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Hopkins’s Material Poetics: Sense and the Inscapes of Speech
Victorian Poetry Pub Date : 2018-01-01 , DOI: 10.1353/vp.2018.0010
Michael Rutherglen

Gerard Manley Hopkins to Robert Bridges, 1879: “But as air, melody, is what strikes me most of all in music and design in painting, so design, pattern, or what I am in the habit of calling ‘inscape’ is what I above all in aim at in poetry. Now it is the virtue of design, pattern, or inscape to be distinctive, and it is the vice of distinctiveness to become queer. This vice I cannot have escaped” (Corres., 1: 334). Certainly it caught him in “The Sea and the Skylark,” a sonnet that tends toward the sheer musicality it ascribes to its titular bird:

中文翻译:

霍普金斯的物质诗学:意义和言语的内在

杰拉德·曼利·霍普金斯 (Gerard Manley Hopkins) 对罗伯特·布里奇斯 (Robert Bridges) 说,1879 年:“但是,就像空气、旋律一样,在音乐和绘画设计中最让我印象深刻的东西,所以设计、图案或我习惯称之为‘inscape’的东西就是我最重要的是在诗歌中的目标。现在,与众不同是设计、图案或景观的美德,而变得酷儿则是与众不同的恶习。我无法逃脱这种恶习”(Corres.,1:334)。当然,它在“大海和云雀”中吸引了他,这是一首十四行诗,倾向于将其归因于其名义上的鸟的纯粹音乐性:
更新日期:2018-01-01
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