The teaching of art appreciation course is to enrich and enrich students' life emotions while gaining basic knowledge of art, and form an intersection with the study of profess
The teaching of art appreciation course is to enrich and enrich students' life emotions while gaining basic knowledge of art, and form an intersection with the study of professional and technical knowledge, so as to combine emotion and intelligence and improve students' quality in an all-round way. The following is what I collected for you. Welcome to read the reference!
On the artistic innovation of the sonnet Death, Don't be proud.
John? Dunn is an important representative of English metaphysical poetry in the17th century. His works mainly include poems, letters and sermons. Among them, poetry is mainly about love, satire and religion, which is unique in language, scene and imagination. Death, don't be proud, is 10 in Dunn's Sacred Sonnet, "which clearly expresses the poet's religious thought of despising death and thinking that the body can rest in peace and the soul can be freed after death." After reading Death, You Are Not Proud, readers can easily find that the poem is a typical sonnet, and its poetic style is basically written according to Petrarch's sonnet, which perfectly inherits some characteristics of Italian sonnet and highlights its innovation. This paper aims to explore and explain Dunn's innovation in sonnet art from the aspects of phonology, structure, language rhetoric and theme through Reading to Death, so as to better understand Dunn's poetic art.
First, phonology
"Sonnets originated from medieval Italian courts. It is an unnatural form of poetry, and the most intuitive feature is asymmetry. " During the Renaissance, sonnets matured, spread from Italy to other European countries, and entered a prosperous stage. Among them, in Italy, Petrarch is the main representative of this poetic style, while in Britain, Shakespeare is an important representative of sonnets. Petrarch style initiated by Petrarch and Shakespeare style developed by Shakespeare are two prominent poetic styles in sonnets. Through careful reading, it is not difficult for readers to find that Dunn's Die, Don't Be Proud is basically written in the form of Petrarch sonnets, which inherits the basic phonological features of Petrarch sonnets and shows his unique innovation.
First of all, this poem is innovative in steps. The traditional sonnets generally adopt five-step iambic pentameter, while Dunn's Die, Don't Be Pride generally adopts five-step iambic pentameter, but it has changed, especially in the ninth line of the poem. The ninth line of the poem, "You are a slave/fate,/opportunity, king/and DES/PERATE/MEN" * * can be divided into six steps, including three iambic steps, one iambic step, one iambic step, one iambic step, and all iambic steps, which strongly expresses the hero's contempt for death.
Secondly, the rhythm of the poem is innovative. Petrarch inherited the tradition of "Sicilian Poetry School" and "Gentle New Style Poetry School", and expressed the changeable and tortuous feelings of characters with romantic * * *, beautiful rhyme and colorful colors, which injected humanistic thoughts into poetry in the new era. Its rhyming formats are usually ABBA, ABBA, CDE, CDE or ABBA, ABBA, CDC, DCD and ABBA. In Death, Don't Be Proud, Dunn did not copy the Petrarch-style rhyme format, but boldly innovated and changed the rhythm of poetry, thus forming his own unique characteristics.
The rhyme in the poem is: they, therefore, overthrow, I, yes, flow, go, deliver, man, live, be good, then, eternity, die, which roughly constitutes the rhyme format of ABBA, ABBA, EE, and the rhythm of the first eight lines is consistent with that of Petrarch, which can be called treasure. Dunn's innovation in phonology lies in the rhyme of the last six lines, which is neither Petrarch's CDE or CDE format, nor CDC or DCD format, nor CDC or CDC format, but CDDC and EE format. It is worth mentioning that the eleventh rhyme, eternally, and the twelfth rhyme, die, form a close rhyme, that is, they do not rhyme completely. Dunn's innovation in the rhythm of sonnets is not only unconventional, but also makes the rhythm of poetry more perfect and refreshing to readers.
Second, the structure
Death, don't be proud. Structural innovation is particularly subtle. The earliest sonnets consist of fourteen lines, each with one syllable, divided into the first eight lines * * * octave * * * and the last six lines * * * sestet * *. Petrarch's sonnets are also divided into two parts: the first part consists of two sonnets, and the second part consists of two sonnets, which are arranged in four, four, three and three. Generally speaking, Die, Don't Be Proud inherits the structure of "the first eight and the last six", but it changes slightly, showing the structure of four, four, four and two sections. Italian poetry theorists try to explain why sonnets are sonnets, and what is the structural charm of "the first eight and the last six": "For example, the first quatrain puts forward a proposition, the second quatrain gives proof, the first three lines of the last six lines are further determined, and the last three lines draw a conclusion." In Death, Don't Be Proud, Dunn made a little innovation in the content arrangement of the structure of the sonnet "the first eight and the last six". In the first and second lines of the poem, Dunn puts forward the argument that "death is not powerful and terrible"; The third to eighth lines are all examples to support the argument put forward earlier, trying to prove that death can't hit anyone, and death is just a rest for people and the liberation of the soul; The ninth and tenth lines, starting from death itself, compare death to a slave who interacts with disaster and express the poet's contempt for death; Lines 11 and 12 show that death is nothing to be afraid of; Lines 13 and 14 conclude that death is death. Dunn's arrangement of the content in the poem makes the whole poem more compact in structure and more urgent in rhythm, which makes readers have a strong emotional effect.
Third, language rhetoric.
"Donne's poems are profound in meaning, incisive in thought, magnificent in style, abrupt and strange in image, thin and blunt in language and magnificent in momentum." Indeed, as the founder and main representative of the metaphysical school, Dunn "broke the Petrarch-style sweet and delicate poetic style used in traditional poetry and made bold innovations in poetry", thus forming his own unique artistic characteristics of poetry.
In terms of language, the language in traditional sonnets is particularly exquisite and gorgeous, with a feminine gesture, while the text in Donne's sonnets is simple, the language is novel and blunt, and it has the characteristics of colloquialism. "Death, don't be proud" begins with a dramatic monologue, shouting: "Death, don't be proud, although some people say you are …", and then narrates it in the form of dialogue, with obvious colloquial characteristics and rich stories and drama. As far as language style is concerned, it can be said that it is profound in meaning, incisive in thought, magnificent in style and has strong speculative characteristics.
In rhetoric, the common rhetorical devices in traditional sonnets mainly include simile, metaphor, metonymy, symbol, personification, irony, exaggeration, pun and transferred epithet. Dunn made bold changes in poetic metaphor and rhetoric. Dunn connected two unrelated themes in a wonderful and incredible way and made a metaphor, which was called "absurd metaphor" by later generations.
Death, Don't Be Proud is a typical metaphysical poem, and its absurd metaphor is a major feature of rhetoric. In the poem, Dunn compares death to rest and sleep, expressing his contempt for death; In the ninth line of the poem, Dunn compares death to the slave of fate, opportunity, monarch and outlaw, indicating that death is not powerful and terrible; The last two sentences of the poem, "After a short sleep, we will wake up forever, and there will be no more death, and you, the god of death, will also die", directly expressing the view that death is only instantaneous, but happiness after death is eternal. These metaphors of Dunn seem unreasonable, but they are thought-provoking and far-reaching. Dunn created strange metaphors, which injected fresh blood into the rhetoric of sonnets and added interest to poetry.
Fourth, the theme
Traditional sonnets mostly take love, time, friendship and ethics as their themes to express humanistic thoughts. "The genre of Donne's sonnets is mainly religious theology, and the theme is mainly repentance and fear of death." Dunn expanded the scope of the theme of sonnets, and extended the theme of traditional sonnets such as love to the theme of religious theology and death, which promoted the further development of sonnets. There is no doubt that the sonnet Death, Don't Be Proud is a typical example of Dunn's breaking tradition and creative innovation. Death, don't be proud is 10 in Dunn's poetry collection, which is based on religious theology, while Death, don't be proud is a sonnet with the theme of death as the background of religious theology, which breaks the situation that the love theme of traditional sonnets is respected and innovates and perfects the theme of sonnets. In the poem, Dunn called death "poor death". Instead of fearing the power of death, he compared death to rest, which was the liberation of the soul and strongly expressed his contempt for death.
Conclusion:
Death, Don't Be Proud is a very representative poem in Dunn's Sacred Sonnet, which fully embodies Dunn's bold innovation in phonology, structure, language rhetoric and theme of traditional sonnets. It is precisely because of Dunn's bold and peculiar artistic innovation that his poetry is unique in the English poetry circle and has a very far-reaching influence on the poetry creation of later generations. At the same time, as the founder of metaphysical poetry, Dunn led the development of modernist poetry. His reform and innovation in poetry and his influence on the development of poetry art made him one of the most outstanding poets in the history of English literature.
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