詩歌解讀
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詩歌解讀
1 引言
2 聲音模式
3 影像
4 詞語選擇
5 隱喻
6 主題
7 語氣
8 結構
9 綜合起來
This book develops the set of interpretive techniques needed for a reader to respond to various out-of-the-ordinary uses poets make of words. Running through these interpretive techniques are the following more abstract concerns: foregrounding, associating, and patterning. These ideas will be explained more fully as we focus on each of the following traits of poetry: sound patterning, images and image patterns, themes, word choice, figurative language, and finally structure and tone. Many of the poems in the book are my own, but I will also bring in poems by other writers to illustrate a point.
Here as a poem that "asks" the reader to see and hear the simplest kind of sound patterning, end rhyme:
如果愛像一座橋，或者也許像一種怨恨，
而時間像一條河，讓我們瑟瑟發抖地死去，
那麼，這些早晨意味著什麼，除了衰老成愛？
現在筆直的東西一定是彎曲的；現在完整的東西一定是破裂的。
我的手現在是你的手套。
One of the "out-of-the-ordinary" uses of words here is the echoes heard at the ends of lines. The speaker throws a slight curve ball at the beginning--"bridge" and "grudge" don't rhyme perfectly. they are an example of slant rhyme. But from that point one, we have perfect rhymes, though not in an exact pattern--"river" and "shiver"; then "meant," "bent," and "rent"; and finally "love" and "glove." Even that small bit of sound patterning pushes this statement out of the ordinary. I also asks you, the reader, to look at the way the statement is made and not just at its message.
You notice that "bridge" and "grudge" oppose each other, one joining and one separating emotionally at least. The pair "river" and "shiver" introduces the theme of time and joins it with its ancient image of a river, with the added minor chord of our being killed, drowned perhaps, with a "shiver."
The then-clause applies the imagery of bridge and river and shiver to the speaker and the person addressed. This clause tells us that the "mortalizing" passage of time may be redeemed by the growth of love. That can happen if the couple do the repair work suggested by straightening whatever has been "bent" and knitting together what has been torn apart ("rent" past tense of "rend"). And the "love-glove" rhyme rounds off the poem, the theme word ("love") being fused with the image word ("glove").
You can see from our looking AT the rhyme words rather than through them the poem becomes deeper. You have begun to practice foregrounding.
Here's another one
在灰色的空氣中，我尋找一個起點，並試圖不在乎冬天是否會持續。
雪花從天空中盤旋而下，將它們幼稚的打擊聲帶到我的耳中和眼前。
我認識或應該當父親的孩子睡在我的骨頭裡。我聽到他們的哭聲。
他們不會為一個夜晚和短暫的繁殖而醒來，而是為了以父親為食而醒來。
沒有彎曲的腿在雪中移動。冬天拖著腳步。沒有什麼想成長。
"To My Wife" is a simple poem without much to push it out of the ordinary other than the use of rhymes that are semantically associated with each other. "He Contemplates his Celibacy" is more complex. (Anytime you want to understand a poem you should be ready to look up unfamiliar words like "celibacy." That's become ridiculously easy--
http://en.wiktionary.org/wiki/celibacy。）這首詩只有兩個完美的押韻，三個斜押韻，還有一個詩節（一組押韻的詩行）完全打破了押韻方案。看看你是否能找到它們。
The "gray air" is associated in the speaker's mind with the winter, the coldness, that he tries to dismiss. He also associates the winter, this time the snow, with unborn children whose potential he feels within him. Then, breaking the rhyme pattern, he shifts to the image of insects. His unborn sons and daughters transform in his mind into offspring that destroy their parent, as some species of insects actually do. The last stanza has a perfect rhyme and a slant rhyme. The speaker insists that there is no buried life waiting to be born. Perhaps unconsciously the speaker's attributing the absence of a wish for life applies to him. Just as the speaker will father no children, so he himself will not grow. If you as a reader associate this denial-of-new-life poem with the winter solstice, to which it runs counter, that is your call. Associations usually need to be stated non-dogmatically, as possible meanings but not necessary ones.
在灰色的空氣中，我尋找一個起點，並試圖不在乎冬天是否會持續。
雪花從天空中盤旋而下，將它們幼稚的打擊聲帶到我的耳中和眼前。
我認識或應該當父親的孩子睡在我的骨頭裡。我聽到他們的哭聲。
他們不會為一個夜晚和短暫的繁殖而醒來，而是為了以父親為食而醒來。
沒有彎曲的腿在雪中移動。冬天拖著腳步。沒有什麼想成長。
"To My Wife" is a simple poem without much to push it out of the ordinary other than the use of rhymes that are semantically associated with each other. "He Contemplates his Celibacy" is more complex. (Anytime you want to understand a poem you should be ready to look up unfamiliar words like "celibacy." That's become ridiculously easy--
http://en.wiktionary.org/wiki/celibacy。）這首詩只有兩個完美的押韻，三個斜押韻，還有一個詩節（一組押韻的詩行）完全打破了押韻方案。看看你是否能找到它們。
The "gray air" is associated in the speaker's mind with the winter, the coldness, that he tries to dismiss. He also associates the winter, this time the snow, with unborn children whose potential he feels within him. Then, breaking the rhyme pattern, he shifts to the image of insects. His unborn sons and daughters transform in his mind into offspring that destroy their parent, as some species of insects actually do. The last stanza has a perfect rhyme and a slant rhyme. The speaker insists that there is no buried life waiting to be born. Perhaps unconsciously the speaker's attributing the absence of a wish for life applies to him. Just as the speaker will father no children, so he himself will not grow. If you as a reader associate this denial-of-new-life poem with the winter solstice, to which it runs counter, that is your call. Associations usually need to be stated non-dogmatically, as possible meanings but not necessary ones.
這也許是最常見的現代歌詞集
這就是傑克蓋的房子。
這就是放在傑克蓋的房子裡的麥芽。
這就是吃掉麥芽的老鼠
放在傑克蓋的房子裡的麥芽。
這就是殺死老鼠的貓
吃掉了放在傑克蓋的房子裡的麥芽的老鼠。
這就是擔心貓的狗
殺死了吃掉放在傑克蓋的房子裡的麥芽的老鼠
放在傑克蓋的房子裡的麥芽。
這就是長著捲曲的角的母牛
撞倒了擔心貓的狗
殺死了吃掉放在傑克蓋的房子裡的麥芽的老鼠
放在傑克蓋的房子裡的麥芽。
這就是悲傷的少女
給長著捲曲的角的母牛擠奶
. . .
童謠和累積故事“這就是傑克蓋的房子”出現在1887年的一本兒童故事書中。這首詩實際上並沒有講述傑克蓋房子的故事，而是展示了房子如何間接地與許多事物和人物聯絡在一起。據信它可以追溯到16世紀中期，但第一版印刷版是在1755年。“現代？” [[1]]
兒童詩歌是一個很好的起點——一個生活或對詩歌的探索。在上面的詩行中，當你讀到“長著捲曲的角的母牛”時，我希望你想要知道這個曲折的故事將走向何方。但看看其他一些東西。“出現在1887年的一本書中”表明詩歌可以把你帶到寶貴的過去，你可能必須找到一些你不知道的事情。
“並沒有真正講述傑克蓋房子的故事”讓你想知道為什麼一首名為“這就是傑克蓋的房子”的詩歌並沒有告訴你關於傑克手藝的事情。答案是詩歌是間接的。19世紀偉大的美國詩人艾米莉·狄金森說：“說出全部的真相，但要斜著說。”這裡的“斜著”意味著“間接”。為什麼應該是這樣呢？部分原因是間接性會引導你到“許多事物和人物”。詩歌透過聯想起作用。
讓我們看看“傑克蓋的房子”。當你大聲朗讀時，你聽到了節奏，無重音和有重音音節交替出現。這首詩主要由一個音節片語成，所以你不用擔心，即使你難以將單詞分成音節。你聽到了“THIS is the HOUSE that JACK BUILT”。當你移動時，你會聽到這種一拍和兩拍節奏的交替。“THIS is the CAT that KILLED the RAT”——每行都以一個重音、一個拍子開始和結束。
當你大聲朗讀這首詩時，你還能注意到聲音的什麼其他特點呢？每行都有一個輕微的停頓，一個“休止”。而且每個休止都出現在“that”這個詞之前。這就是我們閱讀詩歌的原因之一，因為我們享受各種節奏。我們享受快速節奏突然停頓，然後再次恢復。
你還會聽到母音-子音的音樂。像“cat”和“rat”這樣的明顯押韻，還有像“malt”和“rat”這樣的斜押韻（還記得間接性嗎？）。