Week Two
Ode on a Grecian Urn
Thou still unravish'd bride of quietness,
Thou foster-child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fring'd legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
For ever piping songs for ever new;
More happy love! more happy, happy love!
For ever warm and still to be enjoy'd,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy'd,
A burning forehead, and a parching tongue.
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e'er return.
O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
"Beauty is truth, truth beauty,—that is all
Ye know on earth, and all ye need to know."
Catharsis : is the purification and purgation of emotions—especially pity and fear—through art or any extreme change in emotion that results in renewal and restoration. It is a metaphor originally used by Aristotle in the Poetics, comparing the effects of tragedy on the mind of spectator to the effect of a cathartic on the body.
Mimesis : is a critical and philosophical term that carries a wide range of meanings, which include imitation, representation, mimicry, imitatio, receptivity, nonsensuous similarity, the act of resembling, the act of expression, and the presentation of the self.
hamartia : means "to miss the mark" or "to err".It is most often associated with Greek tragedy, although it is also used in Christian theology. Hamartia as it pertains to dramatic literature was first used by Aristotle in his Poetics. In tragedy, hamartia is commonly understood to refer to the protagonist’s error or flaw that leads to a chain of plot actions culminating in a reversal from their good fortune to bad. What qualifies as the error or flaw can include an error resulting from ignorance, an error of judgement, a flaw in character, or sin. The spectrum of meanings has invited debate among critics and scholars, and different interpretations among dramatists.
Foreshadowing or guessing ahead is a literary device by which an author hints what is to come. It is used to avoid disappointment. It is also sometimes used to arouse the reader.
A hint that is designed to mislead the audience is referred to as a red herring. A similar device is the flashforward (also known as prolepsis). However, foreshadowing only hints at a possible outcome within the confinement of a narrative. A flashforward is a scene that takes the narrative forward in time from the current point of the story in literature, film, television, and other media. Foreshadowing is sometimes employed through characters explicitly predicting the future.
Round characters in a story, play or novel are simply characters who are most like real people because they have depth. When Shrek says 'Ogres are like onions,' he means that there's more to them than what you see on the surface. Round characters are like onions too; they have layers.
flat character, one who can be fully described in a single sentence because he has no depth. In this case, all you need is two words: cannon fodder.
老師的話:形容詞不能只記定義 動詞相似的一起記
vocabulary :
1. para - 平行並立
2. nov - 新奇 eg. novel , innovation
3. ver,vir - true eg. virgil , vergil ,verification , virtual reality
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