Unit 5: Poetry II
AP English Literature and Composition Topic 5 9:03 English narration · English + 中文 subtitles burned in
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Transcript
Unit 5 is the second poetry unit, and it does two things: it names the forms a poem can take, and it completes the figurative toolkit.
第五单元是第二个诗歌单元， 它做两件事： 为一首诗可能采取的形式命名， 并补全比喻性的工具箱。
Closed forms include predictable patterns in lines, stanzas, metre and rhyme.
格律诗体 在诗行、诗节、格律与韵脚上 有可预期的模式。
Open forms may not follow expected or predictable patterns.
自由诗体 可能不遵循预期或可预测的模式。
And structures combine in texts to emphasise certain ideas.
而结构在文本中组合起来， 以强调某些观念。
But the examinable question is never "which form is this?"
但可考的问题 从来不是"这是哪种形式？
It is what the form does.
" 而是这个形式做了什么。
Take the function of structure in a text first.
先看结构在文本中的功能。
Here is the move that turns a form into an analysis, and it works both ways.
这里是把一个形式变成分析的一招， 而且它两个方向都成立。
In a closed form, the interesting moment is the departure — the line that runs long, the rhyme that fails to arrive.
在格律诗体中， 有意思的时刻是偏离， 那一行拖长了， 那个该来的韵没有来。
The pattern has trained the reader to expect something, and the poem withholds it.
模式已经训练读者去期待某样东西， 而诗把它扣住不给。
In an open form, the interesting moment is the imposition — the sudden regularity in a poem that has refused it.
在自由诗体中， 有意思的时刻是强加， 在一首一直拒绝规整的诗里 突然出现的规整。
Either way the interesting moment is where the poem stops doing what it has been doing, and that is what you write about.
无论哪一种， 有意思的时刻 都是这首诗停止做它一直在做的事的地方， 而那正是你要写的东西。
The function of specific words and phrases is next.
接下来是具体词语与短语的功能。
Words with multiple meanings or connotations add nuance or complexity that can contribute to interpretation.
具有多重意义或多重内涵的词， 增添了可以参与阐释的 细微差别与复杂性。
In poetry, a word that could mean two things frequently means both — so resist choosing.
在诗里， 一个可能有两种意思的词 常常两种都是， 所以不要急着选。
A student who picks one reading and argues it has thrown away half the evidence; a student who holds both and says what the doubling does has written the better paragraph.
一个选定一种读法并加以论证的学生 已经丢掉了一半证据； 一个同时保留两种、 并说出这种双重性起了什么作用的学生， 写出的段落更好。
And descriptive words qualify or modify what they describe and affect how the reader perceives it, which is the same claim Unit 2 made about diction, now applied to every adjective in the poem.
而描写性词语 限定或修饰它们所描述的东西， 并影响读者如何感知它， 这与第二单元 关于用词所作的主张是同一个， 现在被应用到诗中的每一个形容词上。
Hyperbole exaggerates while understatement minimises, and exaggerating or minimising an aspect of a thing has an effect on how it is understood.
夸张放大，而低调陈述缩小， 而放大或缩小一件事的某个方面， 会影响它被如何理解。
Understatement is the more powerful of the pair, and the more often missed by a second-language reader — because nothing on the page looks unusual.
低调陈述是这一对中更有力的一个， 也是第二语言读者更常错过的一个， 因为纸面上没有任何东西看起来异常。
A poem that describes a catastrophe as inconvenient is not being calm.
一首把一场灾难描述为"不便"的诗 并不是在保持平静。
The gap between the event and the word is the poem's whole comment on it, and measuring that gap is the analysis.
事件与那个词之间的落差， 就是这首诗对它的全部评论， 而丈量这个落差就是分析。
Now the function of an image or imagery.
现在说意象的功能。
Descriptive words contribute to sensory imagery.
描写性词语构成感官意象。
An image can be literal, or a form of comparison representing something through another thing.
一个意象可以是字面的， 也可以是一种比较形式， 通过另一样东西来表现某物。
And a collection of images — imagery — may emphasise ideas in parts of, or throughout, a text.
而意象的集合，也就是意象群， 可以在文本的某些部分 或全篇强调某些观念。
The plural matters.
复数很重要。
A single image is a detail.
单独一个意象是细节。
A pattern of images running through a poem is a claim the poem is making without stating it, and finding the pattern gives you something to argue that the poem never says outright.
贯穿一首诗的一组意象模式， 是这首诗没有明说 却正在提出的主张， 而找到这个模式， 就给了你一个 诗从未直说的论点可以去论证。
And the function of a metaphor.
再说隐喻的功能。
Metaphorical comparisons do not focus solely on the objects compared; they focus on the particular qualities the comparison brings out.
隐喻性的比较 并不只关注被比较的对象， 它们关注的是 这一比较所带出的特定性质。
Comparisons communicate literal meaning and may also convey figurative meaning.
比较传达字面意义， 也可能传达比喻意义。
And an extended metaphor is created when the comparison of a main subject and comparison subject persists across a passage or a whole text — with interpretation again depending on the context of its use.
而当主体与喻体的比较 贯穿一个段落或整篇文本时， 就形成了延伸隐喻， 而对它的阐释 同样取决于它被使用的语境。
An extended metaphor is the most rewarding thing to find in an unseen poem, because it gives you structure and meaning at once: you can trace how the comparison develops, and a comparison that changes as it extends is the poem's argument in motion.
延伸隐喻 是在一首陌生诗歌中 最值得找到的东西， 因为它同时给你结构与意义： 你可以追踪这一比较如何展开， 而一个在延伸过程中发生变化的比较， 就是这首诗运动中的论证。
Which is also the rule for the whole unit.
这也是整个单元的规则。
Cataloguing devices earns nothing.
罗列手法一分不得。
One device traced beats four devices named.
追踪一个手法 胜过点名四个手法。
The function of personification.
拟人的功能。
Personification is a type of comparison that assigns a human trait or quality to a nonhuman object, animal, or idea.
拟人是一种比较，它把人的特征或品质赋予非人的物体、动物或观念。
Treat it as a comparison with the same three parts as any other: the main subject is the nonhuman thing, the comparison subject is a person, and the transferred quality is the human trait.
把它当作和其他比较一样的三个部分来处理： 主体是那个非人的东西，喻体是一个人，被转移的性质就是那项人的特征。
Then ask the question that turns identification into analysis: what does granting this thing agency do?
然后问那个把"辨认"变成"分析"的问题： 赋予这个东西能动性，做到了什么？
A wind that blows is weather.
会吹的风是天气。
A wind that decides is a claim about the world — that something out there has intentions toward you.
会"决定"的风是一个关于世界的主张—— 说外面有什么东西对你怀着意图。
Same weather, entirely different poem.
同样的天气，完全不同的诗。
Last of the devices, the function of an allusion.
手法里的最后一个：典故的功能。
Allusions may reference literary works including myths and sacred texts, other works of art, and historical events.
典故可以指涉文学作品，包括神话与圣典，也可以指涉其他艺术作品和历史事件。
What an allusion does is import meaning the poem never wrote: a whole situation and a judgement about it, for the price of one phrase.
典故所做的，是把诗里没有写出来的意义引进来： 用一个短语的代价，换来一整个情境以及对它的评判。
That is its efficiency, and it is also its risk, because it works only for the reader who recognises it.
这是它的效率，也是它的风险， 因为它只对认得出它的读者起作用。
So here is what to do when you meet one you do not know.
所以，遇到一个你不认识的典故时，这样做。
Do not pretend to a recognition you lack.
不要假装你认得。
Say what the poem does with it structurally — where it is placed, what it interrupts, what comes immediately after it.
说出这首诗在结构上拿它做了什么—— 它放在哪里、打断了什么、紧接其后的是什么。
That is analysis a marker can credit.
这是评卷人能给分的分析。
Now the writing half of Unit 5, starting with developing a literary thesis statement.
现在进入第五单元的写作部分，先从写出一个文学论点句开始。
A thesis statement expresses an interpretation of a literary text and requires defence through textual evidence.
论点句表达的是对一部文学作品的一种解读， 并且需要用文本证据来辩护。
It may preview the development or line of reasoning of that interpretation, but it is not required to list the reasons — so do not spend words building a roadmap the rubric never asked for.
它可以预告这一解读的展开方式或论证脉络， 但并不要求把理由一一列出—— 所以不要花笔墨去搭一个评分标准从没要求的路线图。
The word doing the work is interpretation.
关键的词是"解读"。
A thesis that states what happens in the text is not a thesis; it is a summary, and a summary cannot be defended because nobody would disagree with it.
只说明文本里发生了什么的句子不是论点句，那是复述； 而复述无法辩护，因为没有人会不同意它。
Compare two.
比较两句。
"The poet uses personification, imagery, and a metaphor" — that is a summary.
"诗人用了拟人、意象和一个隐喻"——这是复述。
Now the stronger one.
再看更强的一句。
"The comparison subject stays constant while the speaker's account of the relationship hardens."
"喻体始终不变，而说话人对这段关系的描述在一点点变硬。
A reader could disagree with that, which is exactly why it can be defended.
" 读者可能不同意这句话，而这正是它可以被辩护的原因。
A line of reasoning is the logical sequence of claims that together defend the overarching thesis, and it is communicated through commentary.
论证脉络是共同为总论点辩护的一串有逻辑顺序的分论点， 而它是通过阐释来传达的。
Picture the claims hanging from the thesis, with a quotation under each one — and commentary is the weld.
把这些分论点想成从论点句垂下来的一串，每一环下面挂着一处引文—— 阐释就是焊点。
It is the sentence explaining the logical relationship between that evidence and that claim.
它是说明"这处证据与这个分论点之间是什么逻辑关系"的那句话。
Leave it out and you have a quotation and an assertion sitting side by side, with the reader asked to do the joining.
少了它，你只是把一处引文和一个断言并排放着， 把连接的工作留给读者。
A paragraph works when the reader can see why that line supports that claim.
当读者能看出那一行为什么支持那个分论点时，这个段落才成立。
Selecting relevant and sufficient evidence.
选择相关而充分的证据。
The rubric uses four words about evidence, and each one rules something out.
评分标准用四个词来说证据，每一个都排除了某种做法。
Evidence is used strategically: to illustrate, clarify, exemplify, associate or amplify — it was chosen to do a job, not because it was the first quotable line you met.
证据要"有策略地"使用：用来举例、澄清、示范、关联或放大—— 它是为了完成某项任务被选中的， 而不是因为它是你遇到的第一句可引用的话。
It is effective when the commentary explains its logical relationship to the claim, because quoting is not explaining.
只有当阐释说明了它与分论点之间的逻辑关系时，它才"有效"， 因为引用不等于解释。
It is sufficient when its quantity and quality provide apt support, so one striking word cannot carry a paragraph and eight quotations cannot replace a reason.
当它的数量和质量都能提供恰当支持时，它才"充分"， 所以一个惊人的词撑不起一个段落，八处引文也代替不了一个理由。
And developing an interpretation is a recursive process: an interpretation can emerge, and change, as you read and write, so if your reading changes while you draft, revise the thesis to match it.
而形成解读是一个反复推敲的过程： 解读可以在你阅读和写作的过程中出现，也可以改变， 所以如果你在起草时想法变了，就把论点句改成新的想法。
Notice what all four share. Every one is about the join between the quotation and the claim.
注意这四点的共同之处：每一点讲的都是引文与分论点之间的那个连接。
Finally, control over the elements of composition.
最后是对写作要素的掌控。
Coherence occurs at different levels and it is worth checking all three separately.
连贯发生在不同的层级上，三个层级都值得分开检查。
Within a sentence, the clauses have to point the same way.
在一个句子内部，各个分句必须指向同一个方向。
Between sentences, each one has to follow from the one before it.
在句子之间，每一句都必须承接上一句。
And across the whole essay, the claims have to build in an order that goes somewhere.
而在整篇文章的范围内，各个分论点必须按一个走向明确的顺序推进。
Transitional elements — words, phrases, clauses, sentences, even whole paragraphs — assist in creating coherence.
过渡成分——词、短语、分句、句子，甚至整段——都在帮助形成连贯。
And remember that the ORDER is a choice you are making, not the order in which the ideas happened to arrive.
还要记住：这个顺序本身就是你做出的选择， 而不是这些想法碰巧到来的先后。
Five things to carry out.
带走五件事。
First, never ask which form this is — ask what the form does, and look for the departure or the imposition.
第一，永远不要问这是哪种形式， 要问这个形式做了什么， 并去找偏离或强加。
Second, a word with two meanings often means both, so do not choose prematurely.
第二，一个有两种意思的词 常常两种都是， 所以不要过早选定。
Third, understatement is the more powerful half, and the gap is the comment.
第三，低调陈述是更有力的那一半， 而那个落差就是评论。
Fourth, a pattern of images is a claim the poem makes without stating it.
第四，一组意象模式 是这首诗没有明说 却正在提出的主张。
Fifth, one device traced beats four devices named.
第五，追踪一个手法 胜过点名四个手法。