英詩의 律動型 硏究 = Study on Rhythm Patterns in English Poetry
저자
발행기관
학술지명
진주농과대학 연구논문집(The Research Bulletin of Chinju Agricultural College)
권호사항
발행연도
1967
작성언어
Korean
KDC
520.000
자료형태
학술저널
수록면
127-138(12쪽)
제공처
소장기관
1) S, T. Coleridge:Kudla Khan
2) Authorized Bersion:Psalms 42
3) W. Whitman:Tears
I. There are three ways in studying the rhythm of English poetry. 1) Study on the rhythm of individual poet or poem. 2) Study on the historical development of rhythm. 3) Study on the general rules of rhythm. In this essay, I take the first way, and, by so doing, wish to study the rhythm patterns in English poetry. Some people say, "Each poet soars high in the air on the wave of his own rhythm, and it is no use at all to study adout the rhythm patterns."
It is true to some extent ; at the same time, however, if we examine and compare carefully many poems by many poets, it will generally be found that they can be divided into several groups irrespective of the poet being conscious or unconcious of it. Needless to say, English poetry is marked by the characteristics of the English language;for example, presenting words have stronger accents than symbolic words and the quality of the accent is force accent, pitch accent being able to be seen only in intonation. In English poetry, historical and cultural background should not also be ignored. We have phonic rhythm, offspring of Greek and Latin prosody or versification and the Anglo-Saxon verse. We have thought rhythm of Hebrew poetry chiefly introduccd through the Authorized version, and Persian rhythm through Omar Khayyam by Fiterald's translation. Organic rhythm by W. Whitman, vers libre by Amy Lowell, Cinquin by Adelaide Crasey, ... all these have strong and deep connection with the past; and rhythm patterns can be found in these, too.
In this short essay, I am going to study three rhythm patterns in English poetry.
1) Phonic rhythm...S. T. Coleridge: Kubla Khan
2) Thought rhythm...Authorized Version: Psalms 42
3) Organic rhythm...W. Whitman: Tears.
II. Kubla Khan. Careful analysis of this beautiful poem shows how subtle it is in rhythmical structure;love of uniformity on one hand, and love of variety on the other. Forty-eight lines of iambic foot mixed with six lines of trochee produce a wonderful symphony together with the use of direct attack and overflow. See to the splended effect of direct attack in lines 5 and 13. See to the magic arrangement of the rimes. What a beauiful image the alliteration of the opening group helps to draw out. His own theory about the distinction between mechanic form and organic form is fully alive here. The more carefully we examine, the more strongly we are impressed with the far-reaching effect of the so-called conventional techniques. Tone-colour is made the most of in it:we can see the bright gardens and ancient forests before our eyes, and can hear the tumult of the sacred river in our ears. Kubla Khan can be called one of the greatest poems of phonic rhythm and no other rhythmical pattern can deny the rhythmical beauties created by this pattern as seen in this poem.
Ⅲ Psalms 42
I selected this psalm as a model of thought rhythm, because of its lyrical beauty of its lyrical beauty and strong passion, and of its various forms of parallelism, among other charateristics of simplicity and sublimity common in biblical poems, and also because it is not too long to discussed here. At the same time, together with Ossian, it can be said to have given birth to the organic rhythm.
The effects of repetition can easily be noticed, such as a dosen repetition of the word God. It is a kind of refrain. Verse 5 and verse 11 are no doubt refrains, because we find almost the same verse in Psalm 43. T. ree kinds of parallelism, synonymous, synthetic, and climactic, are found in it, sometimes mixed, sometimes separate. Two strophes seem to be there, verses 1-5 and verses 6-11. Alliteration and assonance has no much importance here, and rhythm of thought or idea, is the main element in the wave of rhythm.
IV Tears.
I selected this poem from Leaves of Grass because I believe it shows Whitman at his height, and because it was written in 1867 when the period of experiment had passed with Whitman of his theory of, organic rhythm, or, organic whole; Thought rhythm which is found in the biblical poem can be seen in it, too, but is a little different. It is so allegorical and subjective here, even in the realistic stanaic forms can be seen in it, both in thought rhythm and punctuation. Scully Bradly says it has special beauty of phonic rhythm. Anyhow, we can see in it a new kind of rhythmicai beauty, though not originated by him, which brings forth the birth of vers libre.
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