理解詩(shī)歌

出版時(shí)間：2004-11 出版社：外語(yǔ)教學(xué)與研究出版社作者：Cleanth Brooks,Robert Penn Warren 頁(yè)數(shù)：595
Tag標(biāo)簽：無(wú)

內(nèi)容概要

　　《理解詩(shī)歌（第4版）》是美國(guó)大學(xué)文學(xué)系廣為采用的教科書(shū)，也是新批評(píng)派的代表作。它對(duì)理解英語(yǔ)英語(yǔ)詩(shī)歌做了全面、系統(tǒng)的處理，強(qiáng)調(diào)文本細(xì)讀的方法，注重詩(shī)歌結(jié)構(gòu)和語(yǔ)義分析，對(duì)中國(guó)讀者具有重要意義。

作者簡(jiǎn)介

沃倫，美國(guó)密歇根州的城市，北與底特律城相鄰。是底特律郊外住宅及工業(yè)城市。人口16.1萬(wàn)。1955年建城后發(fā)展迅速，1960—1970年間人口增加了一倍。重要的汽車制造中心，還生產(chǎn)鋼、電氣器材、機(jī)床等。沃伊肯尼亞南部城鎮(zhèn)，在塔伊塔山東麓。重要鐵路樞紐。蒙巴薩—烏干達(dá)鐵路干線經(jīng)此，支線通卡亥連接坦桑尼亞鐵路系統(tǒng)。坦桑尼亞?wèn)|北部部分外貿(mào)物資經(jīng)此出蒙巴薩港。緊靠察沃國(guó)家公園。有航空站。沃什灣英國(guó)英格蘭東部臨北海的淺水灣。長(zhǎng)35公里，寬24公里。有威士姆、韋蘭特、尼尼和烏斯等河流注入。沿岸主要港口有波士頓和金斯林。

書(shū)籍目錄

Preface iPETRY AS A WAY OF SAYING1 DRAMATIC SITUATION2 DESCRIPTION: IMAGES, MOODS, AND ATTITUDES3 TONE4 ANALOGICAL LANGUAGE: METAPHOR AND SYMBOL5 THEME, MEANING, AND DRAMATIC STRUCTURE6 AOOKUCATIONS: THE POET LOOKS AT A BIRD7 POEMS FOR STUDY8 REPRESENTATIVE POEMS OF OUR TIMEAPPENDIX AHOW POEMS COME ABOUT: INTENTION AND MEANINGAPPENDIX BMETRICSAPPENDIX CMETAPHOR AND SYMBOLCOMPARED AND CONTRASTEDAPPENDIX DPARODIES

章節(jié)摘錄

　　The poem begins with a lilting rhythm appropriate to the joyful occasion。 The beacons have been lighted up and down the land* in celebration of the half-century of order， prosperity， and power specified in Tennyson’s “On the Jubilee，” and far and wide people are singing the national anthem： “God Save the Queen?！?But something occurs in the second stanza of Housman’s poem that provides a key to the attitude the poet really holds： it is the shift in feeling that occurs when we move from line 6 to lines 7 and 8：　　Because ’tis fifty years tonight　　That God has saved the Queen?！　　癎od Save the Queen” is a phrase out of a ritual， a phrase gramatically petrified， as it were。 We are， therefore， momentarily shocked to hear it suddenly fitted into a matter-of-fact statement， with the change of tense and the other syntactical adjustments that take it out of ritual and into commonplace statement。 The effect is a little like that of seeing a priest， clad in his ritual garments， suddenly take the heavily embroidered maniple from his arm and begin to use it as if it were an ordinary towel-which it was originally before it was divorced from workaday chores and formalized into a band of embroidered cloth?！　he poet， of course， wants to give shock here， a shock which in this poem is not playful but sobering。 Indeed， we could argue that the rest of the poem is devoted to working out the implications of this forcing of a ritual phrase into ordinary grammar。 In short， the poem may be described as a realistic and ironic examination of the real meaning of “God Save the Queen”words often uttered on such occasions glibly and without thought。　　God may indeed have saved the Queen， but He seems to have used ordinary human beings as His chosen instruments。 The British infantryman， the lads of the Fifty-third Regiment （line 28）， those who have not come home to celebrate the jubilee but lie in lonely graves in Africa or Asia， are， in their absence， mute testimony to this fact?！　hat Housman is doing in his jubilee poem comes out clearly when we compare it with Tennyson’s straightforward praise of the Queen in his laureate poem。 Tennyson， of course， would not have denied that Englishmen had perished to make Victoria empress， or that blood had been shed to build the empire and to guarantee the “ever-broadening Commerce” of which the poet laureate sings。 But he evidently did not feel it appropriate to mention the fact on this occasion。 Tennyson's tone in his jubilee poem is calm， deferential to the crown， even almost reverential， as he praises Victoria for what she has accomplished。 To be sure， as the poem closes he does sound more ominous notes。 He asks， “Are there thunders moaning in the distance？i’ But he expects these “thunders” to pass， and the ominous “spectres” to vanish?！　ousman， on the other hand， has clearly abjured the laureate tone： he is realistic and ironic。 Some readers might even regard him as irreverent。Notice lines 11-13， where he turns aside from the gerieral celebration to say， “Lads， we'll remember friends of ours / Who shared the work （of saving the Queen） with God。” The irreverence becomes even more pointed in the next stanza when the poet ironically echoes the words with which Christ was mocked on the cross： “He saved others， himself he cannot save。” Are the young British soldiers who did not come back here being compared to Christ？ In one sense， at least， they are： they gave themselves to save the Queen， and the ultimate terms of that service entailed not being able to save themselves?！　id Housman， then， regard the young British soldiers as innocent dupes？ Did he deplore the wars in which they perished？ He has left it on record* that he did not， and it is possible to read the last stanza of the poem， not as a bitter irony but as a genuine exhortation to the living Englishmen to beget the breed of men who， in spite of the human cost，will cheerfully， as their fathers did， serve the Queen in peace and war。　　Nevertheless， the difference in tone between Tennyson’s poem and Housman's is sharply defined。 Tennyson pretty well confines himself to counting up the blessings that Victoria’s reign has provided， Housman， on the other hand， makes his primary concern on this occasion honoring those who did not come backt 'to joiYn the other veterans now loyally singing “God Save the Queen?！?At the least， Housman’s poem is aware of the bitter human cost of prosperity and glory。　　We may get further help in defining the precise tone of Housman's “188T’ by comparing it with another jubilee poem， that written by Rudyard Kipling on the occasion of Victoria's diamond jubilee， which was celebratedin 1897， the sixtieth year of her reign。 　　Recessional　　RudyardKipling 〔1865-1936〕　　God of our fathers， known of old，　　Lord of our far-flung battle-line，　　Beneath whose awful hand we hold　　Domuuon over palm and pine-　　Lord God of Hosts， be with us yet，　　Lest we forget-lest we forget！　　The tumult and the shouting dies；　　The captains and the kings depart：　　Still stands Thine ancient sacrifice，　　An humble and a contrite heart。　　Lord God of Hosts， be with us yet，　　Lest we forget-lest we forget！　　Far-called， our navies melt away；　　On dune and headland sinks the fire：　　Lo， all our pomp of yesterday　　Is one with Nineveh and Tyre！　　Judge of the Nations， spare us yet，　　Lest we forget-lest we forget！　　If， drunk with sight of power， we loose　　Wild tongues that have not Thee in awe，　　Such boastings as the Gentiles use，　　Or lesser breeds without the Law——　　Lord God of Hosts， be with us yet，　　Lest we forget-lest we forget！　　For heathen heart that puts her trust　　In reeking tube and iron shard，　　A11 valiant dust that builds on dust，　　And， guarding， calls not Thee to guard，　　For frantic boast and foolish word——　　Thy Mercy on Thy People， Lordf！　　The immediate occasion of this poem is the aftermath of the jubilee。The kings and commanders and high dignitaries have come and gone， and the speaker， as he refiects on the display of pomp and power that has just ended， is moved to utter a prayer that his countrymen may not fall into the sin of pride and overweening self-trust。 Lines 9-10 refer， by the way，to Psalm 51， verse 17： “The sacrifices of God are a broken spirit： a broken and a contrite heart， O God， thou wilt not despise?！?Here follow a few notes： Line 16： Nineveh was a capital of the ancient empire of Assyria；Tyre， the capital of ancient Phoenicia， which， like Great Britain， was a great sea power； line 21： Gentiles means literally non-Jews； the suggestion here is that the British may feel themselves to be， like the Israelites， a chosen people。　　……

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本書(shū)是美國(guó)大學(xué)文學(xué)系廣為采用的教科書(shū)，也是新批評(píng)派的代表作。它對(duì)理解英語(yǔ)英語(yǔ)詩(shī)歌做了全面、系統(tǒng)的處理，強(qiáng)調(diào)文本細(xì)讀的方法，注重詩(shī)歌結(jié)構(gòu)和語(yǔ)義分析，對(duì)中國(guó)讀者具有重要意義。

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用戶評(píng)論 (總計(jì)32條)

看看卓越的作者介紹，就知道卓越的工作人員多有文化了！汗||||| ：-----------------------------------------------------------------作者簡(jiǎn)介沃倫，美國(guó)密歇根州的城市，北與底特律城相鄰。是底特律郊外住宅及工業(yè)城市。人口16.1萬(wàn)。1955年建城后發(fā)展迅速，1960—1970年間人口增加了一倍。重要的汽車制造中心，還生產(chǎn)鋼、電氣器材、機(jī)床等。沃伊肯尼亞南部城鎮(zhèn)，在塔伊塔山東麓。重要鐵路樞紐。蒙巴薩—烏干達(dá)鐵路干線經(jīng)此，支線通卡亥連接坦桑尼亞鐵路系統(tǒng)。坦桑尼亞?wèn)|北部部分外貿(mào)物資經(jīng)此出蒙巴薩港。緊靠察沃國(guó)家公園。有航空站。沃什灣英國(guó)英格蘭東部臨北海的淺水灣。長(zhǎng)35公里，寬24公里。有威士姆、韋蘭特、尼尼和烏斯等河流注入。沿岸主要港口有波士頓和金斯林。
書(shū)中有大量詩(shī)歌素材，整理的尚可，每首詩(shī)后提出了不少問(wèn)題（有基本的也有困難的）。我認(rèn)為分析的部分相對(duì)較少，初學(xué)者看可能有困難，另外這是一家之言，并沒(méi)有系統(tǒng)全面的介紹詩(shī)歌批評(píng)流派等等。大家自行斟酌、各取所需。
這本書(shū)是英文的嗎？好象沒(méi)看到中文方面的介紹啊。
非常喜歡的是基本上經(jīng)典的英詩(shī)都有收入在內(nèi)，數(shù)量上非常豐富，每一章后還有補(bǔ)充的集選，導(dǎo)讀以及思考問(wèn)題，很喜歡很喜歡，我雖然不是這個(gè)專業(yè)的，但是覺(jué)得也很受用。美中不足的就是，紙張真的非常差，人家國(guó)外的書(shū)籍都是用再生紙印刷的，很環(huán)保，既然是引進(jìn)版，用的不是再生紙，那為什么不用點(diǎn)好紙？跟盜版紙張一樣，而且價(jià)格非常貴。
書(shū)的內(nèi)容很不錯(cuò)，值得細(xì)細(xì)讀~但是拿到手的時(shí)候書(shū)壓得到處都是褶皺，邊緣還破了點(diǎn)兒。在北京一個(gè)書(shū)店里看到8折新書(shū)沒(méi)有買(mǎi)，以為卓越上會(huì)更便宜，所以回來(lái)才買(mǎi)，沒(méi)想到竟然8.3折，并且運(yùn)送過(guò)來(lái)的時(shí)候還那么爛。物品外包裝是完好的，所以拿的時(shí)候沒(méi)有開(kāi)箱檢查，拿到手沒(méi)想里面還是不成樣子了~這事兒辦得實(shí)在說(shuō)不過(guò)去！
剛收到……書(shū)本好像被人踩了一腳似地，封皮不用說(shuō)，內(nèi)頁(yè)有幾張上面有污痕，紙張看上去也不甚舒服……整體上感覺(jué)很廉價(jià)。內(nèi)容大致看了一下，不錯(cuò)，分析很中規(guī)中矩……對(duì)于應(yīng)試應(yīng)該很有幫助……
純英文的內(nèi)容讓本以是詩(shī)的原文更真實(shí)
還是有點(diǎn)舊了，第五版早已出了
發(fā)貨很快，質(zhì)量也很好。
不錯(cuò)值得購(gòu)買(mǎi)，內(nèi)容和難度合適。
看完作者的序言就知道此書(shū)必屬佳作。雖說(shuō)具體的詩(shī)和詞也許有各家之言，但總體來(lái)說(shuō)，此書(shū)的介紹淺顯易懂、系統(tǒng)完整，是英詩(shī)入門(mén)和進(jìn)階的好選擇。
喜歡理解詩(shī)歌(第4版)
不一樣的視角看詩(shī)歌，書(shū)中提出很多問(wèn)題幫助理解，還不錯(cuò)。據(jù)說(shuō)是美國(guó)大學(xué)的詩(shī)歌教程。
還沒(méi)看，不過(guò)是在國(guó)外學(xué)報(bào)上看到推薦的
還算不錯(cuò)，就是紙質(zhì)有點(diǎn)差勁，是英文版的
這本書(shū)就不用說(shuō)了，于《理解小說(shuō)》一樣，都是關(guān)于英美新批評(píng)的經(jīng)典著作。書(shū)收到的時(shí)候，有一點(diǎn)點(diǎn)瑕疵，有點(diǎn)皺；但總體上說(shuō)，書(shū)包裝還是很完整的，紙張質(zhì)量也不錯(cuò)；適合英美文學(xué)專業(yè)的高年級(jí)學(xué)生閱讀。
學(xué)術(shù)性強(qiáng)，對(duì)搞科研的讀者和學(xué)者適用。
還沒(méi)有認(rèn)真看，得留到暑假了。不過(guò)感覺(jué)不錯(cuò)，正版書(shū)，摸著厚實(shí)，舒服，哈哈哈！題外話，第一次評(píng)論，各位慢慢聊吧！
還沒(méi)看，但很喜歡這書(shū)，是美國(guó)文學(xué)教材，值得一看！
　　內(nèi)容淺顯，但是貴在側(cè)重文本分析，讓詩(shī)歌回歸詩(shī)歌本身。
　　
　　可以讓中國(guó)傳統(tǒng)英語(yǔ)文學(xué)教學(xué)模式下的讀者，學(xué)到一種新的真正的理解分析和欣賞詩(shī)歌的角度。
　　
　　比較適合英語(yǔ)專業(yè)高年級(jí)或者研究生低年級(jí)。
　　
　　
　　
　　
　　William Wordsworth said “Poetry is the spontaneous overflow of powerful feelings”. It’s simple, sensuous and passionate. Sometimes we may find that our mind and soul are starved in the indifferent world. But when you read a poem revealing present emotions, you suddenly find that you are not shut up in your little lot. Instead, someone out there, under the same silent far-off heavens is sharing the same passionate desires, the delicate sadness, and the heart-biting sufferings with you. They are the best human consolations for your sentimentality. As for me, poetry is the long-pent feelings which flow out like irresistible streams when the one smile at me. Poetry is the numerous sighs and silent words whispered by my inner self when I miss the one deeply deeply in the pinch dark night. It’s the feeling when I stare at the azure sky, suddenly lost in the ethereal nothingness, forlorn and lonely like an outcast of this bustling world. If indeed there is some craziness in these poetic souls, I want to be crazy with them to burn out the passions, sorrows, and thrillingness. At least it’s much better than to be an empty, indifferent living corpse.
　　
　　I William Shakespeare
　　Tomorrow, and tomorrow, and tomorrow - Macbeth
　　Tomorrow, and tomorrow, and tomorrow,
　　Creeps in this petty pace from day to day
　　To the last syllable of recorded time,
　　And all our yesterdays have lighted fools
　　The way to dusty death. Out, out, brief candle!
　　Life's but a walking shadow, a poor player
　　That struts and frets his hour upon the stage
　　And then is heard no more: it is a tale
　　Told by an idiot, full of sound and fury,
　　Signifying nothing.
　　
　　Macbeth has found his own surprisingly stoic and accepting way to resign to the barren futility of life. How about us? If all is pretending, all is hypocrisy, if we can’t love the one we love, can’t reveal our true feelings, what does these endless stretching life really mean? Life can be dotted with numerous pains and struggles, but I just want to be true to my heart, to trudge through this long journey together with the one I love. No matter how many hardships may bob up, the destination would be- tender happiness.
　　
　　II Excerpted from Fatima
　　Alfred, Lord Tennyson （1809-1892）
　　O Love, Love, Love! O withering might!
　　O sun, that from thy noonday height
　　Shudderest when I strain my sight,
　　Throbbing thro' all thy heat and light,
　　Lo, falling from my constant mind,
　　Lo, parch'd and wither'd, deaf and blind,
　　I whirl like leaves in roaring wind.
　　…
　　Last night, when some one spoke his name,
　　From my swift blood that went and came
　　A thousand little shafts of flame
　　Were shiver'd in my narrow frame.
　　O Love, O fire! once he drew
　　With one long kiss my whole soul thro'
　　My lips, as sunlight drinketh dew.
　　…
　　My whole soul waiting silently,
　　All naked in a sultry sky,
　　Droops blinded with his shining eye:
　　I will possess him or will die.
　　I will grow round him in his place,
　　Grow, live, die looking on his face,
　　Die, dying clasp'd in his embrace.
　　
　　I do appreciate all the images and symbols in this poem. The passionate and burning feelings gush from the words and rhythms continuously. The powerless lady is poisoned by her desire for love. The charm of her lover swallows her heart and soul. But if the lover never comes back, how can she resist her own destructing passion, how will she bury the emptiness in her deep heart? Poor hunted soul!
　　
　　III Heart, We Will Forget Him
　　Emily Dickinson 1830 - 1886
　　Heart, we will forget him,
　　You and I, tonight!
　　You must forget the warmth he gave,
　　I will forget the light.
　　
　　When you have done pray tell me,
　　Then I, my thoughts, will dim.
　　Haste! ‘lest while you’re lagging
　　I may remember him!
　　
　　Why do I always miss thee, I know not. I’ve tried to cast your away, but it is all in vain. If my yearning can never get echo from your heart, if my missing is destined to fill each and every day of my life, I’m willing to bear it, in this suffocating silence, under control of my mind!
　　
　　IV When I Have Fears
　　John Keats. 1795-1821
　　When I have fears that I may cease to be
　　Before my pen has glean'd my teeming brain,
　　Before high-piled books, in charactery,
　　Hold like rich garners the full ripen'd grain;
　　When I behold, upon the night's starr'd face,
　　Huge cloudy symbols of a high romance,
　　And think that I may never live to trace
　　Their shadows, with the magic hand of chance;
　　And when I feel, fair creature of an hour,
　　That I shall never look upon thee more,
　　Never have relish in the faery power
　　Of unreflecting love;--then on the shore
　　Of the wide world I stand alone, and think
　　Till love and fame to nothingness do sink.
　　
　　Poor Kears! He addressed this poem to an imagined love, but never could marry the actual girl with whom he was in love. He asked someone to inscribe on his tombstone: “Here lies one whose name was writ in water.” Ah, his life is floating in water, with his passions, love, sorrow, dream, sentimentality, forever…
　　
　　V Rain Before Dawn
　　F. Scott Fitzgerald
　　
　　The dull, faint patter in the drooping hours
　　Drifts in upon my sleep and fills my hair
　　With damp; the burden of the heavy air
　　Is strewn upon me where my tired soul cowers,
　　Shrinking like some lone queen in empty towers
　　Dying. Blind with unrest I grow aware:
　　The pounding of broad wings drifts down the stair
　　And sates me like the heavy scent of flowers.
　　
　　I lie upon my heart. My eyes like hands
　　Grip at the soggy pillow. Now the dawn
　　Tears from her wetted breast the splattered blouse
　　Of night; lead-eyed and moist she straggles o'er the lawn,
　　Between the curtains brooding stares and stands
　　Like some drenched swimmer -- Death's within the house!
　　
　　Rain, tears, fear, loneliness, in the long, white night, the soul cowers in the little dark corner. What will you feel if you can’t fall asleep in the dead of night? Are you insane, are you dead or are you lost in your own world? Just a smile, just a whisper would be enough to awaken the lone queen. Out, out! the death of night, before the dawn breaks, let the rain patter like melody, let me fall into peaceful, calm, tender silence—my balanced soul.
　　……
　　……
　　
我就是低年級(jí)的英語(yǔ)專業(yè)研究生，但讀這本書(shū)中的詩(shī)歌還是很吃力啊，手邊總要放本詞典，有的還要去網(wǎng)上查相關(guān)的信息，不然有的詩(shī)根本讀不懂。比如惠特曼那首“Battle of the Bonhomme Richard and the Serapis",看來(lái)還是學(xué)力尚淺啊！
我是中文系的，但是因?yàn)楫厴I(yè)論文寫(xiě)當(dāng)代詩(shī)歌，導(dǎo)師要求讀這本書(shū)，這書(shū)有沒(méi)有中譯版啊？
我覺(jué)得詩(shī)歌的魅力就在于每一個(gè)詞語(yǔ)都是唯一不可替代的。所以讀者本書(shū)的時(shí)候，手邊總要放一本英英詞典，稍有不確定詞義的詞就有查一下。我想，這也是翻譯的難處所在吧?！独斫庑≌f(shuō)》那本倒是中文譯本，不過(guò)剛讀第一篇就發(fā)現(xiàn)有句話不理解。后來(lái)不得不忍痛又買(mǎi)了本原版的，發(fā)現(xiàn)那個(gè)句子，原文的表述其實(shí)并不難理解。好翻譯難尋啊！
這本書(shū)是不錯(cuò),還有一本就是<<理解小說(shuō)>> 我一起買(mǎi)的,雖然現(xiàn)在換工作了,但對(duì)英美文學(xué)的愛(ài)變的更有懷舊的親切,不過(guò)我覺(jué)得這本書(shū)最好不要翻譯,因?yàn)槿魏畏g都會(huì)破壞.也不難,應(yīng)該都能看懂
這本書(shū)我在看。說(shuō)實(shí)話，看的比較吃力。我是說(shuō)看那些詩(shī)歌比較吃力，要查不少生詞。但是我發(fā)覺(jué)這樣暗合了這本書(shū)的宗旨，就是文本細(xì)讀。所以，我雖然讀的很慢，可就是因?yàn)樽x得慢，所以感覺(jué)上對(duì)詩(shī)的理解和感受就比較多。我現(xiàn)在快看完第一章了。另外想說(shuō)的就是，咱們的翻譯實(shí)在太不行了。
剛到手，希望物有所值
剛開(kāi)始欣賞詩(shī)歌，各位前輩，能細(xì)說(shuō)賞析詩(shī)歌的步驟嗎？或者推薦入門(mén)級(jí)書(shū)。我現(xiàn)在想了解詩(shī)歌的基本要素：rymthm ryme metre foot tone 等，最好有中文解釋。
去買(mǎi)了來(lái)讀～
怎么記得有節(jié)譯本，還對(duì)照著讀過(guò)，死活想不起來(lái)叫什么名字了
大學(xué)在讀的時(shí)候，知道這是本好書(shū)，新批評(píng)學(xué)派的細(xì)讀方法，在國(guó)內(nèi)似乎還沒(méi)有多少學(xué)者能夠確實(shí)做到的。曾試圖將這本書(shū)翻譯出來(lái)，大二的暑假用了一暑假，卻只把序言翻完，后來(lái)又借閱過(guò)多次，卻仍未能將翻譯繼續(xù)下去。優(yōu)秀的譯者幾乎全部死去，只能憑著自個(gè)去努力了。
歐美新批評(píng)聲勢(shì)浩大，一度在學(xué)院里掌握霸權(quán)，被尊為正統(tǒng)?，F(xiàn)在幾十年過(guò)去了還難以擺脫其影響。只希望在學(xué)到這一批評(píng)策略的同時(shí)，也能兼顧其他的批評(píng)方法吧。

理解詩(shī)歌

用戶評(píng)論 (總計(jì)32條)

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