LL における文学研究の一考察

　 MEMOIRS

　

OF

　

SAGAMI

INSTITUTE

　

OF

　

TECHNOI

」

OGY

　 　 　 Vo1

。

9

，

　No

．

1_，1975

An

　

Approach

　

to

　

the

　

Study

　of 　

Literature

　　　　

in

　

the

　

Language

　

Laboratory

　 　 　 　

Masakatsu

　

NAKAMURA

＊

LL

に お け る

文 学 研 究

の

一

考 察

　　　

中

　 　

村

　 　

匡

　 　克

要 旨 　 今日 の

LL

教 育に おい て， 言 語 教 育とい うレ ベ ル で は多 くの こ と が語 られて い る し

，

また語 られて ぎ た。 し か し，

LL

教 育は

，

単に言語教 育のみに 限 定 されるべ き もの で はな く

，

更に広く

，

文 学 をは じめ と し て 人文

・

社会の諸 分 野の学 習に も 適 用さ れ るべ _{ぎ も}の であろ う。 こ の よ うな 人 文

・

社会科 学の 分 野 に おける

LL

の利 用に つ い て は， わ が国で は今 まで ，　

library

　system の立 場か らも， 論 じられ るこ と が 少 なか っ た

。

LL の もつ 多 様で 多面的な機能 を考える時

，

これで は全 く不 充分 で ある と 言 わざる を え な い。 特に ， 大 学 レ ベ ル の

LL

教育に おい て， これが欠 如し てい るこ とは

，

全く遺 憾なこ とである。 今 こそ， 音の識 別， 日常 会話の反 復， 文型練習等に固執 し た従来の方 法から解 放さ れ て， 別の次元か ら光 を あて なが ら， 広 範で 多 様 な 機 能 を 備 えて い る

LL

装 置 を， その 本 来の意 味に お いて利 用 する道を考え るべ _ぎで は な いだ ろ うか 。 初 等， 中 等教 育の場合は別と し て も， 大 学 レ ベ ル に おい て は， 真剣に こ の 事 を考えなければならない の で はない だ ろ うか 。 　この_{論 文}で は， 大学に おける

LL

教 育の意 味と

LL

装置の多 面 性を考えな が ら， 従来の

LL

教 育で重 点 を 置かれてい た言 語 教 育の_{方 法}を再 検 討しつ つ ， LL に おける文 学の 教 育， 研 究お よ び鑑賞 （諸 科 学 の

一

分野と して の ） を提唱 し ようとする もの で あ る

。

従 来

，LI・

教 育に おい て主 張 されて い た

four−

phase 方 式，　pattern 　practice 等を全 く無視し た もの で はな く

，

むし ろ， これ らの方 法 を 吟 味

，

認 識

し た上で， 文 学 教 育 並びに鑑 賞に適 する道 を 見 出 そ う とする もの で あ る。 そのため に は，

1aboratory

work だけで は な く，　pre

−1aboratory

　work ，　post

−1aboratory

　work とい う前後の学習 が

一

_体となら な ければならない 。 後者の 二つ の 作業は

一

般に考え ら れて い る 以 上に重要な の であ る

。

　その 目標の_{具 体 的 設定}につ い て は

，

種々

，

論 じ ら れ る だ ろ うが

，

概 括的に は当 面

，

次の よ うな口標 を

，

段 階 的に考 えるこ と が で ぎる であろ う。 12 リ

リ

4FO

他人の_語るこ と と 書 く ものを 理 解 すること （reception 　skill の_{涵 養）} 学 習 者自身が語 り， 書く ものを， わか り易 く他人に理解させ るこ と （production 　skil1 の涵 養 ）

言 語 固 有の rhythm

，

　stress

，

　

intonation

_等を会 得する こ と

外 国 語 特有の_発想形式 を把 握し， 文 学作品

，

言 語 を 分 析 し統 合 するこ と。

文 学 作 品， 言 語を 理解， 把 握 し て， その美し さ を感じ るこ と。

　 第 1， 第 2の段階に おける理解 comprehension と

，

わか り易さ

intelligibility

は，　

four

　skills の

立 場か ら考 えて も， 当 然， 相互 に密 接な関 係があ り

，

かつ 我々 の方 式の基 礎 となる もの で ある。 第

3

は， 文 学 作品や言語を 理 解 する場 合

，

特に音 声の面か ら考えて重 要な点である。 第

4

の文 学 作品等の分析， 統合は

，

言語学 的 観 点に充 分 な 注 意 を 払いつ つ ， 行な わ れ なければな ら ない 。 この中に は， 対 象と な っ てい る言 語に特有 な 思 考 法 を 理 解 す ること も， 当然 含ま れ てい る。 第

5

の感 性に対するものは， 言語， 文学 作品 を 学 ぶ こ との 最 終 目標 の

一

つ に 考え ら れ る もの で あろ う。 い わゆる 「役に 立つ 英 語」は ， 英 語 教 育の 目標の

一

面に しか すぎない の であり， 我 々は， こ の事 を 認 識， 包 含 した上で， も う

一

つ 別の次元 にある 目標 を 設 定 するの で ある。 言 語の美 を 感 じ とるこ と は， 最 終的に は， 言語に対 する個々人の感 受 性に よ るの で_ある が

，

これは学 習に よっ て， か な りの 高さ まで達するこ と が できる で あ ろ う

。

　

こ の よ うな 目標に_達する た めには

，

詩を題 材と して用い るこ とが 考 え られ よ う。 言 語の美しさは

，

ど の国 語に おい て も

，

まず詩を通 し て会 得さ れ る であろ う

。

特に英 詩に お い て は，

iambic

　pentameter （弱強五歩 格 ）とい う典型的な韻律 を 初めとして， 種 々 の 韻律があるの で， rhythm の上か らは， 比 較

的容 易に

，

我々の 目慓に 近 ず く材 料 とす るこ _とが できる。 こ こ こで は

Edgar

　

AIIan

　

Poe

（1809

〜

49 ）の

“

Annabel

　

Lee ”

_{を 具 体 的 な 例 と}し て 挙 げて み る こ とにする

。

　

なお， こ の小論は 1973 年 7月23 日， 福 岡 大 学で 行 な わ れた第

12

回 語 学ラボ ラ ト リ

ー

学会 （

LLA

）に て研 究 発 表した 内 容 を 基 礎 と して加 筆 し た ものである。 ＊_{助 教 授　英 語}

・

_{英 文 学} 1974 _年

11

_月

12

_{目　 受理}

一 49 一

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1

This

paper

is

a

tentative

suggestion on

the

method of

teaching

literature

in

the

language

laboratory,

espeeially

at

the

college

level

in

Japan.

So

far,

mueh,

though

not enough,

has

been

discussed

about

how,

what and

when

to

teach

the

English

language

as a

foreign

or a

secondary

language,

but

little

has

been

diseussed

about

how,

what and when

to

teach

English

literature,

culture and other

humanities.

We

have

had

many

studies

concerning

the

_methods

of

teaching

English

from

its

linguistie

and

educational

_points

of view, compared

with

those

of

its

literary

and _cultural

dimensions.

The

_purpose

_of

learning

_a

foreign

Ianguage

_greatly

_differs

in

_propotion

to

the

ages

and

abilities

and

needs

of

learners,

but

at

the

college

level

we should

pay

more attention

to

the

literary

and

cultural as

well

as

the

linguistic

facets.

So

we may

safely

say

that

now

is

the

time

to

consider

the

way

of

teaehing

literature

and other cultural

sciences

by

means of

Ianguage

laboratory

equip-ment.

Teachers

of

English

deeply

deliberate

not only on

the

_grammatical

and

linguistic

aspects

but

on

the

literary

one of

English.

They

need

to

re-consider and revaluate

the

role and

_position

of

language

laboratory

education, not only

from

the

viewpoint of

teaching

English

but

from

the

standpoint

of

a

teaehing

device

available

for

many

kinds

of subjects

sueh

as

mathematics,

_physies,

economics, etc., not

to

mention

human

and eultural scieces

including

language

and

literature.

Many

ways _will

be

opened

to

the

library-system

laboratory,

which will make our

teaehing

methods more substantial and effeetive.

2

Language

laboratories

are

_generally

classified

into

two

_groups

according

to

the

_purpose,

operation and

structure.

"One

group

includes,"

as

A.S.

Hayes

points

out,t' "all class systems; aceording

to

this

_plan

of operation,

laboratory

work

is

scheduled

by

elasses.

The

second

_group

includes

all

library

systems;

according

to

this

_plan

of operation,

laboratorY

work

is

coneeived _{as comparable}

to

library

work, students attending at

their

own covenienee, or scheduled at

times

unrelated

to

their

language

elass

meetings."

In

Japan

library

system

Iaboratories

are

very

few

today

because

of economic reasons, while elass

system

laboratories

have

_become

very

popular

during

the

past

ten

years

of

English

teaching

from

the

_junior

high

school

to

the

university

level.

If

budgetary

and

eeonomic

conditions

_permit,

both

of

these

systems should

be

installed

in

every school.

The

laboratory

installation

should

be

made use

of

by

every

teacher

engaged

in

natural scienee or _{social seience,} not

to

mention

teachers

_of

human

science.

It

is

_greatly

regrettable

that

language

laboratory

equipment

is,

still

at

present,

only used

by

a

handful

of

teaehers

of

English,

with

the

exception

of a

few

teachers

of

Freneh,

German,

Chinese

and other major

Ianguages

An

Approach

to the

Study

of

LiteratuTe

in

the

Language

Laboratorv

ployed

in

the

United

Nations

conferences.

3

It

is

needless

to

say

that

such

fundamental

elements

as

pronunciation,

rhythm,

intonation,

stress,

_punetuation,

vocabulary and

_grammatical

strueture

should

be

fully

taken

into

consideration

in

order

to

understand and appreciate

English

Iiterature.

This

approach requires a certain

development

of

the

so-called

four

basie

skills

in

the

language

laboratory;

the

emphasis should

be

first

put

on

the

audio-lingual

skills

of

listening

and speaking rather

than

on

the

graphic

skills ef reading and writing.

But

even so, we need not

be

over-sensitive

to

the

diserimination

of

these

four

skills.

Considering

that

the

process

of mastering a

language

depends

upon

a

various stages of a

_person's

_growth,

we can suggest

that

the

written

language

should

be

acquired after

the

spoken

language,

especially

in

infaney.

This

theory

will

be

applied

to

students who

have

just

started

learning

English.

L.

A.

Hill

sug-gests2)

: "The

students

learn

to

understand what

they

hear

by

listening.

We

must

_give

them

ear-training exercises and we must accustom

them

right

from

the

beginning

to

hearing

and understanding normal

English

speeeh-that

is,

not elassroom

English

but

English

in

which words run

into

each other and

the

normal weakings occur-My name's

Ram

instead

of

My-name-is-Ram.

We

can start slowly,

but

that

does

not mean

that

_we

have

to

break

words up and use

unnatural

intonations....It

is

even a mistake

to

think

that

elassroom

English

is

easier

than

real

English...As

for

teaching

pupil$

to

speak...we must

teach

them

to

use

the

right words and

the

right

_grammatical

_patterns

when

they

speak.

To

teach

them

the

sounds, we must

first

_give

them

_plenty

of

listening

praetice....So

ear-training should eome

before

speech-training."

These

two

audio-lingual skills are

to

be

definitely

separated at

the

earliest

stage of

Iearning

a

!anguage,

but

in

_proportion

to

the

growth

and

development

of

students and

their

abilities,

the

two

skills

will

become

so

_greatly

interrelated

to

eaeh other

that

it

is

not neeessary

to

make strict

diserimination

of

the

dif-ferenees

between

the

two.

We

can

_point

out

the

same

tendency

in

the

_graphic

skills

from

the

viewpoint of aequiring

Ianguage

habits,

which are rather

com-plex

ones.

What

is

important

for

teaehers

is

how

they

ingeniously

utilize

these

four

skills, recognizing

their

contrasts and

features.

In

aecordanee

with

the

learning

stages and abilities of

students,

we are obliged

to

ehoose

the

time

and

plaee

for

applying

the

four

skills.

It

occasionally

becemes

necessary

for

us

to

speak

Japanese

as well as

English,

or

to

deliver

written eopies or

to

make available

textbooks

to

them

_prior

to

teaehing

sounds.

Y.

Chilon

and

his

_group

suggest3' : "The value of

having

literary

works

recorded on

tapes

so

that

the

students

ean

listen

to

them

even

before

they

read

them

is

immediately

obvieus.

But

the

r61e of

the

Iaboratory

in

the

study of

-51-NII-Electronic Library Service

NecZ*S(\rept

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literature

need not

be

limited

to

this

_presentation

of a sound anthology.

It

can also

be

used

te

train

the

students

in

the

handling

of

the

language

used

in

oral

literary

expos6s."

The

aim of

the

approach

in

this

_paper

is

to

make

the

leanners

able

to

aequire

the

abilities as

follows

:

1.

To

comprehend what others speak or write.

2.

To

make what

the

learner

himself

speaks or writes

intelligible

or

to

make

himself

understood.

3.

To

aequire

the

rhythm, stress,

intonation,

ete., of

the

language.

4.

To

analyze and synthesize

the

language

or

the

context of a

literary

work.

5.

To

understand and

feel

the

beauty

of

the

language.

In

the

first

and second

items,

comprehension

and

inte11igibility

are closely

related

to

each

other

from

the

viewpoint of

the

four

skills

_previously

mentioned.

Comprehesion

will

be

obtained

through

the

ability

to

listen

and

to

read whieh

are ealled reception.

Robert

Lado

is

right when

he

says`': "We

do

not mean

by

auditory or aural eomprehension

in

a

foreign

language

those

matters

that

trouble

the

native speaker

in

his

use of

the

language.

Among

the

things

thus

excluded are

for

example

technical

vocabularies,

technical

matters of

literary

interpretation,

subject

matter whieh

is

not common

knowledge

in

the

culture

where

the

language

is

spoken,

intelligence

beyond

that

needed

for

everyday

non-technical activities of a

literate

_people,

and

memory

beyond

that

needed

in

common everyday

living."

This

opinion

is

true

not only

for

language

testing

but

for

programming

and ehoosing a

text

of

literary

work.

But

it

is

so

diffieult

to

choose such an objective work

that,

avoiding using

literary

terminology

as

much as

_possible,

we use

the

exercises of so-called

_pre-

_and

_{post-laboratory}

work

which will

be

dealt

with

later

in

this

_paper.

We

must conquer

two

essential

elements

in

each comprehesion: sounds and

their

auditory symbolization

for

listening,

Ietter$

and

their

_graphic

symbolization

for

writing.

The

third

item

is

necessary

to

satisfy a

fuller

appreeiation

especially

from

the

oral-aural

_point

of view.

On

the

other

hand,

the

analysis and synthesis shown

in

the

fourth

item

above should

be

based

on accurate understanding of

the

literary

work especially

from

the

linguistie

point

of view.

We

are afraid

that

it

is

very

diMeult

to

analyze and synthesize

literary

works even

in

Japanese

for

those

who are not

accustomed

to

do

so.

Our

sense of criticism should

be

_grounded

on

the

_severe

studies

of

analysis

and

synthesis

of

the

literary

works.

The

fifth

item

also

has

a elose relation;

that

is,

we

try

to

aequire and

feel

the

unique rhythm and

intonation

of

English

in

order

to

appreciate

its

beauty,

which

is

thought

of as one of

the

final

purposes

in

the

study of

the

Ianguage.

Language

learning

includes

sueh

a

variety

of

intellectual

_purposes

as

well

as

gensuous

or emotional _{ones; as}

the

_{examples of}

the

former

_{are easily conceived}

of a medium of communieation, a means

for

higher

social

Iife

and

for

acquiring

An

Approach tothe

Stwdy

of

Literatttre

in

the

Language

Laboratory

a

heterogeneous

way of

thinking

through

different

language

habits,

etc., and

as

the

examp}es of

the

latter

are

sometimes

considered

feeling

the

beauty

of

language

and

sornething

indeseribably

appealing

in

the

language.

We

would

like

to

emphasis

this

sensitivity especially

in

laboratory

learning.

One

of

the

indispensable

skills at

the

very

beginning

is

that

of correet

_{pronunciation}

and

intonation

which

the

native speaker

_possesses.

Without

correct reading,

it

is

far

beyond

imagination

to

feel

and

enjoy

the

beauty

of

the

language.

Therefore

once we ean obtain

the

seeret of relishing

the

literary

work, we might say we

have

accomplished our original

_purpose.

4

Let's

consider

the

two

different

but

elosely

interrelated

steps

in

the

pro-cedure of

teaching

literature,

especially

English

literature

which

is

our

im-mediate concern

in

the

language

laboratory.

One

is

to

elucidate or make clear

the

context of a

literary

work

point

by

point

from

the

grammatical

or

linguistie

point

of view

as

correctly as

_possible.

A

literary

_poem,

for

example, needs

to

be

considered and analyzed word

by

word, sentence

by

sentence,

line

by

line,

stanza

by

stanza, sound

by

sound and rhythm

by

rhythm-such as

typical

English

rhythm of

iambic

_{pentameter-in}

order

to

_proceed

to

the

next

step.

At

this

step of our

procedure,

the

students must read

the

poem

a}oud over

and over again until at

Iast

thy

can read

it

without

being

conseious of

the

character of a

heterogeneous

world, so

that

they

become

able

to

repeat

after

the

taped

voiee without

looking

at

their

textbooks,

until

they

can repeat

the

whole

_poem

from

memory

with

the

same

pronunciation,

intonation,

rhythm and melody as native speakers'.

This

striet

drill

of sound will enable

them

to

_get

a

better

understanding of

the

_poem

from

the

linguistie

point

of view.

AIong

with

_grasping

its

grammatieal

context,

they

must at

times

_study some

_particular

internal

features

of

_poetry

such as

_poetic

diction,

scanning, enjambement or

run-on-line, alliteration, rhyme, etc., which

might

be

treated

not as

the

labo-ratory work

but

as

the

so-called

pre-

or

_{post-laboratory}

work which will

be

mentioned

later.

After

we

have

satisfactorily understood

the

context

of

the

poem

from

the

linguistie

point

of view, we are able

to

advanee

to

the

other step of

this

ap-proach,

that

is,

the

appreciation of

the

_poem

as

a

whole organie

strueture.

The

result of our appreeiation will

be

greatly

varied

in

proportion

to

the

under-standing of

the

first

step

of

the

linguistic

approaeh.

Taking

this

closer

step

to

elucidate

literature,

we

try

to

appreciate and

feel

the

beauty

of

the

language

through

the

_poem,

which

is

eonsidered

to

be

one of our ultimate

_purposes

of

language

learning.

We

also need

to

study

the

external as well as

the

internal

elements of

the

poem.

The

external

features

of

the

_poem's

background,

the

poet's

eareer

and

-ss-NII-Electronic Library Service

reec-#Jk\reaj

za9g

as1-?

the

time

_perspective

are of

_great

importanee

in

bringing

about more of an ap-･

preciation

of

the

_poem.

Learning

a

language

is

always

followed

by

a

learning

of a

broad

Iiterary

and

cultural

_perspective,

and

vice

versa.

Therefore

we

can say

that

learning

_poetry

is

on all occasions

followed

by

the

deeper

and

broader

accumulation

of

the

poem

from

the

soeial,

cultural, contemporary

_points

of view.

Robert

Lado

tells

us5): "One cannot

learn

a

foreign

language

well

unless

he

learns

something of

the

experience and

beliefs

of

the

_people

who uge

that

language

natively.

This

is

readily understood and admitted when we

_put

it

in

time

perspective

and say

that

we cannot read

Cervantes

with

full

under-standing

unless we

know

something of

Cervantes'

time.

We

understand

this

faet

also when

two

cultures are very

different

from

eaeh other.

A

western man will not understand

Japanese

well

unless

he

knows

something of

Japan

and

the

Japanese

_people.

Without

this

knowledge

we will not understand or will

actually

misunderstand constant references, overt and

implied,

to

their

historical

aceomplishments,

heroes,

works of art,

folk

tales,

customs, etc."

This

thought

is

applied

to

understand

English

Iiterature.

The

depth

and width of our appreciation might

greatly

differ

according

to

our

_quality

and ability and sensitivity, not

to

mention

the

handicap

of our

being

foreign

learners.

It

is

very

diMcult

to

express

in

Japanese

what

we

feel

about

the

_poem

concerned,

but

after conquering such

diMculties

and

differences,

we

can

_point

out

that

one of

the

most effeetive methods

to

know

_{what and}

how

the

learners

are absorbing

is

to

make

them

express

through

their

own

words and expressions what

they

reaHy

feel

and understand.

Then

we

are

able

to

have

a

chance

to

know

the

extent and aceuracy of

intelligibility

in

their

speech.

The

materials available

for

this

exercise are

_poems,

dramas,

novels, essays

and other

kinds

of

literary

categories.

Sometimes

we ean

take

advantage _of

Shakespeare's

famous

soliloquies or

dramatic

scenes

in

HTamlet

or

King

Lear

or some

typical

Biblical

expressions

in

the

Old

and

New

Testaments

such

as

shown

in

"

The

Sermon

on

the

Mount

" or "

Magnificat

" or "

The

Lord's

Prayer

",

or

famous

_passages

of modern writers' works such as

Ernest

Hemingway's

7Vte

Old

Man

and

the

Sea

and others.

We

can also study a

whole

work of

a

certain writer, not merely

_part

of

the

works as mentioned above,

in

the

_process

of

the

laboratory

work which

is

combined with

the

_pre-

and

_{post-laboratory}

work.

In

the

primary

or earlier stage of

this

method,

it

is

to

be

desired

that

the

material should

be

completely

finished

and

fully

appreciated within one class

_period,

namely,

90

to

100

minutes

in

most eolleges and universities

in

Japan.

Poetry

is

thought

to

be

greatly

suitable

to

satisfy

this

objective

con-dition.

:

;

-54-NII-ElectronicMbrary

i

-Service

An

Approach

to the

Study

_of

Literature

in

the

Language

Laboratory

5

The

formation

of

this

method

is

broadly

classified

into

three

_parts

_;

a

pre-laboratory,

a

laboratory

and a

_{post-laboratory}

work.

The

pre-

and

post-laboratory

work

is

more

important

than

is

_generally

considered

in

the

case of

the

linguistic

approach

in

the

language

laboratory.

The

_{pre-laboratory}

work

will

be

appropriated

for

studying

the

particular

background

of a

literary

work

or a

_poet's

career, or elucidating

linguistic

eomplexity or

_peculiarly

Iiterary

expressions often seen

in

poetry.

In

order

to

continue

this

method and obtain a certain

degree

of success and satisfaction, we need

to

abundantly show

the

learners

a

full

knowledge

about

the

writer's

_profile

and

the

_perspeetive

of

his

work.

We

must also, at

times,

make

them

_prepare

for

the

lesson

by

themselves

regarding

the

elements mentioned above, and sometimes we

happen

to

encounter a case

in

which

the

Iiterary

details

must

be

explained

in

Japanese.

So

the

pre-laboratory

work

is

indispensable

for

a

fuller

understanding of

the

literary

_work.

If

we

do

not

have

time

enough

to

do

this

work, we may

_give

them

this

as

their

assignments,

in

which case

they

should

be

_given

time

to

_prepare

it

in

advance.

In

the

post-laboratory

work, which reinforces and consolidates what

they

have

studied, we

can

have

a

student

as

ehairman

to

let

them

have

a

free

dis-eussion

in

English.

These

two

aetivities might

be

made

_possible

both

in

the

language

laboratory

and

in

the

ordinary classroom,

but

the

latter

is

_preferable

from

the

educational

_point

of view which will make

human

contact

_possible

between

the

teaeher

and

the

learners.

On

the

other

hand,

the

middle work of

this

approach will

be

mainly

done

in

the

Ianguage

laboratory.

In

this

work, a

90-minute

elass

_period

will

be

ap-portioned

as

follows

:

10

minutes;

to

be

apportioned

to

present

the

literary

work and

to

reeord

it

in

each

booth

in

the

full

language

laboratory.

20

minutes;

to

be

appropriated

for

repetition

by

the

Iearners.

10

minutes;

to

be

appropriated

for

explanations

from

the

linguistic

point

of view.

20

minutes

;

to

be

appropriated

for

drills

such as a

true-false

test

designed

first

for

understanding and elucidating, next

for

interpreting

the

text.

15

minutes;

to

be

_appropriated

for

memorization.

15

minutes;

to

be

apportioned

for

making

the

learners

_give

their

own

pressions

orally.

After

the

_{pre-laboratory}

work,

the

teacher

shows

the

poem

through

sounds

and

makes

the

learners

reeord

it

in

each

booth.

In

case of simplified

language

laboraroty

equipment,

he

must repeat

the

taped

voice over

and

over again

for

a while, otherwise

he

must repeatedly read

it

himself.

In

the

repetition

drill,

the

teacher

speakes

to

each student

individually

whenever

he

finds

his

trouble

spots and

diMcu}ty

in

repeating after

the

native

-55-NII-Electronic Library Service

mautzmert7rept

acgg

eele

speaker with

the

same

pronunciation,

intonation

and rhythm.

This

operation

is

_generally

¢alled monitoring.

Monitoring

is

one of

the

fundamental

elements

which makes our

laboratory

work effective.

Without

monitoring,

the

effec-tiveness

of

the

laboratory

work will

be

redueed

by

half.

At

this

stage of our

proeedure,

the

teacher

may

deliver

written

copies

to

the

students aecording

to

their

ability.

We

are

faced

with

the

case

that

some students must

be

_given

the

copies at

the

very

beginning

of

the

lesson.

Next,

the

teaeher,

if

neeessary, may explain

the

_poem

from

the

linguistic

point

of view,

but

it

is

desired

that

this

explanation should not

be

_given

sepa-rately

but

automatically

included

in

drills

such

as

true-false

or

question-and-answer,

if

possible.

These

kinds

of

drills

are

designed

first

for

understanding or elueidating

the

conext

of

the

text,

then

interpreting

it

with

literary

sense.

The

model answers are

given

after some

blank

spaces on

the

tape,

during

which

the

students ean afford

to

answer each

_question

by

using

four-phase

or

four-cycle

drill.

-

The

next

15

minutes

is

used

to

memorize

the

poem,

during

which

they,

will

feel

what

they

could not

perceive

in

the

previous

drills.

Through

memoriza-tion,

which might

be

allowed

to

do

as

assignment,

they

will

have

new

impres-sions.

Then

the

teacher

must

_give

them

the

chance

to

express

their

own

im-pressions

orally.

Poems

sueh as "Annabel

Lee"

written

by

Edgar

Allan

Poe

and "The

Daffodils"

by

William

Wordsworth,

whieh are very

_popular

and

famous

for

their

inborn

melody and rhythmical

beauty,

are always near at

hand.

One

of

the

ultimate

objects of

teaching

_poetry

is

to

make

the

learners

know

and

feel

the

rhythm and

beauty

of

the

English

language,

whieh

is

sym-bolically

expressed

in

the

technique

of

declamation,

the

recitation of

_a

_speech

or

_poem

as an exercise

in

elocution.

Here

we remember a

famous

definition

of

poetry

by

E.A.

Poee';

the

Poetry

of words as

the

Rhythmical

Creation

of

Beauty.

We

should always

try

to

know

and

feel

the

features

of

language

from

not only a

linguistic

but

also a

literary

_point

of view.

Here,

let

us

illustrate

a

_poem,

"Annabel

Lee",

in

six stanzas of alternate

four-and-three-stress

line

written

by

Edgar

Allan

Poe.

ANNABEL

LEE

by

Edgar

Allan

Poe

x x txx txxt xl

It

was

many

and

many a

_year

ago,

xxl x iXi

In

a

kingdom

by

the

sea,

xx ix xf x Sx )

That

a maiden

there

lived

whom

you

may

know

xxi xr xx l

By

the

name of

Annabel

Lee;

x xixx/ x ixx t

And

this

maiden

she

lived

with no other

thought

x xl x xt X ×

Than

to

love

and

be

loved

by

me.

-56-l

An

Approach

tothe

Study

of

Literatwre

in

the

/xxix txxt

I

was a ehild and she was a child,

xxr x txt

In

this

kingdom

by

the

sea,

x xt xxf Xxl x

But

we

Ioved

with a

love

that

was more

than

tX l XN S

I

and

Annabel

Lee'

'

x xf x x fx tx xtx

With

a

love

that

the

winged seraphs of

heaven

Jxx ix I

Coveted

her

and me.

x Jxxlx xi xi

And

this

was

the

reason

that,

long

ago

xxl x i xi

In

this

kingdom

by

the

sea,

x

,,

xf xxf tx

A

wind

blew

out of a cloud, chilling

xi xxt xxl

My

beautiful

Annabel

Lee;

xixr x rxl

So

that

her

high-born

kinsmen

came,

x i xxt x t

And

bore

her

away

from

me,

x S xlxxlX S

To

shut

her

up

in

a sepulchre,

x xlx 1xt

In

this

kingdom

by'

the

sea.

x,, x xt Xi xz !x

The

angels, not

half

so

happy

in

heaven,

xr xx _{tx l}

Went

envying

her

and me;

X SX XtX Kt X l

Yes!

that

was

the

reason

(as

all

men

know,

x xl × ixi

In

this

kingdom

by

the

sea)

x xt x rx xi xi

That

the

wind came out of

the

eloud

by

night,

lx x fx xt xx i

Chilling

and

killing

my

Annabel

Lee.

xx lxx tx xi x xl

But

our

love

it

was stronger

by

far

than

the

love

x i xx ix x t

Of

those

who were older

than

we,

x ixx tx x i

Of

many

far

wiser

than

we;

x tx xl xx tx xi

And

neither

the

angels

in

heaven

above,

1 xlx i xx xl

Nor

the

demons

down

under

the

sea,

xSx xix xl x xr

Can

ever

dissever

my

soul

from

the

soul

× xlxxt xx S

Of

the

beautiful

Annabel

Lee:

x X f XMt xX SX X

For

the

moon never

beams,

without

bringing

me

-57-Language

ilove,

Laboratory

NII-Electronic Library Service

Nzazxk\rept

cagg

agle

× x Sxxl xx l

Of

the

beautiful

Annabel

Lee;

x xi xxl xx1xt x

And

the

stars never rise,

but

I

feel

the

bright

eyes

x xl xxJ xx S

Of

the

beautiful

Annabel

Lee

;

× tX XI K MJX XXt

And

so, all

the

night-tide,

I

lie

down

by

the

side

x xix xlx xt x xt

Of

my

darling,

my

darling,

_my

life,

and my

bride,

xx lx × t x xS

In

her

sepulehre

there

by

the

sea,

xxt xxlx x

In

her

tomb

by

the

sounding sea.

The

following

exereises

are

designed

to

elueidate

Iinguistie

difficulties

and

to

bring

about a

better

understanding and

interpretation

of

this

_poem.

I.

For

pre-laboratory

work:

Exereise

1.

What

kind

of

_poet

was

Edgar

Allan

Poe?

He

was an

Ameriean

poet,

eritie

and

short-story

writer who was

born

in

1809

and

died

in

1849.

He

insisted

on

art

for

art's

sake,

considering

the

purpose

of

literature

as

the

ereation of

beauty

and

literary

creation as

tellectual

construction work, not as a work of

inspiration.

This

idea

was

very

_peeuliar

to

the

romantic world at

that

time,

so

he

had

few

thizers

with

his

literary

attitude.

Exereise

2.

Explain

the

background

of

this

_poem.

This

ballad

is

thought

to

be

dedicated

to

the

poet's

wife,

Virginia

Clemen,

immediately

after

hep

death

in

1847.

Two

_years

later

he

attempted suicide.

He

married

his

beloved

little

lady

Virginia

in

1836

when she was only

thirteen

years

old.

After

her

death,

he

became

involved

in

a

drinking

debauch

in

Baltimore.

This

indulgenee

proved

fatal,

for

he

died

a

few

days

later

and

was

buried

in

Baltimore

beside

his

wife.

Exereise

3.

Whom

is

the

poet

thinking

of

in

"Annabel

Lee"?

He

is

thinking

of

his

dear

wife

Virginia

Clemen

in

this

_poem.

II.

For

laboratory

work:

Exercise

1.

Listen

to

this

ballad

and

_punctuate

where

necessary.

Omittecl.

Exercise

2.

English

poetry

has

some

_peculiar

rhythm _which

is

brought

about

by

the

combination of strong and weak stresses.

When

_you

listen

to

the

taped

voice, mark each weak stress

by

× and each strong steess

by

1.

See

the

poem

above which

has

already

been

stressed.

Exercise

3.

In

stanza one;

Question

1.

What

does

"it" show?

"It" shows "that a maiden

there

lived

whom

you

may

knowlBy

the

name

of

Annabel

Lee."

An

Approach tothe

Study

of Literature

in

the

Language

Laboratory

Question

2.

Should

"this maiden" and "she"

be

thought

of

in

apposition?

Yes,

but

in

this

ballad

"she"

is

used

in

order

to

make a syllable

between

"this

maiden"

and

"lived".

_This

_is

called "expletive"

_in

poetical

nology.

Exereise

4.

In

stanza

two;

Question

1.

Is

the

phrase

of "I and rny

Annabel

Lee"

also an expletive?

Yes,

it

is

an expletive

to

"we"

to

help

out a metrieal

line.

Question

2.

What

does

"winged" mean?

It

means "having wings."

Question

3.

What

does

"seraph" mean?

It

rnans "one

of

an

order

of

six-winged

angels

who

guard

God's

throne".

Exercise

5.

In

stanza

three;

Question

1.

What

does

"chilling" mean?

It

means "giving a chill

to."

Question

2.

What

does

"high-born" mean?

It

means "born

into

a

high

rank of society."

Question

3.

What

suggests

"her

high-born

kinsmen"?

It

suggests

Annabel

Lee

is

_{also of noble}

birth.

Question

4.

What

does

"bore

away"

mean?

It

means "carry away."

Question

5.

What

does

"sepulchre" mean?

It

means "a

tomb

or

burial

place,

a

building

vault, or excavation, made

for

the

interment

of

a

human

body."

Exercise

6.

In

stanza

four;

Question

1.

What

does

"not

half"

mean?

It

means "a

long

way

from

the

due

amount. (v'Lnot

half

bad=pretty

_good.

Question

2.

What

are

omitted

between

"so

_happy"

and

"in

heaven"?

The

omitted

words

are

"as

I

and

Annabel

Lee

though

they

were."

Question

3.

What

is

the

meaning of "Yes"

in

this

case?

Here,

"Yes"

is

used

to

emphasize and strengthen

the

_poet's

own

_preceding

statement.

Exereise

7.

In

stanza

five;

Question

1.

What

is

"it" used

for?

"It"

is

used

_{pleonastieally}

after

the

noun subject; now especially

in

ballad

poetry.

Question

2.

What

does

"by

far"

mean?

It

means

"to a

_great

degree."

Question

3.

What

are omitted after "many"?

"Who were" are omitted.

Question

4.

What

phrase

is

eontrasted with "in

heaven

above"?

"Down

under

the

sea"

is

contrasted

with

it.

Question

5.

What

does

"dissever" rnean2

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NptXncJlt\raN

ee9g

Mlg

It

means "separate or

divide."

Exereise

8.

In

stanza

six;

Question

1.

Rewrite

lines

one

and

two

into

a eomplex sentence.

Whenever

the

moon

beams,

Ihave

dreams

of

the

beautiful

Annabel

Lee.

IVbtes;

never ... without...

ing.

Question

2.

Rewrite

lines

three

and

four

into

a

complex

sentenee.

Whenever

the

stars rise,

I

feel

the

bright

eyes of

the

beautiful

Annabel

Lee.

III.

For

_{post-laboratory}

work:

Exercige

9.

Explain

the

usage of rhyme.

The

poem

has

end-rhymes mainly

_put

on

the

even

lines

of eaeh stanza,

using

the

words "sea,

Lee,

we."

In

stanza six,

lines

one,

three

and

five

have

internal

rhymes on each

line;

beams

and

dreams,

rise and eyes,

tide

and

side.

Exercise

10,

The

_phrase

of

"my

Annabel

Lee"

in

the

first

four

stanzas

is

suddenly

transformed

into

"the

Annabel

Lee"

in

the

rest of

the

stanzas.

Why?

Because

the

private

existence of

Annabel

Lee

for

the

poet

as shown

by

"my"

is

sublimated and

_generalized

to

a

_public

being

by

the

definite

article "the."

Exercise

11.

What

associations

do

the

religious words

suggest?

They

suggest

the

poet's

desire

to

be

united with

Annabel

Lee

in

an eternal world.

Exercise

12.

The

_phrase

of "In

this

kingdom

by

the

sea"

is

repeated several

times,

and･

the

image

of sea

is

frequently

expressed.

What

kind

of

pression

does

it

give

us2

in

the

learner's

own words.

Exercise

13.

Make

some comments on other

_poems

written

by

this

poet,

pared

with

this

poem.

Iba

the

leaTner's

oivn woras.

/

7

The

time

is

passing

away when

the

pronuneiation

of voeabulary and

con-versation are

the

unique and unniversal exercises of

teaching

language

in

the

"college"

_Ianguage

_laboratory.

_It

_is

_undeniable

_that

_these

_{compose some of}

the

fundamental

exercises

in

laboratory

work,

but

it

is

hoped

that

this

study

of

literature,

as shown

in

this

paper,

will

become

the

important

one

in

the

vast and varied

field

of

teaehing

in

the

language

laboratory.

We,

teachers

of

English,

should

not

be

afraid of

making

mistakes

in

the

productive

skills of speaking

and

writing.

It

is

a matter of course

that

our

English

is

Japanese

English

_just

as

Germans

speak

German

English;

but

we

-60-1

'1i'

An Appreach to

the

Studv

of

Literature

in

the

Language

Laberatory

must

make an effort not

to

speak

Japanized

English

which usually appears

in

Japanese

_journals,

Japanese

English

is

one

thing

and

Japanized

English

is

another,

so we need not

be

afraid of

speaking

English.

We

are always

trying

escape

from

the

Japanese

way of

thinking

when we speak

English,

but

we cannot

fully

make a

break

with

the

Japanese

coneeption as

long

as our mother

tongue

is

Japanese.

The

inversion

of

the

mother

tongue

is

alrnost

impossible

for

those

who

have

not

been

abroad, nor

lived

with

English

speaking

_people.

For

example, when

we

Japanese

are

asked

something

in

a

negative sentence,

we

generally

hesitate

to

answer.

In

order

to

answer

_yes,

_{we consider}

both

the

negative _and

the

aMrmative.

Making

mistakes

in

order

to

eonquor

the

heterogeneous

context of

thinking,

and

trying

to

ehoose correct answers

in

English,

we will

_gradually

be

able

to

make

the

English

way of

thinking

our own.

This

will enable us

to

sharpen

and

deepen

our sensitivity

to

languages.

This

paper

is

just

the

beginning

of a

}iterary

approach

in

the

language

laboratory.

Hereafter,

we will continue

this

approach

in

our

own

way

through

trial

and error, eonsidering

the

_present

development

of _educational

technology.

NB.

This

paper

is

mainly

based

on

the

report of

the

same

title

made at

the

12th

Language

Laboratory

Assocciation

of

Japan

held

_at

Fukuoka

sity, on

July

23,

1973.

Notes

1)

A,S.

Hayes,

Language

Laboratory

liletcitities,

Oxford

University

Press,

1968,

p.

1,

2) L.A. Hill,

Selected

Artietes

on the

7leaching

of

English

as a

17breign

Language,

Oxford

sity

Press,

1967,

_p.

80.

3)

Y.

Chilon,

C.

Bouillon,

H.

Holec,

M.

Kuhn

and

C.

Zoppis,

The

Language

Laboratory

in

Higher

Education-An

Ehrperiment,

Aidela,

1968,

p.

65.

4)

Robert

Lado,

Language

71esting-7Vte

Cbnstrzaction

and

[ISe

of

Fk)reign

Language

7lests,

rnans, 1961, _p. 205.

5)

ibid.

p.

275.

6)

John

H.

Ingram

(ed.),

The

Works

of

Edgar

Allan

Poe,

Vol.

III,

London,

1899,

_p.

204.

Selected

References

Lado,

Robert.

Language

11esting-71he

Ck}nstruction

and

Ube

ofPbreign

Language

71ests,

Longmans,

1961.

Lado,

Robert. Language 71eaching-A

Scienti

£c Approach,

McGraw

Hill,

Inc.,

1964.

Jespersen,

Otto.

Hbw to

Teach

a Fbreign Language,

Translated

by

Sophia

Yhlen-Olsen

Bertelesen,

George

Allen

&

Unwin,

1904.

Jespersen,

Otto.

Selected

Ilih'itingsef

Otto

.lespersen, Senjo Publishing, 1962.

Hayes,

A.S.

Langzasge

Laboratory

1lacilities,

Oxford

University

Press,

1968.

Hill,

L,A.

Selected

Articles

on the

T:eaching

of

English as a

Fbreign

Language,

Oxford

sity

Press,

1967.

Stack,

Edward M. flhe Language Laboratorv ana nfodern Language

7leaching,

Oxford

University

-61-NII-Electronic Library Service

Nec-#Jkmpreta

th9#

ggle

Press,

New

York,

1960.

Dixon,

Robert

M.W.

PVhat

is

Language?

A IVlawApproach to

Lingutstic

Description,

Longmans

Linguistie

Library,

1965.

Chilon,

Y.,

Bouillon,

C.,

Holec,

H.,

Kuhn,

M.

and

Zoppis,

C.

Tvee

Language

Laboratoptu

in

Higher

Edveation-An

Experiment,

Aidela,

1968.

Ingram,

John

H.

(ed.).

The

VVbrths

_of

Edgar

Allan

Pbe,

4

vols.,

1899.

Allen,

Hervey.

isrcoflel,

the

Lijle

and

Times

of

E.

A.

Iloe,

N.Y.,

1962.

Hart,

James

D.

fvee

Oatford

Cbmpanion

to

American

Literature,

Oxford

Univesity

Press,

1965.

Pol!a.rd,

Arthur,

(ed.).

IVebgter's

IVew

Wbrld

Cbmpaninn

to

linglish

and

American

Literature,

World

Publishtng,

1972.

i

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