AbstractThe poetic language in Yang Mu’s poetry is prodigal and diverse enough to enable him, with a deliberate pace of thought, to seek out the deep and evanescent sense of beauty in poetry. The author of the thesis ruminates on the subject: the musicality of poetry, which is an essential element. And the direction of succeeding analyses tends to be affected by different cognition of critics about the thesis. The focus of the thesis is on observing the musicality of Yang Mu’s poetry, for the purpose of establishing the value of his poetry and grasping concrete content of musicality.
In Introduction, the definition of musicality is given. The academia’s investigation into musicality centers about the outer/inner musicality. Discarding the dichotomy, the author, however, attempts to regard musicality as the performance of the whole. That is, the form and content of the musicality of poetry can’t be divided sharply. Hence, the thesis focuses on poetic language, which bears unique aesthetics, and takes the probe in the following dimensions: sound, dynamic, and space.
In Chapter 2, the subject of observation is sound, the outward layer of language form. (Form here shall not be referred as the opposite of content.) The thesis uses sound, instead of other terms, like consonance or rhyme, for the reason that the term “sound,” puts a more expressing emphasis on the whole tone color of poetic language, encompassing two components: sound and meaning. Accordingly, with sound as the subject, the author follows the trace and sequence of transformation of sound in poetry.
In Chapter 3, the author looks into the essence of poetic language. Due to the fact that aesthetics of poetry is often overshadowed in juxtaposition of utility of poetry, the author acquires concepts of elements in music field and applies them to poetic. With “dynamic” as a core concept, poetic language shapes its meaning in connection of sequence of time; in other words, poetic language displays its dynamic by going through the linear procedure of an organic sequence. Meanwhile, the changes of dynamic are characterized by dynamics, texture, and tempo. They are musicality emanated from the essence of poetic language and belong to temporal category.
In Chapter 4, the probe into musicality of essence of poetry belongs to spatial category, on the basis of Zuckerkandl’s discourse about space in music. The author considers that besides dynamic sequence of time, poetic language reflects musical space in poetry in some peculiar manners, such as multiple meanings of lines caused by enjambment, and juxtaposition of words and phrases. Nevertheless, the space has its own principles of inner order, embodies itself in lines, and is closely related to aesthetics of poetic language.
|Date of Award||2006|
|Supervisor||Man-Han Yung (Supervisor)|