英詩教學的探索：意象運用、語言節奏、心境自顯

英詩教學可從詩的本質著手，先區分詩、散文、戲劇、小說的基本差異。西洋文學傳統慣從「形式與內容」解讀詩，但中文文化下，學生較習慣以「語言與心境」來了解。心境指當下心的活動的存在狀況。簡言之，心境就是心的活動，是人的體驗（即經驗）。詩人將其體驗以內在詩語言定其實質、形相、流動，並以文字書寫而顯示其人特有的詩語言。探討詩即解讀詩人的文字、語言、心境三者。一首英詩的教學，即解析其文字、語言、心境的現象以及三者關係。此三者既有明顯區隔，又整合一體。希臘修辭觀念使英詩教學傾向將文字依分類而解讀，會探究字義、意象、明喻、暗喻、換喻、擬人、典故、語調、音韻、頓呼、象徵、寓言、矛盾語、誇張語、含蓄語、反諷語等。對初學者這些分類過於精細複雜，本文便依語言與心境的關係，集中於三重點：意象運用、語言節奏、心境自顯，藉此匯整傳統的分類式解讀。詩的意象運用，有單意象獨霸、雙意象並列、多意象連續，以及多意象之間的綜合、拼貼、非理性、非定形等現象。心境自顯，指詩人藉詩而外顯自我，其程度不同，從強烈抒情、簡單敘述、客觀呈現、自我隱藏等，或大力自顯或淡化自我。不論何狀況，詩的語言都會反映不同心境的深淺緩急，這從詩文字的節奏大抵可見。本文選了詩例加以分析，並提出方法，化解中文背景下學生讀詩所面臨的基本困難，以尋求有效的英詩教學途徑。

關鍵字

英詩教學；意象；非定形意象；語言節奏；語言與心境；心境與關係

並列摘要

English poetry teaching may begin with the analysis of the essence of poetry by examining the fundamental differences among itself, prose, drama, and novel as four genres. Western literature, traditionally, approaches poetry by the method of ”form and content,” but students in Chinese culture are generally used to the method of ”language and Hsin-ching (the heart-mind).” Hsin-ching means the phenomenon of the existential state of the current situations of Hsin's activities; briefly, it indicates Hsin's activities or human experience. The poet uses his poetic inner language to manifest the substance, the static form, and the dynamic changes of his experience and then reveals, in the written language, the idiosyncratic features of his poetic creation. To explore poetry is equal to the analytical reading of the poet's idiosyncratic use of the written language, his inner language of recognition, and his Hsin-ching as the substantial experience itself. To teach a poem, basically, is to analyze its literature, its language, its Hsin-ching, and the interrelation among the previous three realms, which are, apparently, different from one another and, yet, tightly combined into one. Affected by Greek rhetoric, English poetry teaching is chiefly based on the idea of classification in distinguishing the sound and the sense, the function of words, and the figures of speech, such as denotation and connotation, image, simile, metaphor, metonymy, personification, allusion, tone, rhyme, apostrophe, symbol, allegory, paradox, overstatement, understatement, irony, and others, but these classes are too minute for the beginner to fully and quickly understand. Therefore, this thesis turns to emphasize the relation between language and Hsin-ching, to focus on three main points of the poet’s creation: the use of image, the rhythm of language, and the self-revelation of Hsin-ching, and thereby, to reorganize the traditional readings into a better knowledge as a whole. The use of image may be discussed in the following aspects: the dominant single image, the juxtaposed double images, and the serial images, which may be linked in the synthetic way, or leap from one to another in the irrational way, or remain, separately, in the form of non-fixed substance. The self-revelation of Hsin-ching means that the poet may, consciously or unconsciously, manifest, in different degrees, his self through the poems, which may be radically lyrical, or simply narrative, or objectively representative, or merely self-concealing-in fact, he may either strongly expose or carefully conceal himself. In any case, the language of a poem reflects the poet's Hsin-ching with varying degrees, and this reflection can be traced in the linguistic rhythm of the poem. A few poems are selected here as examples for analysis, and the proposed method is applied to them so that a useful way of solution may be found to solve the common difficulties that are often faced by the student beginners with Chinese cultural background.

並列關鍵字

english poetry teaching ； image ； image of non-fixed substance ； rhythm of language ； language and Hsin-ching ； Hsin-ching and Kuan-hsi

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英詩教學的探索：意象運用、語言節奏、心境自顯

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