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1、ABC of English PoetryABC of English PoetryABC of English Poetryjohn fangSchool of Foreign Languages,Jiaxing College, PRCClassificationsofPoetryelegyLyricpoetryodesonnetPoetryballadfolkNarrativepoetryepicartBlankverseFreeverse(poetryinaformthatdoesnotfollowanyregularpattern)ABC of English PoetryDefin
2、ition:“Poetryisthespontaneousoverflowofstrongfeelings:ittakesitsoriginfromemotionrecollectedintranquility.”(WilliamWordsworth)Terms of Poetry(诗歌术语）诗歌术语）metrics (诗的格律诗的格律) 、 rhyme(诗的押韵诗的押韵)、 variety、forms (诗的体式诗的体式) etc.诗以高度凝结的语言表达着人们的feelings，用其特有的节奏与方式影响着人们的精神世界。诗讲究联想，运用象征、比喻、拟人等各种修辞手法，形成了独特的语言艺术。1
3、.Metrics(诗的格律)“Metrics(格律)是指可以用脚打拍子的节奏”，是每个音步轻重音节排列的格式，也是朗读时轻重音的依据。而音步是由重读音节和非重读音节构成的诗的分析单位。重读音节为扬（重），在音节上用 “”标示，非重读音节为抑（轻），在音节上用“o”标示，音步之间可用“”隔开。以下是五种常见格式。FootFoot:thebasicunitusedinthescansionormeasurement of verse. A foot usuallycontains one accented syllable and one ortwounaccentedsyllables,butt
4、hemonosyllabicfoot,thesponaicfoot(spondee) and the dipodic foot are allmodificationsofthisprinciple.（音步）ClassificationsofFootMonometer一音步DimeterTrimetertetrameterPentameter:lineoffivefeetHetameterHeptameterOctameterNotes:seeasfollows.meter:(Gkmeasure)referstothepatternofstressedandunstressedsyllable
5、sinverse.InEnglishverse,meterisbasedonstressratherthanquantity. Alinemayhaveafixednumberofsyllablesandyethaveavaryingnumberofstresses.Metermeter:(Gkmeasure)referstothepattern of stressed and unstressedsyllablesinverse.InEnglishverse,meterisbasedonstressratherthanquantity. Alinemayhaveafixednumberofs
6、yllablesandyethaveavaryingnumberofstresses.ClassificationsofmeterTrochaic Iambic Dactylic Anapaestic Amphibrach 1.1iambus1.1 iambus（抑扬格、轻重格）：是最常见的一种格式，每个音步由一个非重读音节加一个重读音节构成。 O / O / O / O /O / O / O / O / Asfair/artthou/mybon/nielass,Sodeep/inluve/amI:AndI/willluve/theestill,/mydear,Tilla/theseas/ga
7、ngdry:RobertBurns(1759-1796):MyLuveIslikeaRed,RedRose注:art=areluve=lovebonnie=beautifula=allgang=go上例中为四音步与三音步交叉，可标示为： O / O / O / ( O /O / O / O / ( O / )1.2Trochee1.2 Trochee（扬抑格、重轻格）：每个音步由一个重读音节加一个非重读音节构成。下例中为四音步扬抑格（少一个轻音节），可标示为： / O / O / O / O Tyger!/Tyger!/burning/brightInthe/forests/ofthe/nig
8、htWilliamBlake:TheTyger 1.3Anapaestic1.3Anapaestic（抑抑扬格、轻轻重格）:每个音步由两个非重读音节加一个重读音节构成。如：三音步抑抑扬格 O O / O O /Likeachild/fromthewomb,Likeaghost/fromthetomb,Iarise/andunbuild/itagain.1.4Dactylic1.4Dactylic（扬抑抑格、重轻轻格）:每个音步由一个重读音节加两个非重读音节构成。如：两音步扬抑抑格 / O O / O O Touchhernot/scornfully,Thinkofher/mournfully.
9、-ThomasHood 1.5Amphibrach1.5Amphibrach（抑扬抑格、轻重轻格）：每个音步由一个非重读音节加一个重读音节再加一个非重读音节构成。如：三音步抑扬抑格。下例中最后一个音步为抑扬格。O / O O / O O / O O / Ohushthee/mybabie/thysirewas/aknight.Notes:Sire:(oldEnglish)King2. Rhyme (诗的押韵)Rhymeisapatternofwordsthatcontainsimilarsounds. Thereare3mainrhymes,endrhyme,alliteration(head
10、rhyme)andinternalrhyme.cf.rhythm押韵是指通过重复元音或辅音以达到一定音韵效果的诗歌写作手法。2.1End Rhyme(尾韵) 尾韵是最常见，最重要的押韵方式。 Endrhymeoccursattheendofeachverse.2.1.1 AABB型（联韵）型（联韵）2.1.1aabb型(联韵,eg.theherocouplet)Ishotanarrowintotheair,Itfelltoearth,Iknewnotwhere;For,soswiftlyitflew,thesightCouldnotfollowitinitsflight.-HenryWadsw
11、orthLongfellow:TheArrowandtheSong2.1.2 ABAB型（交叉韵）型（交叉韵）2.1.2abab型(交叉韵),常见于(Ballad)民谣和哀歌(elegy,dirge)中。Sunset and evening star, a And one clear call for me! b And may there be no moaning of the bar, a When I put out to sea, b-AlfredTennyson(1809-1892):Crossing the BarBallad:TheBabesintheWoodSoresickh
12、ewas,andliketodie,ANohelphislifecouldsave;BHiswifebyhimassickdidlie,AAndbothpossestonegrave.BNolovebetweenthesetwowaslost,Eachwastootherkind,Inlovetheylivd,inlovetheydied,Andlefttwobabesbehind.qAFrenchballadverseformconsistingmostoftenofthreeeight-linestanzashavingthesamerhymepattern.2.1.3 AAAA (同韵同
13、韵)2.1.3aaaa(同韵):押韵为一韵到底，大多是在同一节诗中共用一个韵脚。(q.v.)TheRubaiyat如下例就共用i:p为韵脚。Thewoodsarelovely,darkanddeep,ButIhavepromisestokeep,AndmilestogobeforeIsleep,AndmilestogobeforeIsleep.RobertFrost(1874-1963):Stopping by Woods on a Snowy EveningTheEagleAlfredTennysonHeclaspsthecragwithcrookedhands;Closetothesuni
14、nlonelylands,Ringedwiththeazureworld,hestands.Thewrinkledseabeneathhimcrawls;Hewatchesfromhismountainwalls,Andlikeathunderbolthefalls.c.1851Notes:crag:cliff;azure:deepblue2.2Alliteration(头韵)2.2Alliteration(头韵)：是指一行（节）诗中几个词开头的辅音相同，形成押韵。首见于古诗Beowulf 中.Thefairbreezeblew,thewhitefoamflew,Thefurrowfollow
15、edfree,WewerethefirstthateverburstIntothatsilentsea.T.S.Coleridge:RimeoftheAncientMariner2.3 Internal rhyme(中间韵内韵）2.3Internal rhyme(中间韵内韵，即同元音）：指词与词之间訽因的重复形成的内部押韵，呈现出一派欢乐祥和的气氛。Spring,thesweetspring,istheyearspleasantking;Thenbloomseachthing,thenmaidsdanceinaring,Colddothnotsting,theprettybirdsdosing
16、:Cuckoo,jug-jug,pu-we,to-witta-woo!ThomasNash(1567-1601):Spring, the sweet spring2.4OtherkindsofclassificationOtherkindsofclassification:eyerhyme,MasculineRhyme,femininerhyme,triplerhyme2.4.1EyeRhymeDefinition:Somethingthatlookslikearhymebutisnt.眼韵Examples:cough(kof),enough(enuf),bough(bow)2.4.2Masc
17、ulineRhymeDefinition:Akindofrhymewheretwo(ormore)wordswithdifferingconsonantsoundsendinidenticalstressedsyllables.Examples:support,retort,exhort2.4.3FeminineRhymeDefinition:Arhymeinwhichthedifferingsoundsintwo(ormore)wordsarefollowedbystressedrhymingsyllablesandthenbyunstressedrhymingsyllables.Avari
18、antoffemininerhymeistriplerhyme.AlsoKnownAs:doublerhymeExamples:revival,arrival,survival2.4.4TripleRhymeDefinition:Avariantoffemininerhyme,wheretwo(ormore)wordshavedifferentconsonantsoundsfollowedbyidenticalstressedvowelsoundsandthentwoidenticalunstressedsyllables.“differentconsonantsounds+identical
19、stressedvowelsounds+twoidenticalunstressedsyllables”Examples:greenery,machinery,scenery3.Variety(诗的体式)有的诗分成几节（stanza），每节由若干诗行组成（每行诗均以大写字母开头）；有的诗则不分节。目前我们常见的诗体有：sonnet, limerick, blank verse, freeverse.3.1Sonnet1Sonnet(十四行诗、商籁体)，源于中世纪民间抒情短诗，十三、十四世纪流行 于 意 大 利 ， 意 大 利 彼 特 繽 克（Petrarch）为代表人物，每行十一个音节，全诗一
20、节八行，加一节六行，韵脚用abbaabbacdcdcd(cdecde)。前八行提问，后六行回答。continued之后，ThomasWyatt（怀亚特,1503-1542）将十四行诗引人英国，五音步抑扬格，全诗三个四行一个二行,前三节提问，后二句结论。EdmundSpenser（斯宾塞,1552-1599）用韵脚ababbcbccdcdee。莎士比亚（WilliamShakespeare,1564-1616）用韵脚ababcdcdefefgg，最后两行通常是一个警句（epigram）。十四行诗以莎士比亚所作的最为出名，故称英国体或莎士比亚体。Sonnet 18WilliamShakespear
21、eShallIcomparetheetoasummersday?Thouartmorelovelyandmoretemperate:RoughwindsdoshakethedarlingbudsofMay,Andsummersleasehathalltooshortadate:Sometimetoohottheeyeofheavenshines,Andoftenishisgoldcomplexiondimmed;Andeveryfairfromfairsometimesdeclines,Bychance,ornatureschangingcourse,untrimmed;Butthyetern
22、alsummershallnotfade,Norlosepossessionofthatfairthouowest,Norshalldeathbragthouwanderstinhisshade,Whenineternallinestotimethougrowest;Solongasmencanbreathe,oreyescansee,Solonglivesthis,andthisgiveslifetothee.3.2Limericks（打油诗）Limericks（打油诗）：afive-linepoemwrittenwithonecoupletandonetriplet.Ifacoupleti
23、satwo-linerhymed poem, then a triplet would be a three-linerhymedpoem.Therhymepatternisaabbawithlines1,2and5containing3beatsandrhyming,andlines3and4havingtwobeatsandrhyming.SomepeoplesaythatthelimerickwasinventedbysoldiersreturningfromFrancetotheIrishtownofLimerickinthe1700s.Example1)Afleaandaflyina
24、flueWerecaught,sowhatcouldtheydo?Saidthefly,Letusflee.“Letusfly,”saidtheflea.Sotheyflewthroughaflawintheflue.2)TherewasayoungladyofNiggerWhosmiledassherodeonatiger;TheyreturnedfromtherideWiththeladyinside,Andthesmileonthefaceofthetiger.3.3BlankVerse3BlankVerse（无韵体）：五音步抑扬格，不押韵诗体。eg.JohnMiltonspoemsAc
25、rossthewaterybale,andshoutagain,Responsivetohiscall,-withquiveringpeals,Andlonghalloos,andscreams,andechoesloud.Redoubledandredoubled:concoursewildOfjocunddin!WilliamWordsworth:ThereWasaBoyBreak, Break, BreakAlfredTennysonBreak,break,break,Onthycoldgraystones,Osea!AndIwouldthatmytonguecouldutterThet
26、houghtsthatariseinme.Owellforfishermansboy,Thatheshoutswithhissisteratplay!Owellforthesailorlad,Thathesingsinhisboatonthebay!AndthestatelyshipsgoonTotheirhavenunderthehill;ButOforthetouchofavanishedhand,Andthesoundofavoicethatisstill!Break,break,break,Atthefootofthycrags,Osea!Butthetendergraceofaday
27、thatisdeadWillnevercomebacktome.18341842Notes:haven:restingplace;crag:cliff3.4Free Verse（自由诗）Free Verse（自由诗）:现代诗中常见的体式，长短不同的诗行存在于同一首诗中，不讲究押韵与格律，只注重诗歌所表达的意象和传递的情感。美国诗人WaltWhitman和Longfellow的诗歌。 APsalmofLifeHenryW.LongfellowTellmenotinmournfulnumbers,Lifeisbutanemptydream!Forthesoulisdeadthatslumbers,
28、Andthingsarenotwhattheyseem.Lifeisreal!Lifeisearnest!Andthegraveisnotitsgoal;Dustthouare,todustthoureturnest,Wasnotspokenofthesoul.Notenjoyment,andnotsorrow,Isourdestinedendorway;Buttoact,thateachtomorrowFindusfartherthantoday.Artislong,andTimeisfleeting,Andourhearts,thoughstoutandbrave,Still,likemu
29、ffleddrums,arebeatingFuneralmarchestothegrave.Intheworldsbroadfieldofbattle,InthebivouacofLife,Benotlikedumb,drivencattle!Beaherointhestrife!TrustnoFuture,howeerpleasant!LetthedeadPastburyitsdead!Act,actinthelivingPresent!Heartwithin,andGodoerhead!LivesofgreatmenallremindusWecanmakeourlivessublime,A
30、nd,departing,leavebehindusFootprintsonthesandoftime;Footprints,thatperhapsanother,Sailingoerlifessolenmmain,Aforlornandshipwreckedbrother,Seeing,shalltakeheartagain.Letusthenbeupanddoing,Withaheartforanyfate;Stillachieving,stillpursuing,Learntolaborandtowait.It is not meters, but a meter-making argu
31、ment, that makes a poem.Ralph W. EmersonAppreciation of Selected Poems The DaffodilsWilliamWordsworthIwanderedlonelyasacloudThatfloatsonhighoervalesandhills,WhenallatonceIsawacrowd,Ahostofgoldendaffodils;Besidethelake,beneaththetrees,Flutteringanddancinginthebreeze.ContinuousasthestarsthatshineAndtw
32、inkleontheMilkyWay,Theystretchedinnever-endinglineAlongthemarginofabay:TenthousandsawIataglance,Tossingtheirheadsinsprightlydance.Thewavesbesidethemdanced;buttheyOutdidthesparklingwavesinglee:Apoetcouldnotbutbegay,Insuchajocundcompany:Igazed-andgazed-butlittlethoughtWhatwealththeshowtomehadbrought:F
33、oroft,whenonmycouchIlieInvacantorinpensivemood,TheyflashuponthatinwardeyeWhichistheblissofsolitude;Andthenmyheartwithpleasurefills,Anddanceswiththedaffodils.qNotes:acrowd,ahostof:manysprightly:happyglee:joyjocund:happybliss:completehappinesspensive:sadlythoughtfulWilliamWordsworth（华兹华斯，1770-1850），受教
34、于剑桥大学，于1843年被封为桂冠诗人（PoetLaureate）.十九世纪初英格兰北部湖区三大“湖畔派诗人”（Coleridge,Southey浪漫主义）之一。此诗描绘了一幅美好的自然景象，同时抒发作者对自然美景的喜悦之情。全诗语言精炼但通俗易懂,为iambictetrameter，分四节（stanza），每节6行，每节押韵均为ababcc。第1节写诗人孤寂时外出散步，偶遇水仙；第2节写水仙争相开放，千姿百态，生机盎然；第3节，诗人看到这景象欣喜万分；第4节写诗人设想在日后忧郁时，回想当时情景，又让他心中充满了欢乐，心就随着水仙翩翩起舞，与莎士比亚的“Partingissuchsweetso
35、rrow.”有异曲同工之妙。Song of MyselfWalt WhitmanIcelebratemyself,andsingmyself,AndwhatIassumeyoushallassume,Foreveryatombelongingtomeasgoodbelongstoyou.Iloafeandinvitemysoul,Ilearnandloafeatmyeaseobservingaspearofsummergrass.Mytongue,everyatomofmyblood,formdfromthissoil,thisair,Bornhereofparentsbornherefrom
36、parentsthesame,andtheirparentsthesame,I,nowthirtysevenyearsoldinperfecthealthbegin,Hopingtoceasenottilldeath.Creedsandschoolsinabeyance,Retiringbackawhilesufficedatwhattheyare,butneverforgotten.Iharborforgoodorbad,Ipermittospeakateveryhazard.Naturewithoutcheckwithoriginalenergy.Notes:aspearof:apiece
37、ofschool:学说，流派hazard:chanceabeyance:theconditionofnotbeinginuseforacertaintimeWaltWhitman（惠特曼,1819-1892），美国诗人。此自由诗选自其诗集草叶集。本文是SongofMyself诗的第一部分，语言与当时的美国口语接近。诗中作者采用第一人称的叙述手法。I指作者，you指读者，这种写法使读者身临其境，进入作者描写的世界。作者在文中表明人的价值是平等的，同时他把自己融入到自然带给他的启发思考中。诗歌的欣赏关键要抓住诗中的意象，了解其语义，以便把握诗的大意。读者在阅读过程中才能感受到诗歌带来的美，获取精神
38、上的共鸣。The Passionate Shepherd to His LovebyChristopherMarlowe(1363-1593)FromFrancisT.Palgrave,ed.(18241897).TheGoldenTreasury.1875.COMElivewithmeandbemyLove,AndwewillallthepleasuresproveThathillsandvalleys,daleandfield,valleyAndallthecraggymountainsyield.TobecontinuedTherewillwesitupontherocks5Andsee
39、theshepherdsfeedtheirflocks,Byshallowrivers,towhosefallsMelodiousbirdssingmadrigals.lovesongsTherewillImaketheebedsofrosesAndathousandfragrantposies,束10Acapofflowers,andakirtlegarmentEmbroiderdallwithleavesofmyrtle.桃金娘科植物continuedAgownmadeofthefinestwoolgarmentWhichfromourprettylambswepull,Fairlinds
40、lippersforthecold,15Withbucklesofthepurestgold.(带子上)搭扣AbeltofstrawandivybudsWithcoralclaspsandamberstuds:琥珀色Andifthesepleasuresmaytheemove,ComelivewithmeandbemyLove.20continuedThysilverdishesforthymeatAspreciousasthegodsdoeat,ShallonanivorytablebePreparedeachdayfortheeandme.Theshepherdswainsshalldan
41、ceandsingpursuer25ForthydelighteachMay-morning:Ifthesedelightsthymindmaymove,ThenlivewithmeandbemyLove.Spring, the Sweet Spring Thomas Nashe (1567-1601 / England)Spring,thesweetspring,istheyearspleasantking,Thenbloomseachthing,thenmaidsdanceinaring,Colddothnotsting,theprettybirdsdosing:Cuckoo,jug-ju
42、g,pu-we,to-witta-woo!Thefieldsbreathesweet,thedaisieskissourfeet,Youngloversmeet,oldwivesa-sunningsit,Ineverystreetthesetunesourearsdogreet:Cuckoo,jug-jug,pu-we,towitta-woo!译文一（郭沫若译）郊原荡漾香风，雏菊吻人脚踵，情侣作对成双，老妪（音玉）坐晒阳光，走向任何通衢，都有歌声悦耳，啁啁(音昭)、啾啾（音纠）、哥哥、割麦，插一禾！译文三（曾冲明译）田野草木飘香，雏菊吻我双脚；青年情侣幽会，老妇坐晒阳光。无论大街小巷，都有鸟声
43、悦耳：“布谷！布谷谷！啾啾！求求哥！”此诗比较难译而又值得探讨的是几个模仿鸟叫的象声词。按词典，Cuckoo是“布谷鸟叫声”,jug-jug是“夜莺的叫声”,词典未见象声词pu或pu-we，,词典也未见象声词towitta-woo!，当然并不排斥诗人可以自造象声词。但诗人用了现成的词汇we（我们）和woo（求爱，求婚），看来不是无意的吧？！因此我把Cuckoo,jug-jug,pu-we,to-witta-woo!译成六个一语双关的象声词：“布谷！呱呱！谷谷！啾啾！求求！哥哥！”。为了诗句整齐，修改为“布谷！布呱谷！啾啾！求求哥！”，后来修改成“布谷！快布谷！啾啾！求求哥！”最后修改成“布谷！
44、布谷谷！啾啾！求求哥！”这样就兼顾了两方面：既保持象声词的特点，又表示了“播种”与“求爱”两层意思。这良苦用心，不知读者以为如何？TheRubaiyat“柔巴依体柔巴依体”“柔巴依/鲁拜体”这个名称源自阿拉伯语，意为“四行诗”，是一种存世已久的古典抒情诗形式。它初现于9、10世纪，并在11世纪中叶达到繁盛。格律独特，适于吟咏。其最基本的特征是：每首四行，独立成篇；押韵方式与中国绝句相似，为AABA或AAAA；每个诗行由五个音韵构成；而诗的内容则往往涉及哲理。参见欧玛尔海亚姆的柔巴依集（TheRubaiyat）。The Rubaiyat8WhetherINNaishapurorBabylon,a
45、WhethertheCupwithsweetorbitterrun,aTheWineofLifekeepsoozingdropbydrop,bTheLeaveofLifekeepsfallingonebyone.aThisisthe8thofTheRubaiyat,EnglishversionpublishedbyEdwardFitzgeraldin1859.BalladBallad,thewordderivesfromthelateLatinandItalianballaretodance.Fundamentallyaballadisasongthattellsastoryandorigin
46、allywasamusicalaccompanimenttoadance.TheRobinhoodandBorderBalladsareRobinHoodandtheMonk,ChevyChase,JohnnieArmstrong,CaptainCaretc.Basiccharacteristics:(a)thebeginningisoftenabrupt;(b)thelanguageissimple,(c)thestoryistoldthroughdialogueandaction,(d)thethemeisoftentragic(thoughthereareanumberofcomicba
47、llads)(e)thereisoftenarefrain.(f)therhymeschemeisusuallyabcb;sometimesabab.(g)the1stand3rdlinesarefourfeet,2ndand4thlines3feet.continuedRiseup,riseup,mysevenbravesons,aAnddressinyourarmoursobright;bEarlDouglaswillhaeLadyMargaretawacBeforethatitbelight.bNotes:ItisfromEarlBrandthebitsofScottishdialect
48、inphrasessuchashaeforhaveandawaforaway.ElegyTheelegy,atypeoflyricpoem,isusuallyaformallamentforsomeonesdeath.Thetermelegyissometimesusedmorewidely.Inantiquityitreferredtoanythingwritteninelegiacmeter,whichconsistedofalternatinglinesofpentameterandhexameter.Thecategorycanincludethethrenody,themonody,
49、thedirge,andthepastoralelegy.Thelastofthese,animportantRenaissanceform,combineselementsoftheversepastoralwiththeelegiacsubject.InMemoriamAlfredTennysonOldyew,whichgraspestatthestones,aThatnametheunder-lyingdead.bThyfibresnetthedreamlesshead,bThyrootsarewraptaboutthebones.aInMemoriamofA.H.HallamNotes
50、:OctosyllabicquatrainELEGY WRITTEN IN A COUNTRY CHURCH-YARD Thomas Gray (1716-71)The curfew tolls the knell of parting day,The lowing herd winds slowly oer the lea,The ploughman homeward plods his weary way,And leaves the world to darkness and to me.Now fades the glimmering landscape on the sight,An
51、d all the air a solemn stillness holds,Save where the beetle wheels his droning flight,And drowsy tinklings lull the distant folds:Notes:curfew:宵禁；tinkle叮当声AftertheApple-pickingMylongtwo-pointedladdersstickingthroughatreeTowardheavenstill,AndtheresabarrelthatIdidntfillBesideit,andtheremaybetwoorthre
52、eApplesIdidntpickuponsomebough.ButIamdonewithapple-pickingnow.Essenceofwintersleepisonthenight,Thescentofapples:Iamdrowsingoff.IcannotrubthestrangenessfrommysightIgotfromlookingthroughapaneofglassIskimmedthismorningfromthedrinkingtroughAndheldagainsttheworldofhoarygrass.Itmelted,andIletitfallandbrea
53、k.ButIwaswellUponmywaytosleepbeforeitfell,AndIcouldtellWhatformmydreamingwasabouttotake.Magnifiedapplesappearanddisappear,Stemendandblossomend,Andeveryfleckofrussetshowingclear.Myinsteparchnotonlykeepstheache,Itkeepsthepressureofaladder-round.Ifeeltheladderswayastheboughsbend.AndIkeephearingfromthec
54、ellarbinTherumblingsoundOfloadonloadofapplescomingin.ForIhavehadtoomuchOfapple-picking:IamovertiredOfthegreatharvestImyselfdesired.Thereweretenthousandthousandfruittotouch,Cherishinhand,liftdown,andnotletfall.ForallThatstrucktheearth,Nomatterifnotbruisedorspikedwithstubble,Wentsurelytothecider-apple
55、heapAsofnoworth.OnecanseewhatwilltroubleThissleepofmine,whateversleepitis.Werehenotgone,ThewoodchuckcouldsaywhetheritslikehisLongsleep,asIdescribeitscomingon,Orjustsomehumansleep.RhythmRhythmisamovementwithuniformrecurrenceofabeatoraccent.Initscrudestformrhythmhasabeatwithlittleornomeaning.Savagesre
56、peatstronglymarkedsyllablestoevokeacharmormagic-spell;childrenusethemingamesandcounting-outrhymes.Inpoetry,rhythm,broadlyspeaking,isarecognizablepulse,orrecurrence,whichgivesadistinctbeattoalineandalsogivesitashape.One,two,Bucklemyshoe.Three,four,Shutthedoor.coupletCouplet:twosuccessivelinesofverse;
57、equalinlengthandwithrhythm.对句QuatrainQuatrain:verseoffourlines.RefrainRefrain:arepeatedword,phrase,lineorgroupoflinesnormallyatsomefixedpositioninapoemwritteninstanzaicform.StanzaStanza:groupofrhymedlinesformingadivisioninsomeformofpoem.Poetry Avant-GardeAvant-GardeModernTrendsinfluence,esp.ImagismsEg. JohnHollander(b.1929) Swan and Shadow (c.1969)JoyceKilmert t t t r r r r r r r r r r e e e e e e e e e ? ? ?eeCummingsl(aleaffalls)onelinessSiestaofaHungarianSnakesszszSZszSZszSZzsSZzszszC.1968EdwinMorgan(b.1920)
