A Comparison between Mourning Poetry in Chinese and That in English

合集下载

英语文学导论杨金才名词解释

英语文学导论杨金才名词解释

英语文学导论杨金才名词解释1. Literature(文学):A form of art that uses language to express ideas, emotions, and experiences. It can be categorized into different genres such as poetry, fiction, drama, etc.2. Poetry(诗歌):A type of literature that uses language to create an emotional and sensory experience through the use of rhythm, imagery, and sound.3. Fiction(小说):A type of literature that is based on imagined or invented events and characters.4. Drama(戏剧):A type of literature that is written to be performed on stage and portrays characters in conflict through dialogue and action.5. Prose(散文):A type of writing that is not poetry or drama, and usually follows a standard grammatical structure.6. Narrative(叙事):A type of writing that tells a story, often through a series of events and characters.7. Genre(类型):A category or type of literature, such as poetry, fiction, or drama.8. Symbolism(象征主义):A literary movement that uses symbols to represent abstract ideas or concepts.9. Realism(现实主义):A literary movement that attempts to represent life as it really is, without idealization or exaggeration.10. Romanticism(浪漫主义):A literary movement that emphasizes imagination, emotion, and individualism, and often deals with nature, love, and the supernatural.11. Modernism(现代主义):A literary movement that rejected traditional forms and conventions, and emphasized experimentation and individualism.12. Postmodernism(后现代主义):A literary movement that challenges the assumptions of modernism, and often incorporates elements of popular culture and intertextuality.13. Canon(经典):A body of literature that is considered to be of greatimportance or significance, and is often studied or taught in schools and universities.14. Allegory(寓言):A literary device that uses symbolic characters and events to convey a deeper meaning or message.15. Irony(讽刺):A literary device that uses language to convey the opposite of what is expected or intended.16. Satire(讽刺文学):A type of writing that uses humor, irony, and exaggeration to criticize societal issues and institutions.17. Allusion(暗示):A literary device that refers to another work of literature or cultural reference in order to add meaning or depth to a text.18. Metaphor(隐喻):A literary device that uses a comparison between two things to create a deeper meaning or image.19. Simile(明喻):A literary device that uses a comparison between two things using “like”or “as.”20. Imagery(意象):A literary device that uses descriptive language tocreate sensory images in the reader’s mind.。

智慧树知到《英国文学漫谈》章节测试答案

智慧树知到《英国文学漫谈》章节测试答案

鏅烘収鏍戠煡鍒般€婅嫳鍥芥枃瀛︽极璋堛€嬬珷鑺傛祴璇曠瓟妗?绗竴绔?1銆?English literature began with the ( ) settlement in England.A:RomanB:CelticC:EnglishD:Anglo-Saxon绛旀: Anglo-Saxon2銆?Beowulf, written about the life of England in the ( ) society,is said to bethe national epicof the English people.A:primitiveB:feudalC:medievalD:agricultural绛旀: feudal3銆?Beowulfis written in the form of ( ), a popular form of poetry in Anglo-Saxon literature.A:balladB:blank verseC:coupletD:alliterative verse绛旀: alliterative verse绗簩绔?1銆?The medieval period is often called the Dark Age for the dominating power of ( ) over everything in the society.A:the KingB:feudal lordsC:the ChurchD:the knights绛旀: the Church2銆?The central character of a romance is ( ), who follows the code of behavior calledchivalry.A:the knightB:the warriorC:the GladiatorD:a soldier绛旀: the knight3銆?The stories of ( ) are the most well-known ballads, songs of stories told orally in 4-line stanzas.A:the green knightsB:King ArthurC:Robin HoodD:the Vikings绛旀: Robin Hood4銆? Piers the Plowmanwritten by William Langland in the form of ( ) represents the achievements of popular literature of Medieval England.A:allegoryB:symbolismC:a dreamD:epic绛旀: allegory5銆?( ) is considered the father of English poetry, whose most representative work isThe Canterbury Tales.A:William LanglandB:Edmund SpenserC:John MiltonD:Geoffrey Chaucer绛旀: Geoffrey Chaucer6銆?The Canterbury Tales,a collection of stories strung together and told by 30 pilgrims on their way to pilgrimage, is written in the form of ( ).A:blank verseB:alliterative verseC:heroic couopletD:ballad绛旀: heroic couoplet7銆?The key-note of the Renaissance is ( ).A:humanismB:realismC:romanticismD:asceticism绛旀: humanism绗笁绔?1銆?It was ( ) who first introduced and reformed the English drama which reached its climax in the hands of William Shakespeare.A:JohnWycliffB:University WitsC:Christopher MarloweD:Ben Johnson绛旀:B2銆?Great writers of the English Renaissance who are known for humanism, took ( ) as the centre of the world and voiced the human aspirations for freedom and equality.A:the worldB:GodC:powerD:man绛旀:D3銆?Shakespeare is hailed by ( ), contemporary with Shakespeare, as 鈥渘ot of an age, but for all time鈥?A:Christopher MarloweB:Ben JonsonC:Robert GreeneD:Thomas Nash绛旀:B4銆?Hamlet is characterized as a(an) ( ) on that, he loves good and hates evil;he is a man free from prejudice and superstition; he has unbounded love for the world and firm belief in the power of man.A:idealistB:PuritanC:humanistD:patriot绛旀:C5銆? Edmund Spenser was considered the ( ) for his achievements in poetry.A:鈥渢he Poets鈥?Poet鈥?B:鈥渇ather of English poetry鈥?C:鈥渢he saint of English poetry鈥?D:鈥渢he greatest English poet鈥?绛旀:A6銆?( ) is a distinctive verse form adopted by Edmund Spenser in his works incluiding his masterpieceThe Faerie Queene. It has 9-line stanzas, rhyming in ababbcbcc.A:鈥淭he mighty lines鈥?B:sonnetC:鈥淭he Spenserian Stanza鈥?D:blank verse绛旀:C7銆?Francis Bacon won for himself the first English ( ) for his achievements in English literature of the Renaissance.A:dramatistB:poetC:prose writerD:essayist绛旀:D8銆?The most representative work of Francis Bacon is ( ), which is the first collection of English essays.A:Advancement of LearningB:EssaysC:The Interpretation of NatureD:Novum Organum绛旀:B绗洓绔?1銆? ( )is regarded as the greatest prose writer in theEnglish literature of the17th century, who is best known for his workThe Pilgrim鈥檚 Progress.A:John DrydenB:Francis BaconC:George HerbertD:John Bunyan绛旀:D2銆?The Pilgrim鈥檚 Progressis written in the form of ( ) .A:symbolsB:allegoryC:allusionsD:aggressions绛旀:3銆? 鈥淭he Metaphysical Poets鈥?refer to theloose group of17th-century English poets whose work was characterized by the inventive use of( )A:metaphorB:imaginationC:conceitD:symbols绛旀:C4銆? In his 鈥淎 Valediction: Forbidding Mourning鈥? John Donne makes a most impressive comparison between love and ( ) as the dominant conceit of the poem.A:a pair of compassesB:an earthquakeC:a farewell to a dying personD:a piece of gold绛旀:A5銆?The 17th century of English history was marked mainly by the English Bourgeois Revolution which ended with the establishment of ( ) as a compromise between the bourgeoisie and the monarchy.A:the United KingdomB:institutional monarchyC:the Whig PartyD:the Tory Party绛旀:B6銆?(聽聽聽聽) was the religious cloak of the English Bourgeois Revolution which advocated God's supreme authority over human beings.A:HumanismB:RepublicanismC:CalvinismD:Puritanism绛旀:D7銆? Puritan poetry in the 17th-century English literature is represented best by ( ), who producedParadise Lostas his representative work.A:John MiltionB:John DonneC:Robert HerrickD:John Dryden绛旀:A8銆?Throughout his life, Milton showed strong rebellious spirit agaisnt many things he thought unjust and acted as the voice of ( ) of England under Oliver Cromwell.A:the ParliamentB:the CommonwealthC:the MonarchD:the Royalists绛旀:B9銆? 鈥淥n his Blindness鈥?and 鈥淥n his Deceased Wife鈥?are the two best-known of Milton鈥檚 ( ).A:elegiesB:blank versesC:sonnetsD:alliterative verses绛旀:C10銆? Milton鈥檚Paradise Lostemploysthe themes taken from ( )of the Christian Bible.A:GenesisB:MatthewC:ExodusD:Luke绛旀:A11銆? The central theme ofParadise Lostis ( ).A:the creation of manB:the fall of manC:resurrectionD:final judgment绛旀:绗簲绔?1銆?The Enlightenment was an intellectualmovement throughout Western Europe in the18thcenturywhich was an expression of the struggle of bourgeoisie against ( ).A:puritanismB:feudalismC:humanismD:classicism绛旀:B2銆? Among the English Enlighteners of the 18th century,there were chiefly two groups: the ( ) group and the radical group.A:conservativeB:revolutionaryC:royalistD:moderate绛旀:D3銆? The Tatler,a British literary and society journal begun byRichard Steelein 1709,featured cultivated essays on( ).A:contemporary mannersB:social evilsC:class strugglesD:cultural state绛旀:A4銆?As a distinctive way, ( ) are adopted by the neo-classicist playwrights in the 18th-century English literature.A:realistic techniquesB:three unitiesC:heroic coupletsD:satires绛旀:B5銆?( ) writers in the 18th-century English literature modelled themselves ontheGreek and Romanwritersin their dramatic writings.A:Pre-romanticistB:RealistC:Neo-classicistD:Enlightenment绛旀:C6銆? AlexanerPope was a masterof poetryinheroic couplet.He strongly advocated ( ), emphasizing that literary works should be judged by classical rules.A:realismB:naturalismC:aestheticismD:classicism绛旀:D7銆? Daniel Defoe is an early proponent of the ( ) novel whose masterpieceRobinson Crusoetells about the adventures of a sailor on the sea and on an island.A:sentimentalistB:epistolaryC:realistD:Gothic绛旀:C8銆丄s one of the greatest satirists in the 18th century,(聽聽聽聽)made use of satire to attacksocial evilsand call for social changes in hisGulliver's Travels.A:Johnathan SwiftB:Daniel DefoeC:Samuel RichardsonD:Henry Fielding绛旀:A9銆?Gulliver鈥?s Travelstells about the adventures of Gullliver through the fairy tale of fantasy which is a great satire on ( ).A:human mindB:human heartC:human spiritD:human nature绛旀:D10銆?( ), the greatest realist novelist of the 18th-century English literature, is also considered the father of the English novel.A:Jonathan SwiftB:Henry FieldingC:Daniel DefoeD:Oliver Goldsmith绛旀:B11銆?Tom Jonesshows Fielding鈥檚 philosophical view of 鈥渞eturn to ( )鈥? Thus, in characterization, a contrast is made between Tom Jones, the good-nautured though flawed man, and Bilfil, the hypocritical villain.A:natureB:childhoodC:countrysideD:motherland绛旀:A12銆?Sentimentalism of English literature got its name from Lawrence Stern's novel (聽聽聽聽) in which Sterne tries to catch the actual flow of human mind and sentiment.A:Tristram ShandyB:The Vicar of WakefieldC:PamelaD:A Sentimental Journey绛旀:D13銆? Sentimetalism is also found in Samuel Richardson鈥檚 ( ) novels which convey female characters鈥?feelings and sentiments.A:realistB:adventureC:epistolaryD:historical绛旀:C14銆? The only poet of the sentimentalist school of literature is Thomas Gray, whose well-known 鈥淓legy Written in a Country Churchyard鈥?earned for him the name of a 鈥? ) Poet鈥?A:LakeB:NationalC:LocalD:Graveyard绛旀:D15銆? Oliver Goldsmith鈥檚The Vicar of Wakefieldconveys his reflections on the relations between sentimentalism and ( ) in the 18th-century English literature.A:satireB:realismC:romanticismD:localism绛旀:16銆? The latter half of the 18th century English literaturewas marked by a strong protest against the bondage ofclassicismanda recognition of the claims of passionand emotion which is later known as ( ).A:sentimentalismB:realismC:pre-romanticismD:neo-classicism绛旀:C17銆? Robert Burnsis the best known of the poets who have written in the( )dialect.A:IrishB:ScottishC:LondonD:Celtic绛旀:B绗叚绔?1銆? Romanticism preferred ( ) to reason and rationalism. To William Wordsworth,poetry is the spontaneous overflow of powerful feelings.A:emotionB:devicesC:rhetoricD:art绛旀:A2銆乀he joint publication of聽聽(聽聽聽聽) in 1798 by Wordsworth and Coleridge marked the beginning of the Romantic movement in England.A:'Lines Composed upon Tinten Abbey'B:'Rime of Ancient Mariner'C:Lyrical BalladsD:'Preface to Lyrical Ballads'绛旀:C3銆?To Wordsworth, the theme of poetry should be concerned with ( ), the language of peotry should be plain, and the people poetry should deal with are country folk.A:country lifeB:common lifeC:city lifeD:fantastic life绛旀:B4銆?In鈥淚 Wandered Lonely as a Cloud鈥? 鈥渢he inward eye鈥?refers to ( ), which is a metaphor to appeal to the reader鈥檚 imagination of the author鈥檚 inner feelings.A:鈥渉eart鈥?B:鈥渆motians鈥?C:鈥渞eason鈥?D:鈥渕ind鈥?绛旀:D5銆? In鈥淭he Solitary Reaper鈥? the feeling of ( ) is clearly conveyed to the reader, especially in the first stanza.A:lonelinessB:melancholyC:homesicknessD:disillusionment绛旀:B6銆? Percy Bysshe Shelley belongs to the school of ( ) romantic poets, whose masterpiecePrometheus Unboundowes much to the Greek tragedyPrometheus Bound.A:revolutionaryB:passiveC:activeD:lyrical绛旀:C7銆? ( ) is Shelley鈥檚 bestknown lyric in which he calls forth the overthrowing of the old social system and bringing destruction to it.A:鈥淥de to the West Wind鈥?B:鈥淭o a Skylark鈥?C:鈥淭he Cloud鈥?D:鈥淪ong to the Man of England鈥?绛旀:A8銆?Walter Scott is the only novelist of the romantic literature of the 19th-century England and his novels are mainly ( ) novels as far as genre is concerned.A:realistB:historicalC:sentimentalistD:psychoanalytical绛旀:B9銆? Scott鈥檚 historical novels touch uponthe subject matters ofthe history of( ), thehistory of Englandand the history of European countries.A:IrelandB:WalesC:FranceD:Scotland绛旀:D绗竷绔?1銆? JaneAusten鈥檚 novels mainly concern such issues as the ( ) of young women. Because of the use of satire and criticism of social prejudices, she is considered as a realist novelist rather than a romantic writer.A:mannersB:moralsC:ethicsD:feminism绛旀:A2銆? The Bronte sisters refer to Charlotte, Emily and Anne Bronte, with the elder two represented byJane Eyreand ( ) respectively.A:The ProfessorB:Agnes GreyC:Wuthering HeightsD:Villette绛旀:C3銆?Of the women writers in the 19th century English literature, ( ) is the only one that deals with the life of the working-class people, represented by her novelMary Barton.A:Mrs. GaskellB:Charlotte BronteC:George EliotD:Jane Austen绛旀:A4銆?The novels of George Eliot mostly deal with ( ) problems and contain psychological studies of the characters.A:socialB:moralC:culturalD:psychological绛旀:B绗叓绔?1銆? In response to the social, political and economic problems associated withindustrialisation,() novel becomes the leading genre of the Victorian literature.A:critial realistB:psychoanalyticalC:aestheticistD:new romanticist绛旀:A2銆乀he first period of Charles Dickens鈥檚 literary careeris characterized mainly by (聽聽聽聽) and the novels are filled with moral teachings.A:mysticismB:pessimismC:fatalismD:optimism绛旀:D3銆? Thomas Hardyis the most representativerealist in the later decades of the Victorian era,whose principal works are the ( ) novels, i.e., the novels describing the characters and environment of his native countryside.A:realistB:character and environmentC:modernistD:Bildungsroman绛旀:B4銆?In the aesthetic movement of the 19th century, 鈥淎rt for Art鈥檚 Sake鈥?can simply mean the focus on ( ) rather than on deep meaning of literary works.A:formB:techniqueC:impressionD:beauty绛旀:D5銆? ( ) is a type of poetry written in the form of a speech of an individual character whose spiritual world is conveyed to the reader through the author鈥檚 subtle psychological analysis.A:Interior monologueB:Free associationC:Dramatic monologueD:Psycho-analysis绛旀:C6銆?鈥淏reak, Break, Break鈥? is a short lyric poem written by Alfred Tennyson which is a(n) ( ) for the poet to reveal his grief over the death of his friend.A:elegyB:lyricC:sonnetD:ode绛旀:A7銆?Thomas Carlyle's non-fiction The French Revolution: A Historywas the inspiration for Charles Dickens' s novel(聽聽 ).A:Hard TimesB:Great ExpectationsC:A Tale of Two CitiesD:Oliver Twist绛旀:C8銆?John Ruskin was the leading English artcritic of the Victorian era. In hisModern Painters, he argued that the principal role of the artist is ( ).A:鈥渁rt for art鈥檚 sake鈥?B:鈥渢ruth to nature鈥?C:innovationD:creativity绛旀:B9銆?In hisCulture and Anarchy, ( ) showed his deepest contempt for and most frequent attack on the middle-class Philistines who he thought lacked culture.A:Thomas CarlyleB:John RuskinC:Charles KinsleyD:Matthew Arnold绛旀:D绗節绔?1銆?Writers, artists and composers we consider 鈥渕odern鈥?had their roots in the ( ) era which produced such writers as Joseph Conrad, E. M. Forster, W. S. Maugham, etc.A:EdwardianB:VictorianC:ElizabethanD:Georgian绛旀:A2銆? A Passage to Indiais set on Joseph Conrad鈥檚 own experience in India which deals with the theme of ( ) in addition to persoal relationships.A:patriotismB:culturalismC:fatalismD:colonialism绛旀:D3銆? ( )is admittedlyan autobiographicalnovel which draws much onMaugham鈥檚own experience.A:The Moon and SixpenceB:The Razor鈥檚 EdgeC:Of Human BondageD:Howard鈥檚 End绛旀:C绗崄绔?1銆?鈥淭he Waste Land鈥?is written by T. S. Eliot in which the theme of the ( ) of the post-World War I generation is declared to the reader.A:dreamB:disillusionmentC:enlightenmentD:radicalism绛旀:B2銆? Because of his Irish background, ( ) is thought to be the driving force of the Irish Literary Revival.A:William Butler YeatsB:AlfredTennysonC:Matthew ArnoldD:Robert Browning绛旀:A3銆?Ulysses, written by James Joyce and considered the most representative of the Egnlish stream-of-consciousness novels, is set in ( ), Ireleand .A:LondonB:EdinburghC:ManchesterD:Dublin绛旀:D4銆? The only female writer of the stream-of-consciousness novel is ( ), who produced such novels asTo the Lighthouse, Mrs. Dalloway, The Waves, etc. .A:Catherine MansfieldB:George EliotC:Virginia WoolfD:Elizabeth Bowen绛旀:C5銆?D. H. Lawrence is a modernist novelist who makesreflectionsupon thedehumanizingeffects of( ) in his representative workSons and Lovers.A:modernizationB:industrialisation C:urbanizationD:mechanization。

linguistics and poetics英语语言学

linguistics and poetics英语语言学

Linguistics and poetics(selections)Roman JakobsonI have been asked for summary remarks about poetics in its relation to linguistics. Poetics deals primarily with the question, What makes a verbal message a work of art? Because the main subject of poetics is the differentia specifica [specific differences] of verbal art in relation to other arts and in relation to other kinds of verbal behavior, poetics is entitled to the leading place in literary studies.Poetics deals with problems of verbal structure, just as the analysis of painting is concerned with pictorial structure. Since linguistics is the global science of verbal structure, poetics may be regarded as an integral part of linguistics.Arguments against such a claim must be thoroughly discussed. It is evident that many devices studied by poetics are not confined to verbal art. We can refer to the possibility of transposing Wuthering Heights into a motion picture, medieval legends into frescoes and miniatures, orL’aprés-midi d’un faune into music, ballet, and graphic art. However ludicrous may appear the idea of the Iliad and Odyssey in comics, certain structural features of their plot are preserved despite the disappearance of their verbal shape. The question whether Blake’s illustrations to the Divina Commedia are or are not adequate is a proof that different arts are comparable. The problems of baroque or any other historical style transgress the frame of a single art. When handling the surrealistic metaphor, we could hardly pass by Max Ernst’s pictures or Luis Buñuel’s films, The Andalusian Dog and The Golden Age. In short, many poetic features belong not only to the science of language but to the whole theory of signs, that is, to general semiotics. This statement, however, is valid not only for verbal art but also for all varieties of language since language shares many properties with some other systems of signs or even with all of them (pansemiotic features).Likewise a second objection contains nothing that would be specific for literature: the question of relations between the word and the world concerns not only verbal art but actually all kinds of discourse. Linguistics is likely to explore all possible problems of relation between discourse and the ‘universe of discourse’: what of this uni verse isverbalized by a given discourse and how is it verbalized. The truth values, however, as far as they are -- to say with the logicians -- extra-linguistic entities’, obviously exceed the bounds of poetics and of linguistics in general.Sometimes we hear that poetics, in contradistinction to linguistics, is concerned with evaluation. This separation of the two fields from each other is based on a current but erroneous interpretation of the contrast between the structure of poetry and other types of verbal structure: the latter are said to be opposed by their ‘casual’, designless nature to the‘noncasual’, purposeful character of poetic language. In the point of fact, any verbal behavior is goal-directed, but the aims are different and the conformity of the means used to the effect aimed at is a problem that evermore preoccupies inquirers into the diverse kinds of verbal communication. There is a close correspondence, much closer than critics believe, between the question of linguistic phenomena expanding in space and time and the spatial and temporal spread of literary models. Even such discontinuous expansion as the resurrection of neglected or forgotten poets -- for instance, the posthumous discovery and subsequent canonization of Gerard Manley Hopkins (d. 1889), the tardy fame of Lautréamont (d. 1870) among surrealist poets, and the salient influence of the hitherto ignored Cyprian Norwid (d. 1883) on Polish modem poetry -- find a parallel in the history of standard languages which are prone to revive outdated models, sometimes long forgotten, as was the case in literary Czech which toward the beginning of the nineteenth century leaned to sixteenth-century models.Unfortunately the terminological confusion of ‘literary studies’ with‘criticism’ tempts t he student of literature to replace the description of the intrinsic values of a literary work by a subjective, censorious verdict. The label ‘literary critic’ applied to an investigator of literature is as erroneous as ‘grammatical (or lexical) critic’ wo uld be applied to a linguist. Syntactic and morphologic research cannot be supplanted by a normative grammar, and likewise no manifesto, foisting a critic’s own tastes and opinions on creative literature, may act as substitute for an objective scholarly analysis of verbal art. This statement is not to be mistaken for the quietist principle of laissez faire; any verbal culture involves programmatic, planning, normative endeavors. Yet why is a clear-cut discrimination made between pure and applied linguistics or between phonetics and orthoëpy [the part of grammar that deals with pronunciation] but not between literary studies and criticism?Literary studies, with poetics as their focal portion, consist like linguistics of two sets of problems: synchrony and diachrony. The synchronic description envisages not only the literary production of anygiven stage but also that part of the literary tradition which for the stage in question has remained vital or has been revived. Thus, for instance, Shakespeare on the one hand and Donne, Marvell, Keats, and Emily Dickinson on the other are experienced by the present English poetic world, whereas the works of James Thomson and Longfellow, for the time being, do not belong to viable artistic values. The selection of classics and their reinterpretation by a novel trend is a substantial problem of synchronic literary studies. Synchronic poetics, like synchronic linguistics, is not to be confused with statics; any stage discriminates between more conservative and more innovatory forms. Any contemporary stage is experienced in its temporal dynamics, and, on the other hand, the historical approach both in poetics and in linguistics is concerned not only with changes but also with continuous, enduring, static factors. A thoroughly comprehensive historical poetics or history of language is a superstructure to be built on a series of successive synchronic descriptions.Insistence on keeping poetics apart from linguistics is warranted only when the field of linguistics appears to be illicitly restricted, for example, when the sentence is viewed by some linguists as the highest analyzable construction or when the scope of linguistics is confined to grammar alone or uniquely to non-semantic questions of external form or to the inventory of denotative devices with no reference to free variations. Voegelin has clearly pointed out the two most important and related problems which face structural linguistics, namely, a revision of ‘the monolithic hypothesis of language’ and a concern with ‘the interdependence of diverse structures within one language’. No doubt, for any speech community, for any speaker, there exists a unity of language, but this over-all code represents a system of interconnected subcodes; each language encompasses several concurrent patterns which are each characterized by a different function.Obviously we must agree with Sapir that, on the whole, ‘ideation reigns supreme in language..’, but this supremacy does not authorize linguistics to disregard the ‘secondary factors.’ T he emotive elements of speech which, as Joos is prone to believe, cannot be described ‘with a finite number of absolute categories,’ are classified by him ‘asnon-linguistic elements of the real world.’ Hence, ‘for us they remain vague, protean, fluctuatin g phenomena,’ he concludes, ‘which we refuse to tolerate in our science’ (19). Joos is indeed a brilliant expert in reduction experiments, and his emphatic requirement for an ‘expulsion’ of the emotive elements ‘from linguistic science’ is a radical experi ment in reduction -- reductio ad absurdum.Language must be investigated in all the variety of its functions. Before discussing the poetic function we must define its place among the other functions of language. An outline of these functions demands a concise survey of the constitutive factors in any speech event, in any act of verbal communication. The ADDRESSER sends a MESSAGE to the ADDRESSEE. To be operative the message requires a CONTEXT referred to (‘referent’ in another, somewhat ambiguous, nomenclat ure), seizable by the addressee, and either verbal or capable of being verbalized; a CODE fully, or at least partially, common to the addresser and addressee (or in other words, to the encoder and decoder of the message); and, finally, a CONTACT, a physical channel and psychological connection between the addresser and the addressee, enabling both of them to enter and stay in communication. All these factors inalienably involved in verbal communication may be schematized as follows:Jackobson's Communication ModelCONTEXTADDRESSER MESSAGE ADDRESSEECONTACTCODEEach of these six factors determines a different function of language. Although we distinguish six basic aspects of language, we could, however, hardly find verbal messages that would fulfill only one function. The diversity lies not in a monopoly of some one of these several functions but in a different hierarchical order of functions. The verbal structure of a message depends primarily on the predominant function. But even though a set (Einstellung) toward the referent, an orientation toward the CONTEXT -- briefly the so-called REFERENTIAL, ‘denotative,’ ‘cognitive’ function -- is the leading task of numerous messages, the accessory participation of the other functions in such messages must be taken into account by the observant linguist.The so-called EMOTIVE or ‘expressive’ function, focused on the ADDRESSER, aims a direct expression of the speaker’s attitude toward what he is speaking about. It tends to produce an impression of a certainemotion whether true or feigned; therefore, the term ‘emotive,’ launched and advocated by Marty has proved to be preferable to ‘emotional.’ The purely emotive stratum in language is presented by the interjections. They differ from the means of referential language both by their sound pattern (peculiar sound sequences or even sounds elsewhere unusual) and by their syntactic role (they are not components but equivalents of sentences). ‘Tut! Tut! said McGinty’: the complete utterance of Conan Doyle’s character consists of two suction clicks. The emotive function, laid bare in the interjections, flavors to some extent all our utterances, on their phonic, grammatical, and lexical level. If we analyze language from the standpoint of the information it carries, we cannot restrict the notion of information to the cognitive aspect of language. A man, using expressive features to indicate his angry or ironic attitude, conveys ostensible information, and evidently this verbal behaviour cannot be likened to such nonsemiotic, nutritive activities as ‘eating grapefruit’ (despite Chatman’s bold simile). The difference between [big] and the emphatic prolongation of the vowel [bi:g] is a conventional, coded, linguistic feature like the difference between the short and long vowel in such Czech pairs as [vi] ‘you’ and [vi:] ‘knows’, but in the latter pair the differential information is phonemic and in the former emotive. As long as we are interested in phonemic invariants, the English /i/ and /I:/ appear to be mere variants of one and the same phoneme, but if we are concerned with emotive units, the relation between the invariant and the variants is reversed: length and shortness are invariants implemented by variable phonemes. Saporta’s surmise that emotive difference is anon-linguistic feature, ‘attributable to the delivery of the message and not to the message,’ arbitrarily reduces the informational capacity of messages.A former actor of Stanislavskij’s Moscow Theater told me how at his audition he was asked by the famous director to make forty different messages from the phrase Segodnja vecerom ‘This evening,’ by diversifying its expressive tint. He made a list of some forty emotional situations, then emitted the given phrase in accordance with each of these situations, which his audience had to recognize only from the changes in the sound shape of the same two words. For our research work in the description and analysis of contemporary Standard Russian (under the auspices of the Rockefeller Foundation) this actor was asked to repeat Stanislavskij’s test. He wrote down some fifty situations framing the same elliptic sentence and made of it fifty corresponding messages for a tape record. Most of the messages were correctly and circumstantially decoded by Moscovite listeners. May I add that all such emotive cues easily undergo linguistic analysis.Orientation toward the ADDRESSEE, the CONATIVE function, finds its purest grammatical expression in the vocative and imperative, which syntactically, morphologically, and often even phonemically deviate from other nominal and verbal categories. The imperative sentences cardinally differ from declarative sentences: the latter are and the former are not liable to a truth test. When in O’Neill’s play The FountaIn, Nano, ‘(in a fierce tone of command),’ says ‘Drink!’ -- the imperative cannot be challenged by the question ‘is it true or not?’ which may be, however, perfectly well asked after such senten ces as ‘one drank,’ ‘one will drink,’ ‘one would drink.’ In contradistinction to the imperative sentences, the declarative sentences are convertible into interrogative sentences: ‘did one drink?’ ‘will one drink?’ ‘would one drink?’The traditional model of language as elucidated particularly by Bühler was confined to these three functions -- emotive, conative, and referential -- and the three apexes of this model -- the first person of the addresser, the second person of the addressee, and the ‘third person’, properly -- someone or something spoken of. Certain additional verbal functions can be easily inferred from this triadic model. Thus the magic, incantatory function is chiefly some kind of conversion of an absent or inanimate ‘third person’ into an addressee of a conative message. ‘May this sty dry up, tfu, tfu, tfu, tfu’ (Lithuanian spell). ‘Water, queen river, daybreak! Send grief beyond the blue sea, to the sea-bottom, like a grey stone never to rise from the sea-bottom, may grief never come to burden the light heart of God’s servant, may grief be removed and sink away’ (North Russian incantation). ‘Sun, stand thou still upon Gibeon; and thou, Moon, in the valley of Aj-a-lon. And the sun stood still, and the moon stayed...’ (Josh. 10.12). We observe, however, three further constitutive factors of verbal communication and three corresponding functions of language.There are messages primarily serving to establish, to prolong, or to discontinue communication, to check whether the channel works (‘Hello, d o you hear me?’), to attract the attention of the interlocutor or to confirm his continued attention (‘Are youlistening?’ or in Shakespearean diction, ‘Lend me your ears!’ -- and on the other end of the wire ‘Urn-hum!’). This set for CONTACT, or in Malino wski’s terms PHATIC function, may be displayed.by a profuse exchange of ritualized formulas, by entire dialogues with the mere purport of prolonging communication.Dorothy Parker caught eloquent examples: "Well!" the young man said. "Well!" she said. "Well, here we are," he said. "Here we are," she said, "Aren’t we?" "I should say we were," he said, "Eeyop! Here we are." "Well!" she said. "Well!" he said, "well." The endeavor to start and sustain communication is typical of talking birds; thus the phatic function of language is the only one they share with human beings. It is also the first verbal function acquired by infants; they are prone to communicatebefore being able to send or receive informative communication.A distinction has been made in modem logic between two levels of language, ‘object language’ speaking of objects and ‘metalanguage’ speaking of language. But metalanguage is not only a necessary scientific tool utilized by logicians and linguists; it plays also an important role in our everyday language. Like Molières Jourdain who used prose without knowing it, we practice metalanguage without realizing the metalingual character of our operations. Whenever the addresser and/or the addressee need to check up whether they use the same code, speech is focused on the CODE: it performs a METALINGUAL (i.e., glossing) function.‘I don’t follow you – what do you mean?’ asks the addressee, or in Shakespearean diction,‘What is’t thou say’st?’ And the addresser in anticipation of such recapturing questions inquires: ‘Do you know what I mean?’Imagine such an exasperating dialogue:‘The sophomore was plucked.’‘But what is plucked?’‘Plucked means the same as flunked.’‘And flunked?’‘To be flunked is to fail in an exam.’‘And what is sophomore?’ persists the interrogator innocent of school vocabulary.‘A sophomore is (or means) a second-year student.’All these equational sentences convey information merely about the lexical code of English; their function is strictly metalingual. Any process of language learning, in particu1ar child acquisition of the mother tongue, makes wideuse of such metalingual operations; and aphasia may often be defined as a loss of ability for metalingual operations.We have brought up all the six factors involved in verbal communication except the message itself. The set (Einstellung) toward the MESSAGE as such, focus on the message for its own sake, is the POETIC function of language. This function cannot be productively studied out of touch with the general problems of language, and, on the other hand, the scrutiny of language requires a thorough consideration of its poetic function. Any attempt to reduce the sphere of poetic function to poetry or to confine poetry to poetic function would be a delusive oversimplification. Poetic function is not the sole function of verbal art but only its dominant, determining function, whereas in all other verbal activities it acts as a subsidiary, accessory constituent. This function, by promoting the palpability of signs, deepens the fundamental dichotomy of signs and objects. Hence, when dealing with poetic function, linguistics cannot limit itself to the field of poetry.‘Why do you always say Joan and Margery, yet never Margery and Joan? Do you prefer Joan to her twin sister?’ ‘Not at all, it just sounds smoother.’ In a sequence of two coordinate names, as far as no rank problems interfere, the precedence of the shorter name suits the speaker, unaccountably for him, as a well-ordered shape of the message.A girl used to talk about ‘the horrible Harry.’ ‘Why horrible?’ ‘Because I hate him.’ ‘But why not dreadful, terrible, frightful, disgusting?’ ‘I don’t know why, but horrible fits him better.’ Without realizing it, she clung to the poetic device of paronomasia.The political slogan ‘I like Ike /ay layk ayk/, succinctly structured, consists of three monosyllables and counts three diphthongs /ay/, each of them symmetrically followed by one consonantal phoneme,/….l…k…k/. The make-up of the three words presents a variation: no consonantal phonemes in the first word, two around the diphthong in the second, and one final consonant in the third. A similar dominant nucleus /ay/ was noticed by Hymes in some of the sonnets of Keats. Both cola of the trisyllabic formula ‘I like /Ike’ rhyme with ea ch other, and the second of the two rhyming words is fully included in the first one (echo rhyme), /layk/ -- /ayk/, a paronomastic image of a feeling which totally envelopsits object. Both cola alliterate with each other, and the first of the two alliterating words is included in the second: /ay/— /ayk/, a paronomastic image of the loving subject enveloped by the beloved object. The secondary, poetic function of this electional catch phrase reinforces its impressiveness and efficacy.As we said, the linguistic study of the poetic function must overstep the limits of poetry, and, on the other hand, the linguistic scrutiny of poetry cannot limit itself to the poetic. function. The particularities of diverse poetic genres imply a differently ranked participation of the other verbal functions along with the dominant poetic function. Epic poetry, focused on the third person, strongly involves the referential function of language; the lyric, oriented toward the first person, is intimately linked with the emotive function; poetry of the second person is imbued with the conative function and is either supplicatory or exhortative, depending on whether the first person is subordinated to the second one or the second to the first.Now that our cursory description of the six basic functions of verbal communication is more or less complete, we may complement our scheme of the fundamental factors by a corresponding scheme of the functions:REFERENTIALEMOTIVE POETIC CONATIVEPHATICMETALINGUALWhat is the empirical linguistic criterion of the poetic function? In particular, what is the indispensable feature inherent in any piece of poetry? To answer this question we must recall the two basic modes of arrangement used in verbal behavior, selection and combination. If‘child’ is the topic of the message, the speaker selects one among the extant, more or less similar, nouns like child, kid, youngster, tot, all of them equivalent in a certain respect, and then, to comment on this topic, he may select one of the semantically cognate verbs -- sleeps, dozes, nods, naps. Both chosen words combine in the speech chain. Theselection is produced on the base of equivalence, similarity and dissimilarity, synonymity and antonymity, while the combination, the build up of the sequence, is based on contiguity. The poetic function projects the principle of equivalence from the axis of selection into the axis of combination. Equivalence is promoted to the constitutive device of the sequence. In poetry one syllable is equalized with any other syllable of the same sequence; word stress is assumed to equal word stress, as unstress equals unstress; prosodic long is matched with long, and short with short; word boundary equals word boundary, no boundary equals no boundary; syntactic pause equals syntactic pause, no pause equals no pause. Syllables are converted into units of measure, and so are morae or stresses.It may be objected that metalanguage also makes a sequential use of equivalent units when combining synonymic expressions into an equational sentence: A = A (‘Mare is the female of the horse’). Poetry and metalanguage, however, are in diametrical opposition to each other: in metalanguage the sequence is used to build an equation, whereas in poetry the equation is used to build a sequence.In poetry, and to a certain extent in latent manifestations of poetic function, sequences delimited by word boundaries become commensurable whether they are sensed as isochronic or graded. ‘Joan and Margery’ showed us the poetic principle of syllable gradation, the same principle which in the closes of Serbian folk epics has been raised to a compulsory law. Without its two dactylic words the combination‘innocent bystander’ would hardly have become a hackneyed phrase. The symmetry of three disyllabic verbs with an identical initial consonant and identical final vowel added splendor to the laconic victory message of Caesar: ‘Veni, vidi, vici.’Measure of sequences is a device which, outside of poetic function, finds no application in language. Only in poetry with its regular reiteration of equivalent units is the time of the speech flow experienced, as it is -- to cite another semiotic pattern -- with musical time. Gerard Manley Hopkins, an outstanding searcher in the science of poetic language, defined verse as ‘speech wholly or partially repeating the same figure of sound’. Hopkins’s subsequent question, ‘but is all verse poetry?’ can be definitely answered as soon as poetic function ceases to be arbitrarily confined to the domain of poetry. Mnemonic lines cited by Hopkins (like ‘Thirty days hath September’), modern advertising jingles, and versified medieval laws, mentioned by Lotz, or finally Sanscrit scientific treatises in verse which in Indic tradition are strictly distinguished from true poetry (kavya) -- all these metrical texts make use of poetic function without, however, assigning to this function the coercing, determiningrole it carries in poetry. Thus verse actually exceeds the limits of poetry, but at the same time verse always implies poetic function. And apparently no human culture ignores verse-making, whereas there are many cultural patterns without ‘applied’ verse; and even in such cultures which possess both pure and applied verses, the latter appear to be a secondary, unquestionably derived phenomenon. The adaptation of poetic means for some heterogeneous purpose does not conceal their primary essence, just as elements of emotive language, when utilized in poetry, still maintain their emotive tinge.A filibusterer may recite Hiawatha because it is long, yet poeticalness still remains the primary intent of this text itself. Self-evidently, the existence of versified, musical, and pictorial commercials does not separate the questions of verse or of musical and pictorial form from the study of poetry, music, and fine arts.To sum up, the analysis of verse is entirely within the competence of poetics, and the latter may be defined as that part of linguistics which treats the poetic function in its relationship to the other functions of language. Poetics in the wider sense of the word deals with the poetic function not only in poetry, where this function is superimposed upon the other functions of language, but also outside of poetry, when some other function is superimposed upon the poetic function.。

Figurative Language of poetry

Figurative Language of poetry

FIGURATIVE SPEECHRobert Frost, one of the most famous twentieth-century poets, once said, “Poetry provides the one permissible way of saying one thing and meaning another.” Of course, this is an exaggeration, but it does underlining the importance of figurative language—saying one thing in terms of another. Words have a literal meaning that can be looked up in any dictionary, but they can also be employed so that something other than that literal dictionary is intended. What is impossible or difficult to convey to a reader through the literal use of language may be highly possible through the use of figures of speech, also called tropes. Figures of speech make language significant, moving and fascinating. “My love is a rose”is, when taken at face value, ridiculous, for few people love a plant with a prickly, thorny stem. But “rose”suggests many other possible interpretations—delicate beauty, something soft and rare, a costly item, etc. —and so it can be implied in a figurative sense to mean “love” or “loved one.”If a reader comes across the phrase “Brutus growled,”the reader is forced, if the poem has indicated that Brutus is human, to accept “growled” in a nonliteral manner. We understand that it is likely that the poet is suggesting that Brutus sounded like an animal, perhaps a lion or a bear, and indicates Brutus’s irritation or unrest. The author calls forth the suggestion of wild animals to describe Brutus most vividly and accurately. This is far more effective than saying “Brutus spoke roughly” or “Brutus acted like a loud person.” By using a vivid figure of speech, the author calls the reader’s imagination into play.AllegoryAllegory occurs when one idea or object is represented in the shape of another. “In medieval morality plays and in some poems, abstract ideas, such as virtues and vices, appear as people. In this way the reader can understand a moral or a lesson more easily. In Emily Dickinson’s poem “Because I Could Not Stop for Death,”death appears as the allegorical figure of a coachman, kindly stopping to pick up the speaker after her death on the road to eternity. Here is the first stanza of the poem:Because I could not stop for Death—He kindly stopped for me—The carriage held just but Ourselves—And Immortality.ApostropheApostrophe is closely related to personification. Here, a thing is addressed directly, as though it were a person listening to the conversion. For example, we have William Wordsworth’s “Milton! Thou should’st be living at this hour,”although Milton had obviously died. Apostrophe and personification go hand in hand in John Donne’s “busy old fool, unruly Sun,” and Wyatt’s “My lute, awake.” Milton’s apostrophe has only a hint of laurels as listening things in “Yet once more, O ye laurels.”ConceitA conceit is a comparison between two unlike objects; some have even called it an “outrageous metaphor.”Conceits are usually developed at length, comparing and contrasting two different aspects of the two objects to make their meaning clear. In love verse, conceits often derive fromthe Renaissance tradition that paints the woman as the walled village and the man as the conquering hero; he attacks and she defends or surrenders. Or she might be the warrior, harming him with sharp looks and sharp words, or she could be depicted as a goddess of love—the list goes on and on. Some poets take these poetic conventions very serious; others use them in fun, capitalizing on the shock that comes from turning an expected comparison upside down..In “A Valediction Forbidding Mourning” by John Donne, the souls of the two lovers become the same as the two legs of a draftsman’s compass:If they be two, they are two soAs stiff twin compasses are two;Thy soul, the fixed foot, makes no showTo move, but doth, if th’ other do.And though it in the center sit,Yet when the other far doth roam,It leans and hearkens after it,And grows erect, as that comes home.ContrastContrast shows the difference between two objects. In thus sense it is the opposite of comparison, which shows similarities. In the following example by William Shakespeare, we se his mistress contrasted to various accepted symbols of adoration:My mistress’ eyes are nothing like the sun;Coral is far more red than her lips’ red;If snow be white, why then her breasts are dun;If hairs be wires, black wires grow on her head.Hyperbole or OverstatementThis is exaggeration for a specific literary effect Shakespeare’s Sonnet 97 contains an example: How like a winter hath my absence beenFrom thee, the pleasure of the fleeting year!What freezings have I felt, what darks days seen!What old December’s bareness everywhere!We realize that Shakespeare did not literally freeze with real cold when he was parted from his loved one. We also realize that the day did not turn dark nor June turn to December; rather, he is saying this to illustrate the depth of his despair at their separation. The same process can be seen at work in this phrase from a a poem by Richard Lovelace: “When I lie tangled in her hair/And fetter’d to her eye…..” Obviously, he is not captured in her hair nor chained to her eye, what he is suggesting, however, is that he is a prisoner to her beauty and finds himself unable to escape its spell.Implicit or Submerged MetaphorIf both terms of the metaphor are not present (“My winged heart” instead of “My heart is a bird”) we have what is called a submerged metaphor.LitotesLitotes is a special form of understatement. It affirms something by negating the opposite. For example, “He’s no fool” means that he is very shrewd.MetaphorsLike similes, metaphors are comparisons of two unlike objects. In this instance, though, the joining of the two objects is more concrete, for there is no intervening word such as “like” or “as.”Instead, the metaphor simply states that A is B; one element of the comparison becomes the other. Some metaphors go one step further and omit the word “is.”These metaphors talk about A as though it were B and, in some cases, may not even use the name for B at all, forcing the reader to guess what B is by the language used. In this instance, the metaphor is called an implied metaphor.The following poem by John Keats makes use of metaphors:“On First Looking into Chapman’s Homer”Much have I travell’d in the realms of gold,And many goodly states and kingdoms seen;Round many western islands have I beenWhich bards in fealty to Apollo hold.Oft of one wide expanse had I been toldThat deep-browed Homer ruled as his demesne;Yet did I never breathe its pure sereneTill I heard Chapman speak out loud and bold:Then felt I like some watcher of the skiesWhen a new planet swims into his ken:Or like stout Cortez when with eagle eyesHe star’d at the Pacific—and all his menLook’d at each other with a wild surmise—Silent, upon a peak in Darien.—John KeatsThe vocabulary in the first eight lines of this poem is drawn mainly from the Middle Ages and its system of feudalism. The word “realms” is used for kingdoms, “bards” for poets, and “fealty” for the system under which a nobleman owed his allegiance to a king or other nobleman with more extensive power. “Demesne”is the word for the nobleman’s domain, and “ken”often means knowledge. “Serene”means air, and “oft”means often. Apollo, in contrast, is drawn from classical mythology and stands for the god of poets. Homer is an ancient Greek poet and Chapman, a sixteenth-century English poet, who was noted for his translation of Homer’s Iliad into English. What we must ask ourselves, then is why the poet would use the language of the Middle Ages and the metaphor of traveling to talk about his joy in reading poetry and delight he experienced when his discovery of Chapman’s translations made him feel that he was reading Homer for the first time. Perhaps he selected the Middle Ages metaphor to show the timelessness of true poetry, how it transcends the boundaries of time to speak for all people.MetonymyMetonymy is the substitution of one item for another item that it suggests or to which it is closely related. For example, if a letter is said to be in Milton’s own “hand,” it means that the letter is in Milton’s own handwriting. As another example, Sir Phillip Sidney wrote in “Astrophil And Stella”: “What , may it be that even in heavenly place/ That busy archer his sharp arrows tries?”“That busy archer” is a reference to Cupid, the god of love frequently depicted as a cherubic little boy with a quiver full of arrows. Here he is at his usual occupation—shooting arrows into the hearts of unsuspecting men and women. Thus the poet, by relating an archer to love, describes love without specifically using the word.OxymoronOxymoron is the combination of contradictory or incongruous terms. “Living death,”“mute cry,”and Milton’s description of hell as a place with “no light, but rather darkness visible”are all examples of this process. The two words that brought together to form a description of this kind ought to cancel each other out by the nature of their contradictions, instead, they increase the sense of each word. Thus, “sweet pain” aptly describes certain experiences of love.SimileA simile is a comparison between unlike objects introduced by a connective word such as like, as, or than or a verb such as seems. The following are some examples of similes:My heart is like a singing bird. (C. Rossetti)I am weaker than a woman’s tear. (Shakespeare)Seems he a dove? His feathers are but borrowed. (Shakespeare)SynecdocheSynecdoche substitutes a part of something for the whole or uses the whole in place of one of the parts. “Ten sails” would thus stand for ten ships. In the stanza below by the nineteenth-century American poet Emily Dickinson, “morning” and “noon,” parts of the day, are used to refer to the whole day. In the same manner, “rafters of satin” refers to a coffin by describing its lining rather than the entire object.Safe in their Alabaster Chambers—Untouched by morningAnd untouched by noon—Sleep the meek members of the Resurrection—Rafters of satin,And Roof of Stone.SynesthesiaSynesthesia takes one of the five senses and creates a picture or image of sensation as perceived by another. For example, “the golden cry of the trumpet” combines “golden,” a visual perception of color, with “cry,”an aspect of the sense of hearing. In the same manner, Emily Dichinson speaks of a fly’s “blue, uncertain stumbling buzz.”Transferred EpithetA Transferred Epithet is a word or phrase shifted from the noun it would usually describe to one to which it has no logical connection, as in Thomas Gray’s “drowsy tinklings,” where “drowsy”literally describes the sheep who wear the bells, but here is figuratively applied to the bells. In current usage, the distinction among metonymy, synecdoche, and transferred epithet is so slight that the term metonymy is often used to cover them all.UnderstatementUnderstatement is the opposite of exaggeration; it is a statement that says less than it indirectly suggests, as in Jonathan Swift’s “Last week I saw a woman flayed, and you will hardly believe how much it altered her person for the worst.”Auden’s ironic poem “the Unknown citizen,”alluded to earlier, has a great many examples of understatement that combine to show numbers cannot evaluate the ultimate unhappiness of a person’s life.*Symbol and AllegorySimiles and metaphors tend to make their points quickly, for they occupy little more than a line or two. They can be linked to others of their kind to make further points, or they may stand alone, secure in their power. Symbol and allegory, in contrast, tend to dominate the poem in which they are used. Further, they tend to stand alone and are not piled upon one another as similes and metaphors often are. One symbol or allegorical device is usually all that a poem can maintain. Similes and metaphors are used to make us take a closer look at a subject or to look at a subject in a new light. Symbols and allegory, in contrast, force us to look beyond the literal meaning of the poem’s statement or action. The following poem provides an example:“The Tyger”Tyger! Tyger! Burning brightIn the forests of the night,What immortal hand or eyeCould frame thy fearful symmetry?In what distant deeps or skiesBurnt the fire of thine eyes?On what wings dare he aspire?What the hand dare seize the fire?And what shoulder, & what art,Could twist the sinews of thy heart?And when thy heart began to beat,What dread hand? & what dread feet?What the hammer? What the chain?In what furnace was thy brain?What the anvil? What dread graspDare its deadly terrors clasp?When the stars threw down their spears,And water’d heaven with their tears,Did he smile his work to see?Did he who made the Lamb make thee?Tyger! Tyger! Burning brightIn the forests of the night,What immortal hand or eyeDare frame thy fearful symmetry?——William BlakeDiscussionIn this poem, Blake wishes to focus our attention not on the topic of tigers but on the awesome qualities suggested by the tiger’s beauty and godlike powers involved in its creation. This poem may lead the reader to the question of the existence of evil as symbolized by the tiger’s murderous nature. How far the symbol or allegory is carried is frequently left in the reader’s hands.。

On John Donne’s conceits

On John Donne’s conceits

On John Donne’s conceitsThere’s no doubt that John Donne is one of the greatest poets in the history of traditional British poetry, even in the history of literature of all time. I consider him to be one of my favourite poets for his impressing, novel ideas and conceits. He loved to use conceits, making him the representative of Metaphysical poets. Samuel Johnson, one of the most important English writers of the eighteenth century, commented on the metaphysical poets, ‘The metaphysical poets were men of learning, and to show learning was their whole endeavor.’ He defined conceit as‘a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike. The most heterogeneous ideas are yoked by violence together.’I first came across John Donne when I read his A Valediction: Forbidding Mourning. I was immediately attracted by his conceit. He made a surprising comparison which could impress all of us even four hundred years later. The parted couple is compared to the two feet of compasses. Few people could ever thought of such conceit. When one leaves the other, the fixed foot stands still but leans to the other foot, like the woman at home hearkens her husband outside. In the last sentence: ‘Thy firmness makes my circle just / and makes me end, where I begun’, we can see it is the firmness of the fixed foot that makes the circle which the outer foot draws perfectly, like the loyalty of the woman that backs and supports the man outside. Circles have been considered to be a representation of perfection in both eastern and western culture. Compasses draw circles, referring to the harmony and perfection of such relationship between the couple.Besides novelty, I was also impressed by the delicateness of the conceit when I first read the poem. When considered as a whole, the conceit of compasses is not merely a comparison between two images. The similarities also include those in the emotional sense. Donne used the word ‘leans’ and ‘hearkens’ to personify compasses, giving them the human emotion.Referring back the former lines of the poem, there’s another conceit which I consider is also novel and delicate. ‘Our two souls therefore, which are one, Though I must go, endure not yet / A breach, but an expansion, / Like gold to airy thinness beat.’ (The sixth stanza) Here the love between the poet and his lover is compared to a piece of gold. It will not break but expand when beaten, like the love between them will not fade but expand when they two are parted. The image of gold also indicates that the love’s firmness and loyalty. Thewhole poem gives me a well-refined, delicate impression that Donne is careful with his words. He would choose the most concise expression to express his most extraordinary ideas, so as to make a striking effect on his readers. Through the two conceits, the poet vividly conveys that there’s no need for lovers to be together all the time; if they are loyal to love, even though they’re parted, their love will still be firm and harmonious.The conceit used in Holy sonnets: Death, be not Proud also has an impressing impact on readers. The last sentence of the sonnet ‘And death shall be no more; Death, thou shalt die’ is a paradoxical statement. How can death itself die? Look back to the thirteen lines above, Donne points out that death has no real power over people because it itself is a slave. Death means rest and sleep, which brings happiness. After one short sleep people’s souls awaken into eternity, then there’s no need for death to exist. Donne uses logically argument to support his seemingly paradoxical conceit, and it is the argument that convinces readers to accept the conceit, which is no longer surprising, only a natural conclusion of the argument above. I also appreciate the poem for the strong sentiment expressed through the lines. Death is the final destination for all livings; most people fear death for it’s sure to come, which makes it precious to hear a vigorous sound charging death to be a slave and ordering death to die.I cannot fail to mention The Flea when talking about Donne’s conceits. The whole poem conveys a seemingly unacceptable idea: when the flea sucks your and my blood, our blood mingles and the flea becomes our marriage bed, so your virginity no longer exists. Poets of his time usually used flea to express their anxiety to get close to their lovers freely like the flea, but through flea Donne delivers an extremely different and amazing idea. I don’t like fleas, but the poem really impress me for its unconventional conceit.In my view, Donne is a little ‘tricky’ in some sense. He’s a genius of coming up all sorts of extraordinary ideas and playing word games. If he were still alive, he would be pleased to see people’s amazement when they read his work. He was like a magician who used words as instrument to perform magic on reader’s mind. Although some image of conceit seems not to be very pleasant like that in The Flea, we cannot deny that he did well in driving people’s imagination to a wild, unlimited edge.。

悼亡诗

悼亡诗

Methought I saw my late espoused saint is a moving poem, even to the pathos of sorrow of the situation. when Milton in his second marriage, he has been blind in both eyes. This sonnet is described a dream, is a moving narrative poems, just like some mournful poems in China.
这样的她, 这样的她,我相信我还 能再度 在天堂毫无障碍地充分 地瞻视, 地瞻视, 她一身素服, 她一身素服,纯洁得和 她心灵一样, 她心灵一样, 肤上罩着面纱, 肤上罩着面纱,但我仿 佛看见 温柔, 爱、温柔,善良在她身 上发光, 上发光, 如此开朗, 如此开朗,什么人脸上 有这等欢颜。 有这等欢颜。 但是,唉,正当她俯身 但是, 拥抱我的当儿, 拥抱我的当儿, 我醒了,她逃逸了, 我醒了,她逃逸了,白 昼带回了我的黑天。 昼带回了我的黑天。
Abstract
•From ancient times, mankind has mourned its losses. Every culture has its way of expressing grief. This is an evidence that express grief and mourn for those that are no longer with them. The mourning is necessary for the mental health of the living and it is also a way of paying respect to the dead.

英国文学史及选读

英国文学史及选读

《英国文学史及选读》复习题Part One: Brief Questions1.What‟s the symbolic meaning of the “Vanity Fair” in Bunyan‟s “The Pilgrim‟sProgress”?2.What can we see from the Soliloquy of Hamlet?This is an internal philosophical debate on the advantages and disadvantages of existence, and whether it is one's right to end his or her own life. It presents a most logical and powerful examination of the theme of the moral legitimacy of suicide in an unbearably painful world.3.What‟s the main idea of “Of Studies” by Bacon?It analyzes what studies chiefly serve for, the different ways adopted by different people to pursue studies, and how studies exert influence over human character.4.What‟re the four stories of “Gulliver‟s Travels” by Swift?The first part tells about Gulliver‟s experience in Lilliput;in the second part,Gulliver is left alone in Brobdingnag;the third part deals mainly with his accidental visit to the Flying Island and the last part is a most interesting account of his discoveries in the Houyhnhnm land.5.What‟s the writing feature of Beowulf?1 ) It is not a Christian but a pagan poem, despite the Christian flavor given to it by themonastery scribe. It is the product of all advanced pagan civilization. The whole poem presents us an all-round picture of the tribal society. The social conditions and customs can be .seen in it. So the poem has a great social significance.2) The use of the strong stress and the predominance of consonants are very notable inthis poem. Each line is divided into two halves, and each half has two heavy stresses.3) The use of the alliteration is another notable feature. Three stresses of the whole lineare made even more emphatic by the use of alliteration.4) A lot of metaphors and understatements are used in the poem. For example, the sea iscalled "the whale-road" or "the swan road"; the soldiers are called "shield-man"; the chieftains are called the "treasure keepers"; human-body is referred to as "the bone-house"; God is called "wonder-wielder"; monster is referred to as "soul-destroyer''.6.What‟s the contribution made by Geoffrey Chaucer?He introduces from France the rhymed stanzas of various types, esp. the rhymed couplet of iambic pentameter (…heroic couplet‟) to English poetry. He is the first great poet who wrote in the current English language, making the dialect of London the foundation for modern English speech.7.What‟s the historical significance of the Glorious Revolution?The supremacy of ParliamentThe beginning of modern EnglandThe final triumph of the principle of political liberty8.Explain the literary trends in the 17th century.One of confusion, due to the breaking up of old ideas.Medieval standards of chivalry, impossible loves and romances, the ideal of a national church perishedDisapproving of the sonnets and the love poetry, and theatres was closed then.Bible became the only book to read.It tended to suppress literary art.Part Two: Detailed Appreciation9.Read the poem (“Sonnet 18” by Shakespeare) and answer the following questions.a)What is the theme of the poem?Theme: a profound meditation on the destructive power of time and the eternal beauty brought forth by poetry to the one he loves.b)Explain the rhyme and tone in the poem by drawing the first two lines. Rhetorical questioning: the 1st line, used to create a tone of respect, and to engage the audience.c)Why is the speaker‟s loved one more lovely than a summer‟s day?If I compared you to a summer day, / I'd have to say you are more beautiful and serene: / By comparison, summer is rough on budding life, / And doesn't last long either:Extravagant praise compares a summer day as less lovely and constant as the beloved.10.Read the poem (“Sonnet 29” by Shakespeare) and answer the following questions.a)In the first two thirds of the sonnet, the speaker is complaining about themisfortunes in his life. What suddenly lifts him out of his bad mood?b)In the last line, the speaker scorns to change his state with kings. What doesthe word “state” mean?11.Read the poem (“Song: Go and Catch the Falling Star” by Donne) and answer thefollowing questions.a)What is the speaker‟s tone? What‟s his opinion about the constancy ofwomen?This poem chief concerns the lack of constancy in women.b)How much impossibility does Donne list in the poem? What are they? What‟sthe additional impossibilities does he have in mind throughout this stanza?There is seven impossibility list in the poem and they are catch a falling star, Get with child a mandrake roote, all past yeares, cleft the Divels foot, hear Mermaides singing, keep off envies stinging and advance an honest minde.The additional impossibilities in his mind is Lives a woman true.12.Read the poem (“A Valediction: Forbidding Mourning” by Donne) and answer thefollowing questions.a)Why does Donne‟s “Valediction” (a poem of farewell) forbid mourning?b)Comment on the relation of the various images to each other. Is there adevelopment of some kind?13.Read the poem (“The Flea” by Donne) and answer the following questions.a)Who‟re the speaker and the listener? What‟s the situation in the poem?The speaker is a man and the listener is a lady.b)How‟s the speaker‟s reasoning to persuade the listener? And point out theconceits used in the poem.14.Read the poem (“Elegy Written in a Country Churchyard” by Gray) and answerthe following questions.a)How does Gray begin the essay?b)Where does Gray begin to make a shift from visual to acoustic perception?Why?c)From which stanza, does Gray begin to describe the country churchyard?d)How many sounds does Gray employ in stanza 5? Wha t‟re they, and why doeshe make a list of these sounds?e)What‟s the main idea of stanza 6?f)What can we see about the occupation of the dead person from stanza 7?Please make a list of the words which can certify your guess.g)What do stanzas 8 and 9 tell us?15.Read the poem (“The Tiger” by Blake) and answer the following questions.a)Analyze the form and rhythm of the poem, and what‟s the central question inthis poem?b)What do the lamb and the tiger represent respectively?The problem with that, though, is that the speaker of “The Lamb” sees the creator as a lamb. The speaker of “The Tyger” sees only tygers, and therefore the Creator must be like a tyger.T he problem is in the basic selection process. And what causes him to make that selection is what he believes. If he believes that the world is shaped by mercy, pity, peace and love, then that‟s what he‟s going to see, a lamb as the creator. And vice versa with the tyger.16.Read the poem (“London” by Blake) and answer the following questions.a)Analyze the form and rhythm of the poem.The poem has four quatrains, with alternate lines rhyming. Repetition is the most striking formal feature of the poem, and it serves to emphasize the prevalence of the horrors the speaker describes.b)What kind of picture about London do you have in your mind after reading thepoem (London)? Describe in your own words with supportive details from thepoem.17.Read the poem (“Lines” by Wordsworth), from the beauteous forms in heart, thepoet could see into the life of things. How did it come? Analyze it by drawing a flow chart.18.Read the poem (“Break, Break, Break” by Tennyson) and answer the foll owingquestions.a)What feelings of loss arise in the speaker as he looks out at the sea breakingendlessly against the shore?b)The meter of lines 1 and 13 obviously differ from that of the whole poem. Howdo they differ, and how do they control the tone of the poem? What is the effectof the repetition?c)In the second stanza, what does the poet describe? What do you think is hisintention for giving such a setting? And how does this setting intensify the speaker‟s mood?19.Read the poem (“Crossing the Bar” by Tennyson) and answer the followingquestions.a)What overall mood and atmosphere does Tennyson create in this poem?This poem was written in the later years of Tennyson‟s life. We can feel hisfearlessness towards death, his faith in God and an afterlife.Bar: a bank of sand or stones under the water as in a river, parallel to the shore, at the entrance to a harbor.“Crossing the Bar” means leaving this world and entering the next world.b)Instead of saying death directly, Tennyson uses a metaphor. What is themetaphor? How effective is it used?Metaphor is a figure of speech. It refers to a comparison between unlikethings without the use of "like" or "as". This comparison is done between two things that are basically different but have something in common in some significant way. It is used in reference to something that does not literallysuggest a similarity. Metaphor is different from a simile or analogy because metaphor asserts that one thing is another thing and not just that they are like one another.Sunset,evening star,twilight,evening bell:all images of the end of life.c)What is Tennyson‟s attitude towards death?This poem was written in the later years of Tennyson‟s life. We can feel hisfearlessness towards death, his faith in God and an afterlife.Part Three: Reading Comprehension20.“And thus the native hue of resolution / Is sicklied o'er with the pale cast ofthought.”a)Identify the title and the author.The author is William Shakespeare and the title is Hamlet.b)What idea do the lines express?1.lose the honor due to action2.Our conscience makes us cowards, our natural colour is drained by theprospect of it. Things of gravity and importance lose their momentum.The “native hue of resolution” is the resolve to kill one‟s self;it‟s what‟s “sicklied o‟er with the pale cast of thought”Hamlet thus concludes that the dread of the afterlife leads to excessive moral sensitivity that makes action impossible.21.“Whether I went over by the ladder, as first contrived, or went in at the hole in therock, which I called a door, I cannot remember; no, nor could I remember the next morning, for never frighted hare fled to cover, or fox to earth, with more terror of mind than I to this retreat.”a)Identify the title and the author of the selected part.The title is Robinson Crusoe and the author is Daniel Defoe.b)Why was I so frighted, according to the story?22.“If he be not apt to beat over matters, let him study the lawyer‟s cases. So everydefect of the mind may have a special receipt.”a)Identify the author and the essay from which the quoted sentences are taken.The auther is Francis Bacon and the essay is Of Studies.b)What is the essay mainly about?It analyzes what studies chiefly serve for, the different ways adopted by different people to pursue studies, and how studies exert influence over human character.23.“Five hundred carpenters and engineers were immediately set at work to pre pare thegreatest engine they had. It was a frame of wood raised three inches from the ground, about seven foot long and four wide, moving upon twenty-two wheels.”a)Identify the title and the author.The title is Gulliver's Travels and the author is Jonathan Swift.b)Why did they make such a great engine?。

诗歌术语

诗歌术语

Terms of PoetryVerse metrical language; the opposite of proseBlank Verse consists of lines iambic pentameter which are unrhymed.Free Verse is printed in short lines instead of with the continuity of prose, and has a more controlled rhythmic pattern than ordinary prose; but it lacks the regular syllabic stress pattern, organized into recurrent feet, of traditional meter.Stanza is a grouping of the verse-lines in a poem, set off by a space in the printed text. Run-on line a line which has no natural speech pause at its end, allowing the sense to flow uninterruptedly into the succeeding line.Alliteration is the repetition of speech sounds in a sequence of nearby words; the term is usually applied only to consonants, and especially when the recurrent sound occurs in a conspicuous position at the beginning either of a word or of a stressed syllable within a word.Consonance is the repetition of a sequence of two or more consonants, but with a change in the intervening vowel: live-love, lean-alone, pitter-patter.Assonance is the repetition of identical or similar vowel sounds—especially in a stressed syllables—in a sequence of nearby words.Simile a comparison between two distinctly different things is indicated by the word “like” or “as”. Metaphor a word or expression which in literal usage denotes one kind of thing or action is applied to a distinctly different kind of thing or action, without asserting a comparison.Metonymy the literal term for one thing is applied to another with which it has become closely associated.Synecdoche a part of something is used to signify the whole, or the whole is used to signify a part. Personification a term in which either an inanimate object or an abstract concept is spoken of as though it were endowed with life or with human attributes or feelings.Overstatement (hyperbole) a figure of speech in which exaggeration is used in the service of truth. Understatement: a figure of speech that consists of saying less than one means, or of saying what one means with less force than the occasion warrantsPun a play on words that either identical in sound or very similar sound, but are sharply diverse in meaning.Irony is to dissemble or hide what is actually the case , not in order to deceive but to achieve specialrhetorical or artistic effectsParadox a statement or situation containing apparently contradictory or incompatible elements. Allusion in a literary text is a reference, explicit or indirect, to a well-know person, place, or event, or to another literary work or passage.Rhyme the standard rhyme consists in the identity, in rhyming words, of the last stressed vowel and of all the speech sounds following that vowel.End rhyme occurs at the end of a verse-lineInternal rhyme occurs within a verse-lineRhythm a recognizable though variable pattern in the beat of the stresses in the stream of sound.Foot the basic unit used in the scansion or measurement of verse. A foot usually contains one accented syllable and one or two unaccented syllables.Meter the rhythm of stresses is structured into a recurrence of regular—that is , approximately equivalent—units.Iambic a light followed by a stressed syllableAnapestic two light syllables followed by a stressed syllableTrochaic a stressed followed by a light syllableDactylic a stressed syllable followed by two light syllables.Monometer: one foot Dimeter: two feet Trimeter:three feet tetrameter: four feetPentameter: five feet Hexameter six feet Heptameter: seven feet octameter: eight feetImage is a picture out of wordsImagery the representation through language of sense experience.Tone the writers or speaker’s attitude toward his subject, his audience, or himself.Couplet two successive lines, usually in the same meter, linked by rhyme.Refrain a repeated word, phrase, line or group of lines, normally at some fixed position in apoem written in stanzaic form.Sonnet a lyric poem in a single stanza consisting of fourteen iambic pentameter lines linked byan intricate rhymescheme.Ballad is a song, transmitted orally, which tells a story.Epic is a long narrative poem on a great and serious subject, told in an elevated style, andcentered on a heroic figure on whose actions depends the fate of a tribe, a nation, or the human race.。

英美文学名词解释整理版 (1)

英美文学名词解释整理版 (1)

❖American Transcendentalism A literary and philosophical movement, associated with Ralph Waldo Emerson and Margaret Fuller, asserting the existence of an ideal spiritual reality that transcends the empirical and scientific and is knowable through intuition. 超验主义:一种文学和哲学运动,与拉尔夫·沃尔多·爱默生和玛格丽特·富勒有关,宣称存在一种理想的精神实体,超越于经验和科学之处,通过直觉得以把握❖English Romanticism was an artistic, literary and intellectual movement that originated in the second half of the 18th century in Europe.❖ode in ancient literature, is an elaborate lyrical poem composed for a chorus to chant and to dance to; in modern use, it is a rhymed lyric expressing noble feelings, often addressed to a person or celebrating an event.❖conceit 奇喻A Valediction: Forbidding Mourning 。

A kind of metaphor that makes a comparison between two startlingly different things. A conceit may be a brief metaphor, but it usually provides the framework for an entire poem. An especially unusual and intellectual kind of conceit is the metaphysical conceit.新奇的比喻:将两种截然不同的食物进行对比的一种隐喻。

九年级诗歌欣赏英语阅读理解25题

九年级诗歌欣赏英语阅读理解25题

九年级诗歌欣赏英语阅读理解25题1<背景文章>Poetry has always been a beautiful form of art that can touch our hearts and souls. One of the most famous poets is William Shakespeare. His sonnets are renowned for their deep themes, vivid imagery, and perfect rhyme schemes.Let's take a closer look at Sonnet 18: '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 dimmed; And every fair from fair sometime declines, By chance or nature's changing course untrimmed; But thy eternal summer shall not fade, Nor lose possession of that fair thou ow'st; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou grow'st. So long as men can breathe or eyes can see, So long lives this, and this gives life to thee.'The theme of this sonnet is the eternal beauty of the beloved. Shakespeare compares the beloved to a summer's day but then goes on to say that the beloved is even more beautiful and lasting. The imagery of summer, with its warm days and blooming flowers, is vividly portrayed.The rhyme scheme of the sonnet is abab cdcd efef gg, which gives it a musical quality.Now let's analyze some of the elements of this sonnet. The use of personification in 'Rough winds do shake the darling buds of May' makes the winds seem more alive and powerful. The line 'And every fair from fair sometime declines' shows the transient nature of beauty. However, the idea that the beloved's beauty is eternal is a powerful contrast.1. What is the theme of Sonnet 18?A. The power of nature.B. The beauty of summer.C. The eternal beauty of the beloved.D. The sadness of love.答案:C。

Unit+4+Reading+Language+points+牛津译林版(2020)选择性必修第一册

Unit+4+Reading+Language+points+牛津译林版(2020)选择性必修第一册
other type of literature, it usually implies a deeper meaning beyond
the words on the page. So, how to reveal this hidden dimension?
译文:诗歌是“音”与“意”的融合。与其他任何文学类型 相比,诗歌通常隐含着超越字面的更深层含义。那么,如何 揭示隐藏的这个方面呢?
or other special effects? All of these are good qualities to notice,
and they may lead you to a better understanding of the poem in
the end.
译文:你发现韵律了吗?有没有重复词、押韵或其他特别 的效果?所有这些都是值得注意的特质,并且它们可能最 终会引导你更好地理解这首诗。
……的结合
• combine A with/and B 把A和B结合起来
• be combined with
与……结合
e.g., The trip will combine business with pleasure. 此次旅行将把出差和娱乐结合起来。
Para.1
1. Poetrபைடு நூலகம் is a combination of “sound” and “sense”. More than any
解释;说明;阐明
e.g., She couldn't speak much English so her children had
to interpret for her.她讲不了几句英语,所以她的孩子们
得给她翻译。

八年级英语现代诗歌单选题40题

八年级英语现代诗歌单选题40题

八年级英语现代诗歌单选题40题1. In the poem, the word "luminous" means _____.A. brightB. darkC. smallD. big答案:A。

“luminous”意思是“发光的,明亮的”,A选项“bright”有“明亮的”意思;B选项“dark”是“黑暗的”;C选项“small”是“小的”;D选项“big”是“大的”。

这里在诗歌语境中,“luminous”应是“明亮的”,所以选A。

2. The poet used the word "melancholy" to describe the feeling. It means _____.A. happyB. sadC. angryD. excited答案:B。

“melancholy”意为“忧郁的,悲伤的”,A选项“happy”是“快乐的”;C选项“angry”是“生气的”;D选项“excited”是“兴奋的”。

在诗歌中用“melancholy”形容心情,应是“悲伤的”,故选B。

3. In the modern poem, the word "serene" refers to _____.A. noisyB. quietC. busyD. fast答案:B。

“serene”表示“平静的,宁静的”,A选项“noisy”是“嘈杂的”;C选项“busy”是“忙碌的”;D选项“fast”是“快的”。

结合诗歌语境,“serene”是“安静的”,所以答案是B。

4. The word "ethereal" in the poem can be best replaced by _____.A. solidB. realC. spiritualD. material答案:C。

“ethereal”意思是“空灵的,精神上的”,A选项“solid”是“固体的,结实的”;B选项“real”是“真实的”;D选项“material”是“物质的”。

the comparison of poetry

the comparison of poetry

RUNNING HEAD: COMPARISON OF POETRYThe Comparison of Chinese and Western PoetryZoey ChenAbstractChinese poetry has been the attention focus of the world literature for a long time, especially the poetry of ancient Chinese. But since Homer’s Epic comes into being, western poetry has developed rapidly as well. This article makes a comparison of Chinese and western poetry, and concludes the similarities and distinctions. The distinctions mainly lies in three aspects, which are the tradition of development, patterns of manifestation, and language style. This paper focuses on the discussion of the differences and the root reasons why they are so different.IntroductionPoetry is well known as the crystallization of national culture and the supreme embodiment of civilization. And at the same time, it is also the precipitation of the times and history. Because of the different achievements of culture, art, aesthetics and so on, Chinese and western poetry is very different. In order to improve the cultural communication and development of poetry, it’s necessary to make a comparison of Chinese and western poetry.Chinese poetry has been the attention focus of the world, and it is characterized by its terseness in language, abstruseness in meaning, richness in imagery, sharpness in emotion and distinctiveness in rhyme and rhythm. But western poetry is dazzlingly brilliant as well, and there exist so many immortal works shining in the ocean of poetry. Although the culture deposits of Chinese poetry is totally different from those of western poetry, there still exist some similarities of them in several respects. Because Chinese poetry has been taking the leading position for a long period of time, when western poetry was influenced by Chinese poetry somewhat, they are correlative with each other to some extent in spite of they both have their own literature system.The similarities and differencesThe similaritiesFirstly, there is much pastoral poetry in Chinese poetry as well as in western. In ancient China, there were many pastoral poets, such Wang Wei, Tao Yuanming, Meng Haoran and so on. And many brilliant pastoral poets also emerged in western countries subsequently, such as Publius Virgil, Edmund Spenser and William Wordsworth. Whether Chinese pastoral poets orwestern poets are dissatisfied with the reality, and they all want to seek for the peace of mind by finding sustenance in mountains and rivers or focusing on the landscapes. So all of them, no matter where he is from, showed appreciation and praise to nature and the pastoral lifestyle, and they all wanted to throw themselves into the embrace of Mother Nature in order to return to their original nature. For exam ple, the group of poems titled “wine and poems” which is written by Tao Yuanming and “the isle of Innisfree” of William Butler Yeats are both magnum opus in the field of pastoral poetry, and these two poets both expressed the willing to escape from the misery world to exchange for a peaceful life[1].Secondly, viewed from artistic expressions, the greatest characteristic of Chinese poetry is connotation, and Chinese poets are good at using imagery. Only a few words is enough to evoke an ambiance and express artistic conception. It can be obviously observed in most Chinese lyric poetry. The use of imagery of western modern lyric poetry is deeply affected by Chinese poetry, even some presentation is exactly alike. Although there exist some tiny distinctions between them, they are strongly correlative with each other.The differencesAs the deposits of the times, history and culture, poetry shows different characteristics in different places and different eras. Because of the different comprehensive achievements of culture, art, aesthetics and so on, there are many differences between Chinese and western poetry. In total, the differences are reflected in three aspects, which are the tradition of development, patterns of manifestation, and language style. Then we will discuss the three aspects in details respectively.The tradition of developmentThe tradition of development of Chinese and western poetry are different because Chinese poetry’s development began with lyric poetry and has formed a relatively thorough system of the lyre, but western poetry has established a system of narrative poetry which is based on epics. Specifically, the lyric tradition of Chinese poetry began with the first collection of poems “The Book of Songs”, and then the lyrics of the Chu, music conservatory songs of the Han, poetry of the Tang, Song poems, Yuan operas and modern poems are all mainly famous for their lyric poetry. The narrative tradition of western poetry started with “Homer’s Epic”, and then “The Aeneid” and Dante’s “Divine Comedy” of ancient Roma, and John Milton’s “Paradise Lost” in the 17th century, Byron’s “Don Juan”, Goethe’s “Faust”, and Shelley’s “Prometheus” in the 18th century and so on, these are all well-known and grandiose narrative poems. But the lyric or narrative tradition of Chinese and western poetry is relative, not absolute. There also exist some excellent narrative poems in Chinese poetry such as “the Peacock Flies to the Southeast”, and western poetry also includes some outstan ding lyric poems such as Shelley’s “Ode to the West Wind”.Due to the different society and history background, the tradition of development of Chinese and western poetry are so distinct. The Chinese culture is a kind of silent civilization, which is based on agriculture and the concept of rest in peace. Chinese pay much more attention to the reality rather than thinking abstractly and rationally, and it restrains the development of curiosity, imagination and creativity. Because of the lack of imagination, Chinese poets is not good at recreating those legendary historical events to produce epics. Western culture is totallydifferent, which is a kind of dynamic civilization based on wars. Because of wars and invasion, the westerners are self-centered and pursue individualistic heroism. And those spirits are in keeping with the aim of epics[2].Patterns of manifestationChinese poetry is good at expressions of imagery, and the sequence of words is not that serious and rigid. The combination of words in Chinese poets is various and flexible. Western poetry takes the relationship of the words seriously, and it’s relatively more rigorous than Chinese poetry in the means of expression, but it lacks flexibility instead. Meanwhile, Chinese poetry emphasizes that the hearing should be in keeping with the vision, and antithetical parallelism is common and solid. Western poetry are the opposite, and the length of every sentence is rarely identical. Antithetical parallelism is not than common and seldom in neat formation. Ultimately this difference is closely related with the using principle of Chinese and Indo-european language[1]. Chinese is paratactic, so the formation of sentences is not that important. And Chinese is a kind of ideograph, so this language itself is very visual. Because Indo-european is a kind of phonogram, Chinese has advantages over it in poetry creation which emphasizes on imagery.Language styleThe distinctions of language style between Chinese and western poetry are apparent. Chinese poetry’s style is euphemistic, implicit, intangible and elegant. The poets are good at portraying a circumstance so that they can emphasize the emotion of themselves. Western poetry shows the passionate and wild style instead, and the poets of western countries always do their best toexaggerate their emotions[2]. These distinctions are especially obvious in the love poems, such a s “No title ” of Li Shangyin and “A red, red rose” of Robert Burns, which are the magnum opus of Chinese and western love poems. Both of them are depicting the insistence of love, but the styles are totally different. The Burns’s is very enthusiastic to express the determination that he will insist on loving till the doomsday of the world directly. But the Li’s is too veiled to express the emotion like that. Only by using imageries, such as silkworms and candles, can he express his fiery emotion. The differences of language style are derived from the distinctions of aesthetical standard and the means of expression between Chinese and western.ConclusionThis article made a comparison between Chinese poetry and western poetry in several different aspects, and illustrated the reason why there exist so many distinctions. In the book “A Collection of Seven Compositions” of Qian Zhongshu, Mr. Qian says, “To compare with western poetry, the emotion of Chinese poetry is implicit, the language is concise, the voice is not that high, and the color is not that strong. In comparison with western poetry, the romantic one of Chinese poetry is relatively classical and the enthusiastic one is relatively veiled.”By the comparison of Chinese and western poetry, we can never draw a conclusion that which one is better. The culture of different nations and different regions has different characteristics. There just exist distinctions but no superiorities. Our nation is proud of our poetry for a long ti me, but it doesn’t mean that we can stay still rather than moving forward. Only by developing continuously and absorbing the advantages of other culture can our literature keep moving in a proper direction step by step.。

顾若璞诗文研究

顾若璞诗文研究

摘要摘要顾若璞是明清之际的一位重要的女作家,“节行文章为武林闺秀之冠”,她的《卧月轩稿》被王士禛称为“文多经济大篇,有西京气格”。

她的诗文创作对杭州“蕉园诗社”成员创作产生了一定的影响,在清代女性文学史上起过渡作用。

本文分为五章。

第一章是顾若璞的家世、生平和交游,在前人研究基础上重点考察她的交游对创作的影响。

第二章是顾若璞诗歌研究,着重分析其具有性格魅力的诗作,包括直抒性灵的哀悼诗,对功名事业淡然的劝夫教子诗和关注女性题材的咏史诗。

第三章研究顾若璞的散文创作,主要包括尺牍文、墓志铭和寿序文。

第四章探讨顾若璞诗歌与“蕉园诗社”部分成员创作的联系,主要从哀悼诗、劝夫教子诗和咏史诗三个方面进行探究。

第五章研究顾若璞诗文的价值,首先,她秉持妇才有助于妇德的才德观,争取女子创作的合理性。

其次她的诗歌具有自我意识。

通过上述探究力求能客观公允地分析出顾若璞诗文在清代女性文学史上的地位。

关键词:顾若璞,诗文创作,蕉园诗社,女性文学史AbstractAbstractGu Ruopu is a crucial female litterateur in the late Ming and early Qing Dynasty.“Her morality and literature ranked first in Wulin.”Her Wo Yue Xuan Gao was praised by Wang Shizhen for its expansive proses.Her literature had exerted an influence on the works of“Jiaoyuan Poetry Society”to some extent.She palyed a part in literary history of women in Qing Dynasty as a connector.This article is divided into five chapters.The first chapter studies the writer’s family,life experiences and friends.The chapter does further research on how Gu’s friends has a deep influence on Ruopu’s creation.The second chapter is the research on poet of Gu Ruopu,especially on its works which is full of characteristics.Those works consist of three kinds:mourning poetry which is filled with ingenuity,relieved poet on advices to family members,history-Intoned poetry which is paying attention to female themes.The characteristics of Gu Ruopu’s proses is discussed in the third chapter,it consists of three types:epistles,epitaphs,writings of Forewords to Birthday Greetings.The fourth chapter explores the relation between Gu Ruopu’s works and the creations of some members of“Jiaoyuan Poetry Society”,mainly about mourning poetry,poet on advices to family members and history-Intoned poetry.The last chapter studies the value of Gu Ruopu’s poet and proses.Firstly,she insists that women’s creation activity is conducive to their morality,and fights for the reasonability of women’s literary creation.Secondly,her poet possess self-consciousness.This article strives to evaluate her position in the literary history of women in Qing Dynasty equitably.Key words:Gu Ruopu,Literary Works,Jiaoyuan Poetry Society,Literary History of Women目录摘要 (II)Abstract (III)目录 (1)绪论 (1)一、研究缘起及意义 (1)二、研究现状与趋势 (3)三、本论文的研究思路及创新之处 (7)四、关于《卧月轩稿》的版本问题 (8)第一章顾若璞家世、生平与交游 (10)第一节顾若璞的家世 (10)第二节顾若璞的生平 (12)第三节顾若璞的交游 (25)第二章顾若璞诗歌研究 (30)第一节“性与学并进”的诗学见解 (30)第二节抒写性灵的哀悼诗 (34)第三节进退有度的劝夫教子诗 (39)第四节磅礴大气的咏史诗 (42)第三章顾若璞散文研究 (46)第一节有“大家规范”的尺牍文 (46)第二节感情真挚的志传文 (49)第三节超凡脱俗的寿序文 (54)第四章顾若璞诗歌与蕉园诗社部分成员创作的联系 (65)第一节蕉园诗社概论 (65)第二节朦胧幽微的哀悼诗意境 (73)第三节超脱淡泊的劝夫教子诗 (77)第四节“闺诗雄音”咏史诗 (80)第五章顾若璞诗文的价值 (84)第一节妇才有助于妇德的才德观 (84)第二节顾若璞诗歌中的自我意识 (90)第三节在清代女性文学史上起过渡作用 (93)附录 (95)1谱系图 (95)参考文献 (97)致谢 (103)绪论顾若璞(1592--1681),字和知,浙江钱塘(今杭州)人,晚明上林苑署丞顾友白女,同邑仁和贡生黄东生茂梧妻,副使黄汝亨媳,“以才媛而负有经济之才”①。

中外诗歌对比英语作文

中外诗歌对比英语作文

中外诗歌对比英语作文Poetry, a universal language that transcends borders and cultures, has the power to evoke emotions and inspire thoughts in people from all walks of life. Whether it's the haunting verses of Li Bai from ancient China or the romantic sonnets of Shakespeare from Elizabethan England, poetry has a way of connecting us to our deepest feelings and desires.The beauty of Chinese poetry lies in its simplicity and elegance, with each character carefully chosen to convey profound meanings. From the delicate imagery of cherry blossoms in spring to the melancholy of autumn leaves falling, Chinese poets have a unique way of capturing the fleeting moments of life in their verses.On the other hand, English poetry is known for its rich tradition and diverse styles, from the structured sonnets of the Renaissance to the free verse of modern poets. English poets like Wordsworth and Keats often drawinspiration from nature, using vivid descriptions and powerful metaphors to explore the complexities of human emotions and experiences.While Chinese poetry tends to focus on themes of nature, beauty, and harmony, English poetry often delves intodeeper philosophical questions about life, love, and mortality. Both traditions have their own unique strengths and beauty, offering readers a glimpse into different cultures and perspectives through the power of words.In conclusion, the contrast between Chinese and English poetry highlights the diversity and richness of the human experience. Whether it's the ethereal beauty of a Chinese landscape poem or the raw emotion of an English sonnet, poetry has the ability to transcend language barriers and speak to the universal truths that unite us all.。

东西方诗歌差异英语作文

东西方诗歌差异英语作文

东西方诗歌差异英语作文Poetry from the East often focuses on nature, using vivid imagery to describe the beauty of the natural world. It tends to have a contemplative and meditative tone, seeking to evoke a sense of harmony and tranquility.In contrast, Western poetry often delves into the depths of human emotions and experiences, exploring themes of love, loss, and the complexities of the human condition. It is often more introspective and personal, delving into the inner thoughts and feelings of the poet.Eastern poetry, such as haiku and tanka, often follows strict structural rules, such as syllable counts and seasonal themes. This creates a sense of discipline and precision in the language, allowing for a deeper exploration of the natural world and the poet's emotional response to it.On the other hand, Western poetry is known for itsfreedom and experimentation with form and structure. Poets often play with rhyme, meter, and line breaks to create unique and innovative ways of expressing their thoughts and emotions.In terms of language, Eastern poetry tends to usesimple and elegant language, focusing on conveying deep emotions and philosophical ideas in a concise and understated manner. It often relies on symbolism and metaphor to convey meaning.In contrast, Western poetry can be more verbose and expressive, using rich and complex language to create vivid and detailed imagery. It often seeks to evoke strong emotional responses in the reader through the use of powerful and evocative language.Overall, the differences between Eastern and Western poetry lie in their thematic focus, structural rules, and language use. While Eastern poetry emphasizes nature, simplicity, and discipline, Western poetry delves into human experiences, freedom of form, and expressive language.。

新培优高中英语选修六课件BeautyLessonPoetry

新培优高中英语选修六课件BeautyLessonPoetry
• Aesthetics is the study of beauty and art, which explores the laws and principles of beauty and art
• The relationship between poetry and aesthetics is closely related Poetry is not only an important part of aesthetics but also an important way to cultivate people's aesthetic ability Through the study of poetry, people can better understand the beauty of language, the beauty of art, and the beauty of life
Characteristics
Poetry often uses devices such as metaphor, size, allocation, and rhyme to create a unique sensory experience for the reader It also extends to be highly condensed and evocative, leaving much to the imagination of the reader
The Development History of English and American Poetry
• Early English Poetry: The earliest English poetry was transcribed orally and later recorded in manuscripts It includes works such as Beowulf and other epic points

English poetry PowerPoint courseware

English poetry PowerPoint courseware
Haiku
A Japanese form of poetry that consistency of three lines, with a specific symmetrical count in each line It focuses on capturing a moment or image in nature
• 18th and 19th centuries: The 18th century saw the emergence of Romanticism in English poetry, with poems such as William Wordsworth, Samuel Taylor Coleridge, and Lord Byron expressing a deep application for nature and the emotional life of man. The 19th century witnessed the growth of Victorian poetry, characterized by its exploration of social issues and moral values Poets such as Alfred Tennyson, Robert Browning, and Emily Dickinson were prospective figures of this era
Definition and characteristics
Definition
English poetry is a form of literature written in the English language, both utilizing rhythmic and metric patterns to consider emotional, intellectual, and aesthetic responses to the world

美国诗歌

美国诗歌

1样卷I. Fill in the blanks in column A with the proper letters in column B. (20%)1 (a) Mosses from and Old Manse a:. HawthorneII. Explain the following briefly. (15%)Frame storyA frame story is one which contains either another tale , a story within a story, or a series of stories. Well-known instances are the Arabian Nights, Boaccacio‘s Decameron, Chaucer‘s Canterbury Tales, and Marguerite of Navarre‘s Heptameron. Much later Goethe used this Boccaccio technique. Mark Twain used this method in his The Celebrated Jumping Frog of the Calavares County.III. Answer the following five questions. (25%)Make a comparison between Walt Whitman and Emily Dickinson.They share a lot in common. Thematically, they both extolled, in their different ways, an emergent America, its expansion, its individualism and its Americanness, their poetry being part of ―American Renaissance.‖ Technically, they both added to the literary independence of the new nation by breaking free of the convention of the iambic pentameter and exhibiting a freedom in form unknown before: they were pioneers in American poetry.There are a lot of differences between them. Whitman seems to keep his eye on society at large; Dickinson explores the inner life of the individual. Whereas Whitman is ―national‖ in his outlook, Dickinson is ―regional.‖Dickinson has the ―catalogue technique‖ (direct, simple style) which Whitman doesn‘t have.IV. Read the following quote carefully and answer the questions after it. (15%)Let me not to the marriage of true mindsAdmit impediments. Love is not loveWhich alters when it alteration finds,Or bends with the remover to remove.1. identify the poet and the title of the poem.2. Comment on the four lines.V. Read the following poem and write a commentary essay on the form and content of it. You essay should have a title, and be no less than 200 words. (25%)A. E. Housman (1859-1936)TO AN ATHLETE DYING YOUNGTHE time you won your town the raceWe chaired you through the market-place;Man and boy stood cheering by,And home we brought you shoulder-high.To-day, the road all runners come,Shoulder-high we bring you home,And set you at your threshold down,Townsman of a stiller town.Smart lad, to slip betimes awayFrom fields where glory does not stayAnd early though the laurel growsIt withers quicker than the rose.Eyes the shady night has shutCannot see the record cut,And silence sounds no worse than cheersAfter earth has stopped the ears:Now you will not swell the routOf lads that wore their honours out,Runners whom renown outranAnd the name died before the man.So set, before its echoes fade,The fleet foot on the sill of shade,And hold to the low lintel upThe still-defended challenge-cup.And round that early-laurelled headWill flock to gaze the strengthless dead,And find unwithered on its curlsThe garland briefer than a girl's.The poem To an Athlete Dying Young was written by a somewhat famous poet named Alfred Edward (A.E.) Housman. According to Twentieth Century Authors, he was born in 1859 and died in 1936, and was the oldest of seven children. His younger brother was also a well known poet, by the name of Laurence Housman. Something happened to Housman (A.E.) when he went to college, no one is quite sure of what it was, but there was a noticeable difference in his personality from when he left to when he came back. When he left for college, he was always cheerful, outgoing, quick and witty. When he returned, he was much different, he was much darker. Suddenly he was more reserved and quiet, and he preferred to be alone, rather than spend time with friends. According to , These changes remained permanent for the remainder of his life as he became incredibly secluded from his family, lost the ability to have friendships, and never married. He appeared to be an unpleasant man as he was a harsh critic of other poets' works; in fact, he was considered to be both ruthless and merciless in his criticism. One can tell that the wayin which his poems were written were a direct reflection of what kind of a person he was. Most of his poems were either dark or sad, with some irony, as well as a great deal of intimate feelings. It's believed that because he had no friends, spouse, or family to talk to that the only way for him to express his feelings at all was to write about them through his poems. This poem, "To an Athlete Dying Young" falls under most of these categories as it has a good deal of sadness and irony to it. Undoubtedly, the change in Housman's character and personality was what caused his poems to be so exquisite, which is why he and they are still famous and known to this day. In my opinion, this is an absolutely perfect poem to use as an example of Housman's personality showing up in his work. In the poem, Housman begins by talking about a runner who won a race, in which he was representing his town. He then goes on to elaborate about the celebration that ensued. The image that Housman gives the reader is the townspeople all celebrating over this great victory, and carrying this young runner on their shoulders in celebration. There have been countless times in the course of the history of athletics where sports heroes who have just won a game or competition are carried on the shoulders of two other people. This is quite important, as the author will make a similar reference later in the poem. The author makes clear that this was a past event, as he is just remembering it. The reader gets the impression that there is a great deal of people standing and cheering for this athlete, perhaps even the majority of this small town. It would be a great moment, to have the winner and the spectators all cheering wildly in the town's center.The narrator begins the second stanza by changing the tense to the present. This concludes the fond memory of the race that was won by the young athlete. The narrator again says makes reference to the fact that the runner is being carried "shoulder-high". This time however, there is no celebration; instead, there is a funeral. The deceased is the same runner that one the race, and as the narrator puts it, he is being brought home. The town and the townspeople are no longer celebrating; they're not doing anything even close. Instead, they're in mourning of the passing of this great star. In some funerals, the casket is carried on people's shoulders. This is theirony that Housman uses and it is quite interesting considering the dramatic mood changes that everyone experiences between the two times when the runner was carried on shoulders. Housman uses irony in many of his poems; it is believed that this is because he had such a dark and secluded life. Normally, when he uses irony, it is to express something that is rather sad or disturbing, this is both.In the next stanza, the narrator refers to the runner as "smart", which is interesting considering he is dead. But when the observation is reflected upon, it becomes quite clear to the reader what Housman is intending to say. There are plenty of times in athletics where an athlete will achieve a great deal of glory and fame, but then that glory and fame dies off long before the athlete does. The difference here is that because this young athlete died young, he never has to give up that glory. The narrator uses the metaphor of a rose withering to express his message that glory doesn't last, usually. This is a terrific example of how something can be so great and beautiful, and then pretty soon, its dead and gone, forgotten.The fourth stanza is not easy to understand and interpret as the narrator makes a complex point. He starts off by further elaborating to the reader the fact that the runner is dead and that he has closed his eyes for the final time. Then, he tells the reader that the runner will never have to live to see the day where his record is beaten or broken in the race. There will never come a day when he will feel as though he's been beaten and his accomplishments have relinquished. He was lucky to a certain extent in the sense that he gets to die a champion, he gets to go out a hero. Housman then makes another reference to the change of moods between the day of the race and the day of the feeling. He exclaims that cheering turns into utter and complete silence as people pay their respects to the honored dead. As the next stanza elaborates even further, every athlete gets to a point where his glory days are long behind him and he no longer feels like royalty. The narrator explains how the runner will never have to be like so many other athletes that seemingly faded away, that wore out their honor in the eyes of the public and those who cheered them to victory. The next point that the author makes is quite interesting and something that one might not think aboutordinarily even though it happens all the time. And that is that an athlete's fame, glory, and name recognition will be at its peak just after the athlete has achieved his or her athletic success. But there will come a time when all of that is gone, when most people don't know who that athlete is. A terrific example in current day culture is Mark Spitz. He was a swimmer that won seven gold medals in the 1972 Olympics. If asked today, more people than not probably wouldn't know who Mark Spitz is or what he accomplished, even though he is still alive. This is a classic case of an athlete's name dying before he or she does. The runner in the poem never had this happen to him as he died when he was still at the peak of his glory and fame. He was most likely still being praised up to the day he died, and far after that.In the beginning of the next stanza, the narrator once again tells the runner that it's at least somewhat good to die and end his life before the memory of his victory is forgotten. He uses the metaphor of standing on a cliff of shade, or shadows, which represent death. He shows that the runner is, or was on the edge of death. This is yet again a great example of Housman using a simile that grabs the reader and pulls him in. The narrator elaborates that the runner now gets to keep the "challenge-cup". What this means is that every year, the winner of the race that this runner won gets to have their name engraved on a trophy, a cup. The winner gets to keep the cup for the next year, until he loses the next race. If he wins, he gets to keep it for another year; this process goes on as long as he keeps winning. This is similar to the Stanley Cup, which is the trophy for the winner of the National Hockey League. Because the runner died before the race came around again, so he never had to give up the cup.The final stanza tells of the runner having an "early-laurelled head". A laurel is similar to an Olympic crown that is given to all of the medal winners in the Olympics. Obviously, the winner of this race receives one as well. The narrator then tells how all the townspeople, most of not all of whom were present when the runner won the race will all come to the funeral to pay their final respects to the deceased athlete. The last two lines of the poem are both interesting and complex. The laurel isn't withered asthe rose was. This is symbolism for the fact that the runner will never have to lose his glory; it will last long after he has died.This is a poem of great sadness and tragedy. The young runner who became a champion was hoisted up on the shoulders of all of his fellow townspeople as the winner that he was. He received the challenge-cup for his great ictory and was allowed to keep it for a year, until the next race. But unfortunately, he was never required to give it back, as he died before the next race took place. He, unlike most athletes will have his glory and accomplishments remembered long after his death. Most athletes are forgotten long before they actually pass from this earth. The author, Alfred Edward Housman, does a terrific job of using similes and ironies to get his points across to the reader, however dark and disturbing they may be. This poem is incredibly sad and unfortunate, but at the same time, it is a great piece of work by a great and famous poet, A.E. Housman.3 诗歌评析Page 55Henry Wadsworth Longfellow begins his poem "A Psalm of Life" with the same exuberance(丰富、茂盛、健康)and enthusiasm that continues through most of the poem. He begs in the first stanza to be told "not in mournful numbers" about life. He states here that life doesn't abruptly end when one dies; rather, it extends into another after life. Longfellow values this dream of the afterlife immensely and seems to say that life can only be lived truly if one believes that the soul will continue to live long after the body dies.The second stanza continues with the same belief in afterlife that is present in the first. Longfellow states this clearly when he writes, "And the grave is not its goal, meaning that, life doesn't end for people simply because they die; there is always something more to be hopeful and optimistic for. Longfellow begins discussing how humans must live their lives in constant anticipation for the next day under the belief that it will be better than each day before it: "But to act that each to-morrow / Find usfarther than to-day."In the subsequent stanza, Longfellow asserts that there is never an infinite amount of time to live, but art that is created during one's life can be preserved indefinitely and live on long after its creator dies. In the following stanzas, Longfellow likens living in the world to fighting on a huge field of battle. He believes that people should lead heroic and courageous lives and not sit idle and remain ineffectual while the world rapidly changes around them: "Be not like dumb, driven cattle! Be a hero in the strife!" His use of the word "strife" is especially interesting, since it clearly acknowledges that life is inherently difficult, is a constant struggle, and will never be easy. Longfellow then encourages everyone to have faith and trust the lord and not to rely on an unknown future to be stable and supportive.He advises people to seize the moments they have before them and act while thinking about their present situations. Longfellow continues his poem by citing the lives of great and important men who were able to lead incredible lives and leave their marks. He views these men as role models for people who have yet to live their lives; Longfellow encourages his readers to leave their own "footprints on the sands of time" and become important.The next stanza, the second to last in the poem, continues with this same point. It describes how successful people in the past have their lives copied, while those who failed serve as examples of ways of life to avoid.The final lines of the poem echo the beginning ones and offer perhaps the most important advice in a poem that is full of it. Longfellow encourages all to work and try their hardest to make their lives great and accomplish as much as they can. Longfellow conveys his message the same way he did in the rest of the poem: by speaking directly to the reader and providing his reasoning for believing in something more, in something better. Longfellow ensures his followers that the rewards for whatthey achieve will come eventually-if not in this lifetime, then, certainly, in the next. Page 57"Sonnet—To Science" is a poet's lament over the dangers of scientific development and its negative implications for poetry and creativity. Poe lived and wrote in the early nineteenth century as the European Industrial Revolution was crossing the Atlantic and transforming the technological landscape of the eastern United States, and his poem reflects an artistic backlash to the potential problems of the emerging America.Poe's concerns have been relevant at every stage of scientific progress, from the Renaissance to the current day, as each series of technological changes awakens the eternal fear that man will destroy his own humanity during his excited search for better machinery.In particular, "Sonnet—To Science" hints at the tension between the forward-looking advances of the Industrial Revolution and the nature-oriented tendencies of the Romantic era.Romanticism had appeared as a counterargument to the Enlightenment philosophy of embracing and celebrating progress. Members of this movement sought to return to a purer, more innocent state of nature because they felt that society had corrupted man's innate goodness.Poe was a member of the American Romantic movement, and the poet of Poe's sonnet accordingly explores the inevitable clash between the Romantic outlook on life and the comparative thoughtlessness of industrialism.The poet of Poe's sonnet worries about and rejects scientific dogmatism because he regards it as too unimaginative and stagnating. For him, science is a predator or, like a vulture, a carrion-eater, and it has damagingly crippled his imagination with "dull realities."In his apostrophe to science, he alludes to characters from Greek and Roman mythology, such as the Hamadryad and Naiad nymphs and Diana, the Roman goddess of the hunt, describing their forced banishment as evidence that humanity is too willing to discard its creative soul. To reinforce the value of the past over the value of the thoughtless future, Poe uses a traditional English sonnet form to arrange his thoughts.A sonnet consists of fourteen lines, which in the Shakespearean form can be divided into three heroic quatrains and one heroic couplet, where the overall rhyme scheme is ABAB CDCD EFEF GG. The lines are heroic because they use iambic pentameter, or a series of five iambs, where each iamb is an unstressed followed by a stressed syllable. The sonnet form has existed for centuries, and when combined with the archaic diction, the narrator tries to show the beauty of old forms as a structural contrast to the ugliness of scientific realities.Despite the apparent message of the sonnet, some details of "To Science" could serve to undermine the poet's words. He ironically personifies science in the first line, which may suggest that he unconsciously recognizes some humanity even in what he perceives as the stultifying influence of science. In addition, the use of a rigid sonnet form may also indicate that poetry is itself not as free-formed as the poet characterizes it to be, or alternatively it may suggest that some constraints do not necessarily indicate the strangulation of the imagination.Page 61The speaker sings of a simple separate person, but the alliteration lends more powerful symbolism to the words. The repetition seems to indicate that perhaps what he sings is not so simple at all. While he is one voice, he is speaking for lot of people.When he sings of himself, he uses the ―word En-masse‖ to sho w that he represents the modern democratic man. In the second stanza, Whitman tells us that hespeaks for all colors, classes and creeds. He seems to be telling us to live together like one, accepting all. All organs in the body need others to function properly. No person can live without relying on the complete system.In the last stanza, the poet hammers us with alliteration. Though modern man fights for his freedom and individuality, the greatest freedom he has is his right to live. It celebrates the simple separate person as a physical, moral, intellectual, emotional, and aesthetic being.Page 62The poem's rhythm is created by the varying line lengths. Stanza 1 begins with two happy couplets; Stanza 2 begins with two celebrating couplets, but something isn‘t quite right as demonstrated by the off rhyme 半韵of "bells" and "trills." Stanza 3 reestablishes the rhyming couplet pattern, but the message is as clear as the rhyme: the captain is dead. There is no fixed meter. There is, however, a pattern of four long lines followed by four short lines in each stanza. The shortened lines emphasize the personal grief experienced by the poet against the backdrop of a broader victory.An apostrophe is a form of personification in which an individual addresses someone who is dead, someone who is not there, or an inanimate object. "O Captain! My Captain!" at the start of the first two stanzas are examples of apostrophe, as is "Exult O shores, and ring O bells!" in the third stanza.There are a lot of metaphors. (1) Lincoln is the captain who has "fallen cold and dead," having been assassinated shortly after the Civil War had ended; (2) the "fearful trip" is the Civil War; (3) "the prize we sought" is the preservation of the Union, something which both Whitman and Lincoln felt was the supreme reason for fighting the war. (4) "the ship" is the United States.The repetition of "heart" in line 5 emphasizes the poet's grief at the death of his captain. "Fallen cold and dead" is repeated at the end of each stanza to emphasize thepoet's deep loss. The poet's grief is accentuated by the contrasting celebrations of victory and lamentations of death. The poet recognizes the importance of victory, calling out "Exult O shores, and ring O bells!" (23), but his "mournful tread" prevents him from truly taking part in the festivities. The image of the dead captain, "O heart! heart! heart! O bleeding drops of red" (5-6), haunts the poem and the reader is constantly reminded that he has "fallen cold and dead." The poet refers to the fallen captain as "father," representing his deep respect for president Lincoln and Lincoln's role as father of the Union. Words and phrases such as "grim and daring," "weathered every rack," "fearful trip," "flag is flung," "bugle trills," "ribboned wreaths," and "swaying mass" cast a shadow over the celebration, much in the same way the dead cast a shadow over any victory in war celebration.Page 64This little poem expresses Dickin son‘s continuing love affair with the spiritual level of being. She begins by claiming that to make a physically large item, ―a prairie,‖ all one needs is two small physical items, ―a clover and one bee.‖ Then she qualifies that by saying, ―One clover, and a bee / And revery‖; then she qualifies that claim further, by saying if you don‘t have one of those physical components, ―bees,‖ (and by implication, the clover as well), then you can still make the prairie by revery alone. ―Revery‖ means dream, thought,extended concentration on any subject, or even day-dreaming wherein the mind is allowed to roam free over the landscape of unlimited expansion, but to the speaker in this poem, ―revery‖ is more like meditation which results in a true vision. The speaker‘s power of revery demonstrates an advanced achievement, far beyond ordinary day-dreaming or cogitation. Ultimately, this speaker is claiming that without any physical objects at all, the mind of one advanced in the art of revery can produce any object that mind desires. Other Dickinson poems that focus on a similar themes are ―The Brain is wider than thesky,‖ ―One need not be a Chamber—to be Haunted,‖ ―The Soul that hath a Guest,‖ and many others.Page 65Emily Dickinson's "Success Is Counted Sweetest" is a three-stanza lyric poem written in 1859. Author Helen Hunt Jackson, with whom Dickinson corresponded, published the poem in 1878 in a collection, A Masque of Poets. The poem uses third-person narration in which the speaker (narrator) observes a battle and concludes that only the defeated warrior, hearing the enemy's noisy victory celebration, completely understands success. The tone is unemotional and impersonal; the speaker is reporting and interpreting what she sees but refrains from expressing sympathy or compassion. Only failures fully understand the meaning of success. Appreciating a boon requires privation. In common usage, a nectar is any delectable drink or, figuratively, any uplifting experience.Except for line 5, the lines in the poem are in iambic trimiter, often with an extra (catalectic以不完整音步结尾,最后的音步缺少音节的) syllable, as in lines 1 and 3........1................ ..2.................. .3.......... .extra syllableSuc CESS..|. .is COUNT..|.. ed SWEET..|. .est...... .1................ . .2................. ..3...........By THOSE..|.. who NE'ER..| ..suc CEED.......1.............. ..2............... 3........ extra syllableTo COM..| ..pre HEND..|. .a NEC..|. .tar.....1.......... ....2.............. .3...........Re QUI..|. .res.SOR.|. .est NEED......"requires" is pronounced as three syllables.•Line 5 is in iambic tetrameter, as indicated here:•......1........... ...2............. .3............ ..4Not ONE..| ..of ALL..|.. the PUR..| ..ple Host The rhyme scheme is abcb—that is, in each stanza the last syllable of the second line rhymes with the last syllable of the fourth line.\Paradox is the controlling figure of speech in the poem. It expresses the main theme: The person best qualified to evaluate the impact of success is the vanquished rather than the victor. Implicit in this paradoxical observation is that it can apply to anyone: the failed author, the defeated boxer, the election loser, the rejected job applicant, the bankrupt businessman.This poem introduces military imagery: purple Host(army), took the Flag (captured the flag, signifying victory), purple: (1) Bloodstained; (2) purple attire, emblematic of high rank. The third stanza completes the second, saying that a defeated soldier, dying, fully comprehends the meaning of victory when he hears the enemy celebrating.Page 66The speaker exclaims that she is ―Nobody,‖ and asks, ―Who are you? / Are you—Nobody—too?‖ If so, she says, then they are a pair of nobodies, and she admonishes her addressee not to tell, for ―they‘d banish us—you know!‖ She says that it would be ―dreary‖ to be ―Somebody‖—it would be ―public‖ and require that, ―like a Frog,‖ one tell one‘s name ―the livelong June—To an admir ing Bog!‖ The two stanzas of ―I‘m Nobody!‖ are highly typical for Dickinson, constituted of loose iambic trimeter occasionally including a fourth stress (―To tell your name—the livelong June—―).They follow an ABCB rhyme scheme (though in the first stanza, ―you‖ and ―too‖ rhyme, and ―know‖ is only a half-rhyme, so the scheme could appear to be AABC), and she frequently uses rhythmic dashes to interrupt the flow. Ironically, one of the most famous details of Dickinson lore today is that she was utterly un-famousduring her lifetime—she lived a relatively reclusive life in Amherst, Massachusetts, and though she wrote nearly 1,800 poems, she published fewer than ten of them. This poem is her most famous and most playful defense of the kind of spiritual privacy she favored, implying that to be a Nobody is a luxury incomprehensible to the dreary Somebodies—for they are too busy keeping their names in circulation, croaking like frogs in a swamp in the summertime.This poem is an outstanding early example of Dicki nson‘s often jaunty approach to meter (she uses her trademark dashes quite forcefully to interrupt lines and interfere with the flow of her poem, as in ―How dreary—to be—Somebody!‖). Further, the poem vividly illustrates her surprising way with language. The juxtaposition in the line ―How public—like a Frog—‖ shocks the first-time reader, combining elements not typically considered together, and, thus, more powerfully conveying its meaning. (frogs are ―public‖ like public figures—or Somebodies—because they are constantly ―telling their name‖—croaking—to the swamp, reminding all the other frogs of their identities).Page 188The apparition of these faces in the crowdPound was once in a Paris subway station and was struck by the sight of the faces of a few beautiful women and children in a crowd hurrying out of the dim, damp and somber station. So impressed was he by the spectacle that he resolved to bring it out into poetic language. It is written in a Japanese haiku style and contains not a single verb. The words in this poem is distributed with eight in the first line and six in the second, mirroring the octet-sestet 八行诗-六行诗form of the Italian sonnet. It is an embodiment of the imagist movement, a poetic movement of England and the United States that flourished from 1909 to 1917. Its credo included the use of the language of common speech, percision, the creation of new rhythms, absolute。

metaphysicalpoetry

metaphysicalpoetry

metaphysicalpoetrymetaphysical poetryIntroduction:The term "metaphysical poetry" is commonly used to name the work of the17th-century writers who wrote under the influence of John Donne(1572-1631).With a rebellious spirit,the metaphysical poets tried to break away from the conventional fashion of the Elizabethan love poetry.The diction is simple as compared with that of the Elizabethan or the Neoclassic periods,and echoes the words and cadences of common speech.The imagery is drawn from the actual life. Metaphysical poetry is full of knowledge and, compared with traditional poetry, it is an innovation in many aspects. It is not fettered by traditional forms and meters; its spoken language contributes to the histrionic feature and striking images create an original harmony; secularity and divinity combine in the theme of love.The form is frequently that of an argument with the poet's beloved,with God,or with himeself.Donne and his followers,due to the change of the taste,were rarely read during the 18th and early 19th centuries.However,the late 19th and early 20th centuries witnessed a renewed interest in Donne and other metaphysical poets.This new recognition has arisen from a realization of the seriousness of their art,an interest in their spirit of revolt,their realism,and other affinities with modern interests,as well as from the fact that they produced some fine poetry .T.S.Eliot ,John Ransom, and Allen Tate are examples of modern poets who have been mostly affected by the metaphysical influence.John Donne is the leading figure of the "metaphysical school.His poems give a more inherently theatrical impression by exhibiting a seemingly unfocuseddiversity of experiences and attitudes,and a free range of feelings and moods.The mode is dynamic rather than static,with ingenuity of speech,vividness of imagery and vitality of thythms,which show a notable contrast to the other Elizabethan lyric poems which are pure,serene,tuneful,and smooth-running.The most striking features of Donne's poetry is precisely its tang of reality,in the sense that it seems to reflect life in a real rather than a poeticalworld.Herbert,Vaughan,Crashaw,Marvell and Cowley are also considered to be metaphysical poets.·John Donne约翰·邓恩/多恩the leading figure of the metaphysical school·Song: Go and catch a falling starThis poem chiefly concernsthe lack of constancy in women.The tone taken is one ofgentle cynicism, and mocking.Donne asks the reader to do the impossible, which he compares with finding a constant woman, thus insinuating that such a woman does not exist.There are mainly two kinds of love poems in Donne’s poetry. One is to deny love between men and women; the other is to affirm love. This poem belongs to the first type.·Prejudice against Females我得知有等妇人,比死还苦;她的心是罗网,手是锁链,凡蒙神喜悦的人,必能躲避她;有罪的人,却被她缠住了。

  1. 1、下载文档前请自行甄别文档内容的完整性,平台不提供额外的编辑、内容补充、找答案等附加服务。
  2. 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
  3. 3、如文档侵犯您的权益,请联系客服反馈,我们会尽快为您处理(人工客服工作时间:9:00-18:30)。

A Comparison between Mourning Poetry in Chinese and That inEnglishⅠ.IntroductionMourning poetry is a very special genre, it is a branch of love poetry. From ancient times, mankind has mourned the death of their loved ones. The mourning is very necessary for the mental health of the living and it is also a way of paying respect to the dead. Mourning poetry can distinguish language feature and aesthetic feeling between Chinese and Western culture. Although Chinese and Western mourning poetry have many similar ways of expression, however, each has its own characteristics.Ⅱ.The similarities of the Chinese mourning poetry and Western mourning poetryChinese and Western mourning poetry have many similarities.Let me take some examples.Form these similarities,we can feel poets' sadness and their deeply love for their wife.2.1 Poets describe the sweetness of love or the pain of losing their belovedLook at Sushi’s JiangChengzi and John Milton’s On His Deceased Wife.Both of their poems could touch the depth of the people’s heart for thousands of years. Reading the two poems carefully, it is easy to find that the contrast of dream and reality is the similarity of them. They express their missing emotion to their dead wife.On His Deceased WifeJohn MiltonMe thought I saw my late espoused SaintBrought to me like Alcestis from the grave,Whom Joves great Son to her glad Husband gave,Rescued from death by force though pale and faint,Mine, as whom washed from spot of child-bed taint,Purification in the old Law did save,And such,as yet once more I trust to haveFull sight of her in Heaven without restraint,Came vested all in white,pure as her mind:Her face was vested,yet to my fancied sight,Love,sweetness,goodness,in her person shinedSo clear,as in no face with more delight.But O as to embrace me she inclinedI waked, she fled, and day brought back my night.2.2 Poets to creat the same imagePoets both reproduced their wife’s beautiful images to express their thoughts of love. The image was filled with the feeling of sadness and desolation. We could feel poets’ miss and deep love for their deceased wife.2.3 To express the cruel life by writing mourning poemWhen Milton married the second time , he already blind and nearly fifty years old, his second wife Catherine died from childbirth .And his political life has been a frustrating lesson ,he faced with the threat of being arrested. It is in this cruel moment that he wrote his first sonnet. He could see her only in his dream. ( liu,2010) For Sushi, Wangfu is not only his wife, but also his genuinely close friend.He treats her as his spiritual dependence. Unfortunately, their happy marriage lasts only ten years, Wangfu died of an illness at 27. (Chen,2007)When Sushi was just been in office in Mizhou that coming with draught, locust plagues ,abandoned and theft, he was extremely anxious. He thought of his dead wife at that time, however, nobody can share his sorrow now. (Chen,2007)Ⅲ.The differences of the Chinese mourning poetry and western mourning poetryAlthough Chinese and Western mourning poetry have many similarities,but there still have mang differences..3.1 The way to expression is differentIn Chinese poetry ,the way of expression is Euphemistic. They show their love indirectly and implicitly. In Western poetry , the way of expression is straight.The western poetry tends to use impassioned and enthusiastic words to show their love and they dare to directly express their heartfelt love.3.2 The choice of imageThe images of Chinese poems pay much attention to the combination of the scene and feelings. Poets often choose deep images to express their sorrow feelings of the dead people. China's mournful poems pay attention to scenarios in the choice of one image, and often select some deep and dark images to express the sadness of poets. The performance of Elegiac Poems of China presents the deep sorrow for the death and lingering sadness, and emphasises on expressing feelings and will of sustenance. (Huang ,2004)While in Western mourning elegy poems, the poets tend to choose more fanciful and imaginative images rather than the things on the scene. Their choices are free, various and often full of imagination. (Huang,2004)3.3 Emotional tendenciesChina's mournful poems also express a heartstricken feeling .While the Western mourning elegy poems tend to tell us sadness also filled with hope.On His Deceased Wife , the poet was very sad, but at the same time the poetry revealed a comfortable, a quiet, and a glimmer of hope. In the poet’s dream, Milton saw his beautiful and gentle wife in the heaven and her short life has risen to eternality. He saw the sin of his wife has been washed and her holy spirit exposed a kind of nobility.While in Jiangchengzi,all poem was full of a desolate atmosphere.“We only have tears,a broken heart and the endless grief,”3.4 The attitude towards deathThe face of death, Chinese people tend to keep, regardless of the strategy, focusing on the earthly life. Chinese people tend to avoid talking about death, Confucius, "I do not know life, how can we know death" is taken to avoid death onhold attitude. He told people, people should put all their attention on the moment of earthly life, do not get distracted to consider the issue of death and the after life.Modern Western philosopher's view of death which had a tremendous impact on Modern and contemporary Chinese literature has the opposite view. In their eyes, a person understands the value of individual existence by knowing the death, and they seek to develop and improve themselves actively. The purpose of death is beyond the understanding of death. This is the way of expressing the value of life .IV .The reasons for their differencesThere are four differences between Chinese and Western mourning poetry ,let me analysis the reasons for their differences.4.1 Differences on religious emotionChinese traditional love poetry is influenced by Chinese religion. Because Chinese people don’t believe in the existence of the next world, Chinese traditional love poems emphasize the love of this life. Therefore love is realistic and sentimental. On the other hand, the lover is depicted as a common person, even though she or he is flawless.But western love poetry is different. As we all know, the influence of God does not disappear in the western culture since the Bible was born. So the idea of the existence of paradise largely influences the tendency of the creation of love poetry. Therefore, the existence of heaven endows them with the hope of reunion. At the same time, his lover is imagined to be an angel. When love is continued in the heaven, it is beyond secular life and becomes mystical. Meanwhile, Platonic love is generalized and easily seen in the western poetry.4.2 Different women status reflected in love poetryWomens' social status from the two cultures is different . In the West , women are independent and individuals , they are equal to men in some way .And they are respected by the society . While in China , under the feudal social system ,women have to be obedient to their fathers when they are girls , to their husbands when theyare wives ,to their sons when they are widows .So they are not equal to men ,their social position is very low.4.3 Different attitudesChina has the feudal history for thousands years, which formed the culture of esteeming the males while underestimating the females. In Chinese feudal society, the most important thing is etiquette. The law of etiquette further rationalized this thought. As a result, most ancient Chinese poets regarded writing about love as a shame. In traditional Chinese scholars’eyes, love between male and female is just like fuel、rice, oil and salt. It’s really trifling and disgraceful to be talked about in public.While love composed the whole life of the Westerners, love is everything to them. English poets consider highly of love and have the slogan of love surpasses everything else. Western country assumes love free policy, and the young people had few pressures from outside. So they could directly present their thoughts, and need not hide , which incited their bold pursuit for love4.4 Different Love ViewpointsChinese attach more importance to marriage rather than love. In old China, the youth’s marriages were decided by their parents and their love mostly began with the marriage .So many of them are difficult to have the true love. It is considered a shame for men to stay together with his wife all day long. So for them it is marriage that comes first. A couple couldn't meet and talk until the day they get married .Whereas Westerners emphasize love , what they advocate is "Love comes first". They think that love is all and love is the most beautiful thing in the world with the combination of the purest soul. It is symbolic of beauty and deserves us to devout our whole life to pursue.V. ConclusionBecause of the difference in culture、geographical position、historical tradition and economic structure between east and west, Chinese mourn poetry and English love poetry each has their own shining points .We cannot say which is better becauseone is beautiful in form and the other is intense in expression. They both made a great contribution to the diversity of world literature .Please cherish every one in our lives,do not regret until we lost them. (1,662 words)References:[1]Milton,John. On His Deceased Wife. Retrieved on 4 June 2008 from:[2]陈慧君,苏轼的婚姻与爱情——兼议其对女性的态度(济南师范专科学校学报),2007年2月(第28卷第1期)[3]黄柏青. 中西方悼亡诗之差异及文化根源[ J] . 嘉应学院学报( 哲学社会科学) ,2004(1)[4]刘薇.千呼万唤总关情----几组中西悼亡诗的比较.内蒙古农业大学学报( 社会科学版),2010 年第4 期( 第12 卷--总第52 期)。

相关文档
最新文档