China and the Chinese • Herbert Allen Giles; the Canterbury Tales By Chaucer

並非冷漠的大自然 By C. 愛森斯坦 中國電影出版社，1996，p.294

《并非冷漠的大自然》譯自蘇聯六卷本《愛森斯坦文集》第三卷，共分四部分：“論作品的結構”、“激情”、”再論作品的結構”和”并非冷漠的大自然”。書中，作者對如何使影片達到藝術上的完整與統一做了全面的論述，在鏡頭有機組合、聲像和諧組合及合理借鑒其他藝術形式等方面進行了深入細致的探究；同時，還詳盡分析和全面探討了劃時代力作《戰艦波將金號》、《伊凡雷帝》等的創作過程和成功經驗。這是一部解讀大師的電影創作經驗及理論思維的經典著作。

(中文將April等打錯)

 China and the Chinese • Herbert Allen Giles; the Canterbury Tales By 

China and the Chinese • Herbert Allen Giles

Full text of "China and Chinese" - Internet Archive

The question of rhyme in Chinese is a curi- 
ous one, and before going any farther it may be 
as well to try to clear it up a little. All Chi- 
nese poetry is in rhyme ; there is no such thing 
as blank verse. The Odes^ collected and edited 
by Confucius, provide the standard of rhyme. 
Any words which are found to rhyme there 
may be used as rhymes anywhere else, and no 
others. The result is, that the number of 
rhyme-groups is restricted to 106 ; and not only 
that, but of course words which rhymed to the 
ear five hundred years B.C. do so no longer in 1902. 
Yet such are the only authorised rhymes to be 
used in poetry, and any attempt to ignore the 
rule would insure disastrous failure at the public 
examinations. 

This point may to some extent be illustrated 
in English. The first two lines of the Canter- 
bury Tales^ which I will take to represent the 
Odes^ run thus in modern speech : — 

" When that April is with his showers sweet, 
The drought of March hath pierced to the root." 

(68 CHINA AND THE CHINESE) 

No one nowadays rhymes sweet with root. 
Neither did Chaucer; the two words, sate and 
rote were in his days perfect rhymes. But if 
we were Chinese, we should now rhyme sweet 
with root^ because, so to speak, Chaucer did so.