strengthened-lova
英美文学名词解释
1.
Allegory:
A
tale
in
verse
or
prose
in
which
characters,
actions,
or
settings
represent
abstract
ideas
or
moral
qualities.
An
allegory is a story with
two meanings, a literal meaning and a symbolic
meaning.
寓言:用诗歌或散文讲的故事,在这个故事中人物、事件或背景往往
代表抽象的概念或道德品质。所有的寓言都是一
个具有双重意义、文学内涵或象征意义的
故事。
2. Alliteration: The
repetition of the initial consonant sounds in
poetry.
头韵:诗歌中单词开头读音的重复。
3.
Allusion:
A
reference
to
a
person,
a
place,
an
event,
or
a
literary
work
that
a
writer
expects
the
reader
to
recognize
and
respond to. An allusion may be drawn
from history, geography, literature, or religion.
典故:文学作品中作家希望读者能够认识或做出反应的一个人物、地点、事件或文学作品
。典故或来自历史、地理、
文学或宗教。
4. American Naturalism: American
naturalism was a new and harsher realism. American
naturalism had been shaped by the war;
by
the
social
upheavals
that
undermined
the
comforting
faith
of
an
earlier
age.
America’s
literary
naturalists
dismissed
the
validity of comforting moral truths.
They attempted to achieve extreme objectivity and
frankness, presenting characters of low
social and economic classes who were
determined by their environment and heredity.
In presenting the extremes of life, the
naturalists sometimes displayed an
affinity to the sensationalism of early
romanticism, but unlike their romantic
predecessors,
the
naturalists
emphasized
that
the
world
was
amoral,
that
men
and
women
had
no
free
will,
that
lives
were
controlled
by
heredity and environment,
that the destiny of humanity was misery in life
and oblivion in death. Although naturalist
literature
described the world with
sometimes brutal realism, it sometimes also aimed
at bettering the world through social reform.
美国自然主义:美国自然主义是一种新的、更具批判性的现实主义。美国自然主义是在战争和影响
人们早期信念的社
会动乱的影响之下形成的。美国的自然主义者往往否定了广为接受的道
德真理的正确性,他们想达到极端的客观与直
率,他们所展现的人物往往都是下层社会的
人,他们的命运受到环境和遗传的制约。在反应生活方面,自然主义作家
往往表现出早期
浪漫主义中感伤主义特征,但和浪漫主义不同的是,自然主义者认为,世界缺乏道德,人不论男女都
没有自由的意愿,他们的生活都受到遗传和环境的控制,人在生前过着悲惨的生活,死后便被人所遗忘
。虽然自然主
义文学通过更为苛刻的现实主义手法来展现这个世界,但是他有时也是为了
通过社会改革来改善这个世界。
5.
American
Puritanism:
Puritanism
is
the
practices
and
beliefs
of
the
Puritans.
The
Puritans
were
originally
members
of
a
division of
the Protestant Church. The first settlers who
became the founding fathers of the American nation
were quite a few of
them. They were a
group of serious, religious people, advocating
highly religious and moral principles. As the word
itself hints,
Puritans wanted to purity
their religious beliefs and practices. They
accepted the doctrine of predestination, original
sin and total
depravity, and limited
atonement through a special infusion of grace form
God. As a culture heritage, Puritanism did have a
profound influence on the early
American mind. American Puritanism also had a
enduring influence on American literature.
美国清教主义:清教主义是新教徒的原来的一个分支——清教
徒的行为和信仰。在美国的第一批居民中有很多就是清
教徒,他们有着严格的宗教信仰和
道德准则。就像这个词所暗指的那样,清教徒们想“清化”他们的宗教信仰和行为
习惯。
他们相信宿命论、原罪说、全体堕落和有限的赎罪。作为一种文化遗产,美国清教主义在早期美国人的思想上
p>
有着深刻的影响,他对美国文学的影响也是颇为持久的。
6. American Realism: In American
literature, the Civil War brought the Romantic
Period to an end. The Age of Realism came
into existence. It came as a reaction
against the lie of romanticism and sentimentalism.
Realism turned from an emphasis on the
strange toward a faithful rendering of
the ordinary, a slice of life as it is really
lived. It expresses the concern for commonplace
and the low, and it offers an objective
rather than an idealistic view of human nature and
human experience.
美国现实主义:在美国文学史上,内战宣告了浪
漫主义的终结和现实主义的开始。现实主义反对浪漫主义和感伤主义
的谎言,它从一个陌
生的世界转向了普通人的真实生活的描写。它所关心的是普通的下层劳动人民而非理想中的人类
< br>本性和现实经历。
7. American
Romanticism: The Romantic Period covers the first
half of the 19th century. A rising America with
its ideals of
democracy
and
equality,
its
industrialization,
its
westward
expansion,
and
a
variety
of
foreign
influences
were
among
the
important factors which made literary
expansion and expression not only possible but
also inevitable in the period immediately
following the nation’s
polit
ical independence. Yet, romantics
frequently shared certain general characteristics:
moral enthusiasm,
faith in value of
individualism and intuitive perception, and a
presumption that the natural world was a source of
goodness and
man’s societies a source
of
corruption. Romantic values were prominent in
American politics, art, and philosophy until the
Civil
War. The romantic exaltation of
the individual suited the nation’s revolutionary
heritage and its frontier
egalitarianism.
美国浪漫主义:浪漫主义阶
段涵盖了
19
世纪前半页。美国的不断壮大和发展以及随之而来
的明珠和平等的思想、工业
化的发展、西北边疆的不断扩展和国外的各种影响使浪漫主义
作家文学不但成为一种可能,而且使它成为美国政治独
立后的一种必然。然而,浪漫主义
文学往往有很多共性:他们热心于道德、相信个人主义价值观和对世界的直观感受,
并且
他们认为自然世界是真、善、美的源泉而人类社会则是堕落的根源。在内战以前,浪漫主义价值观占据是政治、<
/p>
艺术、和哲学等领域,浪漫主义者对个人的赞扬正好迎合了美国的革命遗风和边疆开拓者的
品均主义。
8. American
Transcendentalism: the emergence of the
Transcendentalists as an identifiable movement
took place during the late
1820s
and
1830s,
but
the
roots
of
their
religious
philosophy
extended
much
farther
back
into
American
religious
history.
Transcendentalism and evangelical
Protestantism followed separate evolutionary
branches from American Puritanism, taking as
their
common
ancestor
the
Calvinism
of
the
seventeenth
and
eighteenth
centuries.
They
spoke
for
cultural
rejuvenation
and
against
the
materialism
of
American
spirit,
or
the
Oversoul,
as
the
most
important
thing
in
the
Universe.
They
stressed
the
importance of the individual. To them,
the individual was the most important element of
society. They offered a fresh perception
of
nature
as
symbolic
of
the
Spirit
or
God.
Nature
was,
to
them,
alive,
filled
with
God’s
overwhelming
presence.
Transcendentalism is based on the
belief that the most fundamental truths about life
and death can be reached only by going
beyond the world of the senses.
Emerson’s Nature has been called the “Manifesto of
American Transcendentalism” and his The
American Scholar has been rightly
regarded as America’s “Declaration of Intellectual
Independence”.
美国超验主义:美国超验主义
出现的
19
世纪
20
< br>年代末期到三十年代,但是它的根源在宗教史上要远得多。超验主义
和福音派新教
分别是美国清教主义的两个分支,他们的祖先是
17
世纪和
p>
18
世纪的加尔文神教。超验主义者主张文化
的复兴,认为“超灵”是宇宙中最重要的事物。他们强调个人的重要性,反对精神上的物质主义。对他们来说,
个人
是一个社会最重要的元素。他们认为自然就是“精神”或“上帝”的象征,它是有生
命的,而上帝又无处不在。他们
认为生与死最基本的真理可以超越感官的世界而获得。艾
默生的《自然》被称为是“美国超验主义的宣言”
,他的《美
国
学者》则被认为是美国的“文化独立宣言书”
。
9. Analogy: (a figure of speech) A
comparison made between tow things to show the
similarities between them. Analogies are
often used for illustration or for
argument.
类比:
(修辞)把两种事物放在一起进行
对比从而发现他们的相同点,类比一般用于说明或论述。
10. Anapest: It’s made up of two
unstressed and one stressed syllables, with the
two unstressed ones in front.
抑抑扬格:抑抑扬格由两个非重度音节和一个重读音节组成,两个非重度音节在前。
11. Antagonist: A person or force
opposing the protagonist in a narrative; a rival
of the hero or heroine.
反面人物:一个故事中和主人公相
对立的人物或一种力量,是男女主人公的对手。
12.
Antithesis: (a figure of speech) The balancing of
two contrasting ideas, words phrases, or
sentences. An antithesis is often
expressed
in
a
balanced
sentence,
that
is,
a
sentence
in
which
identical
or
similar
grammatical
structure
is
used
to
express
contrasting ideas.
对偶:
(修辞)相互对称的两个短语、句子或思想。对偶往往用一个对称的句子来表达,也就是,一句话中使
用相同或
相似的语法结构来表达相互对照的两种事物。
13. Aphorism: A concise, pointed
statement expressing a wise or clever observation
about life.
警句:用一种简练、准确的方式来表达对生活充满智慧的观点。
14.
Apostrophe:
A
figure
of
speech
in
which
an
absent
or
a
dead
person,
an
abstract
quality,
or
something
nonhuman
is
addressed directly.
顿呼:演说或诗歌等中对某人
,
常为死者或不在场者
,
或对拟人的事物所说的话。
15.
Argument: A form of discourse in which reason is
used to influence or change people’s idea or
actions. Writers practice
argument most
often when writing nonfiction, particularly essays
or speeches.
议论:用讲道理的方法来影响人们的思想或行动的一种文本
形式。作家往往是在写非小说文体,尤其是散文或演讲的
时候用这种方法。
16. Aside: In drama, lines spoken
by a character in an undertone or directly to the
audience. An aside is meant to be unheard by
the other characters onstage.
旁白:在戏剧中低声说出或直接说
给观众的台词。旁白在舞台上其他人物是听不到的。
17.
Assonance: The repetition of similar vowel sounds,
especially in poetry. Assonance is often employed
to please the ear or
emphasize certain
sounds.
类韵:在诗歌中相同或相似元音的重复,它的目的主要是用来使句子悦
耳动听或用来强调某个音。
18. Atmosphere:
The prevailing mood or feeling of a literary work.
Atmosphere is often developed, at least in part,
through
descriptions
of
setting.
Such
descriptions
help
to
create
an
emotional
climate
for
the
writers
to
establish
the
reader’s
expectations and
attitudes.
气氛:文学作品中主要的基调或感觉。气氛的渲染主要是通过对
环境的描写来展开的,这种描写有助于作家创造一种
情绪气氛来时感染读者
19.
Autobiography:
A
person’s
account
of
his
or
her
own
life.
An
autobiography
is
generally
written
in
narrative
form
and
includes some
introspection.
自传:一个人对他或她自己生活的描述,自传是一种叙
述性的文体,多包含回忆性的描写。
20. Ballad:
A story told in verse and usually meant to be
sung. In many countries, the folk ballad was one
of the earliest forms
of literature.
Folk ballads have no known authors. They were
transmitted orally from generation to generation
and were not set
down in writing until
centuries after they were first sung. The subject
matter of folk ballads stems from the everyday
life of the
common people. Devices
commonly used in ballads are the refrain,
incremental repetition, and code language. A later
form of
ballad is the literary ballad,
which imitates the style of the folk ballad.
民谣:民谣是一种做诗配唱的故事。在很多国家,民谣是最早的文学形式之一,都是无名作家所写, 它们从开始传唱
到真正写下来要在口头流传好几代人。民谣中所采用的手法多为叠句、重
复和暗语。后来民谣就变成了有文字的歌谣,
其风格模仿民间歌谣。
21. Ballad stanza: A type of four-
line stanza. The first
and third lines
have four stressed words or syllables; the second
and
fourth lines have three stresses.
Ballad meter is usually iambic. The number of
unstressed syllables in each line may vary. The
second and fourth lines rhyme.
< br>民谣体诗节:一种四行诗节,第一、三行由四个重读单词或音节组成,二、四行由三个重音组成。民谣的韵 脚往往采
用抑扬格的形式,每一行中非重度音节的数目不等,二、四行押韵。
22. Bi
ography: A
detailed account of a person’s life written by
another person.
23. Blank
verse: Verse written in unrhymed iambic
pentameter.
素体诗:用五音步抑扬格写的无韵诗。
24. Caesura: A break or pause in a line
of poetry.
休止:一行诗中的间断或停顿。
25. Canto: A section or division of a
long poem.
诗章:长诗的一部分。
26. Caricature: The use of exaggeration
or distortion to make a figure appear comic or
ridiculous. A physical characteristic, an
eccentricity, a personality trait, or
an act may be exaggerated.
漫画:用夸张或扭曲的手法
来描写一个人物的外貌特征、怪癖、个性或某个动作来产生滑稽可笑的效果。
27. Character: In appreciating a short
story, characters are an indispensable element.
Characters are the persons presented in a
dramatic
or
narrative
work.
Forst
divides
characters
into
two
types:
flat
character,
which
is
presented
without
much
individualizing
detail;
and
round
character,
which
is
complex
in
temperament
and
motivation
and
is
represented
with
subtle
particularity.
人物:在短篇小说的欣赏中,人物是必不可少一个元素。人物是喜剧或小说中所描写的人。福斯特把人
物划分为两类,
扁平型人物和圆型人物。扁平型人物往往缺乏个人化的细节描写而圆型人
物则在性格和行为动机上较为复杂。
28.
Characterization
:
the means
by which a writer reveals that personality.
人物描写:一个作家描写某个人物的方法。
29. Classicism: A movement or tendency
in art, literature, or music that reflects the
principles manifested in the art of ancient
Greece and Rome. Classicism emphasizes
the traditional and the universal, and places
value on reason, clarity, balance, and
order.
Classicism,
with
its
concern
for
reason
and
universal
themes,
is
traditionally
opposed
to
Romanticism,
which
is
concerned with emotions and personal
themes.
古典主义:在艺术、文学或音乐方面反映古希腊、罗马文学原理的运动
。古典主义强调传统,追求理性、明晰、平衡
和秩序。因为古典主义强调理性和普遍主题
,在传统上反对强调感情和个人主题的浪漫主义。
30.
Climax: The point of greatest intensity, interest,
or suspense in a story’s turning point. The action
leading to the clim
ax and
the simultaneous increase of tension in
the plot are known as the rising action. All
action after the climax is referred to as the
falling action, or resolution. The term
crisis is sometimes used interchangeably with
climax.
高潮:小说中最紧张、最有趣或最具悬念的转折点。情节中引起高潮的
动作和情节紧张度的增加称作“上升”
,高潮后
的动作称为“回
落”或“结局”
。有时候高潮又称作“转折点”
。
31. Conceit: A kind of metaphor
that makes a comparison between two startlingly
different things. A conceit may be a brief
metaphor, but it usually provides the
framework for an entire poem. An especially
unusual and intellectual kind of conceit is the
metaphysical conceit.
新奇的比喻:
将两种截然不同的食物进行对比的一种隐喻。它虽被视为是一种隐喻,但是它往往构建了整首诗的框架,
最为奇特的应属玄学诗里面的。
32.
Conflict: A struggle between two opposing forces
or characters in a short story, novel, play, or
narrative poem. Usually the
events of
the story are all related to
the
conflict, and the conflict is resolved in some way
by the story’s end.
矛盾:在小说、短
篇小说、戏剧或叙事诗中相互对立的两种力量。故事中的事件往往都和矛盾有关,并且在故事的结
尾矛盾都会得以解决。
33.
Connotation: All the emotions and associations
that a word or phrase may arouse. Connotation is
distinct from denotation,
which is the
literal or “ dictionary” meaning of a word or
phrase.
内涵:一个词或短语所指的所有的情感和联系
。与外延不同,外延则是指一个词的字面意思或词典上的解释。
34. Consonance: The repetition of
similar consonant sounds in the middle or at the
end of words.
谐音:单词词尾或中间相似辅音的重复。
35. Couplet: Two consecutive lines of
poetry that rhyme. A heroic couplet is an iambic
pentameter couplet.
对句:两个连续押韵的诗行。英雄双行体的
对句一般都为抑扬格五音步。
36. Critical
Realism: The critical realism of the 19th century
flourished in the forties and in the beginning of
fifties. The realists
first and
foremost set themselves the task of criticizing
capitalist society from a democratic viewpoint and
delineated the crying
contradictions of
bourgeois reality. But they did not find a way to
eradicate social evils.
批判现实主义:批判现实主义在<
/p>
19
世纪
40
年
代达到高潮。批判现实主义作家们往往把从民主的角度批评和揭露资本
主义社会的丑恶视
为己任,但他们并没有找到治疗社会弊病的良方。
37.
Dactyl: It’s made up of one stressed and two
unstressed syllables, with the stressed in
front.
扬抑抑格:扬抑抑格由一个重度音节和两个非重
度音节组成,重读音节在前。
38.
Denotation: The literal or “dictionary” meaning of
a word.
外延:单词的字面意义或“词典”解释。
39. Denouement: The outcome of a plot.
The denouement is that part of a play, short
story, novel, or narrative poem in which
conflicts are resolved or unraveled,
and mysteries and secrets connected with the plot
are explained.
结局:情节的结尾部分。在戏剧、小说、短篇小说的结
尾部分,矛盾得以解决,和情节相关的秘密都得以揭露。
40. Diction: A writer’s choice of
words, particularly for clarity, effectiveness,
and precision.
措辞:一个作家用词的选择,
主要是为了清楚、有效和简练等目的。
41.
Dissonance: A harsh or disagreeable combination of
sounds; discord.
不和谐音:刺耳或无法融洽的音的组合,噪音。
42. Dramatic monologue: A kind of
narrative poem in which one character speaks to
one or more listeners whose replies are not
given in the poem. The occasion is
usually a crucial one in the speaker’s personality
as well as the incident that is the
sub
ject of
the poem.
戏剧独白:在一种叙事诗里面,一个人物对其他的人物讲话但并没有交代他们的回答,这种场合往往对反
映说话人的
性格特征和诗歌的主题是至关重要的。
43. Elegy: A poem of mourning, usually
over the death of an individual. An elegy is a
type of lyric poem, usually formal in
language and structure, and solemn or
even melancholy in tone.
挽歌:为某个死去的人所做的诗,挽歌往往属于抒情诗,在语
言和机构上比较正式,语气上比较庄重甚至是哀伤的。
44.
Emblematic image: A verbal picture or figure with
a long tradition of moral or religious meaning
attached to it.
象征性意象:蕴含道德或宗教意义的文字描述或人物。
45. Enlightenment: With
the
advent of the 18th century,
in England,
as in other European countries, there sprang into
life a
public
movement
known
as
the
Enlightenment.
The
Enlightenment
on
the
whole,
was
an
expression
of
struggle
of
the
then
progressive class of
bourgeois against feudalism. The social
inequality, stagnation, prejudices and other
survivals of feudalism.
They
attempted
to
place
all
branches
of
science
at
the
service
of
mankind
by
connecting
them
with
the
actual
deeds
and
requirements of the people.
启蒙主义:启蒙主义是在
18
世纪在英国发生的。总体上,启蒙
主义是当时的资产阶级对封建主义,社会的不平等、死
寂、偏见和其他的封建残余的一种
反对。通过将科学的各个分支与人民的日常生活和需要联系起来,启蒙主义者们努
力将他
们变成为人民大众服务的工具
46. Epic: A
long narrative poem telling about the deeds of a
great hero and reflecting the values of the
society from which it
originated. Many
epics were drawn from an oral tradition and were
transmitted by song and recitation before they
were written
down.
史诗:讲述英雄事迹
并反映出这些英雄事迹的社会价值观的长篇叙事诗。在成为之前,很多史诗都来自于口头传统并
< br>通过歌唱和背诵流传。
47. Epigram: A
short, witty, pointed statement often in the form
of a poem.
警句诗:一种简短、智慧、蕴含深刻的诗。
48. Epigraph: A quotation or motto at
the beginning of a chapter, book, short story, or
poem that makes some point about the
work.
题词:在一章、一本书、短篇小说或诗歌的开头指
涉作品内容的引文或铭文。
49. Epilogue: A
short addition or conclusion at the end of a
literary work.
收场白:文学作品末尾简短的补充或结论。
50. Epiphany: A moment of illumination,
usually occurring at or near the end of a work.
p>
顿悟:事实得以揭示的时刻,往往发生在作品的结尾或将近收尾部分。
51. Epitaph: An inscription on a
gravestone or a short poem written in memory of
someone who has died.
52. Epithet: A
descriptive name or phrase used to characterize
someone or something.
称号:用来描述一个人或事物的描写性词或短语。
53. Era of Modernism: The years from
1910 to 1930 are often called the Era of
Modernism, for there seems to have been in both
Europe and America a str
ong
awareness of some sort of “break” with the past.
The new artists shared a desire to capture the
complexity of modern life, to focus on
the variety and confusion of the 20th century by
reshaping and sometimes discarding the
ideas and habits of the 19th century.
The Era of Modernism was indeed the era of the
New.
现代主义时期:从
1910
到
1930
年这一段时间被称作现代主义时期,因为在这一时期
,不论是在美国还是在欧洲人们
都认识到一种强烈的与过去的“决裂”
< br>,新艺术家们都渴望反映现代生活的复杂性,都渴望通过重新构建,有时候甚至
放
弃
19
世纪的思想和习惯来聚焦于
20
世纪的多样性和困惑之上。
54.
Essay: A piece of prose writing, usually short,
that deals with a subject in a limited way and
expresses a particular point or
view.
An
essay
may
be
serious
or
humorous,
tightly
organized
or
rambling,
restrained
or
emotional.
The
two
general
classifications of essay are the
informal essay and the formal essay. An informal
essay is usually brief and is written as if the
writer is talking informally to the
reader about some topic, using a conversational
style and a personal or humorous tone. By
contrast, a formal essay is tightly
organized, dignified in style, and serious in
tone.
小品文:小品文一般都是简短的散文,作家通过有线的篇幅发表自己独特的
看法。小品文的风格要么严肃要么幽默,
组织或严谨或松散,情感或抒发或藏而不露。小
品文大体上又分为正式的和非正式的两种。非正式的小品文一般比较
短,使用对话的风格
和个人化或幽默的语气,似乎在给读者针对一个话题侃侃而谈。相比之下,正式的小品文则组织
< br>严谨,风格高雅,语气严肃。
55.
Exemplum
说教故事
: A tale,
usually inserted into the text of a sermon that
illustrates a moral principle.
劝喻故事:穿插在步道中间来阐述一种道德原则的故事。
56. Fable: A fable is a short story,
often with animals as its characters, which
illustrate a moral.
寓言:以动物为主人公来写的短小的故事。
57. Farce: A type of comedy based on a
ridiculous situation, often with stereotyped
characters. The humor in a farce is largely
slapstick
—
that
is, it often involves crude physical action. The
characters in a farce are often the butts of
practical jokes.
闹剧:闹剧是戏剧的一种,它以搞笑的情节为基础
,往往使用典型化的人物,闹剧中的幽默很大程度上都是打闹——
它往往会有比较激烈的
肢体动作。闹剧中的人物一般都是被取笑的对象。
58.
Figurative
language:
Language
that
is
not
intended
to
be
interpreted
in
a
literal
sense.
By
appealing
to
the
imagination,
figurative
language
provides
new
ways
of
looking
at
the
world.
Figurative
language
consists
of
such
figures
of
speech
as
hyperbole, metaphor,
metonymy, oxymoron, personification, simile, and
synecdoche.
比喻用语:不能用字面意义来解释的用语。通过想象,比喻用
语让读者以新的方式看待世界,它一般包括夸张、隐喻、
转喻、矛盾修饰法、拟人、明喻
和提喻等修辞手法。
59. Flashback: A
scene in a short story, novel, play, or narrative
poem that interrupts the action to show an event
that happened
earlier.
倒叙:在短
篇小说、小说、戏剧或叙事诗中穿插在叙述中讲述更早的一件事。
60. Foil: A character who sets off
another character by contrast.
衬托:通过对比来烘托另一个人物的人物。
61. Foot: It is a rhythmic unit, a
specific combination of stressed and unstressed
syllables.
音步:音步是诗歌韵律的一个单元,是一个重度音节和非重度音
节的组合。
62. Foreshadowing: The
use of hints or clues in
a narrative to
suggest what will happen later. Writers use
foreshadowing to
create interest and to
build suspense. Sometimes foreshadowing also
prepares the reader for the ending of the story. <
/p>
伏笔:在叙述中使用暗示或线索来预示将要发生的事情,作家们使用伏笔来增加读者的兴趣
和产生悬念,有时伏笔又
为故事的结尾做好铺垫。
63. Free Verse: Verse that has either
no metrical pattern or an irregular pattern.
自由诗:按照语言的抑扬顿挫和意象模式,而不是按照固定韵律写出的诗。它的韵律建立在音素、语 词、短语、句子
和段落等形式的基础上,而不是建立在音步传统格律单位上。因此,自由
诗消除了很多不自然的成分和诗体表现的某
些审美差距。
20<
/p>
世纪初,在英国诗法中自由诗已经流行。
64. Hyperbole: A figure of speech using
exaggeration, or overstatement, for special
effect.
夸张:为了产生特定的效果而使用夸大其词的方法所产生的一种修辞方
式。
65.
Iamb:
It
is
the
most
commonly
used
foot
in
English
poetry,
in
which
an
unstressed
syllable
comes
first,
followed
by
a
stressed syllable.
抑扬格:在英语诗歌
中使用最广泛的一种音步,抑扬格往往是一个非重度音节后跟一个重度音节。
Iambic pentameter: A poetic line
consisting of five verse feet, with each foot an
iamb
—
that is, an unstressed
syllable followed
by a stressed
syllable. Iambic pentameter is the most common
verse line in English poetry.
抑扬格五音步诗:一行诗包含五个音步,每个音步都是抑扬格。
66.
Imagism:
It’s
a
poetic
movement
of
England
and
the
U.S.
flourished
from
1909
to
movement
insists
on
the
creation
of images in poetry by “the direct treatment of
the thing” and the economy of wording. The leaders
of this movement
were Ezra Pound and
Amy Lowell.
意象主义:意象主义是在
1909<
/p>
到
1917
年之间在英国和美国的一次诗
歌运动。意象主义主张在诗歌通过“直接描写事
物”和简介的用词来产生意象,领导人物
为庞德和艾米?罗威尔
67.
Incremental
repetition:
The
repetition
of
a
previous
line,
or
lines but
with
a
slight
variation
each
time
that
advances
the
narrative stanza by stanza. This device
is commonly used in ballads.
反复:反复是诗歌每一
节对前面一节的一行或几行的重复,有些是完全重复,有些略有改动,在民谣中普遍使用。
68. In medias res: A technique of
plunging into the middle of a story and only later
using a flashback to tell what has happened
previously. is Latin for “in the middle
of things”.
插叙:从故事的中间切入并用倒叙的
方式讲述先前发生的事情,
In medias res
是一个
拉丁词,指“处于事件的中间”
。
69. Inversion: The technique of
reversing, or inverting, the normal word order of
a sentence. Writers may use inversion to create
a certain tone or to emphasize a
particular word or idea. A poet may invert a line
so that it fits into a particular meter or rhyme
scheme.
倒装:在一句话中将单词顺序颠倒的一种写作
技巧,作家往往使用倒装来产生某种语气或强调某个特点的词或想法,