In this study the rhythm used in modern poetry of Taiwan is discussed as examples to explore the
internal meaning of poetry. Rhythm here is distinguished from musicality, and therefore prevents the
musical terminology from intruding into the literary field. Connotation as its transformed meaning from
the context also differs itself from the thematic meanings as usually practiced in poetic interpretations.
The basic concern of this paper is sourced from the “the interplay of sound and emotion” in the
tradition of classical Chinese poetry. The interpretation is based on the sentence structures and its
implicit tones to depict the “expressions of the sound.” The paper includes four sections: the residual
voice of tongue and emotion, the presentation of self as subjectivity, the flow rhythm of praying style,
and the mental images of meditative speakers
Relation:
Asian Journal of Management and Humanity Sciences 1(2):263-278
