英美诗歌选读 第四讲
第四讲：英语诗歌的基本押韵格式
《英美诗歌选读》课程教案第四讲首页备注：教学进程一栏可根据教学内容的多少自定页数。
第四讲英美诗歌的基本押韵格式押韵格式（rhyme scheme）指的是一首诗中各押韵诗行的组合形式。
一般说来，每首诗都由数量不同的诗行组成，每一行的结尾都按照其读音的相同或类似而押韵，并表现出规律性。
押韵格式分为定型诗歌格式和普通诗歌格式。
前一种格式主要有十四行诗体、斯宾塞诗体、回旋诗体等押韵格式；普通诗歌格式主要有双行押韵格式（aa）、隔行交互押韵格式(abab)和吻韵格式(abba)。
第一节基本押韵格式双行押韵格式（aa）它是英语诗歌最基本押韵格式，主要用于双行诗节（couplet）。
双行诗节指两行押韵或不押韵的诗行。
双行诗节可以单独成为诗节，也可以存在于其他诗节中。
七行体（又称皇韵体，rhyme royal）诗和八行体（octa rima）诗用双行诗节结束，莎士比亚的十四行诗也是用双行诗节结束全诗。
双行诗节分开放双行诗节（open couplet）和完整双行诗节(closed couplet)两种。
完整双行诗节如果是用抑扬格五韵步写成，就被称为英雄双行诗节(heroic couplet)。
开放双行诗节指的是跨行的双行诗体，即两行诗有共同的语法和逻辑结构，但第二行的意思需要继续下去，直到在后面的诗行中结束。
如济慈叙述希腊神话中的美少年长诗《恩弟米安》开始几行：A thing of beauty is a joy for ever:Its loveliness increases; it will neverPass into nothingness; but still will keepA bower quiet for us, and a sleepFull of sweet dreams, and health, and quiet breathing.Therefore, on every morrow, are we wreathingA flowery band to bind us to the earth,Spite of despondence, of the inhuman dearthOf noble natures (1)(John Keats: Endymion)这些诗行的特点是：1美的事物是一种永恒的愉悦：/ 它的美与日俱增：它永不湮灭，/ 它永不消亡；/ 为了我们，它永远/ 保留着一处幽境，让我们安眠，/ 充满了美梦，健康，宁静的呼吸。
《英美诗歌选读》课件
英美诗歌选读 - 莎士比亚的诗 歌
了解莎士比亚的诗歌创作和其在文学中的巨大影响力，分析他的代表作品和 独特的文学特色。
英美诗歌选读 - 红楼梦中的诗 歌
探索红楼梦中的诗歌形式和作用，分析诗歌与小说情节的关系，体味红楼梦 的诗意之美。
英美诗歌选读 - 美国现代主义 诗歌
介绍美国现代主义诗歌的发展和其独特特征，分析代表作品和独特的艺术手 法。
英美诗歌选读 - 英国浪漫中的代表作品和主题思想。
英美诗歌选读 - 总结
归纳英美诗歌选读的内容和重点，总结诗歌的艺术魅力和文化意义，点亮你对诗歌的热情和探索。
《英美诗歌选读》PPT课 件
欢迎来到《英美诗歌选读》PPT课件！本课件将介绍英美诗歌的精选内容，探 讨诗歌的艺术魅力和文化意义。
英美诗歌选读 - 简介
了解英美诗歌选读的概念和作用，探讨诗歌在文学中的重要性和影响力。
英美诗歌选读 - 现代英美诗歌
介绍现代英美诗歌的发展和特点，分析其主题和艺术风格，引领我们进入诗 歌的现代世界。
自考英美文学选读课件(超级完整版)
制作思维导图
利用思维导图工具将笔记内容可视化，形成 清晰的知识网络。
定期复习
定期回顾和复习笔记内容，加深记忆和理解； 同时不断补充和完善笔记。
08
课程总结与展望未来
课程重点内容回顾
01 文学流派与时期
本课程涵盖了从古典到现代的英美文学发展，重 点介绍了各个时期的代表性流派，如浪漫主义、 现实主义、现代主义等。
周完成一篇读书笔记等。
制定学习计划
根据学习目标，制定详细的学习计划， 包括学习时间、学习内容、学习方法 等。
监督与调整
定期检查学习进度，根据实际情况调 整学习计划，确保按计划执行。
如何提高阅读速度和效率
预览与预测
在阅读前预览文本，了解大致内容和结 构，预测可能涉及的主题和观点。
意群阅读
通过意群阅读，将单词组合成有意义 的短语或句子，提高阅读速度和理解
《傲慢与偏见》
通过贝内特家五个女儿的婚恋经历， 探讨婚姻与爱情的真谛。
《尤利西斯》
通过主人公布鲁姆一天的生活，表现 现代人的孤独与迷茫。
07
自学方法与技巧分享
如何制定自学计划并执行
确定学习目标
明确自考英美文学选读的学习目标， 包括掌握文学理论、了解文学流派、
熟悉重要作家作品等。
分解学习任务
将学习计划分解为可执行的小任务， 如每天阅读一定数量的文学作品、每
英美戏剧流派及特点
古典主义戏剧
以古希腊和古罗马戏 剧为典范，注重情节、 结构和语言的完美和 谐。
浪漫主义戏剧
强调情感、个性和自 然的表达，追求超越 现实的理想境界。
现实主义戏剧
关注现实生活和社会 问题，通过刻画典型 人物和环境来揭示社 会本质。
英美诗歌欣赏(讲义)
《英美诗歌欣赏》讲义A Course of British and American Poetry: A SurveyLecture one introductionThe earliest English poems appeared in the Anglo-Saxon period which experienced a Bookless Age. English literature was almost exclusively a verse literature in oral form. The oldest specimens now existent are found in the Exeter Book containing the following poems: Widsith, Doer‟s Lament, The Wanderer and The Sea-Farer, The Battle of Maldon. By far the most significant poem of the Anglo-Saxon Age, however, is Beowulf, which is the oldest poem and the surviving epic in the English language. It is the representative work of Pagan poetry. The poem descended from generation to generation in oral form, sung by bards at the end of the sixth century. The present manuscript was written down in the 10th century or at the end of the 9th century.The characteristics of Anglo-Saxon poetry are the abundant use of metaphor, understatement and alliterative meter. At the same time a number of Christian poets appeared. The most well-known were Caedmon and Cynewulf. They chiefly took their subject matter from the Bible, but their writing styles were almost the same as Anglo-Saxon poetry.The Norman Conquest in 1066 brought forward a literary revolution. Thanks to the French influence, the language and literary taste experienced an enormous change.A new literary form named “romance” became prevailing. Romance dealt mainly with perilous adventures about courageous knights‟ devotion to the king and church. Sir Gawain and the Green Knight is the most charming and enduring example.The first harvest in English literature was, in the 14th century, in which several remarkable poets lived, such as Geoffrey Chaucer, William Langland, John Gower and John Wycliff. Among them, Chaucer towered above all and became the representative of this century. He has won the tide of the Father of English poetry.The 15th century was an age full of wars, which greatly affected the development of literature. There were no great names in poetry but a group of Chaucerians. So the 15th century in English literature is traditionally described as the barren age. Yet in this barren age, ballads became popular, for example, Lord Randal, Glasgerion and Robin Hood.English poetry in the 16th century achieved an age of prosperity. Under the reign of Queen Elizabeth poetry writing became a fashion. There appeared a group of excellent poets, such as Sir Thomas Wyatt, Henry Howard, Sir Philip Sidney, Edmund Spenser, Christopher Marlowe and William Shakespeare. Wyatt introduced into England the Italian sonnet, a fourteen-line poem with a rhyme scheme abba, abba, cddc, ee. It was Henry Howard who created the English form of sonnet with the rhyme scheme abab, cdcd, efef gg. This scheme was later so skillfully and American Poetry used by Shakespeare that it is usually called the Shakespearean sonnet. Wyattand Howard are generally regarded as the founders of the golden age. Sir Philip Sidney‟s best known book was his pastoral romance, Arcadia. His sonnets, altogether one hundred and twenty poems, were imitative of Italian ones, but they possessed a charm distinctly of their own. Edmund Spenser‟s chief works include The Faerie Queen, The Shepherd’s Calendar, and The Amoretti. In his The Faerie Queen, Spenser planned twelve books, each speaking of twelve virtues, with a different hero distinguished for one of the private virtues. But it was a pity that only six books and two cantos of the seventh were completed. In writing this great allegorical poem, Spenser created a new poetic form known as the Spenserian stanza, consisting of nine lines rhyming ababhchcc. This form was widely imitated by later poets, especially by the romantic poets of the 19th century. The best imitator of the Spenserian stanza is John Keats. Christopher Marlowe‟s entire reputation rests on his plays such as Tamburlain, The Jew of Malta and Doctor Faustus. Marlowe is considered to be the greatest of the pioneers in English drama. He is the first poet to make blank verse the principal instrument of English drama. The last one, Shakespeare, is undoubtedly the greatest. Besides his 37 plays, he also wrote two long poems and 154 sonnets. His sonnets figure among the greatest in the language.The death of Elizabeth in 1603 brought the Tudor dynasty to an end and the throne was passed to the Stuarts. On the basis of different political and religious beliefs, people of this period were separated into two vasdy different groups: the Cavaliers and the Puritans. In the field of poetry, two schools of poets appeared: the Cavaliers and Metaphysical poets. The noteworthy names of Cavaliers were Robert Herrick, Sir John Suckling, Richard Lovelace and Thomas Carew. The Cavaliers were royalistic against the British Revolution. They found their happiest poetic expression in gay little sparkling lyrics. The chief representatives of metaphysical poets, on the other hard, were John Donne, George Herbert, Andrew Marvel, Henry Vaughan, Richard Crashaw, Abraham Cowley. The term “metaphysical” was applied by Dr. Samuel Johnson to describe Donne and his followers. Their common features are: arresting and original images and conceits, wit, ingenuity, good use of colloquial speech, considerable flexibility of rhythm and meter, complex themes, a liking for paradox and dialectical argument, a direct manner, a caustic humor, a keenly felt awareness of mortality, and a distinguished capacity for elliptical thought and tersely compact expression. Their manner was directly opposed to the grace and romanticism of the Elizabethans. They shed profound influence on the course of English poetry in the 20th century.The distinguished example of Puritan poets is John Milton. He wrote one of the greatest odes, Ode on the Morning of Christ’s Nativity, a famous elegy Lycidas, a number of unforgettable sonnets, the tragedy Samson Agonistes and his masterpiece Paradise Lost. Milton‟s religious ideas influenced his political and literary careers. During the revolution he became a fighter by using his pen. The chief poet of the Restoration Period was John Dryden, who won his fame as a dramatist, satirist, and writer of odes and lyrics. He contributed to English literature his greatest drama All for Love, a political satire Absalom and Achitophel, two religious poems Religio Laid and The Hind and the Panther, and a magnificent Pindaric ode Song for St. Cecelia’sDay. Nowadays modern writers show their great interest in the study of the Restoration and Metaphysical poets. Dryden in particular has received the applause and cheer of many intellectuals.The 18th century in England is known as the Age of Enlightenment or the Age of Reason. The Enlightenment Movement was an expression of the struggle of the bourgeoisie against feudalism. It was a progressive intellectual movement and also a furtherance of the Renaissance of the 15th and 16th centuries. It exerted an immense influence upon English social life and literature. The purpose of the movement was to enlighten the whole world with modern philosophical and artistic ideas. The enlighteners fought against class inequality, stagnation, prejudices and other remains of feudalism. They celebrated rationality, equality and science. The major representatives were Alexander Pope, Joseph Addison, Richard Steele, Samuel Johnson, Oliver Goldsmith and so on. Artistically this period was characterized by the so-called neoclassicism, a revival of classical standards of order, balance, and harmony in literature. John Dryden and Alexander Pope were major exponents of the neoclassical school. Toward the middle of the century, a new literary trend of sentimentalism appeared. This trend was closely knitted with the radical social and ideological changes in England of that age. It indulged in emotion and sentiment, which were used as a sort of relief from the grief toward the world‟s unfairness wrongs from and mild protest against social injustice. The first notable poem in this tendency is James Thomson‟s The Seasons. Another is Thomas Grey‟s Elegy Written in a Country Churchyard which has been thought of as one of the greatest meditative lyrics. The century drew its curtain down with Robert Burns, a lyrical poet and William Blake, a mystical poet. Burns wrote the majority of his poems in his Lowland Scottish dialect. In spite of the limitation of his lyric range, his expression of the simple singing line was greatly varied. Blake, with his Songs of Innocence and Songs of Experience, is regarded as the forerunner of Romanticism.Poetry in the 19th century experienced a significant phase in its development in Britain. William Wordsworth, together with Samuel Taylor Coleridge, in 1798, published an epoch-making volume, Lyrical Ballads, which marks the break from the neoclassicism of the 18th century and the beginning of the romantic revival in England. Wordsworth wished to intensify everyday experience. The three men, Wordsworth, Coleridge and Robert Southey were known as Lake Poets, as they spent much of their time in the Lake District of northern England. George Gordon Lord Byron‟s fame rests mainly on two long poems: Childe Harolds Pilgrimage and Don Juan. He also wrote many short beautiful lyrics such as She Walks in Beauty and When We Two Parted. Percy Bysshe Shelley‟s writing is the most passionate and intense of all the Romantic poets. His greatest lyrics include Song to the Men of England, Ode to the West Wind and To a Skylark. John Keats, influenced by the poets of the English Renaissance period, endeavored to create a beautiful world of imagination as opposed to the sordid reality of his day. His immortal odes are To Autumn, Ode on Melancholy, Ode to a Nightingale and Ode on a Grecian Urn. Robert Browning is entitled “the Shakespeare of the 19th century”. He was interested in stylistic experimentation, using rough colloquial diction and word order, surprisingand even grotesque rhymes, and harsh rhythms and metrical patterns. His Men and Women, a collection, displays his perfect use of a poetic form: the dramatic monologue. Elizabeth Barrett Browning, Robert Browning‟s wife, is the first woman poet who has occupied an everlasting place in English literature due to her sequence of love poems entitled Sonnets from the Portuguese.In the Victorian Age even when the novel became the dominant literary form, there appeared many important poets such as Robert Browning, Alfred Tennyson, Algernon Charles Swinburne and Gerard Manley Hopkins. Victorian poetry has a close connection with Romantic poetry. Tennyson is a follower of John Keats, Swinburne of Percy Bysshe Shelley, Matthew Arnold of William Wordsworth. The Victorian poets endeavored to search for appropriate modes and experimented in a variety of ways. In versification, they experimented with new or unusual metrical patterns. In line with their metrical experiments were those in the art of narrative poetry. Among them appeared dramatic monologue, most effectively used by Tennyson and Browning. In subject matter, they dealt with some frequently recurring subjects, including a preoccupation with man‟s relationship to God, an acute awareness of time, the timeless equilibrium of lovers, the poignant experience of isolation and hostility of partners in a shattered marriage. Tennyson was the top poet to present the Victorian spirit. His works include the sentimental romance Maud, the epic Idylls of the King, the famous elegy In Memoriam. Swinburne‟s poetry threatened the Victorian sense of decency, so he became celebrated for his revolutionary utterances. His Poems and Ballads was considered a masterpiece of erotic literature. He showed his ingenuity in metrics and phonetics. He outwitted others by creating a new form, the roundel. Arnold was as much a critic and essayist as a poet, although his poetic output was comparatively little. Sohrab and Rustum, his best-known poem, is written in a delicate blank verse with Homeric style. But as a matter of fact his Dover Beach attains far greater height. Many of his best poems convey a melancholy, pessimistic sense of the dilemmas of modern life and tend to focus on the moral aspect of life.The early 20th century saw a technical revolution which is known as Imagism. In the years leading up to WWI, the imagist movement set the stage for a poetic revolution and reevaluation of metaphysical poetry. Thomas Stern Eliot extended the scope of Imagism by bringing the English metaphysicals and the French Symbolists to the rescue, introduced into modern English and American poetry the kind of irony achieved by shifting suddenly from the formal to the colloquial or by oblique allusions to objects or ideas that contrasted sharply with those carried by the surface meaning of the poem. So the 1920s is regarded as the age of Eliot. Gerard Manley Hopkins combined absolute precision of the individual image with a complex ordering of images and a new kind of metrical patterning. William Butler Yeats worked out his own notions of symbolism, developed a rich symbolic and metaphysical poetry with its own curiously haunting cadences and imagery. His poetry reflected the varying developments of his age and maintained an unmistakably individual accent. Both Thomas Hardy and Alfred Edward Housman inherited English poetic traditions and shared the similarity in having a pessimistic vision to human life.Wystan Hugh Auden often combined deliberate irreverence with verbal craftsmanship. His poetry is noted for its vitality, variety, and originality. Robert Graves and Edwin Muir are the two important 20th-century poets who stood somewhat apart from the main map of English poetry in the first half of the century. Both of them show that there were strengths in the English poetic tradition untapped by Thomas Sterns Eliot and his followers. They were much concerned with time and the human response to time, and both had a deep sense of history. New forces kept coming in during the sixties and seventies. English poetry today is more diverse than before. Since the end of the 1950‟s a new element of both rhetoric and myth has been coming into English poetry. The recent famous poets are Ted Hughes, Tony Harrison, Dylan Thomas and Seamus Heaney.In American literature the Puritans who had settled in New England were the first poets of the American colonies. When they came to America they maintained their cultural allegiances to Britain. Most Puritan poets saw the purpose of poetry as careful Christian examination of their life. So the Puritan‟s religious subject and imitation of English literary traditions were the two essential characteristics of early American literature. Anne Bradstreet, the first American poet, published a volume of poetry. Her famous The Tenth Muse Lately Sprung Up in America contained a muted declaration of independence from the past and a challenge to authority.Colonial poets of the 18th century still followed the example of British poets such as Alexander Pope. Ebenezer Cook and Richard Lewis wrote accomplished satirical poems based on British pastoral models. The development of poetry in the American colonies mirrors the development of the colonies themselves. Revolutionary-era poets felt an urgency to produce a serious national poetry that would celebrate the country‟s new democratic ideals. They d id not bother with the question whether a new nation required new forms of poetry, but were content to use traditional forms to write about new subjects in order to create the first truly American poetry. Many of Philip Freneau‟s poems focused on America‟s future greatness and other subjects including the beauties of the natural world. His lyric poems such as The Wild Honey Suckle and On a Honey Bee can be seen as the first expressions in American poetry of a deep spiritual engagement with nature. Phillis Wheatley wrote in 18th-century literary forms. But her highly structured and elegant poetry nonetheless expressed her frustration at enslavement and desire to reach a heaven where her color and social position would no longer keep her from singing in her full glory.In the 19th century American poetry assumed real literary value for the first time. The most remarkable poet born in America was William Cullen Bryant who gained public recognition for his Tbanatopsis. Influenced by British Romantic poets, especially by William Wordsworth and Percy Bysshe Shelley, Bryant wrote about his personal experiences in nature and society, therefore, nature became the major theme of his poems. Edgar Allan Poe created noble poetry with felicity and won a reputation both in America and abroad. Toward the middle of the century there appeared a group of poets named the New England Group, which consisted of John Greenleaf Whittier, Oliver Wendell Holmes, James Russell Lowell, Henry Wadsworth Longfellow, andRalph Waldo Emerson. Whittier became best known for Snow-Bound, a long nostalgic look at his Massachusetts Quaker boyhood. Whittier was sensitive to find the beauty of the commonplace, to comprehend the profound meaning of freedom and democracy. Holmes followed the tradition of neoclassicism in his poetic creation, although he lived in the Romantic Period. His poetry was characterized by his light verse with witty, arresting charm. Lowell was best remembered for his volumes of poems such as A Year’s Life, Under the Willows and The Cathedral, in which he demonstrated his striking characteristics of simplicity, wit and urban good nature. Longfellow was the most distinguished poet in his story-telling faculty. His long poem The Song of Hiawatha was written in the nearest approach to a native epic that America as yet possessed. Ralph Waldo Emerson‟s poetry was more searching and intellectual than sensuous. His verse functioned as the transition from blank verse to free verse. These poets were united by a common search for a distinctive American voice to distinguish them from their British counterparts. The transcendentalism of Emerson and Henry David Thoreau was the distinctly American strain of English Romanticism. During the 19th century, black and white poets also wrote about the abolition of slavery and the emancipation of slaves.Bridging the gap between the New England Group and the contemporary poets towers the figure of Walt Whitman, the first working-class American poet. In 1855 Whitman published the first edition of Leaves of Grass which marked the birth of truly American poetry. In this collection Whitman developed a poetic style of originality, which was a major experiment in cadenced rather than metrical versification. Emily Dickinson is now regarded a chief poet, as great as Walt Whitman. She, the only important female poet in America in the 19th century, was fascinated with love, friendship, nature, life, immortality and death. Her poetry is distinguished not only by its intensity of emotion but by its idiosyncratic form — the frequent use of dash and capitalization, fragmentary and enigmatic metrical patterns. Herman Melville, though much better known as a novelist, wrote powerful poetry about the Civil War, collected in Battle-Pieces and Aspects of the War. He later wrote a long and mysterious poem, Clarel, about his search for faith, his struggle with doubt, and his anxiety about the decline of civilization.By 1900 the United States experienced multiple changes: westward expansion, waves of immigration, and increasing urbanization that combined to create a physically larger, more populous, and far more diverse country. American poetry in die opening decades of the century displayed far less unity. In the last decades of the 19th century, American literature had entered a period of regionalism. Dialect poetry written in exaggerated accents and colorful idioms became a sensation for a time and found its chief exponents in James Whitcomb Riley, Eugene Field, Paul Laurence Dunbar.The following period in the development of American poetry is generally considered as new era, dating from 1914. Edwin Arlington Robinson‟s Children of the Night and Collected Poems were full of brilliant condensations and sympathy for all phases of humanity, particularly with those lost dreamers whom the world appraises as mediocrities and failures. Robinson explored the lives of New Englanders in hisfictional Tilbury Town through dramatic monologues. He employed the rhythm of everyday speech and reflected a Puritan sense of humankind‟s moral corrupti on. At an equal rank with Robinson, Robert Frost further developed Robinson‟s New England voice in poetry that could be read both as regional and as some of the most accomplished modern poetry of the early 20th century. He revolutionized blank verse. Restr ained, humorous, and understated, Frost‟s poetry gives voice to modern psychological constructions of identity without ever losing its focus on the local and the specific. Carl Sandburg‟s writing was completely different from that of Robinson and Frost, who advocated reticence, whereas Sandburg was in favor of declamations. Sandburg saw the Middle West as the source of most of his materials and concerned himself with steel mills and slaughterhouses, city streets and farm houses, so he was called “the laureate of industrial America”.Ezra Pound and Thomas Sterns Eliot are the leading poets of early 20th century American literature. Meanwhile, many other poets also made important contributions. These included Gertrude Stein, Wallace Stevens, William Carlos Williams, Marianne Moore, Edward Estlin Cummings, Langston Hughes and Hart Crane. After WWII, a number of new poets and poetic movements emerged. The Confessional movement was just one of them. Robert Lowell, John Berryman, Sylvia Plath, Anne Sexton, and William De Witt Snodgrass were its major members, and the first two were its leading lights. Both Berryman and Lowell were closely acquainted with modernism. Their subject matter had not been openly discussed in American poetry in the previous time. Private experiences with and feelings about death, trauma, depression and relationships were addressed in their poetry. WWII saw the emergence of a new generation of poets, many of whom were influenced by Wallace Stevens, Richard Eberhart, Karl Shapiro and Randall Jarrell. Around the same time, the Black Mountain poets appeared under the leadership of Charles Olson and Robert Creeley. They were a group of mid-20th century American avant-garde or postmodern poets centered around Black Mountain College. The group included Charles Olson, Robert Creeley, Robert Duncan, Edward Dorn, Paul Blackburn, and Jonathan Williams. They based their approach to poetry on Olson‟s essay Projective Verse. Some of the Black Mountain poets are often considered to have contributed to the San Francisco Renaissance. The 1970s saw a revival of interest in surrealism, with the most prominent poets such as Russell Edson and Maxine Chernoff working in this field. In 1980s appeared a group of poets known as the New Formalists, including Molly Pacock, Dana Gioia and Marilyn Hacker. They wrote in traditional forms and declared that this return to rhyme and more fixed meter was the new avant-garde.What Is PoetryThere have been many attempts to define what poetry is. Plato says that “The poet is a light and winged and holy thing, and there is no invention in him until he has been inspired and is out of his senses, and then the mind is no longer in him.” Aristode defines that “poetry, therefore, is a more philosophical and higher thing than history, fo r poetry tends to express the universe, history, the particular”. For Aristotle, poetry is a species of imitation or mimesis. Poetry uses different mediums, objectsand modes in order to carry out an imitation. Sir Philip Sidney borrows and amends the theories of Plato, Aristotle, Horace and a few of his contemporary Italian critics. He writes that “Poesy therefore is an art of imitation, for as Aristode terms in his word …mimesis‟, that is to say, a representing, counterfeiting, or figuring forth.” but lat er he adds a Horation note, declaring poesy‟s chief end to be “to teach and delight”. Like Aristode, Sidney values poetry over history, law, and philosophy, but he takes Aristode‟s idea one step further by declaring that “poetry, above all the other arts a nd sciences, embodies truth.” Samuel Johnson insists that “the end of writing is to instruct; the end of poetry is to instruct by pleasing.” William Wordsworth defines “poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility: the emotion is contemplated till, by a species of reaction, the tranquility gradually disappears, and an emotion, kindred to that which was the subject of contemplation, is gradually produced, and does itself actually exist i n the mind. “Samuel Taylor Coleridge has his definition that “the proper and immediate object of Science is the acquirement or communication of truth; the proper and immediate object of poetry is the communication of pleasure ... I wish our clever young poets would remember my homely definitions of prose and poetry; that is, prose: words in their best order; poetry: the best words in the best order.” Percy Bysshe Shelley says poetry is “the record of the best and happiest moments of the best minds”. Emily Dickinson thinks poetry is that which “makes my body so cold no fire can warm me, and makes me feel as if the top of my head were taken off”. To Carl Sandburg, “Poetiy is the synthesis of hyacinths and biscuits ... a series of explanations of life, fading o ff into horizons too swift for explanation”. Thomas Sterns Eliot considers that poetry is “not the assertion of truth, but the making of that truth more fully real to us”. Robert Frost holds that “a poem begins with a lump in the throat, a home-sickness or a love-sickness. It is a reaching-out toward expression; an effort to find fulfillment. A complete poem is one where the emotion has found its thought and the thought has found the words.” Louis Untermeyer gives, perhaps, the most eloquent definition: “Po etry is the power of defining the indefinable in terms of the unforgettable”. A. E. Housman observes that “I could no more define poetry than a terrier can define a rat,” while Dylan Thomas believed that “there is no such thing as poetry, only poems.” Here is Archibald Macleish‟s poem about poet ry: Ars PoeticaA poem should be palpable and muteAs a globed fruit,DumbAs old medallions to the thumb,Silent as the sleeve-worn stoneOf casement ledges where the moss has grown —A poem should be wordless As the flight of birds.A poem should be motionless in time As the moon climbs,Leaving, as the moon releasesTwig by twig the night-entangled trees,Leaving, as the moon behind the winter leaves, Memory by memory the mind —A poem should be motionless in time As the moon climbs.A poem should be equal toNot true.For all the history of griefAn empty doorway and a maple leaf.For loveThe leaning grasses and two lights above the sea —A poem should not meanBut be.It is clear that poetry is almost too complex to define. Every poet seems to have his or her own definition of poetry. Usually a poet is just describing his or her definition in his or her poems. It is difficult to have a single definition of poetry that fits all its varying structures, styles and subject material. A typical dictionary might define poetry as literary composition written in verse with meaning. This simple definition only characterizes poetry on the surface, but there is so much more to poetry than just words. One can hardly define what poetry is. However, one can make an attempt to describe its properties, function, and characteristics as clearly as possible. It is a method to express one‟s emotion and make his reader feel it by means of the best language. If one is dealing with similar ideas and perspectives, conventional forms of language may not be sufficient to express emphatically and efficiently. That is why poetry has evolved and taken so many different linguistic forms over the centuries. The definition of poetry can be discussed, debated, and analyzed, but it cannot be understood in concrete terms. In a world full of unknowns, secrets, and mysteries, poetry becomes a means of survival and coping. Through poetry, one can acquire knowledge how to do with the change, how to come to terms with joy and grief, and how to celebrate the wonder still to be found in the extraordinary energy of daily life. Due to this perspective by itself, poetry cannot be limited by definitions. It cannot be communicated or fathomed other than by the use of poetry itself.How to Read a PoemPoetry is written to be read aloud and heard. In the past, it was common for people to get together and read poetry to each other. A poem was not simply a piece of。
《英美诗歌选读》课程教案首页
学生专业班级英语专业教育班学时数32教学目的通过系统学习英美诗歌的韵律与类型，进一步增强对英美文化的了解，提高英语水平和自身的文化修养。
教学内容1．英美诗歌的韵律，包括韵步、韵步数、押韵、基本押韵格式、十四行诗押韵格式、诗行与韵律的关系、素体诗与自由诗的韵律等；2．英美诗歌的类型，包括叙事诗、抒情诗、融入中国文化的英美诗等，其中的抒情诗包括颂诗、悼亡诗、牧歌、爱情诗、宗教诗、墓志铭等。
教学重点押韵、押韵格式、史诗、颂诗、爱情诗等教学难点押韵及押韵格式，颂诗教学进程每周2学时，前7周学习英美诗歌的韵律，后8周学习英美诗歌的类型，最后一周随堂考试（具体教学进程见教学周历）教学方法课堂讲解欣赏为主，启发学生对诗歌的理解教具多媒体，粉笔，黑板课后总结归纳作业总结所学章节内容，举例说明诗歌的韵律与类型备注：教学进程一栏可根据教学内容的多少自定页数。
学生专业班级学时数教学目的教学内容英美诗歌的韵步教学重点韵步类型：抑扬格、扬抑格、扬扬格、抑抑扬格、扬抑抑格教学难点抑扬格、扬抑格教学进程第一学时讲授音素、音节、韵步的定义，以及韵步的几种类型第二学时讲授韵步的各种类型，教学方法教具课后总结作业Give a definition of foot and the types of it 备注：教学进程一栏可根据教学内容的多少自定页数。
重庆交通大学外国语学院课程《英美诗歌选读》电子课件：第一讲- 3 -第一讲 英美诗歌的韵步第一节 韵步的定义与种类韵步（foot ，也被称为音步），是由音节(syllable)组成的，因此，首先要了解什么是音节。
音节由音素（phone ）构成，它是语音中最小的不可再分解的单位，是字母组合后的读音标记。
音素靠听觉辨认，字母靠视觉辨认，音素属于读音系统，字母属于拼写系统。
例如，scansion[′sk æn ∫зn]由8个字母拼写而成，只有7个音素。
英语音素分为元音（vowel ）和辅音(consonant)，共有48个。
第四讲-英语诗歌的基本押韵格式
《英美诗歌选读》课程教案第四讲首页备注：教学进程一栏可根据教学内容的多少自定页数。
第四讲英美诗歌的基本押韵格式押韵格式（rhyme scheme）指的是一首诗中各押韵诗行的组合形式。
一般说来，每首诗都由数量不同的诗行组成，每一行的结尾都按照其读音的相同或类似而押韵，并表现出规律性。
押韵格式分为定型诗歌格式和普通诗歌格式。
前一种格式主要有十四行诗体、斯宾塞诗体、回旋诗体等押韵格式；普通诗歌格式主要有双行押韵格式（aa）、隔行交互押韵格式(abab)和吻韵格式(abba)。
第一节基本押韵格式一、双行押韵格式（aa）它是英语诗歌最基本押韵格式，主要用于双行诗节（couplet）。
双行诗节指两行押韵或不押韵的诗行。
双行诗节可以单独成为诗节，也可以存在于其他诗节中。
七行体（又称皇韵体，rhyme royal）诗和八行体（octa rima）诗用双行诗节结束，莎士比亚的十四行诗也是用双行诗节结束全诗。
双行诗节分开放双行诗节（open couplet）和完整双行诗节(closed couplet)两种。
完整双行诗节如果是用抑扬格五韵步写成，就被称为英雄双行诗节(heroic couplet)。
开放双行诗节指的是跨行的双行诗体，即两行诗有共同的语法和逻辑结构，但第二行的意思需要继续下去，直到在后面的诗行中结束。
如济慈叙述希腊神话中的美少年长诗《恩弟米安》开始几行：A thing of beauty is a joy for ever:Its loveliness increases; it will neverPass into nothingness; but still will keepA bower quiet for us, and a sleepFull of sweet dreams, and health, and quiet breathing.Therefore, on every morrow, are we wreathingA flowery band to bind us to the earth,Spite of despondence, of the inhuman dearthOf noble natures (1)(John Keats: Endymion)这些诗行的特点是：首先，每两行押韵，即ever / never，keep / sleep，breathing / wreathing，earth / dearth 1美的事物是一种永恒的愉悦：/ 它的美与日俱增：它永不湮灭，/ 它永不消亡；/ 为了我们，它永远/ 保留着一处幽境，让我们安眠，/ 充满了美梦，健康，宁静的呼吸。
英美文学欣赏最新版教学课件美国文学Unit 4 Emily Dickinson
狄金森这首诗意象新奇，意境深 邃，不为传统观念束缚，表现了诗人 对直觉、对智慧的礼赞。
英美文学欣赏（第四版）
The Brain — is wider than the Sky — For — put them side by side — The one the other will contain
To tell one’s name — the livelong June!
To an admiring Bog!
当个名流——多么——无聊！ 像个青蛙——何等火爆——
终生一个六月——对一片—— 倾倒的池塘——把自己聒噪！
英美文学欣赏（第四版）
作品欣赏
The Brain—Is Wider Than the Sky—
英美文学欣赏（第四版）
➢ Questions
1.How many specific features can you list of Emily Dickinson’s poetry? 2.What is Dickinson’s attitude toward death? How does she express her attitude?
The Roof was scarcely visible — The Cornice — in the Ground —
我们停在一座房舍前 它好似土包隆起在地上——
屋顶几乎模糊难辨—— 檐 口—— 也 隐 没 在 地 中央——
英美文学欣赏（第四版）
Since then — 'tis Centuries — and yet Feels shorter than the Day
《英美诗歌鉴赏课件》English Poetry (4)
❖
And swear,
❖
No where
❖
Lives a woman true, and fair.
❖
If thou find’st one, let me know,
❖
Such a pilgrimage were sweet;
❖
Yet do not, next door we might meet;
John Donne（1572-1631）
❖ The Sun Rising ❖ Busy old fool, unruly1 sun, ❖ Why dost thou thus, ❖ Through windows and through curtains call on us? ❖ Must to thy motions lovers’ seasons run? ❖ Saucy pedantic wretch,2 go chide ❖ Late school boys and sour prentices,3 ❖ Go tell court huntsmen that the King will ride,
❖ Examples include William Shakespeare’s Hark! hark! the lark and Robert Browning’s Pippa Passes. Some poems, such as John Donne’s The Sun Rising, share traits with the dawn song. Geoffrey Chaucer’s Troilus and Criseyde also contains an example within its larger narrative.
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英美诗歌选读第四讲[大] [中] [小]英美诗歌的基本押韵格式押韵格式（rhyme scheme）指的是一首诗中各押韵诗行的组合形式。
一般说来，每首诗都由数量不同的诗行组成，每一行的结尾都按照其读音的相同或类似而押韵，并表现出规律性。
押韵格式分为定型诗歌格式和普通诗歌格式。
前一种格式主要有十四行诗体、斯宾塞诗体、回旋诗体等押韵格式；普通诗歌格式主要有双行押韵格式（aa）、隔行交互押韵格式（abab）和吻韵格式（abba）。
第一节基本押韵格式一、双行押韵格式（aa）它是英语诗歌最基本押韵格式，主要用于双行诗节（couplet）。
双行诗节指两行押韵或不押韵的诗行。
双行诗节可以单独成为诗节，也可以存在于其他诗节中。
七行体（又称皇韵体，rhyme royal）诗和八行体（octa rima）诗用双行诗节结束，莎士比亚的十四行诗也是用双行诗节结束全诗。
双行诗节分开放双行诗节（open couplet）和完整双行诗节（closed couplet）两种。
完整双行诗节如果是用抑扬格五韵步写成，就被称为英雄双行诗节（heroic couplet）。
开放双行诗节指的是跨行的双行诗体，即两行诗有共同的语法和逻辑结构，但第二行的意思需要继续下去，直到在后面的诗行中结束。
如济慈叙述希腊神话中的美少年长诗《恩弟米安》开始几行：A thing of beauty is a joy for ever：Its loveliness increases；it will neverPass into nothingness；but still will keepA bower quiet for us，and a sleepFull of sweet dreams，and health，and quiet breathing.Therefore，on every morrow，are we wreathingA flowery band to bind us to the earth，Spite of despondence，of the inhuman dearthOf noble natures (1)（John Keats：Endymion）这些诗行的特点是：首先，每两行押韵，即ever / never，keep / sleep，breathing / wreathing，earth / dearth 押韵。
其次，第一行是完整句，第二行要表达的意思跨入下面数行才结束。
双行诗节是英语中最短的诗节，在印刷安排上，有时按两行一个诗节的形式分开排列，有时连续排在一起。
每个诗节的押韵不重复，即下一个诗节同上一个诗节不能押相同的韵，必须转韵，因此，整首诗的押韵格式就成了aabbccdd，一直往下推。
完整双行诗节不仅要求两行诗押韵相同，而且要把意思表达完整。
英雄双行诗节是完整双行诗节中的一种，它是英语诗歌之父乔叟最喜爱的诗体，如他的《坎特伯雷故事》总引中对骑士的介绍：And everemore he hadde a sovereign pris.And thought that he were worthy，he was wis，And of his port as week as is a maide.He nevere yit no vilainye ne saideIn al his lif unto no manere wight：He was a verray，parfit，gentil knight.But for to tellen you of his array，His hors were goode，but he was nat gay.Of fustian he wered a gipounAl bismotered with his haubergeoun，For he was late come from his viage，And wente for to doon his pilgrimage.[2]（Chaucer：The General Prologue of The Canterbury Tales）这段诗是抑扬格五韵步，每两行押韵，下个韵不同于上个韵，其押韵格式为aabbccddeeff。
济慈的叙事诗《拉米亚》是混合使用开放诗行和英雄诗行写成的，开始几行如下：Upon a time，before the faery broodsDrove Nymph and Satyr from the prosperous woods，Before King Oberon’s bright diadem，Scepter，and mantle，clasp’d with dewy gem，Frighted away the dryads and the FaunsFrom rushes green，and brakes，and cowslip’d lawns，The ever-smitten Hermes empty leftHis golden throne，bent warm on amorous theft：[3]（John Keats：Lamia）这些诗行里，第一行不是完整句，第一行和第二行组成一个时间状语从句，第三、四、五六句组成第二个状语从句，第七、八行组成这些诗行的主句。
它们每两行押韵，即broods / woods，diadem / gem，Fauns / lawns，left / theft。
每组韵不同，属开放双行诗节押韵格式。
但该诗第二十七行开始如下：From vale to vale，from wood to wood，he flew，Breathing upon the flowers his passion new，And wound with many a river to its head，To find where this sweet nymph prepar’d her secret bed：In vain；the sweet nymph might nowhere be found，And so he rested，on the lonely ground.[4]显然，这些以抑扬格五韵步为主的诗行里，每行都表达完整的意思，都是每两行押韵，因此它们属英雄双行押韵格式。
押aabb韵律格式的四行诗节，其实是双行诗节的变体，如朗费罗的《箭和歌》第一、三诗节：I shot an arrow into the air，It fell to earth，I knew not where；For，so swiftly it flew，the sightCould not follow it in its flight.….Long，long afterwards，in an oakI found the arrow，still unbroken；And the song，from beginning to end，I found again in the heart of a friend.[5]（Longfellow：The Arrow and the Song）每两行押韵，下一诗节的韵与前面的韵不同。
虽然第一、二行都分别表达完整之意，但因它们是四韵步，只能被称为完整诗行，不能被称为英雄双行。
其余双行是开放诗行。
诗人们有时使双行诗节发生变化，在双行上加一行并与之押韵，这样的诗节叫三行同韵诗节（triplet）。
最好的例子莫过于丁尼生的《鹰》：He clasps the crag with crooked hands；Close to the sun in lonely lands，Ring’d with the azure world，he stands.The wrinkled sea beneath him crawls；He watches from his mountain walls，And like a thunderbolt he falls.[6]（Alfred Tennyson：The Eagle）如果是三个以上的诗行押一个韵，这叫单韵（monorhyme）。
单韵的格式有两种，一种是一个诗节只押一个韵，有多少诗节就有多少韵，另一种是一首诗只押一个韵。
例如弗罗斯特的《蔷薇科》就是一首诗只押一种韵的典型例子：The rose is a rose，And was always a rose.But the theory now goesThat the apple’s a rose，And the pear is，and so’sThe plum，I suppose.What will next prove a rose.You，of course，are a rose—But were always a rose.[7]（Robert Frost：The Rose Family）二、隔行押韵格式隔行韵（alternate rhyme）又称交叉韵（cross rhyme），其格式abab是英语诗歌中仅次于双行押韵格式aa的第二种基本押韵格式，一般用于写作四行诗节，其基本特征就是第一行诗与第三行诗押韵，第二行诗同第四行诗押韵。
如华兹华斯的《致杜鹃》第一诗节：O blithe new-comer！I have heard，I hear thee and rejoice：O Cuckoo！Shall I call thee Bird，Or but a wandering V oice？[8]（William Wordsworth：To the Cuckoo）这种押韵格式来自双行诗节的押韵格式，是双行诗节的变体，它本身也同样存在变体，形成另外一种格式，如xbyb格式（其中x和y表示不押韵）。
这种格式在民谣中比较常见，如济慈《冷酷的妖女》第六、七诗节：I set her on my pacing steed，And nothing else saw all day long，For sidelong would she bend，and singA fairy’s song.She found me roots of relish sweet，And honey wild，and manna dew，And sure in language strange she said—I love thee true. [9]（John Keats：La Belle Dame Sans Merci）三、吻韵格式吻韵（envelope rhyme or kissing rhyme）又称抱韵，其押韵格式为abba，其主要特征是第一诗行与第四诗行押韵，第二诗行和第三诗行押韵。