1
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只是停一停

2
00:00:08,320 --> 00:00:10,315
專注於你的呼吸

3
00:00:10,315 --> 00:00:12,140
慢慢吸氣

4
00:00:12,140 --> 00:00:13,756
慢慢呼氣

5
00:00:13,756 --> 00:00:15,274
慢慢吸氣

6
00:00:15,274 --> 00:00:16,625
呼氣

7
00:00:16,625 --> 00:00:19,944
我們每一個人重覆這相同的節奏

8
00:00:19,944 --> 00:00:21,574
想想你的脈搏

9
00:00:21,574 --> 00:00:25,474
這節拍嵌進我們骨子裡

10
00:00:25,474 --> 00:00:29,405
簡單來說，
我們是節奏和重覆的生物

11
00:00:29,405 --> 00:00:31,466
節奏和重覆對於我們的經驗非常重要

12
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節奏和重覆

13
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節奏和重覆

14
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繼續，又吸入

15
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繼續，又呼出

16
00:00:38,736 --> 00:00:41,409
我們每天享受著這些節奏

17
00:00:41,409 --> 00:00:42,696
歌曲的節奏

18
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鼓聲的節拍

19
00:00:44,148 --> 00:00:45,564
你的點點頭

20
00:00:45,564 --> 00:00:47,874
或是湯罐的重覆出現

21
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果園內的行列

22
00:00:49,492 --> 00:00:51,382
花瓣片片的美

23
00:00:51,382 --> 00:00:53,511
模式能帶來樂趣

24
00:00:53,511 --> 00:00:55,685
語言中，節奏和重覆

25
00:00:55,685 --> 00:00:59,406
經常用作詩的基本構成

26
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這是語言的節奏

27
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以音節和重音來創造

28
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例如「 So long as men can breathe 
or eyes can see. 」

29
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而這裡有不同語言層次的重覆：

30
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字母的重覆

31
00:01:14,667 --> 00:01:18,071
「 So long lives this
and this gives life to thee. 」

32
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語音的重覆

33
00:01:19,291 --> 00:01:21,874
「 breathe 」、「 see 」、「 thee 」

34
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還有字詞的重覆

35
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重覆的用途廣泛，是詩人最有彈性

36
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和最可靠的工具之一

37
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能使情感或揚或抑

38
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詩句或重或輕

39
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意念或統一或分眾

40
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事實上，即使節奏本身

41
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是重音節旳重覆模式

42
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是一種形式的重覆

43
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雖然它用途多樣

44
00:01:46,362 --> 00:01:48,942
但重覆太多則有反效果

45
00:01:48,942 --> 00:01:53,095
試想像在黑板寫出相同句子二十次

46
00:01:53,095 --> 00:01:55,739
重覆、重覆、重覆，又重覆

47
00:01:55,739 --> 00:01:59,695
或試想像幼童大吵大鬧
以獲得母親的注意

48
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「媽、媽、媽媽、媽、媽。」

49
00:02:03,241 --> 00:02:06,164
我們並不會真的稱這些為詩

50
00:02:06,164 --> 00:02:09,831
那甚麼是詩意的重覆，為何有效？

51
00:02:09,831 --> 00:02:12,249
可能我們最熟悉的是押韻

52
00:02:12,249 --> 00:02:15,343
字尾相似語音的重覆

53
00:02:15,343 --> 00:02:17,529
正如莎士比亞的例子

54
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我們經常在行末遇到押韻

55
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這樣的重覆帶來期望

56
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我們開始期待聽到這些相似語音的重覆

57
00:02:27,601 --> 00:02:31,250
當我們聽到押韻，
感受到的模式讓人愉快

58
00:02:31,250 --> 00:02:33,588
正如在視覺混亂中找到威利一樣

59
00:02:33,588 --> 00:02:36,815
正如在嘈雜環境中聽到回音一樣

60
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但押韻不限於行末

61
00:02:41,347 --> 00:02:43,374
注意重音「 i 」在

62
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「 So long lives this
and this gives life to thee.」

63
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母音的重覆稱為諧音

64
00:02:50,757 --> 00:02:53,771
亦可見於 Eminem 的 「 Lose Yourself 」

65
00:02:53,771 --> 00:02:59,136
注意「 e 」和「 o 」音如何在
每行中間和行末重覆：

66
00:02:59,136 --> 00:03:01,011
「 Oh, there goes gravity,

67
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Oh, there goes rabbit,
he choked,

68
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he so mad but he won't
give up that easy,

69
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no, he won't have it,

70
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he knows his whole back's 
to these ropes. 」

71
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母音交替押韻創造出節奏

72
00:03:12,441 --> 00:03:15,982
邀請我們嘗試用自己的聲音來模仿

73
00:03:15,982 --> 00:03:20,261
同樣地，子音韻是子音的重覆

74
00:03:20,261 --> 00:03:22,385
例如「 l 」和「 th 」在

75
00:03:22,385 --> 00:03:26,417
「 So long lives this
and this gives life to thee. 」

76
00:03:26,417 --> 00:03:31,201
事實上，這種發生在字首的子音韻

77
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或許你早已熟悉

78
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稱為頭韻

79
00:03:36,482 --> 00:03:38,639
例子包括繞口令

80
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「 Betty bought some butter
but the butter was bitter

81
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so Betty bought some better butter
to make the bitter butter better.」

82
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我們明顯會從此模式中感到樂趣

83
00:03:47,797 --> 00:03:52,547
因為字首或字中子音相同而繞口

84
00:03:52,547 --> 00:03:57,281
但繞口令同時反映
詩意重覆需要不同變化

85
00:03:57,281 --> 00:03:58,853
雖然繞口令不容易講

86
00:03:58,853 --> 00:04:03,310
它們被一些人視為
詩的低等模仿或噱頭

87
00:04:03,310 --> 00:04:06,784
因為它們如此著重於相同語音

88
00:04:06,784 --> 00:04:09,192
類近於黑板式的重覆

89
00:04:09,192 --> 00:04:12,538
說到底，這是詩人
平衡各種技巧的工夫

90
00:04:12,538 --> 00:04:13,858
學習何時重覆

91
00:04:13,858 --> 00:04:15,181
何時重覆小段

92
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何時滿足期望

93
00:04:17,009 --> 00:04:19,367
何時阻撓

94
00:04:19,367 --> 00:04:21,970
在這平衡中，或只需記得

95
00:04:21,970 --> 00:04:25,061
我們都活在多姿多彩的世界中

96
00:04:25,061 --> 00:04:27,751
各自帶著獨有的呼吸和心跳

97
00:04:27,751 --> 00:04:29,171
各自獨有的重覆

98
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無論我們走到何方