《黄波老师》PPT课件.ppt

ABriefStudyofEnglishPoetry 黄黄 波波Part1:ElementsofPoetryPart2:AnalysisofPoetry1.Beowulfistheearliestliteratureinepicform.Ithasthreeimportantfeaturesoftheepic(1).Themoststrikingfeatureistheuseofalliteration.ThisisthecharacteristicofalloldEnglishverse.(2).Thesecondistheuseofmetaphorsandunderstatements.(3).ThethirdfeatureofthepoemisthemixtureofpaganandChristianelement.2.ChaucerintroducedfromFranceandItalytherhymedstanzasofvariousformstoEnglishpoetry,thatis:1.theheroiccouplet;therhymedcoupletofiambicpenta-meter,whichwastobeveryimportantinthe18thcentury2.therhymeroyal;aseven-linestanzainiambicpenta-meter,rhymingababbcc.3.theterzarima;three-linestanzas,rhymingaba,bcb,cdc.4.theoctave;eight-lineiambicpentameterstanza,rhymingababbcbc.Apoemhasrhythmandrhyme,theyhavelittlemeaninginthemselves,yet,theymayhelptoreinforcethemeaning.Takerhythmasanexample,asadfeelingwillusuallybeintensifiedbylongvowelsandslow-pacedrhythm;whileahappyoccasionwillbemademoreexcitingbyaquickrhythm.e.g.inmusicRhymewillservetobringtogetherwordswhichareusuallynotthoughttogetherandthereforecreateimaginativerelationamongdifferentpartsofthepoems.E.g.Breathanddeath,ifrhymedtogether,willprobablyhelpustounderstandlifeasafragilebreath,buttheywillnotbesoiftheyarewrittenapart.Rhymeoccurswhentwowordsorphrasescontainanidenticalorsimilarvowelsound,usuallyaccented,andanidenticalconsonantsound(ifany)thatfollowsthevowelsound.Sotospeak,rhymeistherepetitionofthestressedvowelsoundandallsucceedingsounds.Thus“line”willrhymewith“pine”,“visit”with“isit”.Rhymeisthemajorsoundelementwhichcontributestothemusicofpoetry.Therhymesinapoemwillusuallyformapatterncalledrhymescheme.1.Masculine/femininerhymeWhentherhymingsoundinvolvesonlyonesyllable,usuallyattheendofrespectivelines,itiscalledmasculinerhyme.Oftenthefinalsyllableisstressed.TypesofRhymee.g.“cold”and“bold”,“sky”and“fly”.Whentherhymingsoundsinvolvetwoormoresyllables,itiscalledfemininerhyme.e.g.“spitefully”and“delightfully”.2.Internalrhyme/endrhymeIftheoneorbothrhymingwordsarewithintheline,itiscalledinternalrhyme.e.g.“the grains beyond age,the dark veins of her mother”.Ifboththerhymingwordsoccurattheendsoflines,itiscalledendrhyme.e.g.“Three poets,in three distinct ages born,Greece,Italy,and England did adorn.”EndrhymeisthecommonestandmostconsciouslysoughtaftersoundrepetitioninEnglishpoetry.Notallrhymesaresoabsoluteasshownabove.poets,especiallymodernpoets,oftenuseapproximaterhymestoconveytheirthoughtsandfeelingsmorefreelyandmoreappropriately.Approximaterhymesincludewordswithanykindsofsimilarity.Amongapproximaterhymes,thefollowingaremorefrequentlyusedandeasiertodetect.1.AlliterationAlliterationistherepetitionofconsonants,especiallyatthebeginningofwordsorstressedsyllables.e.g.While I nodded,nearly napping,suddenly there came a tapping2.Assonance半半谐谐韵，押元音相同，韵，押元音相同，辅辅音不同音不同Assonanceistherepetitionofidenticalvowelsoundsbeforeandafterdifferentconsonants.“All day the wind breathes low with mellower tone Thro every hollow cave and alley lone”.3.Consonance和韵或辅谐韵，押辅音相同，元音不同和韵或辅谐韵，押辅音相同，元音不同Consonanceistherepetitionofidenticalconsonantsoundsbeforeandafterdifferentvowels.e.g.“tit”and“tat”,“creak”and“crack”.4.HalfrhymeHalfrhymeisthefemininerhymesthatdontrhymecompletely.e.g.“frightful”and“slightly”,“yellow”and“pillow”.Halfrhymeiscalledbyothers“nearrhyme”,“obliquerhyme”,or“slantrhyme”拗韵拗韵5.EyerhymeEyerhymeisformedbywordsthatlooklikearhymedunitbutdonthavethesamesound.e.g.“home”and“some”,“hear”and“bear”.Todiscusstherhythmofapoem,thefollowingtermsareveryuseful.Theyaremeterandfoot.1.MeterTheGreekword“metron”,meaning“measure”.InEnglishwhenappliedtopoetry,“meter”referstotheregularpatternofstressedandunstressedsyllables.Usually,weoftenusefourkindsofmeter:(1).Iambus(iambic):anunstressedsyllablefollowedbyastressedone.e.g.appear,attack,at home (2).Trochee(trochaic):e.g.upper,supper,at it.(3).Anapest(anapestic):e.g.understand,in the house.(4).Dactyl(dactylic):e.g.wilderness,messengerRhythmSolongasmencanbreatheoreyescanseeSolonglivesthis,andthisgiveslifetothee2.FootMeterismadeupofitsbasicunits.Eachunitiscalledafoot.Forexample,theiambicfootconsistsofanunstressedsyllableandastressedsyllable.Theanapesticfootconsistoftwounstressedsyllablesandastressedsyllable.Normallyalinehas3,4,5,or6feet,butinspecialcasesitcanhaveasfewas1footorasmanyas8feet.monometer(onefoot)dimeter(twofeet)trimeter(threefeet)tetrameter(fourfeet)pentameter(fivefeet)hexameter(sixfeet)heptameter(sevenfeet)octameter(eightfeet)Footisnottobeconfusedwithmeter,thoughthenamesforfeetendwith“meter”.Meterisbasedonsyllables,anditindicateshowstressedandunstressedsyllablesarearranged.Footisappliedwithinasingleline,anditindicateshowmanymetersareemployedintheline.Takeiambusforexample:Iambicmonometer:Away-Iambicdimeter:Thissongofmine.-Iambictrimeter:Thesilenceofthesea-Tomakeadiagramoftherhythmicpatternofalineorapoemiscalledscanning.Tosacnapoem,oneindicateswherethestressesareandhowitistoberead.WecouldfindthatmosttraditionalEnglishpoemsdofollowoneoftheabovemetricalpatterns,butfewfollowsitstrictlyormechanically.1.ClosedFormFormisadesignofapoem.Closed formreferstothedesignofthosepoemswhosestanzasarecharacterizedbyregularityandconsistencyinsuchelementsasrhyme,linelengthandmetricalpattern.Closedformincludesmostofthetraditionalverseforms.(1)Blankverse:anunrhymediambicpentameter,alineconsistingoffivefeetofstressedandunstressedsyllables.(2)Couplet:apairofrhymedlineswhichmayormaynotconstituteaseparatestanzainapoem.Itusuallycontainsacompletethoughtinitself.(3)Tercet:a3-linestanza,alsocalledterzarima,whichkeepstoonerhymesound.Therhymeschemebetweenstanzasisinababcbcdcdedetc.(4)Quatrain:a4-linestanzainmanylinelengthsandsometimesinlinesofvaryinglength,rhymedusuallyinlinestwoandfour.ItisusedveryofteninEnglishpoetry,mostnotablyinballads.ThesearethefourbasicverseformsinEnglishpoetry.Otherformsarepossible,butusuallyareconstructedwiththeabovefourbasicverseforms.ThefollowingformsalsodeservespecialattentionbecausetheyaresomuchusedbyEnglishpoetsthattheyhavebecomefixedforms.(5)Sonnet(6)Epigram(7)Limerick(8)Haiku2.OpenForm:(1)Freeverse(2)ProsepoemsTypesofPoems (1)Epic(2)Ballad(3)Pastoral(4)Lyric(5)Ode(6)Satire(7)ElegySonnet18ShallIcomparetheetoasummersday?Thouartmorelovelyandmoretemperate.RoughwindsdoshakethedarlingbudsofMay,Andsummersleasehathalltooshortadate.Sometimetoohottheeyeofheavenshines,Andoftenishisgoldcomplexiondimmed;Andeveryfairfromfairsometimedeclines,Bychanceornatureschangingcourseuntrimmed;Butthyeternalsummershallnotfade,Norlosepossessionofthatfairthouowst;NorshallDeathbragthouwanderstinhisshade,Whenineternallinestotimethougrowst.Solongasmencanbreathe,oreyescansee,Solonglivesthis,andthisgiveslifetothee.Sonnet18夏色斑斓颜自夏色斑斓颜自娇娇，君风婉约君风婉约姿更姿更娆娆。天骄虽美如白驹，天骄虽美如白驹，犹有狂风摧花犹有狂风摧花凋凋。金乌每每灼天幕，金乌每每灼天幕，阴霾屡屡锁碧阴霾屡屡锁碧霄霄。天道有律孰能逆？天道有律孰能逆？世事无常亦难世事无常亦难昭昭。君似长夏柳凭君似长夏柳凭栏栏，风姿经世韵更风姿经世韵更添添，无常纵有拘魂令，无常纵有拘魂令，嫦娥依然嫦娥依然舞飞舞飞天天。漫漫苍生若无漫漫苍生若无涯涯，人生处处颂蒹人生处处颂蒹葭葭。我是否能把你与夏日比较？我是否能把你与夏日比较？尽管你的美丽和温柔远超：尽管你的美丽和温柔远超：狂风肆虐五月柔嫩的花苞，狂风肆虐五月柔嫩的花苞，孟夏总叹吉日良辰的短少：孟夏总叹吉日良辰的短少：太阳普照下时而炎热难当，太阳普照下时而炎热难当，夕阳西沉处常常金辉黯淡；夕阳西沉处常常金辉黯淡；无奈花开花谢中红颜易伤，无奈花开花谢中红颜易伤，苦于滚滚红尘里世事无常；苦于滚滚红尘里世事无常；唯有你好似永夏经年不衰，唯有你好似永夏经年不衰，不失优雅气质而风华绝代；不失优雅气质而风华绝代；死亡阴霾遮掩不住的美态，死亡阴霾遮掩不住的美态，定格在不朽诗篇字里行外：定格在不朽诗篇字里行外：只要人文延续，诵读不止，只要人文延续，诵读不止，传承此诗，你也流芳百世。传承此诗，你也流芳百世。ToHisCoyMistressHadwebutworldenough,andtime,Thiscoyness,Lady,werenocrimeWewouldsitdownandthinkwhichwayTowalkandpassourlonglovesday.ThoubytheIndianGangessideShouldstrubiesfind:IbythetideOfHumberwouldcomplain.IwouldLoveyoutenyearsbeforetheFlood,Andyoushould,ifyouplease,refuseTilltheconversionoftheJews.MyvegetableloveshouldgrowVasterthanempires,andmoreslow;AhundredyearsshouldgotopraiseThineeyesandonthyforeheadgaze;iambictetrameterrhymesincoupletsAllusionThecurfewtollstheknellofpartingday,Thelowingherdwindsslowlyoerthelea,Theploughmanhomewardplodshiswearyway,Andleavestheworldtodarknessandtome.Nowfadestheglimmeringlandscapeonthesight,Andalltheairasolemnstillnessholds,Savewherethebeetlewheelshisdroningflight,Anddrowsytinklingslullthedistantfolds:晚钟殷殷落夕阳。晚钟殷殷落夕阳。牛群低鸣迂田庄，牛群低鸣迂田庄，农夫荷锄归倦路农夫荷锄归倦路,我自黄昏对莽苍。我自黄昏对莽苍。暮色渐近物弥蒙，暮色渐近物弥蒙，静谧幽深锁乾坤，静谧幽深锁乾坤，唯听甲虫纷飞舞，唯听甲虫纷飞舞，畜铃穿栏入远风。畜铃穿栏入远风。quatrainsiambicpentameterrhymescheme:ababSetting:avillagecemetery.Tone:melancholyArtistictechniques:1.Inordertocreatetheatmosphereofmelancholy,thepoetselectsthosenaturalphenomenawhichcastadditionalgloomuponthescene.e,g,apictureoftwilightinacountrychurchyard,thelowingherd,thedroningflightofthebeetles,thedrowsytinklingfromadistantfold,reflectthemood,namely,romanticmelancholy.2.Worduse:longvowelsanddiphthongs“Thecurfewtollstheknellofpartingday”stillalotsuchaslow,herd,oer,plea,plow,weary,leave,dark,etc.Theseaiscalmtonight.Thetideisfull,themoonliesfairUponthestraits;ontheFrenchcoastthelightGleamsandisgone;thecliffsofEnglandstand,Glimmeringandvast,outinthetranquilbay.Cometothewindow,sweetisthenight-air!Only,fromthelonglineofsprayWheretheseameetsthemoon-blanchdland,Listen!youhearthegratingroarOfpebbleswhichthewavesdrawback,andfling,Attheirreturn,upthehighstrand,Begin,andcease,andthenagainbegin,Withtremulouscadenceslow,andbringTheeternalnoteofsadnessin.SophocleslongagoHearditontheAegean,anditbroughtIntohismindtheturbidebbandflowOfhumanmisery;weFindalsointhesoundathought,Hearingitbythisdistantnorthernsea.TheSeaofFaithWasonce,too,atthefull,androundearthsshoreLaylikethefoldsofabrightgirdlefurld.ButnowIonlyhearItsmelancholy,long,withdrawingroar,Retreating,tothebreathOfthenight-wind,downthevastedgesdrearAndnakedshinglesoftheworld.Ah,love,letusbetrueTooneanother!fortheworld,whichseemsToliebeforeuslikealandofdreams,Sovarious,sobeautiful,sonew,Hathreallyneitherjoy,norlove,norlight,Norcertitude,norpeace,norhelpforpain;AndwearehereasonadarklingplainSweptwithconfusedalarmsofstruggleandflight,Whereignorantarmiesclashbynight.Whither,midstfallingdew,Whileglowstheheavenswiththelaststepsofday,Far,throughtheirrosydepths,dostthoupursueThysolitaryway?VainlythefowlerseyeMightmarkthydistantflighttodotheewrong,As,darklypaintedonthecrimsonsky,Thyfigurefloatsalong.SeekstthoutheplashybrinkOfweedylake,ormargeofriverwide,OrwheretherockingbillowsriseandsinkOnthechafedoceanside?ThereisapowerwhosecareTeachesthywayalongthatpathlesscoast,-Thedesertandillimitableair,-Lonewandering,butnotlost.露珠在凝坠，露珠在凝坠，白昼将退白昼将退,天际辉煌；天际辉煌；穿过一片玫瑰天空，穿过一片玫瑰天空，你向何方孤程远飞？你向何方孤程远飞？捕鸟人眼光徒劳捕鸟人眼光徒劳看你高飞远翔，看你高飞远翔，满天红霞映衬身影，满天红霞映衬身影，你在飘逸远去。你在飘逸远去。你是在寻找大河之滨，你是在寻找大河之滨，还是杂草丛生的湖岸还是杂草丛生的湖岸?或是巨浪奔腾起伏或是巨浪奔腾起伏潮水冲刷的海滩？潮水冲刷的海滩？在无垠的长空和荒漠，在无垠的长空和荒漠，在渺无人迹的海滩，在渺无人迹的海滩，上苍关照着你，上苍关照着你，孤独飞行不会迷航。孤独飞行不会迷航。Eightfour-linestanzasTherimeschemeisabab,cdcd,efef,etc.Rhythmsvarywiththesecondandthirdlineslongerthanthefirstandfourth.1.TheCentralimageisrepresentedsuccessfullyandvividly,closelycenteredaroundtheflyingbirdagainstthecrimsonsky.Artfulness2.The“gliding”effectofthestanzaform,appropriatetothevisualimageofthefollowingstanza.Scanning3.“epiphany”,asuddenrevelationoftruthoflifeinspiredbyaseeminglytrivialincident.WhenYouAreOldWhenyouareoldandgrayandfullofsleep,Andnoddingbythefire,takedownthisbook,Andslowlyread,anddreamofthesoftlookYoureyeshadonce,andoftheirshadowsdeep;Howmanylovedyourmomentsofgladgrace,Andlovedyourbeautywithlovefalseortrue,Butonemanlovedthepilgrimsoulinyou,Andlovedthesorrowsofyourchangingface;Andbendingdownbesidetheglowingbars,Murmur,alittlesadly,howlovefledAndpacedamongthemountainsoverheadAndhidhisfaceamongacrowdofstars.霜鬓垂垂意难当，霜鬓垂垂意难当，权取此曲细品尝，权取此曲细品尝，星眸依依频入梦，星眸依依频入梦，幽兰凄凄一吐芳；幽兰凄凄一吐芳；红尘逐爱真亦幻，红尘逐爱真亦幻，俱拜韶华玉锦环，俱拜韶华玉锦环，唯吾慕君心澄净，唯吾慕君心澄净，不计岁月掷流年；不计岁月掷流年；炉光流溢对影闲，炉光流溢对影闲，往事如烟自堪怜，往事如烟自堪怜，浑觉巍峨山林落，浑觉巍峨山林落，无边惆怅伴星眠。无边惆怅伴星眠。Iwillariseandgonow,andgotoInnisfree,Andasmallcabinbuildthere,ofclayandwattlesmade:Ninebean-rowswillIhavethere,ahiveforthehoney-bee;Andlivealoneinthebee-loudglade.AndIshallhavesomepeacethere,forpeacecomesdroppingslow,Droppingfromtheveilsofthemorningtowherethecricketsings;Theremidnightsallaglimmer,andnoonapurpleglow,Andeveningfullofthelinnetswings.Iwillariseandgonow,foralwaysnightanddayIhearlakewaterlappingwithlowsoundsbytheshore;WhileIstandontheroadway,oronthepavementsgrey,Ihearitinthedeepheartscore.threequatrains,mostlyinhexameter,looselyiambic.Thelastlineofeachstanzashortenstotetrameter.Rhymescheme:ababModernistEnglishpoetryhasthefollowingchieftraits:1.Modernistpoetsinsistedon“directtreatmentofthings”andontheavoidanceofallwords“thatdonotcontributetothepresentation”.2.Modernistpoetryhasfreermetricalmovement.3.Modernismintroducedintopoetryamuchhigherdegreeofintellectualcomplexitybecauseoftheenthusiasmformetaphysicalpoetry.4.Themodernistpoetsfrequentlymadeuseofsymbolismwhichgavetheirpoetrythesubtletyofsuggestivenessandovertones.5.Itbroughtpoeticlanguageandrhythmclosertothatofconversationbytheuseofcolloquialexpressions,evenslang.6.Itemployedironyandpunswhichhadbeenbanishedfromseriouspoetry.7.Itwasofteninternationalandurbanintheme.TurningandturninginthewideninggyreThefalconcannothearthefalconer;Thingsfallapart;thecentrecannothold;Mereanarchyisloosedupontheworld,Theblood-dimmedtideisloosed,andeverywhereTheceremonyofinnocenceisdrowned;Thebestlackallconvictions,whiletheworstArefullofpassionateintensity.roughiambicpentameterthemeterissoloose,closertofreeverseSounduse:1.Turning and turning in the widening gyreThreelongvowelsbuildupgreatforcesforthe“gyre”Word“mere”:ordinary,butveryeffectively,powerfullyCantoXLIX:FortheSevenLakes （excerpt）Autumnmoon;hillsriseaboutlakesAgainstsunsetEveningislikeacurtainofcloud,abluraboveripples;andthroughitsharplongspikesofthecinnamon,acoldtuneamidreeds.BehindhillthemonksbellBorneonthewind.SailpassedhereinApril;mayreturninOctoberBoatfadesinsilver;slowly;Sunblazealoneontheriver.湖畔青山映夕阳湖畔青山映夕阳,秋月何苍茫秋月何苍茫!晚云如幕笼四方晚云如幕笼四方,淙淙鳞波漾。淙淙鳞波漾。肉桂朦胧枝尖长，肉桂朦胧枝尖长，苇中阵阵笛音香。苇中阵阵笛音香。风里何来晚钟声风里何来晚钟声?噹噹噹噹,山后高僧撞。山后高僧撞。四月轻扬帆，四月轻扬帆，十月孰可还？十月孰可还？渺渺银波扁舟去渺渺银波扁舟去;徒见孤日锁江滩。徒见孤日锁江滩。长亭外，古道边，长亭外，古道边，芳草碧连天。芳草碧连天。晚风拂柳笛声残，晚风拂柳笛声残，夕阳山外山。夕阳山外山。天之涯，地之角，天之涯，地之角，知交半零落。知交半零落。一瓢浊酒尽余欢，一瓢浊酒尽余欢，今宵别梦寒。今宵别梦寒。沼泽地沼泽地 我们没有一片片草原我们没有一片片草原切割一轮巨大的落日切割一轮巨大的落日放眼眺望处，放眼眺望处，一切遁逝于地平线，一切遁逝于地平线，托付于天池的独眼。托付于天池的独眼。那日出日落之间，那日出日落之间，不断结壳的沼泽地不断结壳的沼泽地是我们未设防的家园是我们未设防的家园他们从泥炭中取出他们从泥炭中取出爱尔兰大角鹿爱尔兰大角鹿 骸骨骸骨如架起一尊板条箱如架起一尊板条箱充满空气充满空气 令人敬畏令人敬畏2.BoglandWehavenoprairiesTosliceabigsunatevening-EverywheretheeyeconcedestoEncroachinghorizon,IswooedintotheCyclopseyeOfatarn.OurunfencedcountryIsbogthatkeepscrustingBetweenthesightsofthesun.TheyvetakentheskeletonOftheGreatIrishElkOutofthepeat,setitupAnastoundingcratefullofair.ButtersunkunderMorethanahundredyearsWasrecoveredsaltyandwhite.Thegrounditselfiskind,blackbutterMeltingandopeningunderfoot,MissingitslastdefinitionBymillionsofyears.Theyllneverdigcoalhere,OnlythewaterloggedtrunksOfgreatfirs,softaspulp.OurpioneerskeepstrikingInwardsanddownwards,脂油深埋脂油深埋沧桑百年沧桑百年出土依然咸白。出土依然咸白。大地仁慈大地仁慈,油脂黑暗油脂黑暗在脚下软化张开在脚下软化张开 数百万年无数次数百万年无数次失去原有的定义。失去原有的定义。他们再不在这里挖煤，他们再不在这里挖煤，浸透水的冷杉树干浸透水的冷杉树干,像纸浆般柔软。像纸浆般柔软。先辈们奋力挖掘，先辈们奋力挖掘，向里，向下，向里，向下，Everylayertheystrip剥开每一个泥层剥开每一个泥层Seemscampedonbefore.似乎都有人曾营居。似乎都有人曾营居。ThebogholesmightbeAtlanticseepage.那些沼眼可能是那些沼眼可能是Thewetcentreisbottomless.大西洋渗流大西洋渗流,中心潮湿深不见底。中心潮湿深不见底。BriefAnalysisAconnectionbetweenthemythicalandthelogical,thepastandthepresent,describinghisthoughtsandemotions,concerningtheIrisht