Herbert's Sonnets

J. Ottenhoff
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引用次数: 2

Abstract

The multifaceted architecture of George Herbert's The Temple is built in part upon fascinating and functional experiments with rhymepatterns and stanza forms. Rarely using the same verse form more than once in 77»· Temple, Herbert, like Donne, punctuates his verse with a proliferation of varying line lengths and rhyme patterns. ' Thus, the fifteen sonnets scattered through Th* Templo would represent, on the surface, a certain conservatism, a reversion to a well-worn and highly conventionalized form. But Herbert's sonnets show great vitality and wide variety; Herbert the sonneteer is hardly conventional, and his sonnets show a balanced exploitation of the freedoms of a strict verse form just as they admirably express the freedom he found in religious devotion.
乔治·赫伯特的《神庙》的多面结构部分建立在对押韵模式和节形式的迷人和功能性实验之上。在《77》中,赫伯特很少使用相同的诗句形式,“·坦普尔,和多恩一样,用大量不同的行长和押韵模式来标点。”因此,散布在《圣殿》中的十五首十四行诗,在表面上代表了某种保守主义,一种对陈旧和高度约定俗成的形式的回归。但赫伯特的十四行诗表现出极大的活力和多样性;十四行诗作家赫伯特几乎不墨守成规,他的十四行诗表现出对严格诗体自由的平衡利用,就像他们令人钦佩地表达了他在宗教信仰中发现的自由一样。
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