems to be a dis

2、tinctive means of characterizing poetry in many languages. In traditional Chinese poetry, for instance, it is a vitally essential feature. In English poetry, however, it is not so indispensable as in Chinese. Some kinds of poems, such as blank verse and free verse, can go without rhyme. Still, most

3、traditional English poem types are rhymed.,Unit14 Definition of rhyme,Rhyme can be defined as the repetition of similar or duplicate sounds at regular intervals. Usually this repetition occurs at the ends of lines of verse, as in Chinese: 床前明月光， 疑是地上霜。 举头望明月， 低头思故乡。 李白：静夜思Here the first, second and

4、fourth lines end with the same soundang, and are hence rhymed. Likewise, in English poetry, we find similar arrangements: Little drops of water, Little grains of sand, Make the mighty ocean And the pleasant land. -Louis Robert Stevenson Here the second and fourth lines end with the same sound sequen

5、ce /nd/ and are also considered rhymed. And this kind of rhyme found at the end of the line are technically called the end rhyme (尾韵or韵脚),Unit14 Masculine rhyme,Where the end rhyme is a repetition of a one-syllabled word, or the stressed final syllable of the last word of the line, it is called the

6、masculine rhyme. (1) One thing at a time, And that thing done well, Is a very good rule, As many can tell. -Anon (2) Some to conceit alone their taste confine, And glittering thoughts struck out at every line; Pleased with a work where nothings just or fit; One glaring chaos and wild heap of wit. -A

7、lexander Pope: An Essay on Criticism 有人做诗专好使用别出心裁的比喻， 每句诗中都突出炫耀自己怪异的思绪， 对以不适当的比喻堆砌成的作品沾沾自喜， 那实际只是乱糟糟一堆诙谐话的大杂烩。 蒲柏：论批评,Unit14 Feminine rhyme,When the repetition of the same sound at the end of the line extends over two or more syllables, with the first one stressed and the following unstressed, it is

8、 named the feminine rhyme, e. g. (1) We poets in our youth begin in gladness, But thereof come in the end despondency and madness. -Wordsworth: Resolution and Independence, vii (2) Higher still and higher From the earth thou springest; Like a cloud of fire The blue deep thou wingest, And singing sti

9、ll dost soar, and soaring ever singest. -P. B. Shelley: To a Skylark 你从地面腾空而起， 高飞复高飞； 像一朵火云似地， 展翅碧落隈； 边飞边唱，边唱边飞。 雪莱：致云雀,Unit14 Internal rhyme,Apart from the end rhyme, English poetry also derives beauty of sound from repetition of similar or duplicate sounds in the same line of verse, as in the foll

10、owing example: With silken coats and caps and gold rings, With ruffs and cuffs and farthingales and things. -W. Shakespeare: The Taming of the Shrew, VI, iii, 55-56 The second and fourth words in the second line ruffs and cuffs repeat the sound sequence /s/, and form an example of the internal rhyme

11、.,Unit14 The leonine/i:./ rhyme,If the repeated words in the same line appear one before the caesura and the other after it, it is called the leonine rhyme: Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore, While I nodded, nearly

12、napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. Tis some visiter,I muttered, tapping at my chamber door- Only this, and nothing more. -Edgar Allan Poe: The Raven 久前一个黑沉沉的午夜，我身心疲惫，掩卷凝思 许多卷富有奇趣、令人好奇，但却早已湮没无闻的学问。 我打起盹来，几入睡乡，突然听见一阵轻轻的敲击声， 仿佛有人在轻轻叩击、轻轻地叩

13、击我寝室的房门。 “定是一位不速之客，”我自语道，“在叩击我寝室的房门” “不过如此，不是别的事情。” 阿伦坡：渡乌,Unit14 Assonance/.n.s/,If the repetition in the same line is only a vowel sound, with the consonants following it dissimilar, it forms a sort of approximate rhyme that also adds to the musical effect. This is known as assonance. For example:

14、 Watching, we hear the mad gusts tugging on the wire Live twitching agonies of men among its brambles. Northward, incessantly, the flickering gunnery rumbles. -Wilfred Owen: Exposure In line 1, the vowel /i/ repeats in watching and tugging, and the vowel / is repeated in gusts and tugging. In line 2

15、, the vowel /i/ appears in twitching, agonies and its. In line 3, the vowel /i/ reappears in flickering after its appearance in incessantly; while the vowel / is found in both gunnery and rumbles. All these serve as illustrations of assonance.,Unit14 Consonance/k .s.nts/,The repetition of two or mor

16、e consonants within the same line is also taken as a device to increase musicality of the poem, as is shown in the following example, which is technically called consonance. The splendor falls on castle walls And snowy summits old in story. -Tennyson: The Splendor Fall. The consonant /s/ is repeated

17、 once in line 1, and twice in line 2. This well illustrates consonance.,Unit14 Alliteration /,If the repeated consonant appears only at the beginning of words in the same line, it is called alliteration, as can be seen in: Full many a flower is born to b lush unseen -Gray The initial letter f (repre

18、senting the consonant sound /f/ )in Full is repeated in the beginning letter of flower; and similarly, the letter b (sounding /b/ ) at the head of blush repeats the initial /b/ in born. These are hence typical examples of alliteration. Alliteration used to be a major device for poetical musicality i

19、n Old English poetry, but has, over the centuries of development under foreign influence, been reduced to a minor or secondary poetic technique in modern versification. Yet it is still rather important in some types of English poems. For instance, in blank verse (无韵诗or素体诗), where there is no end rhy

20、me,-which is so different from our Chinese habit of poetic appreciation, and which the readers are expected to take careful notice of -the musicality predominantly comes from such devices as alliteration, consonance, assonance, and internal rhyme:,(FAUSTUS-) Ah, Faustus, Now has thou but one bare ho

21、ur to live, And then thou must be damned perpetually! Stand sti 11, you ever-mov_i ng spheres of Heaven, That time may cease, and midnight never come; Fair Natures eye, rise, rise again, and ma ke Perpetual day; or let this hour be but A year, a month, a week, a natural day, That Faustus may repent

22、and sa ve his soul! -Marlowe: Doctor Faustus Act V: Scene 2. 11.131 139 (浮士德：) 浮士德呀， 你只还有一个小时可活， 此后你将被打入地狱，永劫不复! 永动不止的天体啊，停止运转吧， 这样时间就会停止，午夜也永不会到来， 造化美丽的眼睛啊，升起，再升起， 好让白昼永留下去；或是把这一小时 延长成一年，一月，一周，或是一天， 好让浮士德忏悔，从而救赎他的灵魂。 马洛：浮士德博士，第5幕，第二场，第131139行,Unit14 Alliteration /,It is clear to see that while ther

23、e is no end rhyme found here in thisextract of verse, it abounds with other poetical devices: The vowel /au/ in now and thou in line 1; the /e/sound in then and perpetually in line 2; the /e/ sound in ever and Heaven in line 3; the /ai/ sound in time and midnight in line 4; the /ei/sound in Nature,

24、again and make in line 5; the /e/sound in Perpetual and let in line 6;and the/ei/sound in may and save in the last line-illustrate assonance. The /b/ sound in but and bare in line 1; the /sound in then and thou in line 2; the /s/ sound in Stand, still and sphere in line 3; the /m/sound in may and mi

25、dnight in line 4, the /b/ sound in be and but in line 6, and the /s/ sound in save and soul in the last line- all count as examples of alliteration. The /v/ sound in moving and Heaven in line 3;and the /m/ sound in time and come in line 4 may be illustrations of consonance. All these are contributor

26、s to the musical effects of the poem. So in reading, the reader is advised to pay enough attention to them, so as to bring out their due features in sound beauty.,Unit14 Alliteration /,Unit14 Rhyme scheme,The long history of English poetry has developed various conventions in the arrangement of end

27、rhymes. Such conventional arrangements of rhymes in a unit of verse lines are called rhyme schemes. Of the vast variety of them, you are here to be introduced to the most commonly-met patterns.,Unit14 Stanzaic verse,As English prose can be divided into chapters and paragraphs, so is English poetry,

28、(most types of them do, with the exception of blank verse and perhaps heroic couplets that can go on endlessly), capable of similar divisions. The smallest poetic unit equal to the paragraph in a piece of prose is known as stanza. A bigger division on the same par with the prosaic chapter-in a longe

29、r poem, of course,-is called canto. Stanza is something you oftener come across in reading, and is hence worth dealing with here, first. The commonest stanza in English poetry is undoubtedly the quatrain. It consists of four lines of verse, usually with a rhyme scheme of abab (that is, the first lin

30、e rhymes with the third, and so does the second with the fourth): Think not the thistle seed to cast, a And reap the rose full blown; b For man must gather first or last a The harvest he has sown. b -Anon,Unit14 The septet /septet/,A second common stanza may be the septet (that is, a stanza made up

31、of seven lines). Because Chaucer was the first to use it, it is also called the Chaucerian Stanza (乔叟诗节). Following him, a number of other English poets, like Lydgate, Hoccleve, Skelton, Sir Thomas Wyatt and William Morris often used it. Its usual rhyme scheme is ababbcc. For instance: Of Heaven or

32、Hell I have no power to sing, a I cannot ease the burden of your fears, b Or make quick-coming death a little thing, a Or bring again the pleasure of past years, b Nor for my words shall ye forget your tears, b Or hope again for aught that I can say, c The idle singer of an empty day. c -William Mor

33、ris: The Earthly Paradise 我无力歌颂地狱或天堂， 也不能将你恐惧的重担减轻， 或让你等闲看待匆至的死亡， 或带回给你过去的欢欣。 你决不会忘掉悲伤，因为听了我的歌吟， 或因此而期盼我唱更多的歌曲， 我只是一个闲散的歌手，在空闲无聊的日子。 莫里斯：人间天堂,Unit14 Triplet/trp.lt/,This is a stanza made up of three lines. It is also called tercet /tst/. Its rhyme scheme is generally aaa. For example: He clasps the

34、crag with crooked hands; a Close to the sun in lonely lands, a Ringd with the azure world, he stands, a The wrinkled sea beneath him crawls; b He watches from his mountain walls, . b And like a thunderbolt he falls. b -Tennyson: The Eagle 他以弯曲的利爪，紧抓危岩； 几近太阳，独立峭壁之巅， 耸立壁顶，背衬蔚蓝苍天。 海浪缓缓，在下起伏不定， 他俯视于上，在那

35、壁立的山顶， 继而俯冲而下，其势雷霆万钧。 丁尼生：鹰,There is a variant of the tercet, which rhymes aba bcb cdc, etc., e. g. O wild West Wind, thou breath of Autumns being, a Thou, from whose unseen presence the leaves dead b Are driven, like ghosts from an enchanter fleeing, a Yellow, and black, and pale, and hectic red, P

36、estilence-stricken multitudes. O thou, Who chariotest to their dark wintry bed The winged seeds, where they lie cold and low, c Each like a corpse within its grave, until d Thine azure sister of the Spring shall blow c Her clarion oer the dreaming earth, and fill d (Driving sweet buds like flocks to

37、 feed in air) e With living hues and odours plain and hill: d -P. B. Shelley: Ode to the West Wind,Unit14 Triplet/trp.lt/,哦，狂放的西风，你秋神的呼吸! 你遁形而至，吹得枯叶满空， 宛似鬼魅，在法师面前逃逸： 黄叶，黑叶，苍白色叶，还有些呈潮红， 如同染了瘟病的一大群；哦，你， 你驱车把有翅的种子凌空运送 到其幽暗的冬床，令其僵卧于斯， 每一粒都如像墓中一具尸体，直到 你那蔚蓝色的春天妹妹 在沉睡的大地上吹响她嘹亮的号角， (赶羊般催赶美丽的蓓蕾到空气中觅食，) 将生命的色

38、彩布满平原和山包。 雪莱：西风颂 This variant is known as the terza rima /tets. ri:.m/(三行套韵体). Triplets are comparably less common than quatrains or septets in English poetry.,Unit14 Triplet/trp.lt/,Unit14 The quintet kwtet/,A quintet is a stanza made of five lines. Its common rhyme scheme is ababb , e. g. Teach us

39、, sprite or bird, a What sweet thoughts are thine; b I have never heard a Praise of love or wine b That panted forth a flood of rapture so divine. b -Shelley: To a Skylark 告诉我们吧，鸟或是精灵，是什么 愉快的思绪在你心中激荡? 我从来还未曾听到过 对爱情或醇酒的颂扬 能够进涌成这种天国才有的销魂乐章。 雪莱：致云雀 The quintet is rarely used, too.,Unit14 The sestet /se

40、stet/,This is a six-line stanza, technically known as the sestet. It is oftener met than a quintet or a triplet. One of its most common rhyme scheme is ababab. For example- She walks in beauty, like the night a Of cloudless climes and starry skies; b And all thats best of dark and bright a Meet in h

41、er aspect and her eyes: b Thus mellowed to that tender light a Which heaven to gaudy day denies. b -G. G. Byron: She Walks in Beauty 她款款行来，仪态万方，美不胜收， 宛似点点繁星，闪烁在无云的夜空； 明与暗的最佳配置，效果绝优， 在她的容颜与眼波里汇融： 汇融成一片恬淡清光，无限柔和，无限温柔 那是骄阳撒艳的白日晴空所不能容。 拜伦：她款款行来，仪态万方，美不胜收,Unit14 The octave/,This refers to a stanza made u

42、p of eight lines. It has another name: the octet /k tet/. If its verses are iambic pentameter, it is also named the ottava rima /:v. ri:. m/(八行三韵体), a form of Italian origin, introduced by Wyatt into English in the 16th century. Its usual rhyme scheme is abababcc. Byrons famous Don Juan was written

43、in this stanza. And I will war, at least in words(and-should a My chance so happen-deeds)with all who war b With Thought ; -and of Thoughts foes by far most rude a Tyrants and sycophants have been and are. b I know not who may conquer; if ! could a Have such a prescience, it should be no bar b To th

44、is my plain, sworn, downright detestation c Of every despotism in every nation, c -G. G. Byron: Don Juan, Canto IX,我要作战，至少用文字(如有可能， 也用行动)抗击一切同思想为敌 的人；而在思想的敌人中，暴君 和献媚的奴才始终是最下流卑鄙。 我不知道谁会战胜；如果我能 有这种预知本领，它也不能阻止 我对于一切国家的一切专制暴政 怀有这种公开、坚决、毫不含糊的怼憎。 拜伦：唐璜：第9章 Notice The war in line 2 is used to rhyme with ar

45、e and bar. It is an imperfect rhyme(不完全韵 ), or eye rhyme (视韵), i. e., words that look as if the rhyme, but actually do not. It is something permitted in English prosody.,Unit14 The octave/,An octave can also form the first part of a sonnet. In this case, its usual rhyme scheme is abbaabba. For examp

46、le: The poetry of earth is never dead: a When all the birds are faint with the hot sun, b And hide in cooling trees, a voice will run b From hedge to hedge about the new-mom mead; a That is the Grasshoppers-he takes the lead a In summer luxury,-he has never done b With his delights; for when tired o

47、ut with fun, b He rests at ease beneath some pleasant weed. a -John Keats: On the Grasshopper and Cricket 地上的诗歌从未终止 当百鸟被烈日晒得发困， 躲人林阴，却传来一阵声音， 穿过层层树篱，飘荡在草地。 那是蝈蝈儿的声音，他赶在头里 享受夏日的荣华富贵，他欢歌不停， 永无止境，一旦尽兴犯困， 他便在一棵野草下歇息。 济慈：蝈蝈与蟋蟀,Unit14 The octave/,Unit14 The Spenserian stanza,The is a stanza consisting of

48、nine lines. It acquired this name because it was the English poet Edmund Spenser that first used it in his masterpiece The Faerie Oueene(仙后). After being neglected through the 17thand early 18thcenturies,it was revived in peoples interest in the later 18thcentury, and was then utilized by such celeb

49、rated Romantic poets as Byron, Shelley and Keats. Its rhyme scheme is ababbcbcc. For example: Did ye not hear it? -No; twas but the wind, a Or the car rattling oer the stony street; b On with the dance! let joy be unconfined; a No sleep till mom, when Youth and Pleasure meet b To chase the glowing H

50、ours with flying feet.- b But hark! that heavy sound breaks in once more, c As if the clouds its echo would repeat; b And nearer, clearer, deadlier than before ! c Arm! arm! it is - it is - the cannons opening roar! c -G. G. Byron: Chide Harolds Pilgrimage, Canto HI,听见了吗?没有；那不过是风声， 或是在石街上隆隆驶过的车辆； 继续

51、跳舞吧!让欢乐无边无垠； 当青春遇快活，为追享良辰，联袂飞膛， 岂可倒头睡去还未跳到天亮。 可是，你听!那沉重轰鸣声又再度传来， 仿佛是雷声在云端回响。 而且越来越近，越清晰，越令人惊骇! 取枪!取枪!那是田g6是大炮又怒吼了起来! 拜伦：恰尔德哈洛尔德游记：第3章 The wind in line 1 should be pronounced /waind/, and is perfectly rhymed with the last syllable of confined /knfnd/ in line 3. The word oer (pronounced /:/)is an inst

52、ance of syncope, i, e., the omission of a letter or syllable in a word to keep the regularity of the metric pattern. Here, by omitting the letter v, the poet has shortened original disyllabic word over into a monosyllabic word, so that the line of verse is kept in ten syllables.,Unit14 The Spenseria

53、n stanza,Unit14 The sonnet,It is a distinctive English poetic form that must be treated here. A verse form containing 14 lines in iambic pentameter, it originated in Italy and was introduced into English by Sir Thomas Wyatt and the Earl of Surrey early in the 16thcemury. Later it developed into thre

54、e types in English, still 14 lines, but with various rhyme schemes. The first is the Italian or Petrarchan sonnet (意大利型or彼特拉克型), which consists of an octave with a rhyme scheme of abbaabba ,and a sestet rhyming cdecde. For instance: When I consider how my light is spent a Ere half my days in this da

55、rk world and wide, b And that one talent which is death to hide b Lodged with me useless, though my soul more bent a To serve therewith my Maker, and present a My true account, lest He returning chide, b Doth God exact day-labour, light denied? I fondly ask. But Patience, to prevent a That murmur, soon replies, God doth not need c Either mans work or his own gifts. Who best d Bear his mild yoke, they serve him best. His state e Is kingly: thousands at his bidding speed, c And post oer land and ocean without rest; d They also serve who only stand and wait. e -John Milton: On His Blindness