to autumn賞析

1、Background It was during the months of spring 1819 that he wrote many of his major odes. Following the month of May 1819, he began to tackle other forms of poetry, including a play, some longer pieces, and a return to his unfinished epic, Hyperion. His brothers financial woes continued to loom over him, and, as a result, Keats had little energy or inclination for composition, but, on 19September 1819, he managed to squeeze out To Autumn, his last major work and the one that rang the curtain down

2、 on his career as a poetThemesAs the poem progresses, Autumn is represented metaphorically as one who conspires, who ripens fruit, who harvests, who makes music.In stanza 1, Keats describes autumn with a series of specific, concrete, and vivid images. The stanza begins with autumn at the peak of fulfillment and continues with an Initially autumn and the sun “load and bless” by ripening the fruit. But the apples become so numerous that their weight bends the trees; the gourds “swell”, and the haz

3、el nuts “plump”. Keats presents us a wonderful picture of the maturation of autumn. In the second stanza Autumn is personified as a harvester,13 to be seen by the viewer in various guises performing labouring tasks essential to the provision of food for the coming year. There is a lack of definitive action, all motion being gentle. Autumn is not depicted as actually harvesting but as seated, resting or watching.12 In lines 1415 the personification of Autumn is as an exhausted labourer. Near the

4、end of the stanza, the steadiness of the gleaner in lines 1920 again emphasises a motionlessness within the poem.14 The progression through the day is revealed in actions that are all suggestive of the drowsiness of afternoon: the harvested grain is being winnowed, the harvester is asleep or returning home, the last drops issue from the cider press.11The last stanza contrasts Autumns sounds with those of Spring. The sounds that are presented are not only those of Autumn but essentially the gentl

5、e sounds of the evening. Gnats wail and lambs bleat in the dusk. As night approaches within the final moments of the song, death is slowly approaching alongside of the end of the year. The full-grown lambs, like the grapes, gourds and hazel nuts will be harvested for the winter. The twittering swallows gather for departure, leaving the fields bare. The whistling red-breast and the chirping cricket are the common sounds of winter. The references to Spring, the growing lambs and the migrating swal

6、lows remind the reader that the seasons are a cycle, widening the scope of this stanza from a single season to life in general意象美,修辭美和結構美 一，意象美 （the beauty of images）濟慈對意象的理解是滿懷深情、精雕細琢;充分運用色、聲、光影的組合;重層次、重質感就像濃筆重彩的油畫和馬賽式的浮雕一樣,帶有典型的西方文化重分析,重描述的特點。在本詩中詩人運用了具體的視覺意象、味覺意象、嗅覺意象、觸覺意象和聽覺意象。通過一系列的意象,使讀者如身歷其景,感受到豐富具體的意象美。 1視覺意象(Visual image):本詩中運用許多描寫具體事物的視覺意象,如第一節,第四行?第七行中的”round the thatch-eaves”、”to bend withapples”、”to swell the gourd”、”plump the hazel shel s”。藤蔓環繞農舍屋檐、蘋果壓彎樹枝、葫蘆鼓起、榛子豐滿,一幅秋天萬物成熟飽滿的景象2展現

7、在我們眼前。在第二節,第三行?第四行”Thee sit ingcareless on a granary floor,!Thy hair soft-lifted by thewinnowing wind;”詩人的描寫仿佛讓我們看到一個女性坐在谷倉地上,發絲隨著揚谷的風兒飄蕩的景象,產生美的視覺享受。 2嗅覺意象(Olfactory image):如第二節的第三行”Drows?dwith the fume of poppies”我們仿佛嗅到了田間罌粟花的濃烈的香味,產生美的嗅覺意象。 3味覺意象(Gustatory image):如第一節”sweetkernel”和”ripeness to the core”我們仿佛品嘗到了秋天成熟的蘋果甘甜可口和榛子的甘美果仁,給人以味覺美感,使讀者在看到的同時,仿佛也品嘗到了秋天的累累果實。這些味覺意象激發了讀者對豐碩秋天的渴望和mo依戀。 4觸覺意象(Tactile image):這首詩中有許多觸覺詞匯和短語。如”load and bless”、”bend”、”fil”、”swel”、”plump”、”soft-lifted”、”winnowing

8、 wind”、”sound asleep,borne aloft”等等當讀者讀此詩時,秋天不再是抽象的,它成為看得見、摸得著的具體的秋天4,加深了讀者對秋天美景的直觀印象。 5聲音意象(Auditory image):如第三節最后七行,詩人描寫了”gnats mourn”(蠓蚋的悲歌)、”ful-grown lambs loud bleat”(肥壯的羊群的咩咩叫)、”hedge-crickets sing”(蟋蟀的鳴唱)、”the red-breast whistle”(紅胸知更鳥的啼囀)、”gatheringswallows twitter”(群飛的燕子的啾嘰聲)。秋天轉瞬化成許多具體的生物:飛蟲、羊群、蟋蟀、知更鳥和群飛的燕子,在燦爛的秋光里,仿佛聽到了悲哀的鳥,自然界的生靈們哀嘆著秋日的短暫和寒冬的臨近2。多重聲音的交替出現,為詩歌增添了一層深沉的意境美和朦朧的色彩美1。二、修辭美 1詞語修辭格(Lexical Stylistic Devices)5.在這首詩中,運用了詞語修辭格中的隱喻(Metaphor)和擬人(Personification)。 (1)隱喻(Metaphor)

9、:如第一節中”close bosom-friend”和”conspiring”,詩人把秋季和太陽描繪成好朋友,喻體的運用,使讀者眼前立刻呈現出秋之實體物象,語感強烈,印象突出。 (2)擬人(Personif ication):如第二節第三行中”sittingcareless on a granary floor”和第六行中”Drows?d withthe fume of poppies”,及第四行”Thy hair soft-lifted”,第五行中”sound asleep”。抽象的秋天被賦予人的言行和情感,給人以形象的美感,從而達到生動又富有情趣的藝術效果。 2結構修辭格(Syntactical Stylistic Devices)5.在這首詩中,運用了結構修辭格中的修辭疑問句(Rhetorical Question)。如第二節第一行、第二行”Who hath not seen thee oft amid thy tore?Sometimeswhoever seeks abroad may find”,第三節第一行、第二行”Where are the songs of Spring?Aye,where are they?Think not of them,thou hast thy music too-”。在第二節、第三節的第一行、第二行中,敘事者似乎都在發問,等待”秋天”的回答。我們從中不難看出詩人深蘊的匠心,他希望通過這種富于戲劇色彩的表現方式,建起和讀者的交流和溝通,加深讀者對秋景的直觀印象,激發起他們對秋之豐收美景的渴望和依戀。 3音韻修辭格(Phonetic Stylistic Devices)5. “To Autumn” is written in a three-stanza structure with a variably rhyme scheme.在這首詩中,運用了音韻修辭格中的頭韻(Al iteration)和擬聲(Onomatopoeia)。 (1)頭韻:在這首詩中使用了大量的頭韻。如第一節第一行中”mists”和”mellow”,第四行中”ro

《to autumn賞析》由會員簡****9分享，可在線閱讀，更多相關《to autumn賞析》請在金鋤頭文庫上搜索。