詩歌欣賞教案

1、part one what is poetrypoetry might be defined as a kind of language that says more and says it more intensively than does ordinary language. poetry is a kind of saying. a in addition to b a and b poetry is an art form in which human language is used for its aesthetic qualities in addition to, or in

2、stead of, its notional and semantic content. it consists of oral or literary works in which language is used in a manner that is felt by its user and audience to differ from ordinary prose. it may use condensed or compressed form to convey emotion or ideas to the readers or listeners mind or ear; it

3、 may also use devices such as assonance and repetition to achieve musical or incantatory effects. poems frequently rely for their effect on imagery, word association and the musical qualities of the language used. because of its nature of emphasizing linguistic form rather than using language purely

4、 for its content, poetry is notoriously difficulty to translate from one language into another.the eaglehe claps the crag with crooked hands;close to the sun in lonely lands,ringed with the azure world, he stands.the wrinkled sea beneath him crawls;he watches from his mountain walls,and like a thund

5、erbolt he falls.alfred, lord tennyson (1809-1892)red wheelbarrowso much depends upon a red wheel barrow glazed with rainwater beside the white chickens. william carlos williams (1883-1963)dust of frostthe way a crowshook down on methe dust of snowfrom a hemlock treehas given my hearta change of mood

6、and saved some partof a day i had rued. robert frost (1874-1963)the careful anglerthe careful angler chose his nookat morning by the lilied brook,and all the noon his rod he pliedby that romantic riverside.soon as the evening hours declinetranquilly hell return to dine,and, breathing forth a pious w

7、ish,will cram his belly with full of fish. robert louis stevenson (1850-1849)there is no frigate like a bookthere is no frigate like a book to take us lands away,nor any courser like a page of prancing poetry:this traverse may the poorest take without oppress of toll;how frugal is the chariot that b

8、ears the human soul! emily dickinson (1830-1886)part two characteristics of poetrypoetry as whole is concerned with all kinds of experiencebeautiful or ugly, strange or common, noble or ignoble, actual or imaginary.1. poetry is the most condensed and concentrated form of literature, saying most in t

9、he fewest number of words.2. poetry is a kind of multidimensional language.-intellectual, sensuous, emotional and imaginative.a man he killedthomas hardy (1840-1928)had he and i but metby some old ancient inn,we should have sat us down to wetright many a nipperkin!but ranged as infantry,and staring

10、face to face,i shot at him as he at me,and killed him in his place.i shot him dead becausebecause he was my foe,just so: my foe of course he was;thats clear enough；althoughhe thought hed list, perhaps,off-hand-like-just as iwas out of workhad sold his trapsno other reason why. yes, quaint and curiou

11、s war is!you shoot a fellow downyoud treat, if met where any bar is,or help to half-a-crown.the sick rosewilliam blake (1757-1827)o rose, that art sick!the invisible wormthat flies in the nightin the howling storm,has found out thy bedof crimson joy,and his dark secret lovedoes thy life destroy.the

12、road not takenrobert frosttwo roads diverged in a yellow wood,and sorry i could not travel bothand be one traveler, long i stoodand looked down as one as far as i couldto where it bent in the undergrowth;then take the other, as just as fair,and having perhaps the better claim,because it was grassy a

13、nd wanted wear;though as for that the passing therehas worn them really about the same,and both that morning equally layin leaves no step had trodden black.oh, i kept the first for another day!yet knowing how way leads on to way,i doubted if i should ever come back.i shall be telling this with a sig

14、hsomewhere ages and ages hence:two roads diverged in a wood, and i-i took the one less traveled by,and that has made all the difference.meeting at nightrobert browning (1812-1889)the gray sea and the long black land:and the yellow half-moon large and low;and the startled little waves that leapin fie

15、ry ringlets from their sleep,as i gain the cove with the pushing prow,and quench its speed in the slushy sand.then a mile of warm sea-scented beach;three fields of cross till a farm appears;tap at the pane, the quick sharp scratchand blue spurt of a lighted match,and a voice less loud, thros its joy

16、s and fearsthan the two hearts beating each to each!parting at morninground the cape of a sudden came the sea,and the sun looked over the mountains rimand straight was a path of gold for him,and (straight was) the need of world of men for me.part three how to experience poemshow to experience poems?

17、1. read a poem more than once. (its to be hung on the wall of ones mind )2. keep a dictionary by you and use it. 3. read so as to hear the sounds of the words in your mind. (poetry is written to be heard: its meanings are conveyed through sound as well as through print. one should read a poem as slo

18、wly as possible. and you should lip-read it at least.)4. always pay careful attention to what the poem is saying.(one should make the utmost effort to follow the thought continuously and to grasp the full implications and suggestions. and on the very first reading you should determine the subjects o

19、f the verbs and the antecedents of the pronouns.)5. practice reading poems aloud. (a. read it affectionately, but not affectedly. b. reading too fast offers greater danger than reading slowly. read it slowly enough so that each word is clear and distinct and so that the meaning has time to sink in.

20、your ordinary rate of reading will probably be too fast. c. read a poem so that the rhythmical pattern is felt but not exaggerated.)6. ask ourselves the following questions so as to aid us in the understanding of a poem.a. who is the speaker and what is the occasion?b. what is the central purpose of

21、 the poem?c. by what means is that purpose achieved?d. what provokes the saying?7. while reading a poem, always maintain the utmost mental alertness.8. try your utmost to accumulate your experience of life and the world, directly or indirectly, such as by reading, watching tv and seeing film.william

22、 shakespeare.15641616 sonnet xviii. “shall i compare thee to a summers day?” shall i |compare| thee to| a su |mmers day?athou art| more love|ly and |more tem|perate:brough winds| do shake| the dar|ling buds| of may,aand su|mmers lease| hath all| too short| a date:bsometime| too hot| the eye| of hea|

23、ven shines,c5and often is his gold complexion dimmd;dand every fair from fair sometime declines,cby chance, or natures changing course untrimmd;dbut thy eternal summer shall not fade,enor lose possession of that fair thou owst,f10nor shall death brag thou wanderst in his shade,ewhen in eternal lines

24、 to time thou growst;fso long as men can breathe, or eyes can see,gso long lives this, and this gives life to thee.gthomas gray1716-1771 465elegy written in a country churchyardthe curfew tolls the knell of parting day,the lowing herd wind slowly oer the lea,the plowman homeward plods his weary way,

25、and leaves the world to darkness and to me.now fades the glimmering landscape on the sight,and all the air a solemn stillness holds,save where the beetle wheels his droning flight,and drowsy tinklings lull the distant folds;save that from yonder ivy-mantled towrthe moping owl does to the moon compla

26、inof such as, wandring near her secret bowr,molest her ancient solitary reign.beneath those rugged elms, that yew-trees shade,where heaves the turf in many a mouldring heap,each in his narrow cell for ever laid,the rude forefathers of the hamlet sleep.the breezy call of incense-breathing morn,the sw

27、allow twittring from the straw-built shed,the cocks shrill clarion, or the echoing horn,no more shall rouse them from their lowly bed.for them no more the blazing hearth shall burn,or busy housewife ply her evening care:no children run to lisp their sires return,or climb his knees the envied kiss to

28、 share.oft did the harvest to their sickle yield,their furrow oft the stubborn glebe has broke:how jocund did they drive their team afield!how bowd the woods beneath their sturdy stroke!let not ambition mock their useful toil,their homely joys, and destiny obscure;nor grandeur hear with a disdainful

29、 smilethe short and simple annals of the poor.the boast of heraldry, the pomp of powr,and all that beauty, all that wealth eer gave,awaits alike th inevitable hour:the paths of glory lead but to the grave.nor you, ye proud, impute to these the fault,if memory oer their tomb no trophies raise,where t

30、hrough the long-drawn aisle and fretted vaultthe pealing anthem swells the note of praise.can storied urn or animated bustback to its mansion call the fleeting breath?can honours voice provoke the silent dust,or flattry soothe the dull cold ear of death?perhaps in this neglected spot is laidsome hea

31、rt once pregnant with celestial fire;hands, that the rod of empire might have swayd,or waked to ecstasy the living lyre.but knowledge to their eyes her ample pagerich with the spoils of time did neer unroll;chill penury repressd their noble rage,and froze the genial current of the soul.full many a g

32、em of purest ray serenethe dark unfathomd caves of ocean bear:full many a flower is born to blush unseen,and waste its sweetness on the desert air.some village hampden that with dauntless breastthe little tyrant of his fields withstood,some mute inglorious milton, here may rest,some cromwell guiltle

33、ss of his countrys blood.th applause of listning senates to command,the threats of pain and ruin to despise,to scatter plenty oer a smiling land,and read their history in a nations eyes,their lot forbade: nor circumscribed alonetheir growing virtues, but their crimes confined;forbade to wade through

34、 slaughter to a throne,and shut the gates of mercy on mankind,the struggling pangs of conscious truth to hide,to quench the blushes of ingenuous shame,or heap the shrine of luxury and pridewith incense kindled at the muses flame.far from the madding crowds ignoble strifetheir sober wishes never lear

35、nd to stray;along the cool sequesterd vale of lifethey kept the noiseless tenor of their way.yet evn these bones from insult to protectsome frail memorial still erected nigh,with uncouth rhymes and shapeless sculpture deckd,implores the passing tribute of a sigh.their name, their years, spelt by th

36、unletterd muse,the place of fame and elegy supply:and many a holy text around she strews,that teach the rustic moralist to die.for who, to dumb forgetfulness a prey,this pleasing anxious being eer resignd,left the warm precincts of the cheerful day,nor cast one longing lingring look behind?on some f

37、ond breast the parting soul relies,some pious drops the closing eye requires;een from the tomb the voice of nature cries,een in our ashes live their wonted fires.for thee, who, mindful of th unhonourd dead,dost in these lines their artless tale relate;if chance, by lonely contemplation led,some kind

38、red spirit shall inquire thy fate,haply some hoary-headed swain may say,oft have we seen him at the peep of dawnbrushing with hasty steps the dews awayto meet the sun upon the upland lawn.there at the foot of yonder nodding beechthat wreathes its old fantastic roots so high,his listless length at no

39、ontide would he stretch,and pore upon the brook that babbles by.hard by yon wood, now smiling as in scorn,muttring his wayward fancies he would rove,now drooping, woeful wan, like one forlorn,or crazed with care, or crossd in hopeless love.one morn i missd him on the customd hill,along the heath and

40、 near his favrite tree;another came, nor yet beside the rill,nor up the lawn, nor at the wood was he;the next with dirges due in sad arrayslow through the church-way path we saw him borne.approach and read (for thou canst read) the laygraved on the stone beneath yon aged thorn.part four dramatic sit

41、uationballadin literature, short, narrative poem usually relating a single, dramatic event. two forms of the ballad are often distinguishedthe folk ballad, dating from about the 12th cent., and the literary ballad, dating from the late 18th cent.1the folk balladthe anonymous folk ballad (or popular

42、ballad), was composed to be sung. it was passed along orally from singer to singer, from generation to generation, and from one region to another. during this progression a particular ballad would undergo many changes in both words and tune. the medieval or elizabethan ballad that appears in print t

43、oday is probably only one version of many variant forms.2primarily based on an older legend or romance, this type of ballad is usually a short, simple song that tells a dramatic story through dialogue and action, briefly alluding to what has gone before and devoting little attention to depth of char

44、acter, setting, or moral commentary. it uses simple language, an economy of words, dramatic contrasts, epithets, set phrases, and frequently a stock refrain. the familiar stanza form is four lines, with four or three stresses alternating and with the second and fourth lines rhyming. 3more than 300 e

45、nglish and scottish folk ballads, dating from the 12th to the 16th cent., are extant. five major classes of the ballad can be distinguishedthe historical, such as “otterburn” and “the bonny earl o moray”; the romantic, such as “barbara allan” and “the douglas tragedy”; the supernatural, such as “the

46、 wife of ushers well”; the nautical, such as “henry martin”; and the deeds of folk heroes, such as the robin hood cycle.5the literary ballad the literary ballad is a narrative poem created by a poet in imitation of the old anonymous folk ballad. usually the literary ballad is more elaborate and comp

47、lex; the poet may retain only some of the devices and conventions of the older verse narrative. literary ballads were quite popular in england during the 19th cent. examples of the form are found in keatss “l(fā)a belle dame sans merci,” coleridges “the rime of the ancient mariner,” and oscar wildes “th

48、e ballad of reading gaol.” in music a ballad refers to a simple, often sentimental, song, not usually a folk song.elegyin greek and roman poetry, a poem written in elegiac verse (i.e., couplets consisting of a hexameter line followed by a pentameter line). the form dates back to 7th cent. b.c. in gr

49、eece and poets such as archilochus, mimnermus, and tytraeus. later taken up and developed in roman poetry, it was widely used by catullus, ovid, and other latin poets. in english poetry, since the 16th cent., the term elegy designates a reflective poem of lamentation or regret, with no set metrical

50、form, generally of melancholy tone, often on death. the elegy can mourn one person, such as walt whitmans “when lilacs last in the dooryard bloomd” on the death of abraham lincoln, or it can mourn humanity in general, as in thomas grays “elegy written in a country churchyard.” in the pastoral elegy,

51、 modeled on the greek poets theocritus and bion, the subject and friends are depicted as nymphs and shepherds inhabiting a pastoral world in classical times. famous pastoral elegies are miltons “l(fā)ycidas,” on edward king; shelleys “adonais,” on john keats; and matthew arnolds “thyrsis,” on arthur hug

52、h clough.hymnsong of praise, devotion, or thanksgiving, especially of a religious character 1lyricin ancient greece, a poem accompanied by a musical instrument, usually a lyre. although the word is still often used to refer to the songlike quality in poetry, it is more generally used to refer to any

53、 short poem that expresses a personal emotion, be it a sonnet, ode, song, or elegy. in early greek poetry a distinction was made between the choral song and the monody sung by an individual. the monody was developed by sappho and alcaeus in the 6th cent. b.c., the choral lyric by pindar later. latin

54、 lyrics were written in the 1st cent. b.c. by catullus and horace. in the middle ages the lyric form was common in christian hymns, in folk songs, and in the songs of troubadours. in the renaissance and later, lyric poetry achieved its most finished form in the sonnets of petrarch, shakespeare, spen

55、cer, and sidney and in the short poems of ronsard, ben jonson, john donne, herrick, and milton. the romantic poets emphasized the expression of personal emotion and wrote innumerable lyrics. among the best are those of robert burns, blake, wordsworth, shelley, keats, lamartine, hugo, goethe, heine,

56、and leopardi. american lyric poets of the 19th cent. include emerson, whitman, longfellow, lanier, and emily dickinson. among lyric poets of the 20th cent. are w. b. yeats, a. e. housman, rainer maria rilke, federico garca lorca, w. h. auden, stephen spender, edna st. vincent millay, wallace stevens, elinor wylie, dylan thomas, and robert lowell.odeelaborate and stately lyric poem of some length. the ode dates back to the greek choral songs that were sung and danced at public ev