To autumn赏析

细心整理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 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 hazel 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 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 gentle 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 swallows 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,修辞美和构造美 一，意象美 the beauty of images济慈对意象的理解是满怀深情、精雕细琢;充分运用色、声、光影的组合;重层次、重质感就像浓笔重彩的油画和马赛式的浮雕一样,带有典型的西方文化重分析,重描述的特点。在本诗中诗人运用了具体的视觉意象、味觉意象、嗅觉意象、触觉意象和听觉意象。通过一系列的意象,使读者如身历其景,感受到丰富具体的意象美。 1视觉意象(Visual image):本诗中运用许多描写具体事物的视觉意象,如第一节,第四行?第七行中的”round the thatch-eaves”、”to bend withapples”、”to swell the gourd”、”plump the hazel shel s”。藤蔓环绕农舍屋檐、苹果压弯树枝、葫芦鼓起、榛子饱满,一幅秋天万物成熟饱满的景象2展此时此刻我们眼前。在其次节,第三行?第四行”Thee sit ingcareless on a granary floor,!Thy hair soft-lifted by thewinnowing wind;”诗人的描写仿佛让我们看到一个女性坐在谷仓地上,发丝随着扬谷的风儿漂移的景象,产生美的视觉享受。 2嗅觉意象(Olfactory image):如其次节的第三行”Drows?dwith the fume of poppies”我们仿佛嗅到了田间罂粟花的浓烈的香味,产生美的嗅觉意象。 3味觉意象(Gustatory image):如第一节”sweetkernel”和”ripeness to the core”我们仿佛品尝到了秋天成熟的苹果甘甜可口和榛子的甘美果仁,给人以味觉美感,使读者在看到的同时,仿佛也品尝到了秋天的累累果实。这些味觉意象激发了读者对丰硕秋天的渴望和mo依恋。 4触觉意象(Tactile image):这首诗中有许多触觉词汇和短语。如”load and bless”、”bend”、”fil”、”swel”、”plump”、”soft-lifted”、”winnowing wind”、”sound asleep,borne aloft”等等当读者读此诗时,秋天不再是抽象的,它成为看得见、摸得着的具体的秋天4,加深了读者对秋天美景的直观印象。 5声音意象(Auditory image):如第三节最终七行,诗人描写了”gnats mourn”(蠓蚋的悲歌)、”ful-grown lambs loud bleat”(肥壮的羊群的咩咩叫)、”hedge-crickets sing”(蟋蟀的鸣唱)、”the red-breast whistle”(红胸知更鸟的啼啭)、”gatheringswallows twitter”(群飞的燕子的啾叽声)。秋天转瞬化成许多具体的生物:飞虫、羊群、蟋蟀、知更鸟和群飞的燕子,在绚丽的秋光里,仿佛听到了凄惨的鸟,自然界的生灵们哀叹着秋日的短暂和寒冬的接近2。多重声音的交替出现,为诗歌增加了一层深厚的意境美和朦胧的色调美1。二、修辞美 1词语修辞格(Lexical Stylistic Devices)5.在这首诗中,运用了词语修辞格中的隐喻(Metaphor)和拟人(Personification)。 (1)隐喻(Metaphor):如第一节中”close bosom-friend”和”conspiring”,诗人把秋季和太阳描绘成好挚友,喻体的运用,使读者眼前立刻呈现出秋之实体物象,语感猛烈,印象突出。 (2)拟人(Personif ication):如其次节第三行中”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”。抽象的秋天被赐予人的言行和情感,给人以形象的美感,从而到达生动又富有情趣的艺术效果。 2构造修辞格(Syntactical Stylistic Devices)5.在这首诗中,运用了构造修辞格中的修辞疑问句(Rhetorical Question)。如其次节第一行、其次行”Who hath not seen thee oft amid thy tore?Sometimeswhoever seeks abroad may find”,第三节第一行、其次行”Where are the songs of Spring?Aye,where are they?Think not of them,thou hast thy music too-”。在其次节、第三节的第一行、其次行中,叙事者似乎都在发问,等待”秋天”的答复。我们从中不难看出诗人深蕴的匠心,他盼望通过这种富于戏剧色调的表现方式,建起和读者的沟通和沟通,加深读者对秋景的直观印象,激发起他们对秋之丰收美景的渴望和依恋。 3音韵修辞格(Phonetic Stylistic Devices)5. “To Autumn” is written in a three-stanza structure with a variably rhyme scheme.在这首诗中,运用了音韵修辞格中的头韵(Al iteration)和拟声(Onomatopoeia)。 (1)头韵:在这首诗中运用了大量的头韵。如第一节第一行中”mists”和”mellow”,第四行中”round”和”run”,第六行中”fill”和”fruit”,第八行中”sweet”和”set”,第十一行中”clammy cel s”,以及其次节第四行中”winnow wind”等等。头韵是实现音韵美的一个重要因素,它用声音增加诗趣,用音韵帮助诗意,并具有回环美,给人以美的享受6。同时,头韵的运用使诗句语音流畅,音调和谐,增加语言的形象性和感染力。在这首诗中,头韵的运用使音韵美和意境美到达完备的统一。 (2)拟声(Onomatopoeia):如第三节的第五行中”wailful”(苦痛声),第八行中”bleat”(咩咩叫),第十行中”whistle”(鸣叫声),第十一行中”twit er”(呢喃声)都利用拟声方式描摹了蟋蟀、羊群、知更鸟和燕子的声响。这些拟声词的运用,使声音惟妙惟肖,使读者仿佛如临其境、耳闻其声6。渲染了秋天的气氛,绘声绘色,给人听觉上的刺激,唤起读者对真实事物的联想,收到直观性、生动性和形象性的艺术效果。 三、构造美 本诗共分三节,诗人一改以前创作颂诗时所惯用的10行诗段,而改用了叠音重奏的11行诗段,来抒发诗人对秋季深深的依恋之情2。整首颂诗运用抑扬格五音步。在每一节由两局部构成,每一节的前四行是第一局部,后面的七行是其次局部。每一节的第一局部是ABAB的韵式,其次局部的韵式是变更的,第一节的后七行的韵式是CDEDCCE,其次节和第三节的后七行的韵式是CDECDDE。在韵式构造中表达了一种变更的美。本诗共分三节,三节就是三个不同的秋天的画面。第一节写”秋色”,诗人如数家珍般地刻画出一个个秋日丰收景象的侧面,并以流畅的节奏和漂亮的乐感把这些微小环节串在一起,构成一幅色调明丽的秋天的丰收景象。其次节写”秋人”,我们那么看到一幅幅静态的秋景:秋天在仓库地上小坐,在收割一半的田垄里酣睡,留着那一把未割完的麦子和缠绕的野花。这一些形象以人为中心共同构成了一幅温煦的丰收图。第三节写”秋声”,诗人描述了秋日黄昏的景象:落日照红了收割完毕的田野时各种虫鸟声音的交替,蠓蚋的歌声,山间绵羊的叫声,树丛里的蟋蟀的叫,园里知更鸟和燕子的鸣叫。这三节是相对独立的各自完整的三个画面,节及节之间看似没有相互的关联和过渡,但事实上,诗人以时间为依次把三节诗奇异地组合在一起,如第一节中的”mists”(雾),示意秋天的早晨,其次节中的”soundasleep”(酣睡),示意秋天的中午,第三节中的”soft-dying day”(渐渐消逝的日照),示意秋天的黄昏。诗人颇具匠心的以时间的早、中和晚为依次支配三个诗节,使构造相对独立的三个画面以时间为依次和谐地组合在一起,使整首诗具有和谐的构造美。同时,诗人盼望以这种和谐的构造形式加深读者对秋景的直观印象,激发人们对秋天丰硕景象的渴望和依恋。Figure of speech(rhetoric devices) PersonificationOne figure of speech used by Keats is personification,in which either an inanimate object or an abstract concept is spoken of as though it were endowed with life or with human attributes or feelings. For example, the second stanza of Keats “To Autumn” finely personifies the season, autumn, as a woman carrying on the rural chores of that time of year; especially in stanza 2, autumn is personified as a female figure amid the scenes and activities of the harvest season.