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Sonnet 127
Sonnet 127 of ''Shakespeare's sonnets'' (1609) is the first of the Dark Lady sequence (sonnets 127–152), called so because the poems make it clear that the speaker's mistress has black hair and eyes and dark skin.〔Vendler, Helen. ''The Art of Shakespeare's Sonnets,'' Cambridge, London: Harvard University Press, 1997, p. 540.〕 In this poem the speaker finds himself attracted to a woman who is not beautiful in the conventional sense, and explains it by declaring that because of cosmetics one can no longer discern between true and false beauties, so that the true beauties have been denigrated and out of favour.〔Vendler, pp. 540-1.〕 ==Structure== John Kerrigan examines the rhyme schemes in the sonnets very closely and clearly makes that the point that even though we now pronounce words differently from 400 years ago, we are not clueless as to how the words were pronounced. After Kerrigan examines what he names “the internal and external evidence available to us,” he concludes that the imperfect rhymes may in fact be more imperfect today than there were 400 years ago, but there is no real harm in reading the sonnets with a modern accent.〔Kerrigan, John. ''The Sonnets; And, A Lover's Complaint.'' Harmondsworth, Middlesex, England: Viking, 1986. Print.〕 Kerrigan finds the lack of scholarly work done about the meter of the sonnets to be “unfortunate given the incredible richness of the metrical patterns in the sonnets. The sonnets are written in iambic pentameter, a line consisting of five metrical feet, each foot containing two syllables, the first unstressed and the second stressed. In practice, good verse written in iambic pentameter contains variations in this basic pattern. Instead of the usual foot, some feet may instead contain a trochee (stressed followed by unstressed), a spondee (two stressed), or a pyrrhic (two unstressed).”〔Kerrigan, John. The Sonnets ; And, A Lover's Complaint. Harmondsworth, Middlesex, England: Viking, 1986. Print.〕
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