nunia
[个人文集]
加入时间: 2005/11/04
文章: 2184
经验值: 5079
|
|
|
作者：nunia 在 寒山小径 发贴, 来自 http://www.hjclub.org
My diving into Octavio Paz's writings happens when i encountered his 'Shrine':
The name
Its umbras
The man The Woman
The hammer The gong
The i The o
The tower The well
The pointer The hour
The bone The rose
The shower The grave
The spring The flame
The brand The night
The river The city
The keel The anchor
Themanwomb The wombman
The man
His body of names
Your name in my name I your name my name
One facing the other one against the other one around the other
The one in the other
Nameless
(i'm afraid the above form shall become formless after hitting submission...)
Overview:
Verse forms do not define poetic form: they simply express it. It is an important distinction. For many people what is offputting about poetic form is the belief, sometimes based on an unlucky calss or exam, that these are cold and arbitrary rules, imposed to close out readers rather than include them.
The various poems and histories that follow will contradict that. They show that poetic form is not abstract, but human. Nor is it a monlith. The villanelle[1] is different from the sonnet. To understand them fully it is necessary to see how distinct their histories are, how separate their purposes. And the distinction, in turn, is the reason that each poetic form has been rediscovered - or indeed rejected - in such a different way in the twentieth century. The sonnet[2], for instance, whose octave and sestet, or quatrains and couplet, were once the lock and key of Renaissance wit, has not attracted contemporary poets in the way the villanelle has. It does not offer the same chance to be both bleak and redemptive that the circular refrain of the villanelle gives.
This is the charm and power of poetic form. It is not imposed; it is rooted. Those roots may reach deep into the harvests of Italy, where the villanelle may once have been sung as a round song. Or they may feed in the small treacherous courts where the troubadours vied with each other, and the sestina[3] became a masterwork of one of them, Arnaut Daniel. But whatever the circumstance, they are lodging deep into human history.
For your most excellency of Chinese classic readers, i'd like to introduce some poetic forms in the Western world.
* The Villanelle at a Glance
1) It is a poem of 19 lines
2) It has 5 stanzas, each of three lines, with a final one of 4 lines.
3) The first line of the first stanza is repeated as the last line of the second and fourth stanzas
4) The third line of the first stanza is repeated as the last line of the third and fifth stanzas.
5) These two refrain lines follow each other to become the seond-to-last lines of the poem.
6) The rhyme scheme is aba. The rhymes are repeated according to the refrains.
o, this is getting boring. forget it. simply remember keeping the shrine shine is not only of great concern to monks and poets but to a large extent depending on commoners spontaneous body languages and generative interactive context for novel poetic forms to emerge and widely appreciated as the greater substance of life itself than the fullness of your rice bowl.
作者：nunia 在 寒山小径 发贴, 来自 http://www.hjclub.org |
|
|
'Shrine' and other poetic forms
