从_玫瑰_意象看叶芝的爱尔兰民族情结_董红缨

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叶芝诗集《玫瑰》中的玫瑰意象分析

叶芝诗集《玫瑰》中的玫瑰意象分析®法各宝内容摘要:威廉•巴特勒•叶芝是一位二十世纪伟大的爱尔兰诗人，一生创作了丰富的文学作品，其包括戏剧，诗歌和散文。

其一生的创作分为三个时期，诗集《玫瑰》作为叶芝早期的诗歌作品，将玫瑰这一意象赋予了丰富的内涵。

玫魂既是作者对挚爱茉德的爱情的象征，也象征着作者心中永恒而又神秘的理想，同时也寄托了作者对爱尔兰的热爱。

关键词：叶芝《玫瑰》象征____________________________________________________________________________________________________________2018.08文学敎育作为二十世纪伟大的作家之一，威廉•巴特勒•叶芝一生创作了大量的文学作品，包括戏剧，诗歌和散文，并于1923年获得诺贝尔文学奖。

在众多的文学作品中，其诗歌作品历来为文学评论家和研究者所关注。

本文则着重研究叶芝早期的诗集《玫瑰》中的玫瑰意象，探究作者赋予玫瑰的丰富内涵，以及其中蕴藏的作者的情感和思想。

叶芝早期的诗歌多表现为浪漫主义，诗集《玫瑰》中将玫瑰作为意象的诗歌包括《致时间十字架上的玫瑰》，《白鸟》和《致未来爱尔兰》。

作为一位熟练使用意象的诗人，叶芝在创作意象时不同于以往的其他的诗人。

对秘术的痴迷为作者的诗歌提供了意象和象征等源泉，并且作者从不仅仅将意象和象征作为创作的手段，而是把个人的“隐秘思想”和“人类的普遍知识”联系起来。

玫瑰的意象特征对于意象，不同的学者有着不同的解读。

在《理想国》中柏拉图认为，诗人和工匠、画匠无异，皆是模仿者，是意象的创造者，不识真理，只知表象。

亚里士多德则认为，诗人的模仿是对现实的比拟，诗人从现实生活中提取出意象的形式，以另一种方式将其重塑，而这种方式即构成了作品的内部秩序。

柏拉图将意象视为了表象或者符号，而亚里士多德则使意象脱离了单纯的符号形式，是现实的一种类比。

叶芝诗象征主义论文

叶芝诗象征主义论文摘要：无论是从作者的创作的时代背景、选材背景还是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，对美以及对爱尔兰的民族传统的颂扬。

通过一种完全不同的方式来表达这种情感。

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。

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由于接近人民的生活，吸取了创作素材和人民的语言。

关键词：玫瑰；象征；叶芝引言在叶芝的一生中，他创作了大量优美的诗歌和戏剧，他的诗歌兼具浪漫主义和象征主义的特点，诗人从爱尔兰古老神话和民歌中吸收养料，形成了清新、深邃的诗风。

叶芝一生大概创作了很多的抒情诗，有的写爱情，有的抒发志向，在这些广为流传的抒情诗里，有些反复出现的意象，通过研究分析研究这些不同的意象，读者可以对叶芝的象征主义有一个深刻的认识。

从19世纪80年代开始，诗人叶芝就开始在他的诗篇中用一些意象来表达自己独特的感情，例如“拜占庭”，“老人”“水”和“玫瑰”等等。

这些早些的意象有很多都是来自爱尔兰的神话或者是民间的一些传说。

直到90年代初期，叶芝开始创作一些属于自己的带有自己的风格的一些意象。

在叶芝的诗歌《幻象》中，叶芝就设计了一些属于自己的独特的意象。

在叶芝的诗歌中，读者可以发现许多的象征意象。

在这些所有的意象中，诗人叶芝对“玫瑰”的喜爱之情，溢于言表。

熟悉叶芝的读者不难发现，在叶芝的早期的代表作中，“玫瑰”的意象是非常常见的意象。

“玫瑰”是人类历史长河中永恒的主题，代表了爱与永恒。

因此，玫瑰自然也成为历代文学作品中恒古不变的话题。

而在诗人叶芝的作品中，“玫瑰”也成为作者诗歌中带有特殊情结的象征物，象征着叶芝的独特的感情。

可以说，“玫瑰”见证了叶芝象征主义的发展。

在这里我就以贯穿了叶芝一生的一个意向“玫瑰”为例，对叶芝的象征主义体系发展进行解读。

从1893年出版的诗集《玫瑰》中的《致时光十字架上的玫瑰》、《和平的玫瑰》、《战斗的玫瑰》，到1899年的诗集《苇丛中的风》中的《恋人诉说他心中的玫瑰》和《隐秘的玫瑰》，再到1921年的诗集《麦尔.罗巴蒂斯与舞者》中的《玫瑰树》，都是以玫瑰为中心。

叶芝与玫瑰

叶芝与玫瑰作者：郭雷陈蔚来源：《读与写·下旬刊》2014年第09期摘要：威廉•巴特勒•叶芝不仅是著名的爱尔兰诗人、诺贝尔文学奖的获得者，也是二十世纪象征主义的代表人物。

在叶芝诗歌的诸多意象中，玫瑰意象使用的既频繁又富有多层次的美感。

本文将以《致时光十字架上的玫瑰》为例，浅析叶芝诗歌中玫瑰的象征意义。

关键词：叶芝；玫瑰意象；致时光十字架上的玫瑰；象征中图分类号：G648文献标识码：B文章编号：1672-1578（2014）18-0022-011.引言叶芝是20世纪著名的爱尔兰诗人，他被T.S.艾略特称为"这个时代最伟大的诗人"，至今仍享誉文坛。

叶芝的与众不同在于他终其一生对爱情的执着，对爱尔兰的独立事业的追求和对一切神秘事物那宗教般的情怀，叶芝在诗歌随处可见的意象与他一生的经历息息相关。

玫瑰意象是叶芝最喜爱的意象之一，作为一个象征，玫瑰的象征涵义也具有多层次的意义。

这也与叶芝的观点不谋而合：" 象征的价值就在于它所指的丰富性和不确定性，这也使得象征要远比只有一层涵义的寓言更神秘、更有效。

对同一个象征来说，一百个人心中有一百种涵义，因为象征的涵义是永远道不尽的。

" ( Tindall:1963)2.玫瑰意象玫瑰作为最常用的自然意象之一，不仅仅在大自然中吐露芬芳，也在东西方的文学经典中有不可取代的地位。

作为一位娴熟的意象大师，叶芝对玫瑰意象的使用也是随处可见，并且被赋予丰富多变的象征意义。

究其象征涵义的复杂性和神秘性，需与叶芝的生平相互印证，或因追而不得的爱恋，玫瑰象征着毛德•岗；或因对爱尔兰的独立事业的追求，象征着心中热爱的爱尔兰；或因叶芝对神秘哲学的情怀，象征着一种神秘的永恒理想。

然而并非每一处出现的玫瑰意象都具有这些涵义，本文仅以《致时光十字架上的玫瑰》为例，对叶芝的玫瑰意象进行解读。

2.1象征毛德•岗。

玫瑰是自古以来吟咏爱情的象征，在叶芝的诗歌中也不可避免有这种涵义。

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。

《柯尔庄园的野天鹅》中叶芝的民族意识的体现

《柯尔庄园的野天鹅》中叶芝的民族意识的体现作者：张莉尚彦飞来源：《青年文学家》2013年第08期摘要：威廉·巴特勒·叶芝（1865—1939）是爱尔兰杰出的诗人、剧作家。

诗人晚期诗作《柯尔庄园的野天鹅》，其中的“天鹅”意象有深刻的含义，本文从民族意识角度解读诗歌中的“天鹅”意象。

关键词：天鹅；叶芝；民族意识作者简介：张莉，华北电力大学（保定）外国语学院，教授；尚彦飞（1986-），河南南阳人，华北电力大学（保定）外国语学院硕士研究生，主要从事英美文学和翻译方向的研究。

[中图分类号]：I106 [文献标识码]：A[文章编号]：1002-2139（2013）-8-0-01早年，叶芝醉心于前拉斐尔派的浪漫诗风，其诗作大抵用爱尔兰优美的神话和民间传说来表现理想。

后期诗人历尽艰苦探索，终于巧妙地把象征主义与现实主义熔于一炉，形成自己独特的艺术风格。

1923年，叶芝因“以精美的艺术形式表达了整个民族的精神”而获得诺贝尔文学奖。

他的诗作以浪漫、富于象征性、意象生动、色彩鲜明而著称。

《柯尔庄园的野天鹅》是叶芝后期诗作中一篇不可忽视的佳作，不少的评论家认为诗中的天鹅象征叶芝爱了一生的女子-茅德﹒冈。

笔者认为，这首诗抒发的不仅仅是叶芝对爱情的绝望，同时也抒发了叶芝对爱尔兰未来命运的担忧，对复活节起义中牺牲的烈士的同情，体现了叶芝对自己民族和国家的深厚感情。

1、两个修饰语“柯尔庄园”和“野”首先，诗的题目就隐隐显示出诗人的情感。

叶芝早期最擅长的象征手法在《柯尔庄园的野天鹅》也体现得淋漓尽致，其象征中心就是“天鹅”，天鹅的前面有两个修饰语，“柯尔庄园”和“野”。

“柯尔庄园”是爱尔兰解放运动革命家与著名剧作家格雷戈里夫人的庄园，叶芝与格雷戈里夫人初识是在1896年，次年，叶芝第二次来到庄园拜访，两人结下了深厚的友情。

格雷戈里夫人是一个殖民地总督的遗孀，在丈夫去世后，开始从事文学创作，收集爱尔兰的民间传说和神话，并把它们译成简单的英语，让爱尔兰的青年一代懂得自己民族悠久的文化传统，增强民族自豪感。

从_玫瑰_意象的转变看叶芝象征主义的发展

开鲜红的人 ”,“那抛却王冠和忧愁 ,招呼着吟唱乐人和弄
臣 ,去居住在深林中 ,与满身酒污的流浪汉们共处的骄傲
而多梦的国王 ”等等 ,进一步细细品味之下我们会发现 ,这
些意象所起到的作用仅限于唤起我们的情感而并非一些
明确的观念。正如叶芝在《诗歌的象征主义》一文中所提
到的 ,很多事物的归类取决于我们阐述它们的方式以及阐
创作更加具有坚强、有力、凝练的现代主义风格。换句话
说 ,他从前期象征主义进入到了后期象征主义。就纯粹的
诗歌创作而言 ,叶芝后期的诗作 ,即那些在象征主义手法
中增加了一定写实内容的诗作可能更为成功。正如艾略
特(
)所说 “他对‘伟大
诗人 ’叶芝的认识与仰慕是源于‘ 年以后的作品 ’,而
对其早期的诗则没留下什么深刻的印象 ”[ ] 。然而 ,尽管
两首诗也必然带有叶芝前期象征主义和后期象征主义的
不同特征。
叶芝象征主义思想的发展可以从其写于
年的
《诗歌的象征主义》一文中探其全貌。乔国强主编的《二
十世纪西方文论选读》中把《诗歌的象征主义》分为五部
分。其中第一部分是强调作家、艺术家应该有自己的某种
哲学和批评方法。第二部分是通过分析彭斯 (
为标志的。英国著名诗人威廉 ·布莱克 (
)是以在诗歌文本中建立神秘主义的想象世
界著称的。叶芝从他散发着宗教色彩的艺术趣味中窥见
了自己的影子。第三阶段是
年与艾兹拉 ·庞德 ( 2
)相识之后 ,一直到他去世。庞德是
意象派的主将 ,他所强调的现代诗歌一定要有鲜明、确切
意象的主张 ,对叶芝的诗歌创作具有深刻的影响 ,使他的

从玫瑰花到拜占庭——析叶芝象征主义技巧的发展的开题报告

从玫瑰花到拜占庭——析叶芝象征主义技巧的发展的开题
报告
写作目的：
本文的目的是研究析叶芝（W.B. Yeats）在他的诗歌中使用象征主义技巧的发展过程。

具体来说，本文将分析从他早期的诗歌中对玫瑰花的描写，到后来对拜占庭文化的探索。

通过这一分析，我们将探讨析叶芝如何使用象征主义的手法来表达他的思想和情感，并了解这些手法如何在他的创作中逐渐发展。

研究方法：
本文将依据前人的研究，选择从析叶芝早期的诗歌中，以圣母玫瑰花的意象开始，到
后期对拜占庭文化的探索为线索，分析析叶芝在这期间的象征主义手法的演变。

为了
更好地理解他的诗歌，我们将选择从他的个人经历、文化背景和思想信仰等多个方面
来解读他的创作。

预期结果：
我们预计可以得出以下几个方面的结论。

首先，我们将看到析叶芝如何在早期的诗歌中，使用玫瑰花的意象来表达他对爱情和信仰的思考。

然后，我们将了解到他如何逐
渐引入拜占庭文化的元素，通过对其宗教和哲学视野的贡献来扩展他的诗歌世界。

最后，我们将看到在这个过程中，他的象征主义技巧如何逐渐发展，并为其后期的诗歌
风格奠定基础。

意义和贡献：
本文的意义在于通过对析叶芝早期和后期诗歌中象征主义手法的分析，更深入地了解
这位重要的爱尔兰诗人的思想和创作风格，并为研究象征主义诗歌学做出贡献。

同时，通过对析叶芝的例子，我们可以更好地理解象征主义在20世纪文学中的发展和演变。

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。

浅析叶芝诗歌中“玫瑰”意象

4浅析叶芝诗歌中“玫瑰”意象■程航华／西京学院外国语学院摘　要：本文基于韦勒克、沃伦在《文学理论》一书中对于隐喻、意象、象征三者相互联系的观点，以叶芝中期诗作《恋人述说他心中的玫瑰》中的“玫瑰”意象为分析文本，旨在探究诗人笔下“玫瑰”意象的隐喻性和象征性的美学特征。

关键词：玫瑰　意象　隐喻性　象征性叶芝的创作生涯大致可分为三大阶段：即以诗集《芦苇中的风》为代表的早期诗歌创作；第二阶段作品多以抒发爱国情怀和表达对恋人毛德·冈的爱为主，以《恋人述说他心中的玫瑰》等诗歌为代表；在诗人创作的后期，由于诗人接触到了通灵学说和超自然冥想的方法，其作品多以死亡和爱情为题，以表达某种明确的情感和对现实的思考。

本篇主要以诗人中期代表作《恋人述说他心中的玫瑰》中的玫瑰意象为切入点，分析诗人在这一阶段的所思、所感、所悟。

一、意象、隐喻、象征美国比较文学奠基者勒克、沃伦（René Wellek & Austin Warren ）在其作品《文学理论》一书中将隐喻、意象、象征这三组概念做了重点剖析，即：“一个意象可以被转换成隐喻一次，但如果它作为呈现或再现不断重复，那么它就变成了一个象征，甚至是一个象征系统的一部分。

且作为背景的意象很容易具有象征性甚至会变成气氛、情调，进而被看作是对人物的转喻性或隐喻性表现［1］。

”（一）象征与意象作为当代最伟大的诗人，叶芝常用各种具有鲜明代表性的自然意象来抒发内心情感，从早期的“树林”和“玫瑰”到后来的“天鹅”、“拜占庭”和“塔”等意象，叶芝的作品均展现出了托物言志、深刻隽永这一层次的美感。

因此，优秀的象征主义文学作品与鲜明的意象是分不开的，由此意象便具有象征性而象征也同样离不开意象［2］。

（二）隐喻与意象美国认知语言学家莱考夫和约翰逊（Lakoff &Johnson ）提出：“隐喻广泛存在于我们的日常生活中，不仅在语言中而且也在思维和行动中［3］。

”其次，在韦勒克、沃伦看来，意象、隐喻、象征这三组概念在现代诗歌中是相互关联的，具体来说，在现代诗歌中，一般的过程是意象变隐喻，隐喻再变成象征。

隐喻与象征

隐喻与象征作者：程航华来源：《青年文学家》2016年第20期摘要：本文基于韦勒克、沃伦对于意象、隐喻、象征三者相互联系的理论，以叶芝中后期诗作《玫瑰树》中的“玫瑰”意象为分析文本，旨在论述、探究诗人在其中后期诗作中“玫瑰”意象的隐喻性和象征性的美学特征。

关键词：玫瑰；意象；隐喻性；象征性作者简介：程航华，女，汉族，陕西省西安市人，西安理工大学人文与外国语学院硕士研究生，研究方向：功能语言学、英语文体学。

[中图分类号]：I106 [文献标识码]：A[文章编号]：1002-2139（2016）-20--01引言：T.S艾略特曾将叶芝誉为“当代最伟大的诗人。

”他的伟大不仅体现在对毕生挚爱矢志不渝的感情上，更显现在对于祖国爱尔兰的楚囊之情上。

本篇主要以叶芝中后期诗作《玫瑰树》中的玫瑰意象为切入点，分析论述诗人在这一时期对于玫瑰意象的全新解读。

一、意象、隐喻、象征概述叶芝将一生都献给了文学创作，为了获取更多的灵感来源诗人利用通灵学说和超自然冥想的方法进行无意识写作。

虽然这种创作方法受到了许多文学批评家的严厉抨击，但诗人恰恰正是通过这种令人难以理解的灵感来源创作了其一生中许多最为经典的佳作。

（一）象征与意象为了使作品立意高远、深刻隽永，象征主义诗人们常借用意象来传情达意以克服内心世界的直白表露进而更鲜明的达到托物言志的最佳效果。

换言之，无论是人物意象还是景物意象，它们在诗歌创作中均蕴含着独特意蕴和丰富内涵，均象征着事物表象所不完全具备的深层象征底蕴。

所以经典卓越的象征主义文学作品离不开鲜明深刻的意象，这便凸显了意象具有象征性而象征也同样离不开意象的鲜明特点。

（二）隐喻与意象美国认知语言学家莱考夫和约翰逊（Lakoff &Johnson）提出：“隐喻广泛存在于我们的日常生活中，不仅在语言中而且也在思维和行动中。

”其次，根据上篇所提及的韦勒克、沃伦（René Wellek & Austin Warren）对于意象、隐喻、象征这三组概念相互联系的观点，即在现代诗歌中一般的过程是意象变隐喻，隐喻再变成象征，由此便可推断出，象征就是动人深刻的隐喻，象征高于隐喻，隐喻具有象征性，而象征则是隐喻的基础。

叶芝诗歌中的隐喻

叶芝诗歌中的隐喻：
叶芝的诗歌中充满了丰富的隐喻。

他常常使用自然元素、神话传说、历史事件等来隐喻人类的生活、情感和社会状态。

以下是一些叶芝诗歌中常见的隐喻主题：
1.自然元素：叶芝经常使用自然元素如风、水、树木、花朵等来隐喻人类的生活和情
感。

例如，在《当你老去》中，他用“玫瑰在荒原上狂野地绽放”来隐喻爱情的美丽和力量。

2.神话传说：叶芝深受爱尔兰传统文化的影响，经常在诗歌中运用凯尔特神话传说的
元素。

例如，《驶向拜占庭》中，他将神话传说中的金苹果和凤凰涅槃的意象与人类追求永生的愿望相结合。

3.历史事件：叶芝也经常在诗歌中运用历史事件和时代背景来隐喻人类的命运和社会
的变迁。

例如，《1916年的复活节》中，他描绘了爱尔兰独立战争时期的历史背景，用“冷漠的面孔，血腥的战斗”来隐喻人类的苦难和暴力。

4.象征意象：叶芝的诗歌中充满了各种象征意象，如“拜占庭”、“银泉”、“百合花”、“鸽
子”等，这些意象不仅具有具体的象征意义，也反映了叶芝深邃的思想和情感世界。

叶芝诗歌玫瑰意象探究

文学评论·外国文学叶芝诗歌玫瑰意象探究韦小岿云南师范大学经济与管理学院摘要：爱尔兰著名诗人威廉•巴特勒•叶芝在其代表作中，多次运用象征手法，赋予玫瑰丰富的内涵。

本文旨在探讨叶芝诗歌中玫瑰意象的多重象征意义，以帮助读者品读诗人借玫瑰抒情的创作风格。

关键词：叶芝诗歌；玫瑰意象作者简介：韦小岿（1974-），女，云南昆明人，讲师，研究方向：中西文化对比。

[中图分类号]：I106 [文献标识码]：A[文章编号]：1002-2139(2019)-05-154-01爱尔兰著名诗人叶芝于1865年出生于爱尔兰小镇山迪蒙，凭借对爱尔兰文学复兴的杰出贡献，曾经获得1923年诺贝尔文学奖。

在其诗作中，玫瑰成为频繁出现的意象之一。

甚至不乏以玫瑰直接入题的作品。

比如诗集中的作品《恋人述说着他心中的玫瑰》(The Lover Tells of the Rose in His Heart)、《隐秘的玫瑰》(The Secret Rose)、《玫瑰树》(The Rose Tree)等。

同时叶芝也于1893著有组诗《玫瑰》。

《辞海》对意象的定义为：意象是主观情意和外在物象相互融合的心象，即诗人心中的物象，也就是带有诗人主观情意的人、事、物。

显然，这位诗歌大家对玫瑰意象可谓情有独钟。

一、以玫瑰象征民族文化复兴在《恋人述说着他心中的玫瑰》一诗中，开篇渲染悲凉场景：“ALL things uncomely and broken, all things worn out and old, The cry of a child by the roadway, the creak of a lumbering cart”。

向读者展现万物衰败，婴儿啼哭，马车嘎吱作响。

以此反衬出伊人美好形象如一朵盛放在作者心田的玫瑰。

（your image that blossoms a rose in the deeps of my heart）。

叶芝诗集《玫瑰》中的玫瑰意象分析

叶芝诗集《玫瑰》中的玫瑰意象分析作者：陆岱宝来源：《文学教育·中旬版》2018年第08期内容摘要：威廉·巴特勒·叶芝是一位二十世纪伟大的爱尔兰诗人，一生创作了丰富的文学作品，其包括戏剧，诗歌和散文。

其一生的创作分为三个时期，诗集《玫瑰》作为叶芝早期的诗歌作品，将玫瑰这一意象赋予了丰富的内涵。

玫瑰既是作者对挚爱茉德·冈的爱情的象征，也象征着作者心中永恒而又神秘的理想，同时也寄托了作者对爱尔兰的热爱。

关键词：叶芝《玫瑰》象征作为二十世纪伟大的作家之一，威廉·巴特勒·叶芝一生创作了大量的文学作品，包括戏剧，诗歌和散文，并于1923年获得诺贝尔文学奖。

在众多的文学作品中，其诗歌作品历来为文学评论家和研究者所关注。

本文则着重研究叶芝早期的诗集《玫瑰》中的玫瑰意象，探究作者赋予玫瑰的丰富内涵，以及其中蕴藏的作者的情感和思想。

叶芝早期的诗歌多表现为浪漫主义，诗集《玫瑰》中将玫瑰作为意象的诗歌包括《致时间十字架上的玫瑰》，《白鸟》和《致未来爱尔兰》。

作为一位熟练使用意象的诗人，叶芝在创作意象时不同于以往的其他的诗人。

一.玫瑰的意象特征对于意象，不同的学者有着不同的解读。

在《理想国》中柏拉图认为，诗人和工匠、画匠无异，皆是模仿者，是意象的创造者，不识真理，只知表象。

柏拉图将意象视为了表象或者符号，而亚里士多德则使意象脱离了单纯的符号形式，是现实的一种类比。

诗集《玫瑰》中的意象则被赋予了丰富的内涵，作者使玫瑰这一意象兼具了隐喻和象征的双重价值。

玫瑰的这一意象成为了诗歌中的创造力所在，也是其诗歌关键性的特征之一。

象征主义理论下爱尔兰诗人叶芝的诗歌语言

象征主义理论下爱尔兰诗人叶芝的诗歌语言作者：倪静来源：《语文建设·下半月》2015年第08期摘要：叶芝是爱尔兰著名的象征主义学派的诗人之一。

在他的诗中可以找到许多具有深刻意义的象征学派的意象表达。

叶芝通过这些意象来阐释他心中的理想以及他毕生追求的爱情。

而且叶芝的诗中的象征主义的语言十分丰富，在他的诗中你不仅可以找到感悟到他丰富的内心世界，同时也能够通过这些意象背后深刻的涵义去体味叶芝生活的那个时代的社会面貌。

关键字：叶芝象征主义意象引言“多少人爱你年轻欢畅的时辰，爱慕你的美丽、假意或真心，只有一个人爱你那朝圣者的灵魂，爱你衰老了的脸上的痛苦的皱纹。

”你在读这首诗的时候可有感受到那份心灵的悸动？你是否会想起娓娓道来的那首《当你老了》？这首著名的诗歌源自于爱尔兰诗人叶芝笔下的那首《当你老了》，诗词里的每一个字都在深深地渗进我们的心里，那份轻抚过心头的温暖，那份无法言及的爱，都在内心深处萌芽扎根。

在爱尔兰，如果你要是提到叶芝，相信路人们会告诉你他是爱尔兰民族的灵魂。

作为象征学者、剧作家等等具有诸多头衔的诗人，叶芝在1923年获得了证明他一生荣光的诺贝尔文学奖。

[1]他十七岁开始诗人的旅程，在唯美的世界里不停地寻找那份属于他的光明。

在他诗路的前期，大部分作品都充满青年人的愁思与神秘，而且他深受拉斐尔派意象的影响。

但是在随着叶芝的诗意不断地蔓延，似乎生活给了叶芝的诗以无限的可能性，他的诗也越发成熟，尤其是在语言中的象征主义的融合，让他的诗趋近完美。

而如果要去追寻叶芝象征主义的语言，我们就必须回到他的那些诗中，再去感悟那些美好。

一、叶芝诗歌中的神秘主义“在向外扩张的旋体上旋转呀旋转，猎鹰再也听不见主人的呼唤。

”叶芝的诗总是让人感觉有种莫名的神秘感，似乎会在某个时空打开你所有的想象。

[2]叶芝通过“旋体”这样的一个神秘意象，展现了诗人在对客观社会的生活中感到压抑，又同时追忆着过去的美好生活的这样一种矛盾的心里活动。

重写民族神话传说——叶芝早期诗歌的爱尔兰性

2020-12文艺生活LITERATURE LIFE重写民族神话传说———叶芝早期诗歌的爱尔兰性丁戈李应雪（大连海事大学，辽宁大连116026）摘要:本文主要研究叶芝的早期诗歌，分三个部分讨论其早期作品中的民族意识———爱尔兰性。

第一部分介绍了爱尔兰内外交困的殖民背景，由此唤醒了叶芝的民族意识；第二部分通过对《被偷走的孩子》和《茵尼斯弗利岛》中“水”和“岛”的意象的分析，揭示叶芝对爱尔兰灵性世界的塑造；第三部分讨论叶芝对爱尔兰经典意象玫瑰的书写和凯尔特神话的书写，以此激发爱尔兰人民的民族自豪感和爱国意识。

关键词:叶芝；早期诗歌；爱尔兰灵性世界；玫瑰意象；民族意识中图分类号：I206文献标识码：Ａ文章编号：1005-5312（2020）35-0124-02DOI：10.12228/j.issn.1005-5312.2020.35.061一、内外交困的爱尔兰威廉·巴特勒·叶芝是伟大的爱尔兰诗人，也是20世纪文学中最重要的作家之一。

出生于芬尼运动（The Fenian Rising）前两年的叶芝，在25岁之前目睹了爱尔兰内战以及爱尔兰国会议员查尔斯·斯图尔特·帕内尔的崛起和衰败。

在这之前近八个世纪的殖民和斗争不仅破坏了爱尔兰的文化、生活、政治秩序，也使人民对民族失去了信心和归属感。

作为信奉新教的英国移民后裔和有着强烈民族意识的爱国青年，叶芝希望通过文学作品来复兴爱尔兰。

《快乐的牧羊人之歌》是叶芝第一部诗集中的第一首诗歌。

诗人将其作为自己创作的宣言和指南。

在本诗中，叶芝建立了自己与过去的诗歌的联系，并断言在现代世界，诗歌务必做出改变。

他认为，诗歌需要更贴近自身，更贴近内心真理。

“世外桃源的丛林已消逝不见，并且它们那古老的欢乐也没了踪影。

”诗人借牧羊人之口传递出旧景不再，而旧形式的诗歌也将被取代。

不安的世界此时需要“灰色真理”，唯有文字才能带来价值和永恒。

诗歌的最后，牧羊人“歌唱着古老大地的如梦青春”因为只有诗歌才是通往艺术的唯一道路，此时的叶芝认为艺术是终极的追求。

包慧怡：西方文学中的“玫瑰”意象，是诗人们长久的秘密叶芝红玫瑰紫罗兰

包慧怡：西方文学中的“玫瑰”意象，是诗人们长久的秘密叶芝红玫瑰紫罗兰雷杜德是拿破仑一世的妻子约瑟芬皇后的专职画师，曾出版《玫瑰图谱》（Les Roses）。

而约瑟芬皇后也是著名的玫瑰迷，拿破仑曾在梅尔梅森堡为她专门打造宏伟的玫瑰园，园中种植了250种、约3万多株玫瑰。

玫瑰是欧洲文学中的常客，它既是纯净透明的，又是暧昧不皦的，它既是奋不顾身的爱的付出，又是蜇人心痛的爱的苦楚。

它丰富的象征意义，引来无数诗人如蜜蜂般从中采集花蜜。

它也成为许多人幸福或痛苦的原因。

就如王尔德在《夜莺与玫瑰》中所写的：“我读了所有智者写的书，掌握了哲学的所有秘密，可就是因为缺少一朵红玫瑰，生活就变得痛苦不堪。

”在英国文学史上，莎士比亚是当仁不让的玫瑰诗人。

他的商籁中上演着犬蔷薇与大马士革玫瑰之战，也上演着红玫瑰与白玫瑰之战，同时还隐藏都铎王朝一段惊人的政治阴谋。

比利时画家、植物学家皮埃尔–约瑟夫·雷杜德（Pierre-JosephRedouté）所绘制的法国蔷薇。

而在德语文学中的玫瑰诗人里尔克漂泊的一生中，玫瑰也扮演着重要的角色。

无论是晚年一蹴而就写成的《致俄耳甫斯的十四行诗》，还是法语诗集《玫瑰集》，甚至是那如谜般的墓志铭，玫瑰都长久地绽放，吐纳着芬芳。

到了法国诗人奈瓦尔那首咏叹了“从摇篮到棺木”的爱情的十四行诗中，玫瑰甚至迷失了她的身份：“她手执的玫瑰，是域外的玫瑰。

”本文摘编自《沙仑的玫瑰：英法德三语文学和绘画中的经典意象》，由出版社授权转载。

《沙仑的玫瑰：英法德三语文学和绘画中的经典意象》，包慧怡 / 陈杰 / 姜林静著，上海译文出版社，2020年8月。

“昔日玫瑰以其名流芳”中世纪、文艺复兴时期与20世纪的英语玫瑰诗原作者丨包慧怡从古典时期到中世纪，从文艺复兴到20世纪“凯尔特文艺复兴”，如果要举出一种文学史上地位最尊贵、意义也最繁盛的花，相信玫瑰是一个少有争议的选择。

仅欧洲著名的“玫瑰诗人”就有法语中的龙沙、英语中的莎士比亚和叶芝、德语中的里尔克与西班牙语中的博尔赫斯等等，他们都在各自的写作语言中留下了海量关于玫瑰的不朽篇章。

叶芝戏剧中的爱尔兰性的开题报告

叶芝戏剧中的爱尔兰性的开题报告叶芝是爱尔兰历史上最著名的诗人和戏剧作家之一。

他的作品深受当时的社会变革和爱尔兰国家认同的影响。

叶芝的戏剧中充满了爱尔兰文化的色彩，其中就包括了爱尔兰性这一概念。

本文将探讨叶芝戏剧中爱尔兰性的表现及其作用。

一、爱尔兰性的定义爱尔兰性，是指一种文化和民族认同，是描述爱尔兰文化特征和个性的概念。

爱尔兰性的特点包括了宗教、语言、风俗和娱乐等方面。

这些因素在爱尔兰戏剧中得到了广泛的表现。

二、叶芝戏剧中爱尔兰性的表现1.《长官》《长官》讲述了一个城镇上的社交阶层的生活，主要描写了中产阶级的生活和婚姻制度。

在叶芝的描述中，这个城镇上的人物具有典型的爱尔兰性：他们喜欢大声唱歌、喝酒、甚至制造混乱，这些都是一些典型的爱尔兰风味。

2.《玫瑰与烟草》《玫瑰与烟草》是一部关于爱尔兰悲剧《丘吉尔的伦敦》的前传。

场景设定在十七世纪的爱尔兰。

叶芝在剧中表现了当时爱尔兰社会的种种不公平和压迫，以及爱尔兰人的反抗精神。

3.《德鲁伊的岛》《德鲁伊的岛》是叶芝的代表作之一。

剧中描述了爱尔兰的传统环境和文化传统，包括了蓝色海岸的景色和充满神秘主义的传说。

此剧还表现了爱尔兰人民的坚韧和内敛的性格。

三、爱尔兰性在叶芝戏剧中的作用叶芝在戏剧中使用爱尔兰性的元素，旨在表现爱尔兰文化的独特性和对社会变革和时代轮回的抗争。

这些元素凸显出爱尔兰社会的历史传承和文化特色，也反映了作者对于爱尔兰本土文化的热爱和尊重。

通过这些元素的描绘，叶芝树立了爱尔兰文化的瑰丽形象，让观众更加了解和认识了这个独特的文化。

叶芝也通过这些元素表现出个人的情感和态度，进一步强调了剧作的主题和意义。

四、总结叶芝在戏剧中展现爱尔兰性，讲述着爱尔兰文化和历史的故事。

这些故事不仅是对于爱尔兰文化的传承和发扬，也将爱尔兰的历史与现实紧密联系，并对社会的变化和个人的生命观提出了思考和探讨，这在今天依旧有着重要的意义。

叶芝诗歌中普通意象的崇高性

叶芝诗歌中普通意象的崇高性
李航
【期刊名称】《开封教育学院学报》
【年(卷),期】2016(036)001
【摘要】通过研究MacLeish、庞德等人对叶芝诗歌的评述,以叶芝诗歌中的“玫瑰”和“鸟”两种普通意象为例,结合诗歌文本,阐述日常生活中的微小事物被赋予灵魂与永恒性后的崇高性,阐述只有超越生与死的界限才能获得崇高.同时,从叶芝的创作中解读其对爱尔兰的依恋以及对现代人未来生存境遇的憧憬.
【总页数】2页(P38-39)
【作者】李航
【作者单位】重庆交通大学,重庆400074
【正文语种】中文
【中图分类】I712
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因版权原因，仅展示原文概要，查看原文内容请购买。

浅谈叶芝诗歌《玫瑰》的表现手法

浅谈叶芝诗歌《玫瑰》的表现手法赵琴【期刊名称】《四川文理学院学报》【年(卷),期】2012(022)001【摘要】The Rose is a early collection of Yeats＇ poetry written with various expression techniques, which are characterized with ＂fu＂（similar to an ode, a descriptive prose interspersed with verse ） , philosophical style and natural and plain words. These techniques, usually mixed together, not only make his poems capricious, but also give readers insights into his changeable styles in his later creation of poems.%在爱尔兰诗人叶芝的早期诗集《玫瑰》之中，诗人采取了多种不同的诗歌表现手法，主要体现在三个方面：一是诗歌中“赋”的手法的运用，二是哲理意味在诗歌中的传达，三是通过直白质朴的诗歌语言达到独特的诗歌效果。

多种手法的并列使用既造成了叶芝诗歌纷繁多变、关不胜收的奇丽景致，又为我们理解叶芝后来不同时期诗歌创作风格的变化奠定了理论基础。

【总页数】8页(P93-100)【作者】赵琴【作者单位】四川文理学院中文系,四川达州635000／武汉大学文学院,湖北武汉430072【正文语种】中文【中图分类】I207.21【相关文献】1.叶芝诗歌中玫瑰的多重意义 [J], 金鑫2.浅谈当代插画的表现手法--我的创作插画设计《红玫瑰与白玫瑰》 [J], 刘爽女3.透视规律提高诗歌鉴赏的能力——浅谈诗歌创作目的与表现手法手法的关系 [J], 宋瑞4.透视规律提高诗歌鉴赏的能力——浅谈诗歌创作目的与表现手法手法的关系 [J], 宋瑞5.玫瑰园里永生的凤凰——叶芝诗歌里的毛德·冈形象 [J], 李静因版权原因，仅展示原文概要，查看原文内容请购买。