叶芝与爱尔兰文化身份的建构

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从_玫瑰_意象看叶芝的爱尔兰民族情结_董红缨

对玫瑰题材的创作心理来看, 叶芝总是将玫瑰这一意象纳入到对爱情, 对美以及对爱尔兰及爱尔兰的民族传统的颂扬。介于自己矛盾的文化立场, 叶芝采取了这种特殊的方法, 不轻易将自己的民族倾向鲜活于纸上, 而是通过一种完全不同的方式来表达这种情感。[ 10] 正是通过这种方式, 叶芝抒发了自己对爱尔兰民族解放运动特殊的情结和自己爱尔兰身份的民族认同。同时也对后来研究者们对叶芝及其作品的研究提供了很大的帮助。
士 , 爱尔兰民间传说中海神芳德的故事以及
爱尔兰西部民间故事中的红马驹的一些情节,
整篇诗歌洋溢着诗人对玫瑰的崇敬之情, 爱
慕之意, [ 4] 同时将爱尔兰品质与怪力乱神结合起
来 [ 5] 。这里玫瑰意象是爱尔兰品质的代名
词。使用隐秘一词体现了作者的良苦用心。
而另一首作于 1917 的诗歌玫瑰树中提到
家族之前。人类永远与它们一道前进, 追随着那红玫瑰镶边的长裙。啊, 在明月下舞蹈的仙女, 一
收稿日期: 2011- 05- 29 作者简介: 董红缨 ( 1978~ ) , 女, 四川阆中人, 贵州大学科技学院讲师, 硕士。研究方向: 英美文学。
20
安顺学院学报 2011 年第 4 期
个巫者的国土, 巫者的乐曲! 我把我的心铸入我的诗, 好让你, 在渺茫的未来时代, 会了解我的心是如何曾与它们/ 一道追随那红玫瑰镶边的长裙。[ 1] 106 - 108 在这首诗里, 作者使用了两个他她 , 他是英殖民者的象征; 她则是代表爱尔兰, 诗中谣曲和民歌都是爱尔兰民族的象征。而不愿比他们差毫分则是将爱尔兰与英国相比; 因为她那红玫瑰镶边的长裙/ 拖曳过每一页文字: 她的历史早已开始/ 在上帝创造天使的家族之前 , 这里作者既弘扬了爱尔兰的历史和整个优秀的民族文化, 同时也阐明了二者之间的差异和作者愿意保持并追随爱尔兰的民族文化。人类永远与它们一道前进, 它们指什么, 毫无疑问, 是爱尔兰优秀的民族文化, 追随着那红玫瑰镶边的长裙 , 表示爱尔兰人民将永远保持爱尔兰的优秀传统, 并誓死追随发扬其优秀的民族文化。明月下舞蹈的仙女、巫者的国土、巫者的乐曲都是传统爱尔兰的真实的写照。因此, 此处的玫瑰明显地指代着爱尔兰或爱尔兰民族和优秀的民族文化, 表达了作者欲通过唤起带有爱尔兰民族印记的民族传统来唤醒国人的历史使命感, 从而达到重构爱尔兰历史的梦想。

叶芝文化态度论文

叶芝文化态度论文摘要：叶芝作为一名诗人，坚守着自己的责任，深知自己的信仰，一方面对于自己深爱的祖国遭受的殖民统治，他感到无比的痛心，但是在文化方面却主张两国应该相互交流，特别是处于劣势地位的爱尔兰应该汲取英国文化的精华，两国平等交流，在此基础上建立一个新的爱尔兰，诗人的梦想虽然最后未曾实现，但是他做了一个文人所能做的全部，为爱尔兰文化的繁荣做出了巨大的贡献。

引言：被誉为“二十世纪最伟大的英语诗人”的叶芝，他一生创作丰富，早期诗歌的内容大多是以爱尔兰民间故事和神话为题材。

作为一名以英语创作的爱尔兰作家，叶芝用他的诗歌表现了作为一位英-爱人的孤立，彷徨，及面对两国文化不能正确交流的担忧。

本文以文化为切入点，对叶芝的一首以暴力和性爱著称的诗歌《丽达与天鹅》进行解读，分析作者对于两国文化交流方面的态度。

1.诗歌创作的政治背景1921 年 12 月 6日，新的爱尔兰“议会”与英国政府签订条约。

爱尔兰除北方六郡外，其余二十六郡获得在大英帝国内部的自治地位，但仍须向英王宣誓效忠。

“议会”内部发生激烈辩论，以至分裂。

1921年，英国政府的爱尔兰政策也有了决定性变化。

这一年，英国政府被迫与南爱尔兰民族主义者达成协议，允许爱尔兰南部26郡成立“爱尔兰自由邦”，承认爱尔兰自由邦为享有自治自决的全权自治领；北方6郡作为一个单位，要求不属于爱尔兰自由邦，这个权利得到承认。

这样，爱尔兰的分裂被确认下来。

这首诗歌创作于1923年，也就是爱尔兰刚刚获得独立之初，正是在这样的政治背景下，叶芝对英-爱两国的文化关系进行了新的审视，在英-爱两国合并120年后，两国最后分道扬镳，难道在120年的历史长河中，殖民统治除了带给爱尔兰人民痛苦之外，难道就没有从英国那里得到一点的益处吗？答案当然是否定的，在120年的殖民统治中，爱尔兰人民遭受了痛苦，但是在文化方面，爱尔兰也吸收和借鉴了英国文化，为自己本国文化的发展注入了新的活力，两种文化彼此融合。

后殖民主义视野下叶芝的文化身份观-2019年精选文档

后殖民主义视野下叶芝的文化身份观-2019年精选文档后殖民主义视野下叶芝的文化身份观任何文学作品的产生都与作者及其时代背景密切相关。

而作品中的文化内涵也是对作家价值观取向及背景知识的综合反映。

而对于后殖民文学中的一些移民作家，其作品和作家的文化身份观往往受到争议。

该文着重从后殖民角度出发，对爱尔兰裔英语诗人叶芝进行研究，从其规模宏大的创作作品中，结合作者本人的心路历程，对叶芝的文化身份观进行梳理。

后殖民理论是20世纪70年代以来影响深远的一种西方当代文化思潮，研究原先殖民地或称“后殖民地”写作的批评话语，旨在揭露殖民地宗主国对第三世界国家的文化霸权主义的实质，是一种向主流话语进行挑战的策略。

后殖民主义的重要理论是解构主义，其消解中心、解构权威的策略，与第三世界知识分子的文化心理十分吻合。

作为兼具英爱两种文化的诗人叶芝，其身份的矛盾性和文化的民族性在爱尔兰文学的历史上颇受热议。

被称为后殖民理论的“三剑客”之一的霍米?巴巴在《文化的定位》中这样阐释，对于只能居住于一个“文化之间”的世界中的殖民地人民，没有别的选择，只能在矛盾的和冲突的传统中创造、协商着自己的文化认同，他们同时“既是此又是彼”，或者既非此又非彼，深陷于不被认同的文化转换过程中，但正是通过这种文化转换，为这些“移民”赢得了宝贵的后殖民视角，将他们置于一种“阈限的”空间，为他们开辟出一片批评的新天地。

[1]而叶芝正是选择了这样的一个空间，来对自己的文化身份观进行定位，同时展示了世界多元文化格局中爱尔兰文化的独特魅力及价值。

提升了其作品矛盾性背后深层的文化意义。

一、凯尔特文化的行吟者叶芝，19世纪末20世纪初爱尔兰籍伟大的英语诗人，早年曾随父亲移居伦敦，思想上所受的全是英国传统的教育，童年的叶芝在学校经常被称为“外国人”、“爱尔兰疯子”。

而对叶芝影响最大且真正使其改变创作方向的是“芬尼亚运动”的领袖人之一约翰.欧李尔瑞。

通过前辈诗人塞缪尔.佛哥森,叶芝对爱尔兰古代传说发生了兴趣，并把它视为民族传统和精神真理的储藏库。

追寻迷失的身份

追寻迷失的身份作者：谭淑滢来源：《教育前沿》2012年第10期摘要：在爱尔兰文学复兴运动中，剧作家叶芝试图从古老的凯尔特文化中去寻求爱尔兰性并努力去重构爱尔兰民族文化身份。

作者结合叶芝的两部戏剧，《呼力翰的凯瑟琳》和《凯瑟琳女伯爵》，来探讨他运用爱尔兰神话故事与民间传说的深层意义。

关键词：神话传说身份爱尔兰性中图分类号：G642 文献标识码：A 文章编号：1672-8882（2012）10-052-02威廉·巴特勒·叶芝（William Butler Yeats）是爱尔兰著名的诗人与剧作家。

虽然从某种意义上来说，叶芝是以他的诗而闻名于世的，然而，我们后人也不能低估他作为一名剧作家所取得的成就.只是他的戏剧家角色被他的诗人英名所盖，故评论家们对他的戏剧关注程度不够，我国的学术界对叶芝的戏剧介绍与研究也十分少。

实际上，叶芝留下了大量的剧本，且有不同版本的戏剧选集流传于世。

叶芝是“爱尔兰文艺复兴运动”的领袖，也是艾比剧院（Abbey Theatre）的创建者之一。

1897年，叶芝创建了“凯尔特剧院”的宣言，他在其中写道：“我们要把爱尔兰的较深刻的思想和感情搬上舞台……” 叶芝将戏剧看出一种提升人类灵魂的仪式，试图用戏剧的形式唤醒人们心中被尘盖的真善美，一则可提升人们的伦理道德意识，二则可为民族和解做些前期准备工作.叶芝早年的戏剧通常从爱尔兰神话和民间传说中取材.他为何坚持要从古老的爱尔兰神话和民间传说中寻找丢失已久的爱尔兰民族的身份呢？这一问题很值得去探究。

有一些批评家因此便断定叶芝是一个逃避现实者，宣称他的作品是从真空发展起来的，采用大量的神话传说是没有任何有价值的东西。

但事实并非如此。

经过仔细研读他的作品，我发现叶芝早期戏剧中的神话用典是他戏剧创作成就的重要体现，充分展示了他的艺术才华。

一、有着“绿宝石”之称的爱尔兰位于大西洋的一隅，当古代的欧洲大陆被罗马征服时，惟有爱尔兰遗世独立，因此爱尔兰民族是欧洲留存下来的唯一的最古老的一支民族---凯尔特族。

爱尔兰诗人叶芝

爱尔兰诗人叶芝叶芝：爱尔兰的诗意之声爱尔兰，这片古老的土地，孕育了许多伟大的文化人物，其中最为耀眼的当属叶芝（W.B. Yeats）。

他是一位杰出的爱尔兰诗人，也是一位戏剧家、散文家和文学评论家。

他的作品不仅为爱尔兰文学带来了革新，也赢得了世界范围内的赞誉。

叶芝生于1865年，成长于一个富有的家庭。

他从小就展现出对文学的浓厚兴趣，尤其是对爱尔兰民间传说和神话的热爱。

这些传说和神话成为了他作品的灵感之源，也赋予了他独特的艺术风格。

他的诗歌充满了浪漫主义的情感和神秘主义的色彩，表达了他对爱尔兰的热爱和对人类存在的思考。

叶芝的作品被誉为爱尔兰文艺复兴运动的象征之一。

他致力于恢复爱尔兰文化的尊严和独立性，将爱尔兰的历史、传统和民族精神融入了自己的创作中。

他的诗歌中常常出现爱尔兰的风景、民俗和传统，如《湖水的舞蹈》中的湖光山色，以及《麦田里的人》中的农民形象。

这些形象和意象使他的作品充满了浓厚的爱尔兰风情，也让读者更加亲近他的诗歌。

叶芝的创作不仅关注爱尔兰的民族问题，也关注人类的普遍命运。

他思考着人类存在的意义和价值，探索着生命的奥秘。

他的诗歌中充满了对时间流逝、生与死、爱与痛苦的思考，如《二个人的对话》中的对话者对生命的迷惘和无望。

他的作品不仅具有深刻的思想性，也具有美丽的艺术性，使人们在阅读中得到启迪和享受。

叶芝的影响力不仅限于文学领域，他还积极参与爱尔兰的政治运动。

他是爱尔兰国家剧院的创始人之一，也是爱尔兰自由国成立后的一位参议员。

他通过文学和政治的双重身份，为爱尔兰争取独立和自由做出了积极的贡献。

叶芝的诗歌和思想穿越了时空的界限，影响了许多后来的诗人和作家。

他的作品不仅为爱尔兰文学带来了新的风貌，也为整个世界文学贡献了独特的声音。

他的诗歌让人们感受到了爱尔兰的独特魅力和深邃的文化底蕴。

叶芝，你是爱尔兰的诗意之声，你的诗歌如一首首美妙的乐章，让我们陶醉其中。

你的作品永远闪耀着光芒，为我们指引着前行的方向。

william butler yeats诗歌鉴赏

william butler yeats诗歌鉴赏
威廉·巴特勒·叶芝（William Butler Yeats）是爱尔兰最伟大的诗人之一。

他的诗歌清新而又富有感情，写出了爱尔兰历史上的变革和悲剧，表达了他对爱尔兰的热爱和热情。

叶芝的诗歌体现了他对爱尔兰文化的理解，以及他对人生、宗教、神秘主义和精神世界的深刻思考。

他一生创作了许多经典诗歌，如《绿野仙踪》、《塞纳河的童话》、《风中的女王》等，充满着浪漫主义情怀和幻想空间。

叶芝的诗歌有三种不同的诗体，即“九行诗”，“长诗”和“短诗”。

其中，“九行诗”是他最常用的诗体，用精练而深邃的语言吐露着他的心声，犹如一首诗歌。

他的“长诗”比较清新明快，语言流畅，抒发出深刻的思想感情，而“短诗”则是他最个人化的诗体，充满了他的思想和感受。

总之，叶芝的诗歌在抒发他的思想感情的同时，也为我们提供了一种独特的艺术体验，让我们更加深刻地理解爱尔兰文化，感受古典文学的精髓。

叶芝是21世纪爱尔兰文艺复兴运动的领导人

叶芝是21世纪爱尔兰文艺复兴运动的领导人。

他是象征主义诗歌在英国的早期代表人物，对21世纪英国诗歌的发展产生过重要的影响。

[3]叶芝的历史就是世纪之交爱尔兰的历史，而他的诗歌则将他个人的历史与那一时期的爱尔兰历史融为一体。

年轻时代的叶芝是爱尔兰文艺复兴运动的领导人之一，其早期诗歌多取材于爱尔兰本土的传奇与民谣。

叶芝是爱尔兰民族主义运动的参加者，因此政治是他诗中的一大主题；而与叶芝的民族主义激情紧密相连的是他对献身于爱尔兰文化复兴的杰出女演员莫德·冈的爱情，因而爱情对于叶芝也是个终生的主题。

他与格雷戈里夫人的合作亦对爱尔兰戏剧的发展产生过巨大的影响。

叶芝的这一连串人生经历同其诗歌有着紧密的联系。

凭着他那能创造神话的想象力，叶芝将生活中许多平凡事件化为美妙的诗句，再在他的诗中创造出具有叶芝风格的象征主义。

而且，艺术与自然的关系在叶芝的许多诗中亦得到了表现。

在创造他的艺术、他的象征主义的同时，叶芝似乎也急欲为历史画像。

也许是受到了神秘主义（包括布莱克的神秘主义）的影响，这一幅神秘的历史画像颇具悲剧色彩。

人的命运是由外在力量所控制的，历史的轮盘不停地旋转，已现的必将重现。

《丽达与天鹅》与《基督重临》描述的正是这一主题。

多样性的人生，多样性的主题，多样性的风格与技巧，时隐时现的历史影子，构成了叶芝诗歌的伟大所在。

正是由于这种多样性，后世的评论家一般将叶芝的诗歌分为三个时期。

[3]叶芝的早期诗歌创作包括他从1883年起在《都柏林大学评论》（Dublin University Review）上发表的诗歌，直到1899年出版的《芦苇中的风》（The Wind Among the Reeds）为止。

初入诗道，叶芝接受的是后期浪漫主义的传统。

对他深具影响的是前拉斐尔派诗人及其后继者，其中的威廉·莫里斯可以说是叶芝的最主要的影响者。

莫里斯是叶芝的朋友，他对叶芝的影响在《莪相的漫游及其他》（The Wanderings of Oisin and Other Poems，1889）中最为明显。

论叶芝诗歌对浪漫派传统的继承和超越

前往拜占
” 而叶芝就是深
过像济慈这样深刻的影响.
庭,
实现灵魂的拯救;而 «夜莺颂»中,诗人同
同父亲(
拉斐尔前派画家)
探讨济慈作品. 济
慈惯于脱离苦难的现实去创造一个想象中的
慈诗歌大都有着梦幻意境,而叶芝诗歌同样
美的世界. 借助梦境之美对现实的 “逃
芝后期诗歌的代表,
但依然能听到«希腊古瓮
和超越,分析济慈、雪莱、布莱克对叶芝的影
颂»
和«夜莺颂»的余响.“
象征主义诗歌比浪
响,
兼论叶芝诗歌对爱尔兰民族身份建构的
漫主义诗歌更为含蓄凝练,但如果不是站在
关注.叶芝通过爱尔兰书写构筑了一个想象
«
.这首爱情诗不落俗套,不赞扬
当你老了»
爱人的美貌,
不表达爱慕之情,
而是向读者展
如此高度呢? 从另一位大师艾略特的话中我
现了爱人年老色衰后因拒绝诗人而懊悔的情
们可知一二:成就叶芝伟大诗名的一个重要
景.该诗对欧洲文坛产生了深远的影响. 叶
原因就是“在以个人身份讲话之初,
和发扬了济慈的崇古诗风、雪莱的象征手法以及布莱克的神秘主义,创造了一个想象的共同体,实
现了凯尔特文化的复兴和爱尔兰民族身份的建构.
[关键词] 叶芝; 济慈; 雪莱; 布莱克; 爱尔兰; 共同体
[中图分类号]
I
106.
2 [文献标识码]
A [文章编号]

例谈叶芝诗歌中的爱尔兰情思

内容摘要：１９２３年诺贝尔文学奖获得者威廉・巴特勒・叶芝是爱尔兰诗人、剧作家，也是爱尔兰文学复兴运动的主要领导人。他渴望创立纯粹的爱尔兰文学，让世界认识到爱尔兰的历史，并勾画出爱尔兰民族文化的轮廓。本文从诗歌《丽达与天鹅》创作的时代背景入手，通过挖掘叶芝诗歌中的爱尔兰情思来探寻诗人的民族文化身份及其历史意义。关键词：叶芝《丽达与天鹅》民族文化身份
其民族观的目的。诗歌前八旬给我们展现了幅惊心动魄的画面：粗野的
一
境，使其文学创作成为世界的一部分。叶芝深信，要实现民族的独立，就必须首先寻根溯源、追寻过去，重新建立起自己的民族文化身份。Ｔ・ｓ・艾略特曾高度评价叶芝说： “ 他当然是我们这个时代最伟大的英语诗人，而且我还可以说是任何语言中最伟大的诗人。 ”可见在２０世纪的英语诗坛上，其魅力和地位是任何人都无法取代的。本文从叶芝写作的时代背景人手，通过对叶芝诗歌中的爱尔兰情思的挖掘来探寻诗人的民族文化身份的构建及其历史意义。爱尔兰是一个美丽富饶的国家，有着悠久的历史和古老的文化。爱尔兰人民是古代凯尔特人的后裔，大部分人信仰天主教。可是在１２世纪末期，她就沦为英国的殖民地。此后，在七百多年的漫长岁月里，爱尔兰惨遭奴役和剥削。１１７１年英格兰国王享利二世率军入侵爱尔兰，次年罗马教皇亚历山大封享利二世为 “ 爱

叶芝诗作中爱尔兰父权主义的呈现策略

威廉·巴勒特·叶芝（William Bulter Yeats）是19至20世纪爱尔兰著名诗人、剧作家、散文家，其作品带有浓厚的神秘主义和浪漫主义色彩。

目前国内对叶芝诗作的研究多围绕其诗作的意向和诗作中所体现的爱尔兰民族性展开，少有研究针对其作品中父权主义意识的呈现方式。

本文将从“二元对立”“骑士爱”和“女性物化”三个方面分析叶芝诗剧中父权主义的呈现策略，以期为研究叶芝诗作提供新的视角，并帮助人们深入了解父权主义对爱尔兰文学的影响。

1父权主义在二元对立思维模式下的呈现在结构主义理论中，二元对立论是解释人类思想、文化与语言的一种有力工具。

在性别层面，传统父权思维强调性别气质的二元对立，男性阳刚威武，女性阴柔秀慧。

人们由性别气质的刻板印象衍生出了对男性和女性社会地位的二元划分。

男性是强者，应当具有更高的社会地位，走上劳动岗位，创造劳动价值；女性是弱者，应当关注家庭，相夫教子，弱化与社会生活的联系。

发端于19世纪末20世纪初的二元对立造就了叶芝、艾略特、泰戈尔等一代伟大诗人。

叶芝无疑是他们当中的先驱者（丰慧，2010：150）。

叶芝诗中众多两极冲突所展现的二元对立思想成就了他独特多彩的诗风，对爱尔兰乃至世界文坛都产生了深远的影响。

早在《阿娜殊雅与维耶迦》中，叶芝就展现了他对爱情的二元观。

一个男人为两个女人所爱；一个人有两个灵魂。

一个睡着，另一个醒着；一个只知白昼，另一个只知黑夜。

“睡”与“醒”、“白”与“黑”是其早期作品中的两种对立概念。

叶芝思想的二元性主要体现在现实与仙境的对立中。

在《湖岛因尼斯弗里》中，诗人想象中的石楠岛安宁隐居的生活与诗尾诗人身处的现实世界形成了对比。

隐居生活中有五颜六色的动植物和自然景观，而诗人所处的现实之境却只有灰白的人行道，颜色的冲突更彰显了强烈的对比。

诗中理性和感性的冲突是其二元对立观的经典案例。

感性世界中诗人无拘无束的自在生活与冰冷的现实生活形成了鲜明的对比。

守望爱尔兰：论叶芝诗歌中的乡土意识

为争取土地权益而进行的斗争，都反映出强烈的地域和国土情怀，本文主要针对《茵尼斯弗利岛》《库勒庄园，一九二九年》《驶向拜占庭》这三首诗进行分析。
一、故乡斯莱戈的回忆爱尔兰是岛屿国家，因此叶芝诗歌中突出反映其乡土意识的一个意象就是“小岛”，尤其在其早期作品中，美好小岛生活的意象更加突出，而这些小岛都与斯莱戈有关。对于为何选择斯莱戈，叶芝曾经解释说：“在写作中，我会永远将诗的背景设置在自己的国家，这一点我会坚持到底。”［４］１２在爱尔兰叶芝住过的地方中，他最向往的就是斯莱戈，那块土地上迷人的风光、朴实的民风和丰富多彩的民间传说，是叶芝创作的源泉，也是叶芝“乡土意识”反映最集中的地方。而１９世纪末的爱尔兰正处于政治和经济的动荡之中，大饥荒使爱尔兰人口锐减，大批难民移居海外，爱尔兰的民族振兴事业前途未卜，诗人对苦苦追求的民族事业充满无力感，家庭的生存更是步履维艰，生活的重重挫折激起了诗人对往昔的回忆。我要起身走了，去茵尼斯弗利岛，／去那里建座小房，泥土和柳条的小房：／我要有九排芸豆架，一个蜜蜂巢，／独居于幽处，在林间听群蜂高唱。／于是我会有安宁，安宁慢慢来临，／从晨曦的面纱到蟋蟀歌唱的地方；／午夜一片闪光，中午燃烧得紫红，／暮色里，到处飞舞着红雀的翅膀。［５］（《茵尼斯弗利岛》）在叶芝的自传中，他如是说：“我十几岁在斯莱戈时就已经设想有朝一日能前往茵尼斯弗利岛，像梭罗一样住在那里 …… 如今我走在弗利特街，乡愁顿起，我听到潺潺水声，看见商店里的橱窗里的喷泉，不禁想起湖上的波流，往事的回忆唤起了我的诗情，遂写下了这首诗。”［６］１４０宁静优美的湖岛生活，当然也是叶芝心目中爱尔兰人美好生活的憧憬，“湖岛”可以算作是爱尔兰宏观国土意识的微观反映，湖岛独特的地理

叶芝爱尔兰民族文化身份的重构

叶芝爱尔兰民族文化身份的重构摘要威廉·巴特勒·叶芝（1865-1939），1923年诺贝尔文学奖获得者，由于“始终富于灵感的诗歌,并因为他以高度的艺术形式表达了整个民族的精神”，他被赋予了“爱尔兰诗歌永远的灵魂”。

美国诗人艾略特曾经这样评价他：“他是我们这个时代最伟大的诗人，他也是英语诗歌领域最伟大的诗人”。

庞德说“他是我们最值得研究是诗人”。

他是爱尔兰文艺复兴运动的主要领导人之一，不仅促进了爱尔兰文学的发展，而且对于现代英国诗歌的发展也产生了巨大的影响。

作为从浪漫主义过渡到现代主义时期重要作家之一，从浪漫派、欧美派、象征主义到现代主义，叶芝不断的追求诗歌的创新，在每个时期都取得非凡的成就。

当然同时我们也可以看到他在他的戏剧中所表现出来的重构爱尔兰民族主义和理想国民所做出的努力。

叶芝在不断的运用诗歌、戏剧和其他的文学样式，还运用协会和宣传等来重构爱尔兰民族文化、以及对其爱尔兰民族身份的建构。

本文主要运用诗歌作品的理解和他的经历来定位叶芝民族文化身份。

通过其作品，叶芝试图构造一种鲜明的爱尔兰传统和独特的写作风格，尽力去创造一种具有爱尔兰主题和基调的爱尔兰文学，意在唤醒爱尔兰人民对于古爱尔兰文化以及传统的历史荣誉感。

首先他定位和重构自己的身份以期望重振整个民族文化，虽然在其有生之年并未有太大影响至整个爱尔兰民族，但是在他百年之后的今天，他以及他的努力都得到了肯定和研究，人们正在按照他预想的道路重塑爱尔兰民族文化。

关键词：重构；身份；民间传说；神秘主义Reconstruction of W.B. Yeats’s Irish Cultural IdentityAbstractWilliam Butler Yeats (1865-1939) was awarded the highest honor for a writer in the year 1923-----the Nobel Price for what the Nobel Committee described as "for his always inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation", and he also got the reputation of being 'the eternal soul of Irish poetry'‟. T.S.Eliot referred to him as “the greatest p oet of our age---certainly the greatest in this language” of English and Ezra Pound “the only poet worthy of serious study”. As the most outstanding poet dealing with mythological themes in 20th century, making indelible contribution to Irish culture, he was one of the most important figures in the transitional period from Romanticism to Modernism, struggled for a systematic updating of subject matter and style throughout his literary career and wrote extraordinary poems in every school he was involved in whether it was Post-Romanticism, Aestheticism of Modernism. In his later years, skillfully combining reality, symbols and metaphysics together, he formed his own unique systems of philosophy and symbolism, thus inscribing his name in literary history of the world as well as that of Ireland. And we can also find his endeavor of reconstructing Irishness and his idealized peasant in his plays at the same time. Yeats employs the vehicle of poetry and play and also others to achieve the reconstruction of Irishness and his national and cultural identity.This thesis analyze Yeats‟ cultural identity through his poems and his life experiences: Yeats sought in his writing to create a fresh tradition and a unique style. He attempted to create a literature that was Irish in subject matter and tone. He strove to reawaken in his People a sense of the glory and significance of Ireland‟s historical and legendary past. Yeats, the great giant tried to make his people back to being Irish traditional culture and the Irish own form all by his life. While the first step and all of the steps he went is on the way of making himself of characteristics of the Irish tradition or own cultural form in his life time. But he still succeeded to make it after his death. Tens of thousands of people and institutes have been studied him and his style and done what he had not finished.Key words: Reconstruction Identity Folklore OccultCONTENTSI. The Introduction (1)1.1 William Butler Yeats (1)1.2 The Poetry Development of Yeats (2)1.3 Ireland‟s Colonial Historical Background and Parting from U.K (5)1.4 Effluence of the Relationship with Maud Gonne (6)1.4.1 The Introduction to Maud Gonne (6)1.4.2 Gonne‟s Influence on Yeats (7)1.5. Effects of Irish Occult (8)II. Yeats‟s National Consciousness (9)2.1 Introduction (9)2.2 Yeats and Irish Folklore (11)2.3 Use of Folklore Subjects (14)III The style on National Cultural Mind (16)3.1 Characteristics of Yeats‟s Poems (17)3.1.1 Style in His Poems (17)3.1.2 Use of Irish Ballad Style in Poems (18)3.2 Changing of Beliefs (19)3.2.1 Pagan in Early Period (19)3.2.2 God (21)IV. Yeats‟s National Identity on Culture (22)4.1 Early Time: Searching for Root of the Irish Culture (22)4.2 Later Period: Ideal, Yeats‟s Byzantine Poems (23)V. Conclusion (26)Acknowledgements (28)Bibliography (29)Reconstruction of W.B. Yea ts’s Irish Cultural IdentityI. The Introduction1.1 William Butler YeatsAs an Irish poet and dramatist, William Butler Yeats is one of the foremost figures of 20th century literature. A pillar of both the Irish and English literary establishments, in his later years Yeats served as an Irish Senator for two terms. He was a driving force behind the Irish Literary Revival, and together with Lady Gregory and Edward Martyn founded the Abbey Theatre, and served as its chief during its early years. In 1923, he was awarded a Nobel Prize in Literature for what the Nobel Committee described as "inspired poetry, which in a highly artistic form gives expression to the spirit of a whole nation;" and he was the first Irishman so honored. While this recognition would come as early as 1928, a decade before his death with the publication of arguably his finest volume, The Tower, completely after being awarded the Nobel Prize.Yeats was born and educated in Dublin, but spent his childhood in Sligo. Yeats‟s childhood would be broad in education and personal experiences. Yeats would become a youth full of internal contradictions; often spawned by his desire to question all what he was taught. Spiritually, educationally, and personally, Yeats seemed to himself pulled in different directions, unable to decide on a clear path. He studied poetry in his youth, and from an early age was fascinated by both Irish legends and the occult. Those topics feature in the first phase of his work, which lasted roughly until the turn of the century. His earliest volume of verse was published in 1889, and those slowly paced and lyrical poems display debts to Edmund Spenser and Percy Bysshe Shelley, as well as to the lyricism of the Pre-Raphaelite poets. From 1900, Yeats' poetry grew more physical and realistic. He largely renounced the transcendental beliefs of his youth, though he remained preoccupied with physical and spiritual masks, as well as with cyclical theories of life. Over the years Yeats adopted many different ideological positions, including, in the words of the critic Michael Valdez Moses, "those of radical nationalist, classical liberal, reactionary conservative and millenarian nihilist".1.2 The Poetry Development of YeatsIn 1899, the publication of The Wind Among the Reed established Yeats as the leading Irish poet not only for its superior eloquence, mellifluous and admirably appropriate use of the language, but also for its generous self-dramatization and great intellectual range. Some critics believe that this collection of poems indicates the beginning of modern English poetry, just as The Lyrical Ballads serves as the inauguration of British Romantic poetry.However, what impresses me most is the story of Yeats's discontent with his own early work and his systematic modern literature having been updating of his style, which is one of the hero tales of modern literature having been told many times. To follow him from the beginning to the end of his life is to conclude that he is one of the true heroes of literature who fights past weakness and conventionality with the utmost labor. His life is an incessant combat. His unflagging power suggests a continuous poetic development from Romanticism to Symbolism and Modernism, and he is one of few poets who have written extraordinary poems in every school he has been involved in. Yeats was never wholly content .with what he had accomplished; consequently his fervent search went on to the last moment. By his constant advance and change in subject-matter and style, by his devotion to his craft and his refusal to accept the placidity to which his years had entitled him, he lived several lifetimes in one and made his development inseparable from that of modern verse and, to some extent, of modern man.Yeats's stages of personal development are embodied in his stages of stylistic development. Every poem is an embodiment, conscious as well as unconscious, of his way of living and seeing. All his poems form a larger organization that we can watch in the process of evolving. One of the most significant characteristic of his work comes from this ultimate adhesion of part to part to form a systematic whole.During the early years of his literary career, Yeats's began in the tradition of self-conscious Romanticism. He made an intensive study of Spencer, Shelley andWilliam Blake whose symbolism and mysticism attracted him. Influenced by the idea of Pre-Raphaelite, he believed that a poet's language should be dreamy, evocative, and ethereal. Also under the influence of the currents of Irish nationalism, he learned to see his poetry as a contribution to a rejuvenated Irish culture. So, we find a poem based on the Sligo folklore in the midst of a group of dreamy poems written at that time under the influence of the Rhymer's Club or an echo of Irish nationalist feeling in a lyric otherwise wholly Pre-Raphaelite in tone.In 1889 appeared his narrative poem The Wanderings of Oisin, which is based on the legends of Oisin, a hero of ancient Celtic mythology. The poem has the very decorative, evasive language and deliberate meter and rhyme of Pre-Raphaelite art. We read the immortal birds as "A storm of birds in the Asian trees/ Like tulips on the air a-winging/... Must murmur at last …Un just, unjust."' Oisin hears the fabulous birds like: "A wandering land breeze came/ and a far sound of feathery quires." The songs are overpowering: "The horse towards the music raced,/ Neighing along the lifeless waste." The tree images are described as "sooty fingers" rising out of warm water "and "trembling carelessly". Birds cover them, clinging to every branch "like swarming bees". Yeats's Pre-Raphaelite manner is also the distinctive characteristics of Crossways (1889).The 1910s were Yeats's period of transition, during which he departed from the Romanticism of his early period and developed into Modernism. In A Coat, the poet directly expresses his dissatisfaction with the embroidered song of his youth, and declared, as if affirming the necessity of the ordeal of The Cold Heaven, that "there's more enterprise/ In walking naked." lie searched for a more active stance, a more masculine style. Yeats's self-criticism led to the conclusion that the poetry of the 1890s was "full of decorative landscape and of still life", lacking the energy and clear vision "of those who have become the joy that is themselves".The Seven Woods (1903) and The Green Helmet (1910) marked the shift from the dream-burdened songs of the 1890s to the modern poetry of responsibility and self-sustaining energy and vision from dreaming wisdom to visionary reality. It ispossible to find a radical break in Yeats's poetics, one that made him a modern poet. In the narratives of In the Sever Woods, the juxtaposition of mythical subject and personal situation discloses a distinctively harsh, even tragic discrepancy between pure imagination and "tumult of the blood". Eliot later called it the "mythical method, the method adumbrated by Mr. Yeats" and declared it to be the poetic equivalent of a great scientific discovery. For the first time, Yeats clearly perceived a way of life compatible with his desire for Unity of being.The years of 1919-1939 were Yeats's final period of maturity. The older poet, more accustomed to the toil of writing, rejected the "airs" of his youth and wished the voice of romance be struck "Colder and dumber and deafer than a fish" (All Things Can Attempt Me). Yeats now sought poetry, of personal utterance. "I have tried to make my work convincing with a speech so natural and dramatic the hearer would feel the presence of a man thinking and feeling". He believed that "we should write out our own thoughts in as nearly as possible the language we thought them in". The endeavor to find spontaneity and escape from deliberateness in folk tradition would be successful for Yeats when, as an old man, he achieved a real instead of an artificial simplicity. This was not to be done by immersion in the folk tradition, but by better understanding of himself.Now Yeats was in the process of transforming himself from an important literary figure to one of the major writers of literature in English, a process that became evident in such volumes as R esponsibilities (1914), The Wild Swans at Coole(1917), and Michael Robartes and the Dance r (1921). In 1928 he published The Tower, perhaps the finest single volume of lyric poetry in his career. This was followed by another masterpiece,The Winding Siair and Other Poems (1933). These two collections represent the mature Yeats at his very best-a realist-symbolist-metaphysical poet with an uncanny power over words. In his late works, through his system of symbolism, Yeats dealt with the rise and fall of civilization, with eternal beauty in the world of art, with the contrast between youth and old age, exploring the paradoxes of time and change, of growth and identity, of love and age, of life and art, of madness and wisdom.In Aspects of Modern Poetry, Edith Sitwell describes some of Yeats's poems in this period as "undoubtedly the greatest lyrics ‟the last hundred years, because of their intense fusion of spirit and matter, because of their overwhelming fire and their strange old-world wisdom, sung in the voice of who is impatient …the loveless dust‟”1.3 Ireland’s Colonial Historical Background and Parting from U.KDuring the next half' millennium of 19th century, successive English rulers attempted to colonize the island, pitching battles to increase their holdings that sparked periodic rebellions by the Irish.As the English gradually expanded their reach over the island by the 16th century, religious persecution of Catholic Irish grew in particular after the accession of Elizabeth 1, a Protestant, to the throne in 1558. Oliver Cromwell's subsequent siege of Ireland in 1649 ended with massacres of Catholics at Drogheda and Wexford and forced the resettlement of thousands, many of whom lost their homes in the struggle. By 1691, with the victory of Protestant English King William III over the Catholic forces of James II, Protestant supremacy in Ireland had become completed. Catholics in Ireland suffered greatly in the subsequent period of British occupation, enduring laws that prevented them from bearing arms, holding public office and restricting their rights to an education.By the late 18th century, many of the Irish Protestant elite had come to see Ireland as their native country. A Parliamentary faction led by Henry Grattan agitated for a more favorable trading relationship with England and for greater legislative independence for the Parliament of Ireland. However, reform in Ireland stalled over the more radical proposals to enfranchise Irish Catholics. This was enabled in 1793, but Catholics could not yet enter parliament or become government officials. Some were attracted to the more militant example of the French Revolution of 1789. They formed the Society of the United Irishmen to overthrow British rule and found a non-sectarian republic. Their activity culminated in the Irish Rebellion of 1798, which was bloodily suppressed. Largely in response to this rebellion, Irish self-government was abolishedaltogether by the Act of Union in 1801.While many of those rights were eventually restored, the animosity between Catholics and Protestants remained. With the passing of the Act of Union in 1800, a law that joined England and Ireland as one, the island became officially governed by London on the internal Ireland, and must on the entire history environment of the Britain and the islands.The cultural conflict of Ireland is much more the combination of the Irish rules and the Blighty counterforce than only a conflict between the Anglo-Irish cultures. During the extraordinary British history---the British civil war, the Irish Gaelic group, which posited in domain, and the colonialism of the England Catholic, are united to be loyal to the dooming England royals and against the Puritanism parliament influence. The failure of the Stuyart dynasty and the foundation of the English Republic is also theirs. Undoubtlessly, they are also stroken and persecuted by Columwell. This intricate relation is the main reason of the diverse national identities in Ireland.1.4 Effluence of the Relationship with Maud Gonne1.4.1 The Introduction to Maud GonneMaud Gonne MacBride (1866-1953) was an English-born Irish revolutionary, feminist and actress. She was born at Tongham near Farnham, Surrey from a family of an army officer. She fought all by her life as a nationalist for her own nation‟s freedom, alone or with her husband Magjor John MacBride. At Easter 1900, she founded Inghinidhe na hÉireann ("Daughters of Ireland"), a revolutionary women's society, to provide a home for Irish nationalist women who, like Maud herself, were considered unwelcome in male-dominated nationalist societies. Of Anglo-Irish stock and birth, she was won over to Irish nationalism by the plight of evicted people in the Land Wars. Active in Home Rule activities afterwards, she was widely admired for her courage and beauty. She is a magnificent freedom fighter, however best remembered for her turbulent relationship with William Butler Yeats.1.4.2 Gonne’s Influence on YeatsIn 1889, Yeats met Maud Gonne, then a twenty-three year old heiress and ardent Nationalist. Gonne was eighteen months younger than Yeats and later claimed she met the poet as a "paint-stained art student." Gonne had admired "The Isle of Statues" and sought out his acquaintance. Yeats developed an obsessive infatuation with her beauty and outspoken manner, and she was to have a significant and lasting effect on his poetry and his life thereafter. Looking back in later years, he admitted "it seems to me that she [Gonne] brought into my life those days—for as yet I saw only what lay upon the surface—the middle of the tint, a sound as of a Burmese gong, an over-powering tumult that had yet many pleasant secondary notes." Yeats' love remained unrequited, in part due to his reluctance to participate in her nationalist activism. His only other love affair during this period was with Olivia Shakespeare, whom he had first met in 1896, and parted with one year later. In 1895, he visited Gonne in Ireland and proposed marriage, but was rejected. He later admitted that from that point "the troubling of my life began." Yeats proposed to Gonne three more times: in 1899, 1900 and 1901. She refused each proposal, and in 1903, to his horror, married the Irish nationalist Major John MacBride.Many of the poems of Yeats are inspired by her, or mention her, such as "A Prayer for my Daughter" and "This, This Rude Knocking." He wrote the plays The Countess Cathleen and Cathleen Ní Houlihan for her. His poem "He Wishes for the Cloths of Heaven" ends poignantly:I have spread my dreams under your fairy feet;Tread softly because you tread on my dreams.Few poets have celebrated a woman's beauty to the extent Yeats did in his lyric verse about Maud. From his second book to Last Poems, she became the Rose, Helen of Troy (in No second Troy), the Ledaean Body (Leda and the Swan), Cathleen NíHoulihan, Pallas Athene and Deirdre. And Gonne become his Helen in his poems. And because of Gonne and his fascinate to her, Yeats was completely involved in the national revolution, so as to win this nationalist‟s likeness and love. However, to thisbeauty, she refused many marriage proposals from Yeats because she viewed him as insufficiently nationalist and because of his unwillingness to convert to Roman Catholicism. She never know that she has completely changed this man‟ s whole life. But thanks to her, most of the time, it was her who made Yeats make his mind to determine to continue his national cause when in his hesitation, and a great literature giant formed and Irish culture was reconstructed.1.5. Effects of Irish OccultIn the 19th century, with the intensification of Irish national conflicts, some writers hoped to settle Irish social and political problems in a literal way. Yeats, Hyde and O'Gray met in Dublin and discussed how to solve it. After the meeting, they gave a clear direction to literary creation, that is, literature should be closely related with Irish people. Yeats once said, “I believe... the scenery in my poetry should be in my own country; not in any other country." He also said, "Our poetry should depict those scenery we know and love, not those odd, astonishing and sparkling.” Here the scenery is not the natural one, but the people, incidents, customs, songs and folktales in those places. As one important leader in Irish Renaissance Movement, Yeats hoped to foster in Irish people a kind of national literature of high aesthetic quality and create a national profile of high literary accomplishments so as to unite the whole nation. To serve this purpose, he maintained that the writers should go back to ancient Ireland, romance and folklore to look for heroic figures such as Cuchulain to build a beautiful and united country. In some sense, Irish legends and history have been, at least since the Irish Renaissance Movement, a source of national pride. Even when talking about literary style, Yeats also emphasized, “One should have a distinctively national style, a way of speaking, by fidelity to national experience, the matter of folklore and heroic legend one will attain a style national." These ideas are fully demonstrated in his early poetry. Many materials in Yeats's poetry and plays are drawn from Irish countryside and everyday life of farmers, Irish history and folktales. His long narrative poem The Wanderings of Oisin, early poetry collection The Rose and story volumes CelticTwilight are all written by alluding to Irish history and folktales. Yeats once said that these allusions were to recreate a beautiful, happy and significant little world, one Ireland imagined by him, from a destroyed and vulgar world through this mystic and imaginative poetry.Yeats's mystical inclinations, informed by Hindu Theosophical beliefs and the occult, formed much of the basis of his late poetry, which some critics have judged as lacking in intellectual credibility. W. H. Auden criticizes his late stage as the "deplorable spectacle of a grown man occupied with the mumbo-jumbo of magic and the nonsense of India". The metaphysics of Yeats's late works must be read in relation to his system of esoteric fundamentalities in A Vision (1925).His 1920 poem, "The Second Coming" is one of the most potent sources of imagery about the twentieth century.Things fall apart; the centre cannot hold;Mere anarchy is loosed upon the world,The blood-dimmed tide is loosed, and everywhereThe ceremony of innocence is drowned.The best lack all conviction, while the worstAre full of passionate intensity.For the anti-democratic Yeats, 'the beast' referred to the traditional ruling classes of Europe, who were unable to protect the traditional culture of Europe from materialistic mass movements. The concluding lines refer to Yeats' belief that history was cyclic, and that his age represented the end of the cycle that began with the rise of Christianity.II. Yeats’s National Consciousness2.1 IntroductionIrish poets, learn your trade,Sing whatever is well made,Scorn the sort now growing upCast your mind on other daysThat we in coming days may beStill the indomitable Irishry.-------from Under Ben BulbenIn early 191h century Romanticism spread all over the whole Europe and eventually formed a magnificent literary trend in European countries. In southern and eastern European countries, Romanticism was closely related with national resurgence and national liberation movement. Some romanticists rejuvenated the history and folklore of their own countries, praised patriotism and expressed people's zealous idealism of independence, unity and freedom of their countries. The same thing happened in Ireland. Ireland, which long had been interested, fascinated, and thought a little bit of heaven, was overrun by outsiders who had victimized, exploited and oppressed the inhabitants. The oppressors may have been the Danes, the Normans, the English, or American blue jeans, hamburgers, vulgarity and affluence. In the 19th century, the intensification of conflicts between Icelanders and English colonists, in addition to the Great Famine of 1840 which killed one million people and exiled about two million people, aroused the Irish national consciousness. Yeats and other nationalists: Hyde, and O'Gray gathered in Dublin. They decided to settle Irish social and political problems in a literary way. With the clear direction in literary creation, they thought literature should be closely related with Irish people, and called on the young writers to learn from the traditional Irish culture and inherit Irish cultural treasure so as to build a totally new Irish literary world. Yeats started out in life with the project of transfiguring Ireland. "Repelled by what had seemed the sole reality, we had turned to romantic dreaming, to the nobility of tradition," Yeats said. He told people "our poetry should depict those scenery we know and love". The scenery here refers the people, incidents, customs, songs and folktales in those places rather than the natural scenery. With the purpose of binding Ireland together by fostering in Irish people a literary atmosphere of high aesthetic quality and creating a national profile of high literary accomplishments, he maintained the writers should go back to ancientIreland, romance and folklore to fulfill the beautiful unity. At least since the Irish Renaissance Movement, Irish legends and history have been, in some sense, a source of national pride. "We had in Ireland imaginative stories, which the uneducated classes knew and even sang, and might we not make those stories current among the educated classes...; and at last, it might be, so deepen the political passion of the nation that all, artist and poet, craftsman and day-laborer would accept a common design?Shelley, one of the great English romantic poets, exerted strong influence on Yeats. Shelley's romantic attitude towards life, nature, and love stimulated Yeats's profound emotion and love to Irish history and folktale. Besides, Shelley's democratic ideas and indomitable spirit are also instilled into Yeats's mind.Bearing these concepts in heart, Yeats created many poems whose subjects are based on the Irish history and folktales especially in his early period. In these poems, he showed his aspiration to regain the past glory of Ireland and arouse people's awareness of the unity. His long narrative poem The Wanderings of Oisin, his early poetry collections The Rose and Story Volumes, and Celtic Twilight are all written by alluding to Irish history and folktales.2.2 Yeats and Irish FolkloreMore often in the early poetry Yeats' s nationalism was expressed indirectly through the new theme of Irish folklore. Nearly all poetry, especially Romantic poetry tends to use the allusion of folklore. Early at his twenty years of age, Yeats wondered "whether whatever the great poets had affirmed is their finest moments", and it might not be "the nearest we could come to an authorative religion". Folklore, however, can be relied on to reveal the primal religion, the "universally diffused religion of the ancient and prehistoric world." "All good poems are fruit of the Tree of life; Yeats observed that folklore could lead a man "under the wall of Paradise to the roots of the trees of Knowledge and of life". Since popular legends and folk songs originate from history, it maybe possible to revivify those roots. Every expression of art, life, philosophy, or religion in which human existence is seen as steeped in the supernatural。

殖民地文学引领民族独立：爱尔兰民族意识的觉醒与复兴

今年8月中旬上映的《海洋之歌》充满了爱尔兰民间传说元素。

电影里的精灵、海豹精灵、盖尔语民谣等看似古老的爱尔兰文化符号，实际上是最近百余年才从民间发掘，并逐渐变为爱尔兰民族象征的。

19世纪末20世纪初，一场爱尔兰文学复兴运动，通过从爱尔兰历史、传说、民歌以及地方文学中汲取养分，创造了爱尔兰特色的民族文学，塑造了爱尔兰的民族认同。

屈辱的殖民地岁月爱尔兰在历史上长期是一个悲情的国度，而很多悲剧的来源则是它的近邻英国。

英国曾多次入侵爱尔兰，特别在都铎王朝后，英国以彻底殖民爱尔兰为目的，对爱尔兰的控制越来越严密。

英国的军事征服和残酷统治给爱尔兰带来了深重的灾难，以奥利弗·克伦威尔在17世纪中叶的侵略为例，这场战争和随之而来的饥荒、瘟疫造成了爱尔兰人口锐减，岛上原来的150万人口减少了一半。

为了巩固在爱尔兰的统治，也为了奖励远征士兵，克伦威尔没收了香侬河以东所有天主教徒(爱尔兰本土居民信仰天主教)的土地，分配给他统帅的议会军士兵和资助他战争的投机商，被没收土地的天主教徒则被赶到爱尔兰西部贫瘠的土地上。

进一步压制爱尔兰人民反抗、剥夺爱尔兰人民政治和经济权益的“刑惩法”在在17世纪和18世纪颁布，规定天主教徒不得担任公职、进入议会，不能拥有武器、参加陆、海军，没有选举权，无权购买土地，去世后天主教徒的土地必须平分给他所有儿子，若有一个儿子改宗新教，则可以继承家中所有土地。

英国对天主教徒经济的剥夺是卓有成效的，到了1751年，爱尔兰天主教徒只拥有5%的土地。

1801年，英爱《联合法案》正式生效。

英国与爱尔兰合并，都柏林的爱尔兰议会被取消了，爱尔兰的命运彻底落到了伦敦手中，这加剧了爱尔兰的不幸。

传统上，英国将爱尔兰人视为一个不同的、卑下的种族，是贫穷、原始、暴力的野蛮人。

维多利亚时代的英国有一种普遍观念：贫穷是有坏习惯的人的自作自受。

这也让英国统治者对爱尔兰的苦难抱着一种漠不关心的态度。

这种冷漠，也在一定程度上导致了1845-1852年爱尔兰大饥荒时期，英国的救灾不力。

叶芝-爱情的朝圣者

叶芝:爱情的朝圣者威廉・巴特勒・叶芝(1865―1939)是爱尔兰杰出的诗人，被称为“爱尔兰的灵魂”和“爱尔兰文艺复兴”的领袖。

他是爱尔兰的诠释者，努力复兴民族文化，将民族精神赋予诗作。

他同样是爱情的诠释者，将曲曲折折的爱恋书写为千古传唱的诗篇，留给世人，看生，看死，看爱情。

叶芝的生活便是他的诗作。

他用真切的生命写作，所以他笔下的爱情就是他的爱情。

他的名作《白鸟》和《当你老了》是为爱而生的灵性诗作。

是诉尽衷肠的千古咏叹。

这个世界上恐怕没有谁能像他，追求爱情就像追随爱尔兰的民族精神一样执著与无畏。

1889年，叶芝与爱尔兰民族主义者莫德・冈相遇。

他只是一个23岁的穷学生，而她早已经是一位名演员和重要的政治人物。

她身材修长，皮肤白皙。

一头浓密的金黄色头发动人心魄。

叶芝用诗意的语言记录下他第一次见到莫德・冈的情形：“她伫立窗畔，身旁盛开着一大团苹果花：她光彩夺目。

仿佛自身就是洒满阳光的花瓣。

”刹那间的相遇。

即是一生的执著爱恋。

超凡脱俗的莫德・冈闻进了叶芝的心灵深处。

于是他写道。

我的麻烦生活从此开始。

叶芝对这位热衷政治的美丽女孩儿一见钟情。

在莫德・团面前，叶芝自惭形秽。

为了将自己向上的一面展露出来，他对她说，他要做爱尔兰的雨果。

但他隐藏了心中的爱，没有勇气向莫德表白，甚至多次告诫自己不要对她心存念想。

两年后的一天，他收到了奠德的一封信说，她在梦中梦到她和他是兄妹。

住在阿拉伯沙漠边上的一个地方，一起被卖为奴隶。

叶芝看后。

以为她在暗_示什么，抑制不住内心的激动。

立，即赶回都柏林。

第一次向她表白并求婚，但遭到她的拒绝。

她要的只是他的友情。

莫德・冈，一枝不可触摸的玫瑰。

让叶芝一往情深、欲罢不能，“潜藏在心底的狂热简直要把他烧成焦炭”。

有一天，他和她在一起，一对海鸥在天空中飞过。

她忘情地说。

假如人有来世，她愿意化作一只白鸟。

叶芝诗情由此而发，写下《白鸟》一诗，表达了对爱的渴望、追求与祝福。

亲爱的，但愿我们是浪尖上一双白鸟!流星尚未陨逝，我们已厌倦了它的闪耀：天边低悬，晨光里那颗蓝星的幽光唤醒了你我心中，一缕不死的忧伤。

叶芝（WilliamButlerYeats，1865-1939爱尔兰诗人）

叶芝（WilliamButlerYeats，1865-1939爱尔兰诗人）威廉·巴特勒·叶芝（William butler爱尔兰诗人：叶芝Yeats，1865-1939）于1864年6月13日出生在都柏林。

他的曾祖父和祖父都担任过爱尔兰教堂的教区长，但他的父亲却叛离宗教，靠画画谋生。

叶芝的童年大部分时间是在爱尔兰西部的港口城镇斯莱戈度过的。

那里住着他的母亲的许多亲戚。

叶芝非常喜欢那里的景色，这后来成了他许多诗歌的背景。

叶芝也喜欢与那里的渔民谈天，爱听淦民讲故事，这后来成了他创作民间故事的源泉。

1874年，叶芝全家移居伦敦，可是他们一直思念着爱尔兰，于是在1880年，他们又回到都柏林。

叶芝曾在高陀尔芬、哈姆摩史密士学校和都柏林的高等学校受过教育。

1884年，他在父亲影响下想成为一个画家，进入都柏林的艺术学校学习。

但是到1886年，他不想在绘画上有所发展，便离开学校，专门从事诗歌创作，并立志要成为一个诗人。

1889年，对叶芝来说，是不平凡的一年。

这一年他出版了第一本诗集《奥辛的漫游及其他》。

这部诗集的题材和语言都带有爱尔兰的地方色彩，引起了读者强烈的兴趣。

这一年开始直到1899年，叶芝就住在伦敦，结交了不少著名的诗人，其中包括唯美主义者王尔德和诗人摩利斯，他们对叶芝的思想和创作都产生过影响。

这一年，叶芝帮助一批年轻的诗人亚瑟·塞墨斯、里昂纳尔·约翰逊和艾尼斯特·道逊等建立“诗人俱乐部”。

这个组织，后来成了英国最重要的世纪末文学社团。

叶芝赞成他们的唯美主义观点，但他并没有被他们的观点所束缚。

叶芝的兴趣主要在于关于人格和哲学的理论以及诗人布莱克的研究，他编过《布莱克诗选》（1893），从布莱克那里吸取过以幻景表达诗思的艺术手法。

这一年，叶芝还认识了爱尔兰的爱国主义者茅德·冈，并爱上了她。

以后叶芝还帮助过她进行革命活动，虽然最后他们未能结合，但叶芝把她当作理想的化身，写了许多优美的诗篇。

爱尔兰身份的寻求--爱尔兰文学复兴运动中的乔伊斯和叶芝

爱尔兰身份的寻求--爱尔兰文学复兴运动中的乔伊斯和叶芝刘宝强;高莉莉
【期刊名称】《湖南科技学院学报》
【年(卷),期】2006(27)2
【摘要】在爱尔兰文学复兴运动中,叶芝试图从古老的凯尔特文化中寻求爱尔兰性并重构爱尔兰身份.他和他的作品在这场运动中起到了重要作用.与叶芝对爱尔兰乡村和历史的理想化描述不同的是,乔伊斯竭力去揭示现代都柏林人的精神状态和爱尔兰的主要问题的真相.乔伊斯选择了一条沉寂、流放和狡猾的道路,也从一种文化卑劣感中获得了对爱尔兰身份的真实认识.
【总页数】3页(P68-70)
【作者】刘宝强;高莉莉
【作者单位】山东师范大学,外国语学院,山东,济南,250014;山东师范大学,外国语学院,山东,济南,250014
【正文语种】中文
【中图分类】I106
【相关文献】
1.爱尔兰文艺复兴运动的历史主义解读——评《从本土走向世界——爱尔兰文艺复兴运动研究》 [J], 李培锋
2.父权文学传统描绘下的爱尔兰地图——浅论后殖民主义关照下的爱尔兰文学传统与爱尔兰民族主义 [J], 王斐
3.21世纪初爱尔兰中国学学科身份的建构:以赫德研究中的爱尔兰身份问题为例
[J], 王展鹏;
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《当你老了》叶芝诗歌赏析

我能想到最浪漫的事就是和你一起慢慢变老一路上收藏点点滴滴的欢笑留到以后坐着摇椅慢慢聊我能想到最浪漫的事就是和你一起慢慢变老 ——《最浪漫的事》
塑造一个悲伤的纯洁。
——叶芝
how Love fled And paced upon the mountains overhead And hid his face amid a crowd of stars. 爱情是怎样逝去，又怎样步上群山，怎样在繁星之间藏住了脸。冰心译
时光易逝，爱情永恒。流转的是岁月，恒久的是爱情。叶芝用一生真心地爱慕着，也用一生真挚地追求着。爱她的前天、昨天，也爱她的今天、明天。爱她稚气未脱的清纯，也爱她风华正茂的青春，更爱她那铭记了岁月痕迹的容颜。
逝去的爱，如今已步上高山，在密密星群里埋藏它的赧颜。飞白译
我曾经爱过你
（普希金1829 戈宝权译）
我曾经爱过你：爱情，也许在我的心灵里还没有完全消亡，但愿它不会再打扰你，我也不想再使你难过悲伤。我曾经默默无语、毫无指望地爱过你，我既忍受着羞怯，又忍受着嫉妒的折磨，我曾经那样真诚、那样温柔地爱过你，但愿上帝保佑你，另一个人也会象我爱你一样。
爱慕你的美丽假意或真心 ,
多少人爱你年轻欢畅的时辰
她伫立窗畔，身旁盛开着一大团苹果花；她光彩夺目，仿佛自身就是洒满了阳光的花瓣。我从来都没有想到会在一个活着的女人身上看到这样超凡绝伦的美。这样的美属于名画诵，梦见你当年的双眼那柔美的光芒与青幽的晕影；飞白译
how Love fled And paced upon the mountains overhead And hid his face amid a crowd of stars. 爱情是怎样逝去，又怎样步上群山，怎样在繁星之间藏住了脸。冰心译

2025届江苏省苏州十中高三语文第一学期期末质量检测模拟试题含解析

2025届江苏省苏州十中高三语文第一学期期末质量检测模拟试题考生须知：1．全卷分选择题和非选择题两部分，全部在答题纸上作答。

选择题必须用2B铅笔填涂；非选择题的答案必须用黑色字迹的钢笔或答字笔写在“答题纸”相应位置上。

2．请用黑色字迹的钢笔或答字笔在“答题纸”上先填写姓名和准考证号。

3．保持卡面清洁，不要折叠，不要弄破、弄皱，在草稿纸、试题卷上答题无效。

1．阅读下文，完成下列小题。

①新世纪文学创作中，以“乡下人进城”为主题的小说成为一股引人注目的潮流，引人深思。

②“乡下人进城”叙述与现代化之间不可分割的多重指涉，使它得以成为中国当下现代化语境的一个隐喻，其由三部分构成：“乡下人”、“城”、“进”。

“乡下人”是一种身份，除了与乡土之间的“在乡”联系以外，很大程度是由城里人赋予的命名。

乡下人进入现代都市以后几乎成了一种新的族裔，其低下的社会地位与在城乡意识形态框架中的被歧视身份都让他们困窘。

“城”绝不只是一个空间标志，迅急发展的中国社会正在日益地把原来在城的市民塑造成为“消费者”，原先在乡的人们天然地比在城的人们距离现代化远得多，他们入城后获得的身份暂时性地被定义为“民工”。

“进”是一个有方向性行走的动作，乡下人进城了，可是现实生活的经验在提示着：他们只是去了“一个没有去过的地方”。

“城”中的“现代化”神话召唤着乡下人“进”，可是他们的资本、受教育、择业能力的先天不足．．．．往往让他们的生活质量在“退”。

③我们的社会、时代、经济、文明都正在经历从农业向工业的转变，数千年历史的农业中国正在崛起、转变为现代工业国家，但是乡下人很少能够直接转变成为在工业社会、经济、文明中占据地位的人。

乡下人一时根本无法把自己变为城市公民，也难以接受乃至养成后现代文明的消费习惯。

现代化的城市生活非但不能给予乡下人与城里人相当的物质内容，反而更多的是给他们以文化意识的压迫。

乡下人只是进入到城市的边缘生活中，他们一定程度上就是不平衡、不协调的当下中国的现代化表征。

爱尔兰诗人叶芝的简介

爱尔兰诗人叶芝的简介威廉·巴特勒·叶芝英语：William ButlerYeats，1865年6月13日-1939年1月28日，亦译“叶慈”、“耶茨”，爱尔兰诗人、剧作家，神秘主义者。

叶芝是爱尔兰凯尔特复兴运动的领袖，也是艾比剧院的创建者之一。

叶芝早年的创作仍然具有浪漫主义的华丽风格，善于营造梦幻般的氛围，例如他在1893年出版的散文集《凯尔特的薄暮》便属于这种风格。

然而进入不惑之年后，在现代主义诗人伊兹拉·庞德等人的影响下，尤其是在其本人参与爱尔兰民族主义政治运动的切身经验的影响下，叶芝的创作风格发生了比较激烈的变化，更加趋近现代主义了。

叶芝不仅仅是艾比剧院的决策者之一，也曾担任爱尔兰国会参议员一职。

他十分重视自己的这些社会职务，他是爱尔兰参议院中有名的工作勤奋者。

叶芝曾于1923年获得诺贝尔文学奖，获奖的理由是“用鼓舞人心的诗篇，以高度的艺术形式表达了整个民族的精神风貌inspired poetry，which in a highly artistic form that gives expression to the spirit of a whole nation”。

被诗人艾略特誉为“当代最伟大的诗人”。

在皓斯的时光是诗人重要的发展阶段。

皓斯周围是丘陵和树林，相传有精灵出没。

叶芝家雇了一个女仆，是一个渔人的妻子，她熟知各类乡野传奇，娓娓道来的神秘冒险全都收录在后来出版的《凯尔特黄昏》里。

1881年10月，诗人在都柏林的伊雷斯摩斯·史密斯中学ErasmusSmith继续他的学业。

他父亲的画室就在这所学校附近，于是诗人经常在那里消磨时光，并结识了很多都柏林城的艺术家和作家。

在这段时间里，叶芝大量阅读莎士比亚等英国作家的作品，并和那些比他年长许多的文学家、艺术家们讨论。

他于1883年12月从这所中学毕业，其后他便开始了诗歌地创作。

1885年，叶芝在《都柏林大学评论》上发表了他的第一部诗作，以及一篇题为《赛缪尔·费格森爵士的诗》的散文。