菲利普·拉金和诗节

IF 0.4 0 LANGUAGE & LINGUISTICS
B. Scherr
{"title":"菲利普·拉金和诗节","authors":"B. Scherr","doi":"10.12697/smp.2022.9.2.01","DOIUrl":null,"url":null,"abstract":"Philip Larkin, one of England’s finest poets among the generation that came of age during World War II, maintained a strong interests in the formal features of verse throughout his career. This article marks the first comprehensive overview of his highly varied and frequently original use of one such feature, the stanza. A set of tables provides overall data about the relative frequency of different stanza lengths – in his four published poetry collections, in poems that he either published or planned to publish but did not appear in one of those collections, and in the unpublished verse. He turns out to have been a strikingly innovative master of stanza form. If many poets rely heavily on the quatrain as their favored stanza, Larkin makes that only one of several stanza lengths that he turns to regularly. More importantly, he composes stanzas in innovative and imaginative ways. His forty sonnets – only eight of which appeared in his four collections – reveal a variety of rhyme schemes and, occasionally, unusual placement of the breaks between portions of the sonnet. In other poems, the rhyme schemes are often irregular, making the rhyme scheme difficult to detect, particularly in those cases when he employs highly approximate rhyme. Much of his verse is also marked by frequent enjambement, even between stanzas. He occasionally links his stanzas and sometimes creates a rhyme scheme that has a different number of lines than the actual stanza length, resulting in markedly complex compositions. In all, Larkin regularly uses his stanzas to highlights key aspects of a poem’s meaning, while the intricacy of many stanza structures forces his readers to consider poems more intently.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":" ","pages":""},"PeriodicalIF":0.4000,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Philip Larkin and the Stanza\",\"authors\":\"B. Scherr\",\"doi\":\"10.12697/smp.2022.9.2.01\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Philip Larkin, one of England’s finest poets among the generation that came of age during World War II, maintained a strong interests in the formal features of verse throughout his career. This article marks the first comprehensive overview of his highly varied and frequently original use of one such feature, the stanza. A set of tables provides overall data about the relative frequency of different stanza lengths – in his four published poetry collections, in poems that he either published or planned to publish but did not appear in one of those collections, and in the unpublished verse. He turns out to have been a strikingly innovative master of stanza form. If many poets rely heavily on the quatrain as their favored stanza, Larkin makes that only one of several stanza lengths that he turns to regularly. More importantly, he composes stanzas in innovative and imaginative ways. His forty sonnets – only eight of which appeared in his four collections – reveal a variety of rhyme schemes and, occasionally, unusual placement of the breaks between portions of the sonnet. In other poems, the rhyme schemes are often irregular, making the rhyme scheme difficult to detect, particularly in those cases when he employs highly approximate rhyme. Much of his verse is also marked by frequent enjambement, even between stanzas. He occasionally links his stanzas and sometimes creates a rhyme scheme that has a different number of lines than the actual stanza length, resulting in markedly complex compositions. In all, Larkin regularly uses his stanzas to highlights key aspects of a poem’s meaning, while the intricacy of many stanza structures forces his readers to consider poems more intently.\",\"PeriodicalId\":55924,\"journal\":{\"name\":\"Studia Metrica et Poetica\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2022-12-31\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Studia Metrica et Poetica\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.12697/smp.2022.9.2.01\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LANGUAGE & LINGUISTICS\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studia Metrica et Poetica","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.12697/smp.2022.9.2.01","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LANGUAGE & LINGUISTICS","Score":null,"Total":0}
引用次数: 0

摘要

菲利普·拉金(Philip Larkin)是第二次世界大战期间成年的英国最优秀的诗人之一,他在整个职业生涯中都对诗歌的形式特征保持着浓厚的兴趣。这篇文章首次全面概述了他对其中一个特征——节的高度多样化和频繁的原创使用。一组表格提供了关于不同节长度相对频率的总体数据——在他出版的四本诗集中,在他已经出版或计划出版但没有出现在这些诗集中的诗歌中,以及在未出版的诗歌中。事实证明,他在诗节形式方面是一位惊人的创新大师。如果许多诗人严重依赖四行诗作为他们最喜欢的诗节,拉金把它作为他经常使用的几个诗节长度之一。更重要的是,他以创新和富有想象力的方式创作诗节。他的四十首十四行诗——其中只有八首出现在他的四部诗集中——揭示了各种各样的押韵方案,偶尔,十四行诗各部分之间的中断位置不寻常。在其他诗歌中,押韵方案往往是不规则的,使得押韵方案很难发现,特别是在那些情况下,他使用高度近似押韵。他的许多诗句也以频繁的纠缠为特征,甚至在节之间也是如此。他偶尔会把诗节联系起来,有时还会创造出一种韵脚,这种韵脚的行数与诗节的实际长度不同,从而创作出明显复杂的作品。总之,拉金经常使用他的诗节来强调诗歌意义的关键方面,而许多诗节结构的复杂性迫使他的读者更专注地思考诗歌。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Philip Larkin and the Stanza
Philip Larkin, one of England’s finest poets among the generation that came of age during World War II, maintained a strong interests in the formal features of verse throughout his career. This article marks the first comprehensive overview of his highly varied and frequently original use of one such feature, the stanza. A set of tables provides overall data about the relative frequency of different stanza lengths – in his four published poetry collections, in poems that he either published or planned to publish but did not appear in one of those collections, and in the unpublished verse. He turns out to have been a strikingly innovative master of stanza form. If many poets rely heavily on the quatrain as their favored stanza, Larkin makes that only one of several stanza lengths that he turns to regularly. More importantly, he composes stanzas in innovative and imaginative ways. His forty sonnets – only eight of which appeared in his four collections – reveal a variety of rhyme schemes and, occasionally, unusual placement of the breaks between portions of the sonnet. In other poems, the rhyme schemes are often irregular, making the rhyme scheme difficult to detect, particularly in those cases when he employs highly approximate rhyme. Much of his verse is also marked by frequent enjambement, even between stanzas. He occasionally links his stanzas and sometimes creates a rhyme scheme that has a different number of lines than the actual stanza length, resulting in markedly complex compositions. In all, Larkin regularly uses his stanzas to highlights key aspects of a poem’s meaning, while the intricacy of many stanza structures forces his readers to consider poems more intently.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
Studia Metrica et Poetica
Studia Metrica et Poetica LANGUAGE & LINGUISTICS-
CiteScore
0.60
自引率
16.70%
发文量
6
审稿时长
16 weeks
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信