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The combination of Stéphane Mallarmé’s esoteric poetry and Maurice Ravel’s elusive tonal designs presents a multitude of methodological problems for analysts attempting to study the Trois poèmes de Stéphane Mallarmé (1913). While extant analyses of these songs draw on pitch content to make observations about Ravel’s interpretation of the text, they fail to consider the fundamental structural importance of Mallarmé’s poetry. In his autobiographical sketch, Ravel noted that Mallarmé’s “préciosité so full of meaning” inspired him to compose the Trois poèmes. By using the archaic French word préciosité, which carries literary connotations, Ravel suggests that Mallarmé’s poetry provided the primary source of inspiration for the Trois poèmes. After establishing Ravel’s life-long affinity for Mallarmé’s Symbolist structures and formal improprieties, I will demonstrate that Ravel’s understanding of Mallarmé’s préciosité served as the compositional impetus for these songs. In “Soupir” (“Sigh”), Maurice Ravel employs contrasting pitch areas to construct a palindromic arch form that mirrors the bipartite structure of Mallarmé’s poem. Just as the structure of Mallarmé’s two-part poem symbolizes the inhalation and exhalation of a sigh, so too does Ravel’s rising and falling arch-form capture the symbolic content of Mallarmé’s poetic form. In the second song, “Placet futile” (“Futile Petition”), Ravel uses motivic transformation to depict the personal development of a humble abbé who wishes to become one with the elusive princess painted on his teacup. Here, Ravel’s interest lies in Mallarmé’s irregular gendered rhyme scheme, which suggests gradual male empowerment throughout the poem. Through the use of obscured cadences and evolving melodic motives, Ravel remains faithful to Mallarmé’s male-empowered rhyme scheme and depicts the abbé’s success at the conclusion of the song.
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The combination of Stéphane Mallarmé’s esoteric poetry and Maurice Ravel’s elusive tonal designs presents a multitude of methodological problems for analysts attempting to study the Trois poèmes de Stéphane Mallarmé (1913). While extant analyses of these songs draw on pitch content to make observations about Ravel’s interpretation of the text, they fail to consider the fundamental structural importance of Mallarmé’s poetry. In his autobiographical sketch, Ravel noted that Mallarmé’s “préciosité so full of meaning” inspired him to compose the Trois poèmes. By using the archaic French word préciosité, which carries literary connotations, Ravel suggests that Mallarmé’s poetry provided the primary source of inspiration for the Trois poèmes. After establishing Ravel’s life-long affinity for Mallarmé’s Symbolist structures and formal improprieties, I will demonstrate that Ravel’s understanding of Mallarmé’s préciosité served as the compositional impetus for these songs. In “Soupir” (“Sigh”), Maurice Ravel employs contrasting pitch areas to construct a palindromic arch form that mirrors the bipartite structure of Mallarmé’s poem. Just as the structure of Mallarmé’s two-part poem symbolizes the inhalation and exhalation of a sigh, so too does Ravel’s rising and falling arch-form capture the symbolic content of Mallarmé’s poetic form. In the second song, “Placet futile” (“Futile Petition”), Ravel uses motivic transformation to depict the personal development of a humble abbé who wishes to become one with the elusive princess painted on his teacup. Here, Ravel’s interest lies in Mallarmé’s irregular gendered rhyme scheme, which suggests gradual male empowerment throughout the poem. Through the use of obscured cadences and evolving melodic motives, Ravel remains faithful to Mallarmé’s male-empowered rhyme scheme and depicts the abbé’s success at the conclusion of the song.
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