英国文学期末复习资料

anapestic抑抑扬格的 content dactylic长短格的 dimeter二步格 form hexameter六步格 iambic短长格 meaning pentameter五步格

rhyme scheme韵式 trochaic扬抑格的 tetrameter四音步 trimeter三音步 2. Basic elements

1）Rhythm韵律: The methods for creating poetic rhythm vary across languages and between poetic traditions. Languages are often described as having timing set primarily by accents, syllables, or moras(调形, 音节延长度), depending on how rhythm is established, though a language can be influenced by multiple approaches.

2） Meter步律：it is the definitive pattern established for a verse (such as iambic pentameter抑扬五音步). the meter of a line may be described as being \"iambic\". Scanning(将（诗）划分音步) meter can often show the basic or fundamental pattern underlying a verse. As an example of how a line of meter is defined, in English-language iambic pentameter, each line has five metrical feet, and each foot is an iamb, or an unstressed syllable followed by a stressed syllable. When a particular line is scanned, there may be variations upon the basic pattern of the meter; for example, the first foot of English iambic pentameters is quite often inverted, meaning that the stress falls on spondee (强强格, 扬扬格, 重重格)— two stressed syllables together

iamb(抑扬格, 短长格) — unstressed syllable followed by a stressed syllable E.g. As fair / art thou / my bon/nie lass, So deep / in luve / am I :

And I / will luve / thee still,/ my dear, Till a` / the seas / gang dry:

注: art=are thou=you luve=love thee[thou的宾格] bonnie=beautifl a`=all gang=go trochee(扬抑格, 长短格) — one stressed syllable followed by an unstressed syllable E.g. Tiger!/ Tiger!/ burning / bright In the / forests / of the / night

dactyl(扬抑抑格) — one stressed syllable followed by two unstressed syllables Touch her not / scornfully, Think of her / mournfully.

anapest(抑抑扬格, 短短长格) — two unstressed syllables followed by one stressed syllable E.g. Like a child / from the womb, Like a ghost / from the tomb, I arise / and unbuild / it again.

pyrrhic(抑抑格) - two unstressed syllables together (rare, usually used to end dactylic hexameter) dimeter (二韵脚，二音步)— two feet trimeter (三步)— three feet tetrameter(四音步) — four feet pentameter(五音步) — five feet hexameter(六步格,)— six feet

heptameter(七步格) — seven feet octameter(八步格)— eight feet

Each of these types of feet has a certain \"feel,\" whether alone or in combination with other feet. The iamb, for example, is the most natural form of rhythm in the English language, and generally produces a subtle but stable verse. The dactyl, on the other hand, almost gallops along. And, as readers of The Night Before Christmas or Dr. Seuss realize, the anapest(抑抑扬格, 短短长格) is perfect for a light-hearted, comic feel. Note: Rhythm and meter, although closely related, should be distinguished. Meter is the definitive pattern established for a verse (such as iambic pentameter抑扬五音步), while rhythm is the actual sound that results from a line of poetry. Thus, the meter of a line may be described as being \"iambic\but a full description of the rhythm would require noting where the language causes one to pause or accelerate and how the meter interacts with other elements of the language. 3） Metrical patterns

Different traditions and genres of poetry tend to use different meters, ranging from the Shakespearian iambic pentameter and the Homerian dactylic hexameter to the Anapestic tetrameter used in many nursery rhymes. However, a number of variations to the established meter are common, both to provide emphasis or attention to a given foot or line and to avoid boring repetition. For example, the stress in a foot may be inverted, a caesura(节律的停顿)(or pause) may be added (sometimes in place of a foot or stress), or the final foot in a line may be given a feminine(阴性的) ending to soften it or be replaced by a spondee（强强格） to emphasize it and create a hard stop. Some patterns (such as iambic pentameter) tend to be fairly regular, while other patterns, such as dactylic hexameter, tend to be highly irregular. Regularity can vary between language. In addition, different patterns often develop distinctively in different languages, so that, for example, iambic tetrameter in Russian will generally reflect a regularity in the use of accents to reinforce the meter, which does not occur or occurs to a much lesser extent in English.

Some common metrical patterns, with notable examples of poets and poems who use them, include:

Iambic pentameter抑扬格五音步 (John Milton, Paradise Lost) Dactylic hexameter (Homer, Iliad; Ovid, The Metamorphoses) Iambic tetrameter (Andrew Marvell, \"To His Coy Mistress\") Iambic tetrameter (Aleksandr Pushkin, Eugene Onegin) Trochaic octameter (Edgar Allan Poe, \"The Raven\")

Anapestic tetrameter (Lewis Carroll, \"The Hunting of the Snark\"; Lord Byron, Don Juan) Alexandrine, also known as iambic hexameter (Jean Racine, Phèdre) For example:

An EMPTY HOUSE - Alexander Pope

You beat│your pate, │and fan│cy wit │will come: Knock as│you please, │there’s no│body│at home.

（你拍拍脑袋，以为灵感马上就来。可任你怎么敲打，也无人把门打开。pate，脑袋。fancy，动词：以为，想象。）

此诗的基本音步类型是抑扬格，每行五音步。因此称此诗的格律是“抑扬格五音步”（iambic pentameter）。

3. Rhyming schemes 韵式

In many languages, including modern European languages and Arabic, poets use rhyme in set patterns as a structural element for specific poet forms, such as ballads, sonnets and rhyming couplets. However, the use of structural rhyme is not universal even within the European tradition. Much modern poetry avoids traditional rhyme schemes.

Most rhyme schemes are described using letters that correspond to sets of rhymes, so if the first, second and fourth lines of a quatrain(四行诗) rhyme with each other and the third line does not rhyme, the quatrain is said to have an \"a-a-b-a\" rhyme scheme. Similarly, an \"a-b-b-a\" quatrain (what is known as \"enclosed rhyme\") is used in such forms as the Petrarchan sonnet((意大利诗人彼特拉克推广的) 彼特拉克体十四行诗). 内韵: 指词与词之间元音的重复形成的内部押韵) 辅音韵,词尾辅音相同)

Rhyme, alliteration, assonance and consonance are ways of creating repetitive patterns of sound. They may be used as an independent structural element in a poem, to reinforce rhythmic patterns, or as an ornamental element. （押韵是指通过重复元音或辅音以达到一定音韵效果的诗歌写作手法）。 ① Rhyme (ending rhyme) a. aabb (联韵)

I shot an arrow into the air, It fell to earth, I knew not where; For, so swiftly it flew, the sight Could not follow it in its flight. b. abab (interlocking rhyme: 交叉韵) Sunset and evening star, And one clear call for me!

And may there be no moaning of the bar, When I put out to sea,

c. （一韵到底有的诗押韵，一韵到底，大多是在同一节诗中共用一个韵脚。如下例就共用／i:p／为韵脚。）

The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.

② Alliteration：指一行（节）诗中几个词开头的辅音相同，形成押韵。下例中运用／f／、／b／与／s／头韵生动写出了船在海上轻快航行的景象。 The fair breeze blew, the white foam flew, The furrow followed free, We were the first that ever burst Into that silent sea.

③ Consonance内韵（同元音）：指词与词之间元音的重复形成的内部押韵。 下面一节诗中／i／及／iη／重复照应，呈现出一派欢乐祥和的气氛。 Spring, the sweet spring, is the year’s pleasant king; Then blooms each thing, then maids dance in a ring,

Cold doth not sting, the pretty birds do sing: Cuckoo, jug-jug, pu-we, to-witta-woo! 4. Poetic diction (措辞)

Poetic diction describes the manner in which language is used and refers not only to the sound but also to the underlying meaning and its interaction with sound and form.

Many languages and poetic forms have very specific poetic dictions, to the point where separate grammars and dialects are used specifically for poetry. Poetic diction can as well such Aristotle wrote in the Poetics that \"the greatest thing by far is to be a master of metaphor\". Since the rise of Modernism, some poets have opted for a poetic diction that deemphasizes（使不重要） rhetorical devices, attempting the direct presentation of things and experiences and the exploration of tone. On the other hand, Surrealists（超现实主义者） have pushed rhetorical devices to their limits, making frequent use of catachresis.（牵强附会：字或短语的牵强使用，如为求修辞效果） in the west during classical times, the late Middle Ages and Renaisance. Rather than being fully allegorical, a poem may contain symbols or allusion（暗示） that deepens the meaning or impact of its words without constructing a full allegory. Another strong element of poetic diction can be the （并置）of unexpected or impossible images is, for example, a particularly strong element in surrealist poetry and haiku（俳句：以十七个音为一首的一种日本短诗）. Vivid images are often endowed with symbolism as well. \"rosy-fingered dawn\") or a longer refrain（重复）. Such repetition can add a somber（严肃的） tone to a poem, as in many odes, or can be laced with irony as the contexts of the words change. For example, in Antony's famous eulogy（赞歌） to in Shakespeare's Julius Caesar, Anthony's repetition of the words, \"for Brutus is an honorable man,\" moves from a sincere tone to one that exudes irony.

5. Poetic forms 诗的体式

有的诗分成几节（stanza），每节由若干诗行(line)组成（每行诗均以大写字母开头）；有的诗则不分节。目前我们常见的诗体有：

1）Sonnet (十四行诗)，源于中世纪民间抒情短诗，十三、十四世纪流行于意大利，意大利彼特拉克（Petrarch）为代表人物，每行十一个音节，全诗一节八行，加一节六行，韵脚用abba, abba, cdcdcd (cdecde)。前八行提问，后六行回答。

后来，怀亚特（Thomas Wyatt,1503-1542）将十四行诗引人英国，五音步抑扬格，全诗三个四行一个二行,前三节提问，后二句结论。

斯宾塞（Edmund Spenser,1552-1599）用韵脚 abab, bcbc,cdcd,ee。

莎士比亚（William Shakespeare,1564-1616）用韵脚abab,cdcd,dfdf,gg，称英国式或莎士比亚式。

Sonnet 18 shall I comparethee.MP3 Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance or nature's changing course untrimm'd But thy eternal summer shall not fade

Nor lose possession of that fair thou owest; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou growest: So long as men can breathe or eyes can see, So long lives this and this gives life to thee.

2）Limericks（打油诗）：通常是小笑话甚至是胡诌，一般没有标题也无作者姓名，含有幽默讽刺性，常运用双关pun，内韵等手法。每首诗五个诗行，押韵为aabba，格律以抑扬格和抑抑扬格为主。

There was a young lady of Nigger Who smiled as she rode on a tiger; They returned from the ride With the lady inside,

And the smile on the face of the tiger.

3) Blank Verse（无韵体）：五音步抑扬格，不押韵诗体。 Across the watery bale , and shout again, Responsive to his call, -- with quivering peals, And long halloos, and screams, and echoes loud. Redoubled and redoubled:concourse wild Of jocund din!…

4) Free Verse（自由诗）:现代诗中常见的体式，长短不同的诗行存在于同一首诗中，不讲究押韵与格律，只注重诗歌所表达的意象和传递的情感。美国诗人Walt Whitman的<<草叶集>>（Leaves of Grass）中，就采用此格式。 6. Poetic genres 1)Narrative poetry 2)Epic poetry 3)Dramatic poetry 4)Satirical Poetry 5)Lyric poetry （抒情诗） 6)Verse fable（寓言诗） 7)Prose poetry （散文诗）