济慈诗歌美学赏析

济慈诗歌美学赏析

摘要：济慈，作为19世纪最伟大的浪漫主义诗人之一，他的诗歌被一代代人所传颂，他的美学理念也深刻地影响了浪漫主义思潮的发展。其颂诗被无数诗评家文学家认为是其美学代表作。以《秋颂》、《夜莺颂》、《希腊古瓮颂》、《忧郁颂》、《心灵颂》、《灿烂的星》、《蝈蝈和蛐蛐》、《无情的妖女》等诗歌为例，本文从诗歌的内容意象入手，联系其生平，研究在济慈诗歌内容形式中，美的具体展现。

本文主要从两方面进行分析：济慈诗歌的形式和内容，二者又分为几个小部分：济慈的颂诗，十四行诗和其诗歌中所采用的修辞手法，以及济慈诗歌中的自然美，爱情美，神话美与忧郁美。

关键词：济慈；美学；颂诗；内容；形式；自然；爱情；浪漫主义

Beauty in Keats poems

Abstract: John Keats is one of the greatest romantic poems and his poems have been praised by generations and generations. His aesthetic has also deeply influenced the development of romanticism. His odes were regarded as the representative of his aesthetic by many litterateurs. This paper is going to study the specific present of beauty in Keats poems based on the context and images, taking the life experience of Keats into consideration and citing Ode to autumn, Ode to psyche, Ode to a Nightingale, Ode on a Grecian Urn, Ode on Melancholy, Bright star, The Grasshopper and the Cricket, Ode to Psyche and La Belle Dame Sans Merci as examples.

In this paper, we enjoy the beauty mostly from two aspects, firstly, from the aspect of form, secondly, from the aspect of content. From these two different angles, this paper is divided into several parts as ode, sonnet, narrative poems, rhetoric, myth, nature, love and tragedy.

Key words: Keats; Beauty; odes; context; from; nature; love; Romanism

Beauty in Keats poems

1. Introduction

1.1. The poet

John Keats, as a key figure in the English Romantic movement, born on 31 October 1795, was the eldest brother of the four from a livery-stable keeper at a

London inn. In 1803, he was sent to Clarke school nearby Enfield where he encountered Charles Cowden Clarke, thus he began to fall in love with literature. He was interested in poetry, history, travel and adventure novels. These literary works affected his early poetry greatly, and laid the foundation for his basic knowledge of literature. Unfortunately, on the night of 15 April 1804, Keats’ father died. It altered his life and proved to be the first in a series of losses and dislocations that would pursue him throughout his brief life, certainly contributing to his mature sense that the career of the artist is an exploration of art’s power to bring solace and meaning to human suffering.

In 1810, Keats’ mother died, and he left school and became an apprentice to Thomas Hammond, the surgeon and apothecary at Edmonton. 15 years later, Keats entered the united hospital, working as a dresser there. He received his apothecary’s certificate. But, disenchanted with his craft, he soon abandoned it to dedicate himself to writing poetry. In 1816, Keats met with Leigh Hunt, who published Keats early poems in the Examiner. And it gave Keats the chance to meet people in the literature circle like John Hamilton and William Hazlitt. Those people all influenced the literary style of Keats.

From 1818 to 1820, Keats produced the body of great poetry. During this period, he published many famous love poems like Endymion and The Eve of St Agnes. In 1820, he suffered a pulmonary hemorrhage which he recognized as a symptom of advancing, almost certainly fatal tuberculosis. After he published his third book of poetry, he sailed to Italy in hopes of taking a good health-care. However, things didn’t move as his hoped. He died in Rome on 23 February 1821. He was buried there beneath a grave stone with the epitaph on it: Here lies one whose name was write on water.

1.2. The aesthetic

At the very beginning, Keats expressed his aesthetic in his own term: Negative Capability, which means the artist's receptiveness to the world and its natural marvel, and to reject those who tried to formulate theories or categorical knowledge. This capability asks poets to contact with uncertain, mysterious and murky situation, but