English-Poetry.ppt

1、An Aid to English Poetry Reading,III,The Goals of This Course,Glimpses of English poetry; Basic poetic features; Applications of poetic theories to poetry reading.,Outline of This Course,Speaker and Speakers voice; Rhythm, Rhyme, sensory images, and figurative language (alliteration, metaphor, repet

2、ition); Theme and Authors purpose.,The Requirements for this Course,Class attendance; Classroom participation; Fulfillment of the assignment; Final evaluation.,Assignment,Write an essay of about 800 words (in English) on any one or more poems that will have been discussed in the following three lect

3、ure times. Your essay should include the following:,Assignment,1. Introduction to the poet(s); 2. Analysis of poetic features (rhythm, rhyme, sensory images, or authors purpose); 3. Your opinions about the poems, and your findings (if any).,Assignment,References and sources for your writing are acce

4、ssible in this lecture ppts, the internet, library, textbooks， wherever available. You are kindly reminded that your assignment must be the work by yourself; sources of citations and references (if any) must be specified. Assignments are due before Week 15.,Reference Books,1. A literature of their o

5、wn, E Showalter. 2. Literary criticism, CBressler. 3. Literary theory, T Eagelton. 4.An introduction to literature, 楊金才， 上海外語教育出 版社. 5. Sisters choice, E Showalter. 6. Understanding Poetry, CBrooks The showers beat On broken blinds and chimney-pots, And at the corner of the street A lonely cab-horse

6、 steams and stamps. And then the lighting of the lamps.,Literary Linguistic Stylistics Analysis: Prelude I,Framework of Analysis: Text; Rhyme Scheme; Rank-scale Grammatical Analysis; Sentences,Notes,Lines:1-4 The winter evening settles down With smell of steaks in passageways. Six oclock. The burnt-

7、out ends of smoky days.,Cities are one of Eliots favorite settings. The repetition of the S sound: The winter evening settles down With smell of steaks in passageways. Six oclock.,Notes,Lines 5-8 And now a gusty shower wraps The grimy scraps Of withered leaves about your feet And newspapers from vac

8、ant lots;,Enjambment: keeping the form of the poem consistent while reading without taking a pause.,Notes,Lines 5-8 And now a gusty shower wraps The grimy scraps Of withered leaves about your feet And newspapers from vacant lots;,newspapers: They are used as a symbol of decay, both of the souls and

9、of the city itself. The ink stains our fingers, just like the stories within the newspapers influence the way we think.,Notes,Lines 5-8 And now a gusty shower wraps The grimy scraps Of withered leaves about your feet And newspapers from vacant lots;,More imagery: a gusty shower has cleared some of t

10、he grime from the street, wrapping all the trash and leaves around our feet Litter is one of Eliots frequently-used images: those vacant lots.,Notes,Lines 5-8 And now a gusty shower wraps The grimy scraps Of withered leaves about your feet And newspapers from vacant lots;,With the image of abandonme

11、nt, Eliot finally gives us a chance to take a breath by inserting a semi-colon. If enjambment keeps the lines moving, semi-colon makes us pause.,Notes,Lines 9-12 The showers beat On broken blinds and chimney-pots, And at the corner of the street A lonely cab-horse steams and stamps.,The imagery of b

12、roken blinds offers another clue that things are run-down.,Notes,Lines 9-12 The showers beat On broken blinds and chimney-pots, And at the corner of the street A lonely cab-horse steams and stamps.,broken blinds and chimney-pots sound like raindrops hitting a surface. Steams and stamps: “S” sounds:

13、a steady rain, while “P” in stamps sounds like the horse stamping his foot.,Notes,Line 13 And then the lighting of the lamps.,Changes in light indicate changes in the poem. It doesnt actually bring reliefonly visions of the dirty street outside.,Notes,Line 13 And then the lighting of the lamps.,with

14、ered leaves and burnt-out ends of time and space are dampened by winter shower over passage-ways, vacant lots, broken blinds and chimney-pots, and street, cab-horse and other witnesses.,Notes,Line 13 And then the lighting of the lamps.,The suddenness of the lighting of lamps betrays the unbearable w

15、eight of waiting as if for a judgment, or for the lost soul to fall headlong into the infernal real.,Prelude I is the description of a winter evening in a town. It is essentially a mood poem. It creates an atmosphere of decay, lack of care, and darkness, challenged only by the last line, which is sp

16、atially set apart from the rest of the poem. The general style is simple and bitty. Different things seem to be unrelated.,Literary Linguistic Stylistics Analysis,Irregularity in: rhyme scheme; sentence distribution; line length. 2. simplicity of sentence and clause structure: simple sentence (four

17、out of five); Z element functioning as sentences; lack of bound clauses.,3. disjointedness: lack of conjunctions; relative autonomy of clauses; use of “and” creates a sense of unrelateness between lines clauses and sentences; use of seeming unrelated objects; Unpredictability of extending elements b

18、y previous ones in each clause; change of topic in each sentence. 4. no inversion, “th” endings,4. lack of poetic distinction: ordinary, everyday words; Little use of poetic words and poetic constructions such as inversion.,Musical features of “Preludes”,Preludes are musical interludes, so reading t

19、he title might expect the poem to sound like a song. With a musical title like Preludes, we just know there must be some music here somewhere. Its actually a varied, rhythm-filled symphony of sounds.,The major unifying factor is its rhyme sceme. By rhyming lines which at first have no obvious connec

20、tion, he forces us to look for one, e.g. cooking and burning are related; lots are linked with pots (lack of care and decay); wraps, scraps( associations dirtiness).,Alliteration,The showers beat On broken blinds and chimney-pots, And at the corner of the street A lonely cab-horse steams and stamps.

21、,Alliteration,The imagery of broken blinds offers another clue that things are a bit run-down; broken blinds and chimney-pots actually sound like raindrops hitting a surface. Steams and stamps: S sounds give us a sound of a steady rain, while the hard P in stamps kind of sounds like the horse stampi

22、ng his foot.,The strong consonant sounds, combined with the all irregularities make the poem jump and dance around, never settling into one style and never letting readers comfortable.,They can be seen a prelude to something larger, something Eliot only wants to give us a brief glimpse of. The overa

23、ll effect is a feeling of uneasiness. Somethings definitely off key in this musical number.,Theme,Though no one seems to be complaining in Preludes, the inhabitants of the poem are all suffering.,Theme,The circular movement of the whole poem, ending up with evening again, emphasizes the attitude, an

24、d portraying the dreary cycle in which evening is simply a prelude to night, night to morning and another day, day to evening and another night again.,Theme,The poem has been read as a revelation of the ugliness of modernity, and specifically of urban life. People are but the equivalent to the uglin

25、ess within the scope of their vision,Theme,Eliot, an imagist and a modernist had pretty strong opinions about modern life and its effects on our humanity. In Preludes, our conscience has been dulled by distractions, and our minds are filled with sordid images and ideas,Theme,Preoccupation with moder

26、n life, with its news cycle and business, all of which leaves us little time to nurture our souls. His other more well-known poems, like The Waste Land and The Love Song for J. Alfred Prufrock, expand on the ills of modern society with similarly gloomy tones.,Theme,Preludes, however, suggests at the

27、 end that humanity has always been gloomy and full of. Dont get too distracted to remember the lessons of the past, he warns in his poems; those lessons might just save our souls from decay,序曲,一 冬日黃昏降臨， 走廊中牛排香四溢。 六點鐘。 煙熏的日子所燃剩的尾端。 而今一陣風(fēng)雨卷起 骯臟的垃圾， 你腳邊枯萎的落葉， 和空地上被丟棄的報紙； 雨打著 破損的百葉窗和煙囪。 街道的拐角 一匹拖車的馬冒著熱氣

28、頓足。 然后萬家燈火。,II,The morning comes to consciousness Of faint stale smells of beer From the sawdust-trampled street With all its muddy feet that press To early coffee-stands. With the other masquerades That time resumes, One thinks of all the hands That are raising dingy shades In a thousand furnished

29、rooms.,二,清晨醒來而意識到了 輕微的啤酒酸腐味 發(fā)自那被踏過有鋸木屑的街道， 因為正有許多泥污的腳 涌向清早開張的咖啡攤。 隨著其它一些偽裝的戲 被時光重又演出， 你不禁想到那許多只手 它們正把臟黑的簾幕拉起 在成千帶家具的出租房。,III You tossed a blanket from the bed, You lay upon your back, and waited; You dozed, and watched the night revealing The thousand sordid images Of which your soul was constituted

30、; They flickered against the ceiling. And when all the world came back And the light crept up between the shutters And you heard the sparrows in the gutters, You had such a vision of the street As the street hardly understands; Sitting along the beds edge, where You curled the papers from your hair,

31、 Or clasped the yellow soles of feet In the palms of both soiled hands.,三 你從床頭拉下一床毯子， 你仰面朝天躺著，并且等待； 你打個盹，看到黑夜展開 那構(gòu)成了你的靈魂的 成千個骯臟的意象， 它們對著天花板閃光。 而當(dāng)整個世界轉(zhuǎn)回來， 從百葉窗隙又爬進了光亮， 你聽見麻雀在陰溝聒噪， 坐在床沿上，你取下了 你那卷頭發(fā)的紙條， 或者以臟污的雙手握著 你那腳板磨得發(fā)黃的腳， 這時你對大街有一種幻覺， 那大街對此不會知道。,IV His soul stretched tight across the skies That fad

32、e behind a city block, 40 Or trampled by insistent feet At four and five and six oclock; And short square fingers stuffing pipes, And evening newspapers, and eyes Assured of certain certainties, 45 The conscience of a blackened street Impatient to assume the world. I am moved by fancies that are cur

33、led Around these images, and cling: The notion of some infinitely gentle 50 Infinitely suffering thing. Wipe your hand across your mouth, and laugh; The worlds revolve like ancient women Gathering fuel in vacant lots.,四 他的靈魂被緊張地扯過 那一排樓房后隱沒的天空， 或者被固執(zhí)的腳步踐踏著， 在四點、五點和六點； 還有裝煙斗的短粗的指頭， 還有晚報和那些眼睛 對某些堅定的事物如

34、此肯定， 一條染黑的街道的良心 急不可待地要接管世界。 我深深有感于那些幻想 纏繞著這些意象，而且抱緊； 我還想到某種無限溫柔 和無限痛苦著的生命。 用手抹一抹嘴巴而大笑吧； 眾多世界旋轉(zhuǎn)著好似老婦人 在空曠的荒地?fù)焓懊涸?（查良錚 譯）,Annabel Lee,I It was many and many a year ago, In a kingdom by the sea, That a maiden there lived whom you may know By the name of Annabel Lee; And this maiden she lived with no o

35、ther thought Than to love and be loved by me.,II I was a child and she was a child, In this kingdom by the sea: But we loved with a love that was more than love- I and my Annabel Lee; With a love that the winged seraphs( serf 最高位天使) of heaven Coveted (crave for) her and me.,III And this was the reas

36、on that, long ago, In this kingdom by the sea, A wind blew out of a cloud, chilling My beautiful Annabel Lee; So that her highborn (belonging to the noble class) kinsman (a male relative) came And bore her away (transport into a new location) from me, To shut her up in a sepulcher ( seplk(r) a chamb

37、er that is used as a grave) In this kingdom by the sea.,IV The angels, not half so happy in heaven, Went envying her and me- Yes!-that was the reason (as all men know, In this kingdom by the sea) That the wind came out of the cloud by night, Chilling and killing my Annabel Lee.,V But our love it was

38、 stronger by far than the love Of those who were older than we- Of many far wiser than we- And neither the angels in heaven above, Nor the demons ( di:mn an evil supernatural being) down under the sea, Can ever dissever (separate into parts) my soul from the soul Of the beautiful Annabel Lee:,VI For

39、 the moon never beams (emit light, be bright, shine), without bringing me dreams Of the beautiful Annabel Lee; And the stars never rise, but I feel the bright eyes Of the beautiful Annabel Lee; And so, all the night-tide, I lie down by the side Of my darling-my darling-my life and my bride, In her s

40、epulchre there by the sea, In her tomb by the sounding sea.,General Points1. Brief Introduction,The speaker explains that Annabel Lee is young and beautiful when she dies. She is buried where she lived, near the sea. Annabel Lee and the speaker are intensely and deeply in love. There is “a love that

41、 was more than love.”,2. What is the reason Annabel Lee died? What was Poes mood when he wrote the poem? And how does the poet console himself for her loss?,And this was the reason that, long ago, In this kingdom by the sea, A wind blew out of a cloud, chilling My beautiful Annabel Lee,In the tender

42、 poem the poet attempts to explain the reason for the death of his young wife: because the angels in heaven were jealous of the happiness he and Annabel Lee shared, they sent chilling words to kill the bride.,3. Further Summery of the Plot,The poet is shut off from her by her relatives who have carr

43、ied her off for burial. However their love is so strong that neither the forces of heaven nor of hell can separate the two lovers. Meanwhile the he continues to communnicate with her through dreams. The poet sings in praise of the timelessness of love the power of love over death.,4. Pick out words

44、and phrases that the poet uses to give the poem the unreal atmosphere of a fairy tale. How does this device add to the idea of the timelessness of love? The poem begins almost like a fairy tale: “It was many and many a year ago,/ In a kingdom by the sea.” The opening lines create a calm, happy feeli

45、ng and remind the reader of the traditional opening of a fairy tale.,The poem is set “in a kingdom by the sea.” Over the sea is “heaven” with its “angels” and under it is “hell” with its “demons”. The image is very similar to the romantic setting for a fairy tale. The “cloud” and “wind” act as agent

46、s of the angels who coveted their love. The “highborn kinsmen” suggests that Annabel Lee is part of the heavenly.,5. Why is the poem presented in a mythological setting and include references to the angels and other heavenly beings in the poem? By presenting the story in a mythological setting the p

47、oet gains an elevation of lovers and the love they shared.,The unreal atmosphere created by the mythological setting emphasizes the purity and innocence both of Annabel Lee and of the speakers love for her: their love is so strong that even angels and demons cannot separate them.,6. Image Analysis,a

48、 kingdom by the sea” Line 2 sets the tone for the entire poem; a kind of fairytale feel. Line 20: “kingdom” comes after the highborn kinsman. The kingdom becomes a symbol of tyranny and cruelty. It is part of what makes the world such a bad place to live for the poor speaker.,The sea The image that

49、ties everything together: a reflection of the emptiness and desolation that the speaker feels now that he has lost Annabel. Line 2: If the kingdom becomes a symbol of the power of people, then the sea is all about the power of nature. Line 31: a dark and scary thing in Annabel Lee.,Line 40: the” s”

50、sound: sepulcher“, sea“, gives a sort of hissing, evil sound. Line 41: The last word in this poem. It rounds the whole thing out, and leaves us with the familiar haunting image, mysterious of the open lonely ocean.,“highborn kinsmen” It refers to her relatives of noble birth. A negative image, this

51、kinsman is the main symbol of the interference of older people in the speakers life. He shows up for a line, takes Annabel away, and shuts her in a tomb. Considering the mythological setting, the “highborn kinsmen” could easily and most simply be a render lovers claim that his beloved is part and pa

52、rcel of the heavenly.,ANNABEL LEE Shes meant to be a symbol of impossible, pure beauty and love. Line 4: More like a fairy-tale character than a real girl. Line 26: When he talks about the wind chilling Annabel, we can almost feel the coldness of her body as life slips away. Then the speaker rhymes

53、that word with killing, which is the harshest mention of death in the entire poem.,Line 33: The last three times he mentions Annabel, its in this repeated line: Of the beautiful Annabel Lee. Its another refrain, in a poem thats full of them. In these sad last lines, her name becomes almost like an e

54、cho, as the speaker builds up into his last cry of despair in line 39. Her name finally becomes like the words of a spell that hes saying over and over again to try to bring her back.,The sepulcher (A small room or building in which the bodies of dead people were put.) Line 19: A symbol for the cold

55、 reality of death, its a harsh phrase that makes it sound more like a prison than a final resting place.,The angels / seraphs They take the blame for killing Annabel. With the “sepulcher”, Poe played around with a s word, too, creating an uncomfortable atmosphere. Line 11: Right from the start, thes

56、e seraphs are cruel and jealous. They represent dark, unjust and evil.,Line 21: jealous of Annabel and her lover. Line 30: They thought they would win by killing Annabel, but his bond with her is too strong.,The moon and stars The wind chills and kills, and the ocean is full of demons, but the moon

57、and stars, bringing memories of Annabel Lee, although memories of the moon and stars arent very happy ones for the poet.,Line 34: Here the moon, with the way it beams and brings him dreams is personified. Line 36: the stars are meant to be a metaphor for her eyes or he might think that he sees her e

58、yes in the sky. The vision is a little bit beautiful and sad, and also a little bit scary.,This poem isnt about a happy dream. Its about a living nightmare, where death is everywhere and the world is dark and scary.,7. Poetic Technique 1) Rhyme,“Lee”, “sea”, “me”, and / or “we” are repeatedly rhymed

59、 throughout the poem, thus uniting all six stanzas. The following lines rhyme: In the first stanza, lines 1 and 3 rhyme, and lines 2, 4, 6 rhyme. Stanza Two: lines 8, 10, and 12;,Stanza Three: Lines 14, 16, 18, and 20 rhyme; Stanza Four:” Lines 22, 24, and 26 rhyme; Stanza Five: Lines 28, 29, 31, and 33 rhyme; Stanza Six: Lines 35, 37, 40, and 41; Lines 38 and 39 rhyme. Internal rhyme: “ever”, “dissever” (line 32); “beam” rhymes with “dreams”(line 34); “rise”, eyes” (line 36; “tide”, “side” (line 38),2) Meter,Most of the lines consist of four feet (stressed