文学作品赏析讲座课件

文学作品赏析讲座课件

通过作品找意境，让文学欣赏课升华至文化课，让我们的学生成为自己的主人。 How to Appreciate Poetry ? Components of A Poem : 1. content 2. theme

3. rhythm (meter and foot) 4. rhyme

5. types of verse/poetic style 6. image

3. Rhythm (meter and foot)

一. 节奏与格律

? Rhythm 节奏: 轻重声音的有规则排列就是节奏. ? Metre 格律: 诗的节奏的具体模式 抑扬格: v ↗ iambic iambus

扬抑格： ↗ v trochaic ???????????? trochee 抑抑扬格： v v ↗ anapaestic ???????????? anapaest 扬抑抑格： ↗ v v dactylic ??????????? dactyl 扬扬格：↗↗ Spondaic foot, spondee (扬抑格=长短格)

1. We?ll learn︱a poem︱ by Keats. V ↗ ? V ↗ ? V ↗ 2. Life is? but an? empty? dream. ↗ v ? ↗ v ? ↗ v ? ↗ 3. I am mon?arch of all? I sur?vey. v v ↗ ? v v ↗ ? v v ↗ ? 4. under the? blossom that? hangs on the? bough. ↗ v v ? ↗ v v ? ↗ v v ? ↗

一首诗的格律由其大多数诗行的格律所决定的。

二. Foot 音步: 英诗的节奏单位是音步是诗行中按一定规律出现的轻音节和重音节的不同组合而成的韵 律的最小单位。轻重音节是形成英语特有的抑扬顿挫声韵节律的决定性因素。 Types:

monometer 一音步 ??????????? dimeter 二音步 ????????? trimeter 三音步 ?????????? tetrameter 四音步 ???????????? pentameter 五音步 ???????????? hexameter 六音步 ???????????? heptameter 七音步 ????????????

octameter 八音步 ???????????

quatrain ??????????? 四行节诗，韵律一般为：abab, abba. 三．格律与音步

1. 抑扬格: v ↗ iambus; iambic foot

即轻重格或短长格，一轻读音节后跟一个重读音节构成抑扬格。它是英语最基本的节奏单位，也是英诗最重要、最常用的音步。随便说一句话，其基本音步就是抑扬格。

We?ll learn︱a poem︱ by Keats. V ↗ ? V ↗ ? V ↗ （一些著名的英诗都是抑扬格， 如民谣，十四行诗，哀歌，双韵体等。）

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2. 扬抑格： ↗ v trochee; trochaic foot

即重轻格或短长格，由一个重读音节后跟一个轻读音节构成。

Life is︱ but an︱ empty︱ dream. ↗ v ? ↗ v ? ↗ v ? ↗

William︱Morris︱ taught him︱ English.︱ ↗ v ? ↗ v ? ↗ v ? ↗ 3. 抑抑扬格： v v ↗ anapaest; anapaestic foot 由两个轻读音节后跟一个重读音节组成。 We will go. v v ↗

I am mon︱arch of all︱I survey. v v ↗ ? v v ↗ ? v v ↗

I?ve been wor︱king in Chi︱na for for︱ty years. v v ↗ ? v v ↗ ? v ↗

4. 扬抑抑格： ↗ v v dactyl; dactylic foot

由一个重音节后跟两个轻读音节组成，这种音步听来像命令宣言，多用在格言、警句，谚语中。 Yesterday, happily, thoroughly, merrily

What is now︱ proved was once︱ only im︱agined.︱

under the? blossom that? hangs on the? bough. ↗ v v ? ↗ v v ? ↗ v v ? ↗

Think in the︱ morning.︱ Act in the︱ noon.︱ Eat in the︱evening.︱ Sleep in the︱ night.

5. 扬扬格：↗↗ spondee; Spondaic foot

由连续两个重音节组成，表现沉重、缓慢、困难的动作或情绪；也用表现感情的突然变化或强调语气。此音步也主要与其它音步合用，很少有扬扬格为主的诗。

More haste,︱ less speed.︱

四．音步划分 如何划分音步呢?首先要初步读懂诗，至少 要看懂诗的大意，并根据理解进行朗读或默读，然后按 实际读出的音划分出重音音节和轻读音节，必要时还有 次重音節﹔最后找出占多数的音步，进行归纳划分。一 般来说，实词(包括名词、动词、副词等)，要重读；虚词 (包括连词、冠词、介词等)，要轻读。但实词轻读，虚词 重读的情況也不少。切忌按固定的框框去硬套；如，知 道十四行诗多是抑扬格，于是见到十四行诗就按抑扬格 划分音步，甚至照照这样的划法来理解诗意和朗读，就 本末倒置了，因为在实际应用中会出现许多变化。

4. Rhyme

押韵是指通过重复元音或辅音以达到一定音韵效果的诗歌写作手法。 1． 尾韵：最常见，最重要的押韵方式。 1） 联韵：aabb型。

I shot an arrow into the air, It fell to earth, I knew not where; For, so swiftly it flew, the sight Could not follow it in its flight.

--- Henry Wadsworth Longfellow: The Arrow and the Song 2） 交叉韵：abab型。 Sunset and evening star,

And one clear call for me!

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

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---Alfred Tennyson(1809-1892): Crossing the Bar 渡沙洲

3） 同韵：有的诗押韵，一韵到底，大多是在同一节诗中共用一个韵脚。如下例就共用／i:p／为韵脚。 The woods are lovely, dark and deep, But I have promises to keep,

And miles to go before I sleep, And miles to go before I sleep.

--- Robert Frost (1874-1963): Stopping by Woods on a Snowy Evening

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

We were the first that ever burst Into that silent sea.

----T.S. Coleridge: Rime of the Acient Mariner 3．内韵（同元音）：指词与词之间原因的重复形成的内部押韵。下面一节诗中／i／及／iη／重复照应，呈现出一派欢乐祥和的气氛。

Spring, the sweet spring, is the year?s pleasant king; Then blooms each thing, then maids dance in a ring, Cold dath not sting, the pretty birds do sing: Cuckoo,jug-jug,pu-we,to-witta-woo!

----Thomas Nashe(1567-1601): Spring, the Sweet Spring

Poetry Appreciation

? Types of Verse a.民间歌谣(Ballad)

b.抒情诗(Dramatic lyric) c.哀歌，挽歌(Elegy) d.史诗 (Epic)

e.婚礼颂歌(Epithalamium)

f.意象诗(Imagist)

g.改变自古代抒情歌曲的诗，仍可吟唱的诗体(Lyric) h.敘事诗(Narrative)

i.以暗喻手法写成的哲理诗(Metaphysical) j.赋(Ode)

k.田园牧歌(Pastoral)

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

后来，怀亚特（Thomas Wyatt,1503-1542）将十四行诗引人英国，五音步抑扬 格，全诗三个四行一个二行,前三节提问，后二句结论。斯宾塞（Edmund Spenser, 1552-1599）用韵脚 abab, bcbc,cdcd,ee。莎士比亚（William Shakespeare,1564-1616）用韵脚bab,cdcd,dfdf,gg，称英国式或莎士比亚式。 2． 打油诗（Limericks）：五行打油诗：通常是小笑话甚至是胡诌，一般没有标题也无作者姓名，含有幽默讽刺性，常运用双关，内韵等手法。每首诗五个诗行，押韵为aabba，格律以抑扬格和抑抑扬格为主。 3．无韵体（Blank Verse）：五音步抑扬格，不押韵诗体。

4． 自由诗（Free Verse）: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，

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只注重诗歌所表达的意象和传递的情感。美国诗人Walt Whitman的<<草叶集>>（Leaves of Grass）中，就采用此格式。例子见第四部分。 2． 打油诗（Limericks）：

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

And the smile on the face of the tiger.

3．无韵体（Blank Verse）：五音步抑扬格，不押韵诗体。

Across the watery bale , and shout again, Responsive to his call, -- with quivering peals, And long halloos, and screams, and echoes loud. Redoubled and redoubled:concourse wild Of jocund din!…

-----William Wordsworth: There Was a Boy 4． 自由诗（Free Verse） Song of Myself I celebrate myself, and sing myself, And what I assume you shall assume,

For every atom belonging to me as good belongs to you. I loafe and invite my soul,

I learn and loafe at my ease observing a spear of summer grass. My tongue, every atom of my blood, form?d from this soil, this air,

Born here of parents born here from parents the same, and their parents the same, I, now thirty seven years old in perfect health begin, Hoping to cease not till death. Creeds and schools in abeyance,

Retiring back a while sufficed at what they are, but never forgotten. I harbor for good or bad, I permit to speak at every hazard. Nature without check with original energy.

Notes: a spear of: a piece of school:学说，流hazard:chance abeyance: the condition of not being in use for a certain time.

惠特曼（Walt Whitman,1819-1892），美国诗人。此诗选自其巨著<<草叶集>>。本文是Song of Myself 一诗的第一部分，采用自由诗体，语言接近当时的美国口语。

文中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。

The Indian Buring Ground

? Philip Freneau (1752--1832): “Poet of the American evolution” “Father of American Poetry” He was the most significant poet of 18th century America. ? In spite of all the learned have said.

I still my old opinion keep; The posture, that we give our dead,

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Points out the soul's eternal sleep. ?

Not so the ancients of these lands–

The Indian, when from life released, Again is seated with his friends,

And shares again the joyous feast. ?

His imaged birds, and painted bowl, And venison, for a journey dressed, Bespeak the nature of the soul, Activity, that knows no rest.

? His bow, for action ready bent,

And arrows, with a head of stone, Can only mean that life is spent, And not the old ideas gone. ?

Thou, stranger, that shalt come this way, No fraud upon the dead commit– Observe the swelling turf and say

They do not lie, but here they sit.

Here still a lofty rock remains,

On which the curious eye may trace (Now wasted half, by wearing rains) The fancies of a ruder race.

? Here still an aged elm aspires,

Beneath whose far-projecting shade (And which the shepherd still admires) The children of the forest played!

? There oft a restless Indian queen

(Pale Shebah, with her braided hair) And many a barbarous form is seen To chide the man who lingers there. ? By midnight moons, o?er moistening dews;

In habit for the chase arrayed, The hunter still the deer pursues,

The hunter and the deer, a shade!

? And long shall timorous fancy see

The painted chief, and pointed spear, And Reason's self shall bow the knee To shadows and delusions here. ? Comments

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Content: This poem tells us that we cherish the belief that the Christian posture of the dead points out the soul?s eternal sleep. Unexpectedly, the Indians, besides some mortuary objects such as imaged birds, painted bowl, etc., are buried with the sitting gesture. When we Christians die, we think it is kind of sleep. In contrast, the Indians takes it as activity. The Indian queen and many a barbarous form, in the form of spirits, will hunt or protect their land from the Reason?s invasion.

Theme: admire the Indian?s culture, eulogize the ancient Indians. Freneau sticks to the American subject.

Rhythm (meter and foot): ten iambic tetrameter quatrains Rhyme: abab

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