중세 트루바두르 연가의 기법에 관한 연구 - 베르나르 드 방타두르의 연가를 중심으로 -

박순정 한국프랑스학회 2014 한국프랑스학논집 Vol.88 No.-

Les troubadours occitans avaient une idée précise de leur art. Selon eux, le poète est ‘celui qui sait lacer et lier de belles paroles’ ou même ‘faire des mots en les rabotant et en les limant’, c’est-à- dire la poésie est ‘la fleur’ que le poète élabore dans son ‘atelier’. Lois d’amour est un traité poétique édité au XIVe siècle en s’appuyant sur la poésie des anciens troubadours. Nous essayerons dans cette étude de présenter de différentes sortes de mètres, de rimes, de couplets et de tornadas que nous dit Lois d’amour. Ensuite nous observerons comment cette versification s’applique aux cansos de Bernard de Ventadour, grand troubadour du Ⅻe siècle. A la différence de la poésie latine basée sur la longueur des syllabes, la poésie des troubadours est fondée sur le nombre des syllabes et les rimes. Pour le compte syllabique de la poésie troubadouresque, on doit considérer la diphtongue ou la triphtongue comme une syllabe. Lorsqu’un vers finit en accent grave, il faut y ajouter une syllabe. La chanson 11 de Bernard de Ventadour est composée de vers octosyllabiques en rimes masculines, combinés avec des heptasyllabiques en rimes féminines. Les mètres pairs correspondent à l’amour fidèle du poète, les mètres impairs, eux, à l’hésitation de la dame. Les rimes sont classées dans Lois d’amour suivant l’accord, l’ordre ou la ‘diction’. La rime accordante se subdivise en assonnance, consonnance, léonisme. Pour la rime ordinale, on peut citer la caudada (les rimes identiques de deux ou trois vers à la fin du couplet), l’enchaînée, la croisée, la tombarela (rime intérieure) et la rétrograde etc. La rime dictionnelle’ se compose de la dérivative, de l’équivoque et de l’utrisonnante (qui a une voyelle tantôt ‘plénisonnante’ tantôt ‘semisonnante’). Nous pouvons observer dans les chansons de Bernard de Ventadour les rimes qui modulent les règles ci-dessus ou qui les combinent. Dans la chanson 37, la rime du 6e vers, revenant en écho à la 3e syllabe du vers suivant, forme la rime tombarela. La chanson 39 nous montre une structure des rimes plus entrelacées et plus raffinées grâce à des rimes dérivatives et des couplets capfinits. D’après Lois d’amour, le couplet est un assemblement de cinq vers au minimum jusqu’au seize. Et y sont énumérés les couplets unissonans (tous les couplets possédant des rimes identiques), singuliers (chaque couplet ayant ses propres rimes), capcaudats (où la rime finale d’un couplet se répète dans le premier vers du couplet suivant), capfinits (où le mot qui termine un vers est repris en début du vers suivant), capdenals (où tous les vers commencent par le même mot), recordativos (le même mot est répété en début et en fin de vers, ou le même vers en début et en fin de chaque couplet), retronchats (le même mot ou le même vers réapparaît de couplet en couplet, à la même place). Bernard de Ventadour, dans sa chanson 4, démontre une grande habilité dans l’agencement de mètres et de rimes, en alternant des vers de 5 et de 7 syllabes et en fabriquant à la fois des couplets singuliers, capcaudats, retronchats. Neuf vers sur douze dans chaque couplet de cette chanson s’achèvent par des rimes féminines ; alors que la rime féminine finale du couplet précédent devient la rime du premier vers du couplet suivant, la rime masculine or est répétée à la même place, dans les 9e, 10e et 11e vers, et de plus le 9e vers de chaque couplet finit par le même mot- rime amor. La variété des couplets singuliers, le rythme de l’hétéromètrie, la musicalité des rimes féminines, la répétition régulière du mot amor donnent à cette chanson une esthétique incomparable. Les chansons des troubadours peuvent avoir une ou deux tornadas (courts couplets finaux) où ils peuvent mettre leur signature ou le senhal d’une dame à qui ils dédient leur œuvre. Bernar...

고대일본어의 모음체계 시론 ― 네 자료에 나타난 イ단(갑류)음의 표기운의 비교를 중심으로 ―

김대성 ( Kim Daesung ) 한국일본어교육학회 2021 日本語敎育 Vol.- No.98

This paper is the first study of a series of tentative studies on the vowel system of Old Japanese. This dealt with the estimation of the conservatism in writing in the four sources and the comparison of the notational rimes (including the initials) in the sounds of i column (excluding type B or 乙, otsu) used in them. the results are as follow. First, in the case of the conservatism in writing, Yasumaro has many similarities to Okura. But Okura's notation of /diㆍ ri/ is similar to α group, and the fact that he uses only one Zhen (眞) rime except for Zhi (止) rime group is consistent with the α group. In this respect, Yasumaro is more conservative. Contrary to what was mentioned in the introduction, β group is not close to Yasumaro or Okura. In the β group, the notation method of α group scribes was greatly accepted, and the change of the sound at that time was tried to be expressed. In the notation of /diㆍsiㆍFiㆍmiㆍiㆍri/ for group β, a more α-group notation is seen than for group α. Second, in the case of notational rimes, Yasumaro and Okura did not focus on a specific rime. In particular, Okura used only one rime for 9 syllables, and did not use 3 rimes. Also, whereas Yasumaro used 6 rimes except for Zhi (止) rime group, Okura used only 1 (Zhen (眞) rime) which is similar to α group. This seems to reflect some of Okura's experience of studying abroad in the Tang Dynasty. ; Group α reflected the sounds of Northern Regions in Tang Era like the merger of 3 rimes of Zhi (止) rime group in the dentals (including superadental stops) and apical sibilants (including superadental and palatal sibilants), and at the same time, used laryngeal /i/ without the merger of them as a merger. ; Because β group used a conservative notation of ZhenㆍJiㆍQiㆍZhong rime(眞祭齊鍾), it has a very conservative notation like Yasumaro. In β group, the reflection of the sounds of Northern Regions in α group was used more diversely depending on the notation of certain syllables. Therefore β group includes a more α-group notation than α-group. Third, the correlation of the number of usable characters in the rime and the number of their examples is absent in Yasumaro and Okura, but half in the α and β groups. Fourth, despite the fact that Yasumaro and Okura did not use many kinds of characters in the selection of Ongana's(using characters for their Chinese sounds) characters, their selection of characters showed a fairly similar tendency. Fifth, although limited to the results of the sounds of i column (excluding type B), there is a possibility that the characteristics of the β group mentioned by Hiromichi Mori need to be supplemented.

영어 파닉스 지도 유형이 단어 읽기 유추 전략 활용에 미치는 효과

김민성,이제영,김정렬 사단법인 인문사회과학기술융합학회 2017 예술인문사회융합멀티미디어논문지 Vol.7 No.9

The purpose of this study is to investigate the influence of English phonics instructional types(body-coda vs. onset-rime) on Korean children’s use of analogy strategy in the reading of English words. The participants were fifteen second-grade students who voluntarily wanted to learn English using phonics. The phonics instruction was divided into two sessions. In the first session, they were instructed based on body-coda structure, and in the second session, they were instructed based on onset-rime structure. After the treatment, the students were asked to do the task of reading four types of words which shared sub-syllabic units with the clue words-rime, body, vowel, and none of them. The results of this study revealed that the children had their best performance in reading the words shared body followed by the words shared rime. Those differences were statistically significant. In other words, the participants of this study tended to read English words based on body rather than rime when they use analogy strategy in their reading of English words, although they learned phonics using both body and rime instructions. The results indicated that the body-based phonics instruction could have a greater influence than rime-based one on Korean children at the beginning stage of reading English. 본 연구의 목적은 영어 파닉스 지도 유형(음절체와 말음 vs. 두음과 각운)이 한국 아동의 영어단어 읽기에서 유추전략 활용에 미치는 영향을 살펴보는 것이다. 연구의 참여자는 파닉스 학습을 희망하는 2학년 아동 15명이었다. 파닉스 지도는 두 개의 세션으로 나뉘었는데, 첫 번째 세션에서는 음절체와 말음 구조에 근거하여, 두 번째 세션에서는 두음과 각운 구조에 근거하여 파닉스 지도를 실시하였다. 모든 지도과정이 끝난 뒤 아동들은 4가지 유형의 단어 읽기 과제를 수행하였으며, 단어유형은 단서단어와 일치하는 음절하위단위에 따라 음절체, 각운, 모음, 불일치 단어로 구분하였다. 평가 결과, 단서단어와 음절체가 일치한 단어에서 가장 우수한 수행을 보였고 그 다음이 각운 일치 단어였으며, 이러한 차이는 통계적으로 유의했다. 즉, 연구 대상자는 두 가지 파닉스 지도를 모두 받았음에도 불구하고 영어단어 읽기에서 유추 전략 활용 시 각운보다는 음절체에 근거하여 읽는 경향이 있었으며, 이러한 결과는 음절체를 활용한 파닉스 지도가 각운을 활용한 파닉스 지도보다 한국 아동의 초기 영어 읽기에 보다 긍정적인 영향을 주었음을 의미한다.

15세기 성사극 『성 바바라극』의 작시법 연구

김준한 ( Kim Junhan ) 한국불어불문학회 2017 불어불문학연구 Vol.0 No.110

L`objectif de cette etude est de montrer et eclairer les procedes de versification employes dans le Mystere de sainte Barbe, un des mysteres hagiographiques les plus longs du XV<sup>e</sup> siecle. Pour ce faire, nous avons analyse les techniques que l`auteur a utilisees pour le compte de syllabes et la construction des rimes. Le texte du Mystere de sainte Barbe est essentiellement compose de vers octosyllabes a rimes plates. Les vers autres qu`octosyllabes sont assez rares et se trouvent uniquement dans des passages ou l`on constate, par exemple, une montee d`emotion ou une intervention musicale. Nous avons pu relever, dans les deux premieres journees du Mystere, 190 vers defectueux sur 9 808, soit hypometriques soit hypermetriques. Le chiffre est tres eleve quand on sait que l`on ne compte que quatre vers defectueux sur 34 402 dans la Passion de Greban et 28 vers defectueux dans la Passion de Jean Michel. Toujours est-il que, dans de nombreux cas ou l`on peut considerer que le vers est defectueux, il existe des moyens de contourner la difficulte. Nous avons constate, tout au long de notre analyse, que l`auteur s`ingenie a trouver une solution pour resoudre le probleme metrique par divers moyens, comme le recours a l`e svarabhaktique sans parler des procedes traditionnels comme la dierese, la synerese ou l`apocope. Pour ce qui est de la disposition des rimes, nous pourrons avancer la meme conclusion : les rimes plates sont nettement predominantes et les rimes plus elaborees sont plutot rares. Tout au plus, nous trouvons des rimes equivoques, quelques cas de rimes enchainees cheres au Grands Rhetoriqueurs du XV<sup>e</sup> siecle. La technique de la versification la plus remarquable que nous puissions mentionner sera les vers retrogrades (vv. 3219-3473) que l`acteur pronounce en commencant par le dernier vers et en finissant par le premier.

18세기 韻書 編纂과 淸代 古音學 受容 硏究 -특히 『奎章全韻』 편찬을 중심으로-

신상현 한국한문교육학회 2007 한문교육논집 Vol.28 No.-

In the 18th century of Chosun(朝鮮) dynasty, on a compilation of rime dictionaries, accept the archaic chinese phonology developed by the Qing(淸) dynasty and are reflected. The first, In the Jeungbo-Samun-tonggo(增補三韻通考) compiled by Kim, Jae Gyeom(金濟謙, 1680∼1722) and Sung, Hyo Gi(成孝基, ?∼?), they quoted the opinion of Mao Qi Ling(毛奇齡, 1623∼1716) and Shao Zhang Heng(邵長蘅, 1637∼1704), put to Gountong(古韻通) in the end of book which were bound to same rime. The second, In the Hwadong-Hyeopeum-Tongsuk(華東叶音通釋) compiled by Park, Sung Won(朴性源, 1697∼1767), he accepted the archaic chinese phonology system of Pan En(潘恩, ?∼?). And the third, In the Kyujang-Junun(奎章全韻) complied by Yi, Duk Moo(李德懋, 1741∼1793) and some scholars as a command of Jung Jo(正祖), they discussed sufficiently the archaic chinese phonology developed by the Qing Dynasty and accepted the opinion of Shao Zhang Heng. This book has a Tongun(通韻) and Hyeopun(叶韻) the end of each rime, they defer to the archaic chinese phonology of Shao Zhang Heng. The acception of the archaic chinese phonology developed by the Qing dynasty has the meanings as follow. It is reflection as a Chosun sounds of chinese characters that used in china at that time or not. In this period chinese language has no ending sounds of /-p, -t, -k/, and ending sounds of /-m/ was changed /-n/, but Chosun language has ending sounds now and yet. If reflect these phenomenons of sounds as a Chosun sounds of chinese characters, it will be rise the confusions in Chosun language. Therefore, compilers of rime dictionaries has been worried how to solve this problem, and agreed to need of standard sounds when reading chinese characters. Then, they found the key of solutions in the archaic chinese phonology. Because the archaic chinese phonology has wholly the ending sounds, also Chosun sounds of chinese characters were influenced by archaic chinese language in the past periods. 이 논문은 18세기 조선에서 편찬된 운서 가운데 古音學을 수용한 흔적이 보이는 增補三韻通考ㆍ華東音通釋ㆍ奎章全韻을 대상으로 청대 고음학 연구 성과의 수용 양상과 특징에 대해 살펴보고, 이를 바탕으로 18세기 운서 편찬에서 고음학 수용이 가지는 의의에 대해 고찰한 것이다.먼저 청대 고음학 수용 양상을 살펴보면, 증보삼운통고에서는 卷末에 ‘古韻通’을 두어 毛奇齡과 邵長의 고운 분부 체계를 제시하여 通押할 때에 참고할 수 있도록 하였다. 화동협음통석에서는 총 86운 3,000여의 韻字만을 수록하고 있는데, 이것은 명나라 말 潘恩이 詩韻輯略에서 분부한 고운 체계와 협음자를 그대로 수용한 것이다. 규장전운에서는 매 운의 뒤에 ‘’과 ‘通’을 두어 각 운에 해당하는 韻과 通韻을 싣고 있는데, 이것은 이덕무 등 편찬에 참여한 학자들이 ‘청대 고음학 연구 성과를 어떻게 수용할 것인가’에 대해 진지하게 논의한 결과라고 하겠다. 그리하여 소장형이 古今韻略에서 수록한 韻字와 通韻字를 중심으로 하면서 고염무의 音學五書와 같은 당시의 주요 논의들을 참고로 취사선택하여 수용하고 있다.고음학 수용에서 특징적인 면으로는 대체로 소장형의 학설이 주를 이루고 있다는 것인데, 이것은 소장형이 편찬한 고금운략과 그의 학설이 청대 고음학 연구 성과를 충분히 수용하고 있을 뿐만 아니라, 古韻과 韻을 청대의 今音으로 증보한 것이어서 실생활에의 응용이라는 측면에서 볼 때, 당시 조선에서 모범으로 삼기에 적당한 운서였기 때문이었다.이와 같이 조선후기 운서 편찬에서 청대 고음학 연구 성과를 수용하게 된 것은 원나라 이후 변화된 중국어의 영향으로 잘못 변화된 조선의 한자음을 바로잡고, 이를 규범화하는 과정에서 활용하기 위한 것으로 파악할 수 있다. 즉 당시 중국 한자음은 入聲韻尾 /-p, -t, -k/의 소실과 韻尾 /-m/의 /-n/으로의 변화, 그리고 ‘兒化’ 현상 같은 특징들을 가지고 있었는데, 이것은 조선의 한자음에도 영향을 끼쳐 당시 음운생활과 經書의 讀音에 상당한 혼란을 초래하고 있었다. 따라서 이러한 혼란을 운서의 편찬을 통해서 바로잡고자 하였으며, 이 과정에서 청대 고음학 연구 성과를 수용하여 변화된 조선의 한자음을 규범화하는 데에 활용하였다고 하겠다.

Teaching L2 Phoneme or Rime Awareness to L2 Readers

Seunghyun Baek 한국영어학학회 2009 영어학연구 Vol.- No.28

A short-term longitudinal study examined the effect of synthetic (phoneme-based) versus analytic (rime-based) phonics on L2 phonological awareness and L2 word reading. Forty-three Korean-speaking EFL children in third grade were randomly assigned to phoneme-based or rime-based group. The two groups had equal English phonological awareness and word reading skills. Twelve 40-minute teaching sessions over three months were provided to each group. After treatments, L2 phonological awareness (phoneme and rime) and L2 word reading with two conditions (unfamiliar real words and pseudo words) were measured. The findings of the two experimental tasks showed that children explicitly taught to read out words with phoneme-based reading strategy performed better on L2 phonological awareness and L2 word reading than those with rime-based reading strategy. Furthermore, L2 phoneme awareness across the two groups was largely associated with L2 word reading. More specifically, L2 nucleus (medial vowel or vowel cluster) and coda (final consonant or consonant cluster) awareness were stronger predictors of L2 word reading than L2 rime awareness. The results suggest that a letter recoding strategy based on L2 phoneme may play a crucial role in, at least, the early stages of learning to read in an L2.

음소단위의 파닉스와 라임단위의 파닉스 비교연구

백승현 ( Seung Hyun Baek ),정상희 ( Sang Hee Jeong ) 21세기영어영문학회 2012 영어영문학21 Vol.25 No.4

As a follow-up study (Baek, 2009), the purpose of this study was to explore the efficacy of phoneme-based phonics in L2 early literacy skills such as L2 phonological sensitivity and L2 word recognition in comparison with that of rime-based phonics. Furthermore, the relationship between L2 phonological unit and L2 word recognition was also examined. The phoneme-based phonics approach group performed better on L2 phonological sensitivity and L2 word recognition skills than the rime-based phonics approach. Moreover, L2 nucleus (medial vowel or vowel cluster) across the two groups was closely related to L2 word recognition and was a critical precursor of L2 word recognition skills. The current findings propose that L2 phonemic awareness be first introduced to L2 beginning readers rather than L2 rime awareness.

하부 음절의 언어 이동

백승현 ( Seung Hyun Baek ) 한국외국어대학교 외국어교육연구소 2008 외국어교육연구 Vol.22 No.2

영어단어읽기에 있어 rime(중간소리와 끝소리)이 중요하다는 것이 보편적으로 알려져 있다. 그러나 onset(첫소리)과 rime의 하부음절구조가 언어적으로 공통이라는 것은 여전히 논란이 되고 있다. 이 논문의 목적은 하부음절구조를 해석하고 영어와 한국어 사이의 하부음절구조의 차이를 언어적 배경을 고려하며 제 1 언어, 즉 모국어에 관한 연구들의 결과를 검토하므로써 분석하는 것이다. 나아가서는 한국어와 영어사이에 있는 상반되는 하부음절구조로 인해 한국어와 영어 읽기학습을 동시에 배울 때 야기될 수 있는 잠재적인 문제점들을 논의하고 마지막으로 영어를 외국어 또는 제 2 언어로 읽고 쓰는 한국 어린이들을 위한 최적의 파닉스(Phonics)접근법을 제안한다. The importance of onset-rime division in learning to read in English has been widely accepted. However, the debate on whether the sub-syllabic structure of onset-rime is linguistically universal is still unresolved. The primary goal of this paper is to interpret sub-syllabic units, one of the phonological domains, across languages and then to reveal sub-syllabic structure differences between Korean and English by considering linguistic rationale behind the distinctive phonological structures and examining the findings of L1 literacy research as well. Further, this paper delineates the potential problems in learning to read in Korean and English simultaneously due to the contrasting phonological structures across the two languages and proposes optimal phonics approaches for Korean-speaking children learning to read and spell in English as a foreign language.

초등학생의 영어 단음절 구조의 지각 양상에 관한 실험 연구

김민성(Kim, MinSung),김정렬(Kim, JeongRyeol) 학습자중심교과교육학회 2016 학습자중심교과교육연구 Vol.16 No.8

본 연구의 목적은 한국 초등학생의 영어 단음절 구조 지각 양상을 살펴보기 위함이다. 연구 대상자는 초등학교 4학년으로, 이틀 동안 실험 1과 실험 2로 나누어 연구를 진행하였다. 실험 1은 음성 유사성 실험으로서, 학생들은 40개의 단어쌍을 듣고 음성 유사성 정도를 6단계 척도로 표시하였으며, 한 학급당 소요시간은 약 10분으로 비교적 간단한 실험이었다. 모든 단어쌍은 단음절 단어로 이루어졌으며, 공유하는 요소(각운, 음절체, 초두자음과 말미자음, none)에 따라 네 가지 유형의 단어쌍으로 구성하였다. 실험 2는 단어 유추 읽기 실험으로서, 학생들로 하여금 단서 단어와 음 절하위단위(각운, 음절체, 모음, none)를 공유하는 네 가지 유형의 단어를 읽게 하였다. 실험 2는 실험 목적에 부합하는 학생 선발을 위해 사전에 예비검사를 실시하였 으며, 그 결과 평균 수준의 영어 읽기 능력을 보이는 29명의 학생들을 대상으로 하였다. 학생들은 단어를 읽기 전, 단서단어를 읽는 법을 먼저 배움으로써 단어 유추 읽기가 가능하도록 하였으며, 개별 실험으로서 학생 1인당 평균 소요시간은 약 5분 내 외였다. 연구 결과, 실험 1에서 학생들은 음절체를 공유한 단어쌍을 들었을 때 가장 유사하다고 느꼈으며, 실험 2에서 학생들은 단서단어와 음절체를 공유한 단어 읽기에서 가장 높은 수행을 보였다. 본 연구의 주된 관심사는 음절체와 각운에 있는데, 두 가지 실험을 통해 초기 영어 학습 단계의 한국 아동은 단어를 인지할 때 각운보다 음절체를 우선적으로 지각하는 양상을 보이며, 음절체를 근거로 하여 단어를 읽어내는 경향성을 갖는다는 것을 알 수 있었다. The purpose of this study is to investigate Korean elementary school students perceptual aspect of English monosyllabic structure. In this study two experiments were conducted, and the participants were fourth-grade students in elementary school(44 for experiment 1, 29 for experiment 2). In experiment 1, students were asked to listen to 40 stimulus pairs and rate the sound similarity of the pairs on 6-point scale. All the pairs were composed of monosyllabic words and there were four types of pairs that shared rimes, syllable bodies, two consonants, and none of them. In experiment 2, students were asked to read four types of words which shared sub-syllabic units with the clue words-rimes, syllable bodies, vowels, and none of them. Before they read the words, they first learned how to read the clue word so that they can use analogy in word reading. In experiment 1, the result showed that the students rated words which shared syllable bodies as most similar. In experiment 2, the students showed the best performance in reading the words that shared bodies with the clue words. This study mainly focused on students’ response to the words shared bodies and rimes. Both experiments indicated that Korean children at the early stages of learning English have a preference for the body-coda structure over the onset-rime structure when they perceive words and have a tendency to read words based on the syllable body.

소네트 비교 분석 - 생 타망의 Le Fumeur와 보들레르의 La Pipe를 중심으로 -

곽동준 한국프랑스학회 2011 한국프랑스학논집 Vol.73 No.-

L'objet de cette étude est de comparer et d'analyser les différences et les similarités entre le Fumeur de Saint-Amant et la Pipe de Baudelaire. D'abord, on se pose la question sera-t-il possible de comparer un poète baroque peu connu avec le maître très connu de la poésie moderne, s'il y a le courant de pensée commun malgré l'intervalle de 200 ans à peu près? Bien sûr, c'est une question très intéressante. Marie Malkiewics-Strzalko a déjà étudié quelques similarités sur le plan de l'expression, de l'idée et de l'image entre ces deux sonnets. Elle a remarqué qu'y traversent les sentiments, l'atmosphère poétique communs : le macabre, l'horreur, le cimetière, le chat, la fantaisie, etc., dans le Spleen des Fleurs du mal et les Visions. Car Baudelaire a très connu et lu “les irréguliers” du XVIIe siècle en France, qu' a inspiré et introduit Théophile Gautier, “son ami et son maître” contemporain à la fois. Alors voyons deux sonnets. Dans le Fumeur, le narrateur est un poète qui énonce, fait action et pense. Au contraire dans la Pipe c'est la pipe personnifié qui parle. C'est dire que la pipe c'est je-narrant. Dans le Fumeur, le poète fume (“une pipe à la main”), pensant aux cruautés de son sort inhumain. Le narrateur parvient à la conclusion philosophique “pessimisme tempéré” en faisant des méditations internes : il n'y a pas “beaucoup de différence / De prendre du tabac à vivre d'espérance, / Car l'un n'est que fumée, et l'autre n'est que vent. Cependant dans la Pipe, c'est la pipe, pas le poète qui fume quand le poète est comblé de douleur. La pipe y a une mine africaine(d'Abyssinienne ou d'Cafrine), et aussi elle est comme une femme qui attend son mari pour retour après le labour, et enfin elle a une maternité qui enlace et berce l'âme du poète. Elle a enfin une image féminine ou maternelle. Ce qu'on doit remarquer ici, c'est le métaphore : “un Empereur Romain” dans le Fumeur et “Abyssinienne ou Cafrine” dans la Pipe. Saint-Amant dit métaphoriquement que le je-narrateur est un Empereur Romain, qui suggère le signe cuturel du XVIIe siècle français: point de vue masculin, classique, puissant absolu, règle, décalage temporel et spatial, etc. En revanche, Abyssinienne ou Cafrine fait allusion au signe culturel du XIXe siècle en France: point de vue féminin, image maternelle, naturel et libre, une africaine de Baudelaire, etc. Sur le plan formel du sonnet, Saint-Amant observe comparativement le principe traditionnel du sonnet classique, mais dans Sonnet sur des mots qui n'ont point de rime, pas de rime du tout, c'est un essai audacieux pour un sonnet futur. Baudelaire est aussi un novateur du sonnet moderne. Selon Henri Morier, “il aimait trop l'originalité, il pratiquait trop le culte de la différence”, et “préfère donc la variété surveillée à la rigueur formaliste” dans les rimes.