詩歌入門

前言

We are most grateful to the series editor of the'Elements of Literature'series.our colleague and friend Professor Stuart Sim。for his advice and encourage，ment throughout the design and writing of this book.We would also liketo thank lackie Iones and Carol Macdonald at Edinburgh UniversityPress，who have been consistently helpful in the preparation of the project.0ur thanks also go to our students at the University of Sunderland，whocontributed greatly to our sense of what a textbook on the study of poetrymight best contain.The authors are grateful to the copyright holders for permission to quoteextracts from the following poems：john Agard and Serpent’s Tail Ltd for‘Listen Mr oxford Don’，from John Agard。Mangoes and Bullets（1985）；W.W.Norton&Company Ltd for‘i（a）’and‘o sweet spontaneous’，fromE.E.Cummings.Complete Poems 1904-1962 edited by George J.Firmage，by permission of W.W.Norton&Company Ltd-1991 by the Trusteesfor the E.E.Cummings Trust and George James Firmage；Faber and Faberand Harcourt Inc.for‘The Hollow Men’from T. S.Eliot.Collected Poems1909-1962（1962）；Penguin Putnam Inc.，Laurence Pollinger Ltd and theEstate of Frieda Lawrence Ravagli for‘Gloire de Dijon'，from The CompletePoems《D.H.Lawrence（1957）；Tom Leonard and Galloping Dog Pressfor‘Just ti Let Yi No’，from Tom Leonard.Intimate Voices：Selected Work196S一1983（1984）；Carcanet Press Limited for‘The Loch Ness Monster’SSong’，from Edwin Morgan，Collected Poems（1982）；Faber and Faber andHarperCollins for‘You’re’，from Sylvia Hath，Collected Poems（1981）；Craig Raine and Oxford University Press for'A Martian Sends a PostcardHome’，from Craig Raine。A Martian Sends a Postcard Home（1979）；OxfordUniversity Press for‘Naming of Parts’，from Henry Reed，Collected Poems，edited by Jon Stallworthy（1991），reprinted by permission of oxford.

內(nèi)容概要

《詩歌入門》共分6個(gè)章節(jié)，分別論述了英語詩歌的要素、視覺形態(tài)、聲音效果、音韻、比較和聯(lián)想以及用詞，深入淺出地對英語詩歌進(jìn)行了全面、系統(tǒng)的介紹。本書語言簡潔流暢，對英語文學(xué)專業(yè)的學(xué)生以及英語詩歌愛好者有很好的指導(dǎo)作用。

作者簡介

作者：(英國)史特根 (Strachan.J.) (英國)特瑞 (Terry.R.)

書籍目錄

AcknowledgementsIntroduction1  The key words of poetry　1.1  What is poetry.　1.2  The key words of English poetic history2  The shape of poetry　2.1  The aesthetics of print　2.2  Pictograms and concrete poems　2.3  Visible but unreadable　2.4  Layout and punctuation　2.5  The poetic stanza and stanzaic form3  The sound of poetry　3.1  Poetic sound effects: an overview　3.2  Onomatopoeia　3.3  Sound,patterning　3.4  Rhyme　3.5  The 'orthodox' rhyme　3.6  Some 'unorthodox' rhymes　3.7  Some indeterminacies of rhyme　3.8  Rhyme and meaning4  Metre and rhythm　4.1  Complexities in the study of metre　4.2  The key metrical units　4.3  Metrical regularity and variance　4.4  'Missing' and 'extra' syllables　4.5  Feet　4.6  Iambic metre　4.7  Trochaic metre　4.8  Dactylic metre　4.9  Anapaestic metre　4.10  Occasional feet　　4.11  Metrical verse lines　4.12  Free verse5  Comparisonsandassociations　5.1  Literal v. figurative　5.2  Metaphor and simile　5.3  Metonymy and synecdoche　5.4  Tenor, vehicle and ground　5.5  Conceits and extended similes　5.6  Dead and dying metaphors　5.7  Riddle poems6 The words of poetry　6.1  Linguistic diversity　6.2  Poetic diction　6.3  Poetry of the everyday language　6.4  Creating your own language　6.5  Diction and argots　6.6  Poems about language　6.7  The Queen's (and other people's) EnglishA glossary of poetical terms Index

章節(jié)摘錄

3.8 Rhyme and meamngWe hope this chapter will have introduced you to some of the complexitiesof rhyme in poetry.In particular,it should have brought home that rhyme isnot a single phenomenon but an umbrella term for several sorts of soundeffect；moreover,the very detection of a rhyme，or of a larger scheme ofrhymes into which it fits，can depend on an impression or an interpretation.We want to finish，however,by moving away from the mere cataloguing ofdifferent sorts of rhyme and discuss instead how rhyme can aggregate orexpress meaning in a piece of verse.Does rhyme have the flexibilit likesome other sound effects we discussed earlier,to mimic or reinforce thecontent of a piece of writing.To consider this important issue，we proposetaking a section from Richard II Act IV Scene i where Richard is on theverge of resigning his crown to the usurper,Henry Bolingbroke：RICH. To do what service am I sent for hither：YORK. To do that office of thine own good willWhich tired majesty did make thee offer：The resignation of thy state and crownTo Henry Bolingbroke.RICH. C：ive me the crown.Here，cousin，seize the crown.Here，cousin，On this side my hand，and on that side thine.Now is this golden crown like a deep wellThat owes two buckets，filling one another,The emptier ever dancing in the air.The other down.unseen，and fun of water.That bucket down and full of tears am I，Drinking my griefs，whilst you mount up on high.BOL. I thought you had been willing to resign.RICH. My crown I am，but still my griefs are mine.You may my glories and my state depose，But not my griefs；still am I king of those.BOL.Part of your cares you give me with your crown.RICH. Your cares set up do not pluck my cares down.My care is lOSS of care.by old care done.

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