생성운율론에 의한 W. B. Yeats 시의 운율분석

다국어 초록 (Multilingual Abstract)

For the first time, in the history of the metrics study, Halle and Keyser(1966) proposed criteria of judgement on the metricality of iambic pentameter in the generative metrical approach. Though making great contributions to metrics, they could not offer solutions to the judgement of metricality of many lines where lexical S’s, or #- level S’s, or ##-level S’s are placed in odd number positions and W in even number. While they analyzed poems only on the ground of phonological form of the lines, Kiparsky (1975) set up metrical rules on the basis of both sides, phonological and syntactic structures. However, Kiparsky (1975) tried in vain to deal with secondary stresses. In 1975, Liberman and in 1977, Liberman and Prince gave the neat solution of secondary stresses in English words on the notion of bina- rity. Paul Kiparsky (1977) has made complete his theory, as Gener- ative Metrical Theory, built on the basis of their binarity in stresses, in his work ‘The Rhythmic Structure of English Verse’.
This study aims to analyze the lines of W. B. Yeats’s poems, to set up his Metrical Rules, and to compare his rules for metricality with those of Wyatt, of Miton, of Shakespeare, and of Pope clarified by Kiparsky(1977). W. B. Yeats’s Metrical Rules set up in this study are as follows: There is no matching of the form M S↔W
1) where M commands S and S, M are #-level, respectively, or S is #-level and Mis ##-level,
2) and where S commands M, and M is a lexical W, or a #-level W and S is ##-level, and S is not dominated by a W.
Compared with other great poets, W. B. Yeats has attempted to compose his lines in more metrical forms. Particularly, ‘he does practice new meters’ by matching the form M S↔W even where ##- level M commands lexical S, which is impermissible even to Milton. And he permits the matching of the form M S↔W where #- and # #-level S’s command #-and ##-level W’s, respectively, either of which is never permitted by Milton and Pope. As to his prosodic rules and rhythm rule, we find that there is no remarkable difference in his poems from other poets’.