美國(guó)文學(xué)-Colonial_America

1、2021-10-17Chapter I Colonial AmericanHistorical IntroductionnPuritanismnEarly American writers and Poets2021-10-17 I. Historical IntroductionnThe native American-Indians and their culturenChristopher Columbus discovered the American continent in 1492nCaptain Christopher Newport reached Virginia in 1

2、607.nPuritans came to the New England area by “Mayflower” in 1620.nThe Puritan migration began, and the first settlers advocated highly religious and moral principles.2021-10-172021-10-172021-10-17PuritansnOne division of English Protestant. They regarded the reformation of the church under Queen El

3、izabeth as incomplete, and called for further purification. To them, religion is a matter of primary importance. (p.12)nTwo groups among the 17th-century American Puritans: Separatists and Massachusetts Bay Group.2021-10-17PuritanismnA dominant factor in American life, one of the most enduring shapi

4、ng influences in American thought and American literature.(p.11)n it has been, by and large, a healthy legacy to the Americans though it was once under violent attacks for its religious intolerance and bigotry, for its austerity of taste and killjoy way of life.2021-10-17Religious Doctrines of Purit

5、ansnCalvinism: predestination, original sin, total depravity, and limited atonement.nPuritans regarded themselves as chosen people of God, embraced hardships, industry and frugality, favored a disciplined, hard, somber, ascetic and harsh life, opposed arts and pleasure, suspect joy and laughter as s

6、ymptoms of sin.2021-10-17Puritanisms influence on American literature (p.14)nPurpose of writing: pragmaticnContents: practical matter-of-fact accounts of life in the new world; highly theoretical discussions of religious questions.nStyle: tight and logic structure, precise and compact expression, av

7、oidance of rhetorical decoration, adoption of homely imagery, simplicity of diction.2021-10-17II. Literary Scene in Colonial America1. major forms: diaries, histories, journals, letters, travel books, sermons and commonplace books ( a personal journal in which quotable passages, literary excerpts an

8、d personal comments are written)2021-10-172. Early American Writers and Poets（1）South, Jamestown, Virginia: nCaptain John Smith-first American writer; A Description of New England.n Contributions: his description of America was filled with myths, images, scenes, characters and events that were a fou

9、ndation for the nations literature. He lured the Pilgrims into fleeing to the new continent and creating a New land. 2021-10-17（2）North, New England, Puritan Writers (p.16)n William Bradford: first governor of Plymouth, The History of Plymouth Plantation, simplicity, earnestness, direct reporting, r

10、eadable, moving.n John Winthrop: first governor of Boston, The History of New England, A Model of Christian Charity (speech) candid simplicity, honesty.2021-10-17（3） Colonial Poets:nAnne Bradstreet: the first woman poet of the country.nThe Tenth Muse lately Sprung Up in America, 1650, the first poem

11、 collection by an American colonist got published and became one of the most widely read at that time.2021-10-17Bradstreets writing concernnThe colonial experience,nAppreciation of private life,nMeditation over the puritan doctrinesnFour Elements (earth, air, fire and water)nFour seasons2021-10-17Re

12、ading “Contemplations 9”nP17-182021-10-17Appreciation of the poem “To my dear and loving husband” (p18)nThe poem was written between 1641 and 1643, but was not published until 1678, when the second edition of The Tenth Muse Lately Sprung up in America appeared in the New Continent. nAnne Bradstreet

13、wrote on the everlasting theme of love to eulogize the true love between her husband and her. She strongly praised the sincerity of their love and felt grateful for all the love she had enjoyed from her husband. When they were alive, that love was so abundant and burning hot that rivers cannot quenc

14、h; when they die, their death would just prove the love constant. The true love has overgrown the power of time and space. nThe short poem is written in iambic pentameter, rhymed “aa, bb, cc, dd, ee, ff.”. In other word, this poem is written in couplet.2021-10-17致我親愛的丈夫致我親愛的丈夫n假如紅塵連理能融為一體假如紅塵連理能融為一體

15、,你我必添歡快你我必添歡快,n假如世間男子能得妻所愛假如世間男子能得妻所愛,你可自去開懷你可自去開懷,n假如有哪位女子醉心于丈夫的給予假如有哪位女子醉心于丈夫的給予,n請(qǐng)你來(lái)和我比較請(qǐng)你來(lái)和我比較,如果你有足夠的幸福如果你有足夠的幸福n我贊美你的愛勝過(guò)普天之下的金礦我贊美你的愛勝過(guò)普天之下的金礦,n我珍惜你的愛強(qiáng)于東方世界的珍藏我珍惜你的愛強(qiáng)于東方世界的珍藏.n我的愛熱烈似火我的愛熱烈似火,萬(wàn)千河水熄不滅他的烈焰萬(wàn)千河水熄不滅他的烈焰,n惟有你的愛能補(bǔ)償這無(wú)悔的燦爛惟有你的愛能補(bǔ)償這無(wú)悔的燦爛;n你的愛純摯癡狂你的愛純摯癡狂,我無(wú)以為報(bào)我無(wú)以為報(bào),n蒼天將賜予你更多，我虔誠(chéng)祈禱蒼天將賜予你更多

16、，我虔誠(chéng)祈禱,n徜徉于人世徜徉于人世,我們尋求永恒我們尋求永恒,n當(dāng)生命枯竭當(dāng)生命枯竭,我們因愛永生。我們因愛永生。2021-10-17Edward Taylor A meditative poet,Taylor came nearest to the English baroque poet. For all his un-puritan imagery, however, he was, first and last, a puritan poet, concerned about how his images speak for God. What makes Edward Taylor

17、s poetry and mediations unique is that his relationship with God is deeply rooted in the physical world. In incorporating God even into his own corporal body, Taylor marries together both the human and the divine, celebrating the best of both worlds .2021-10-17Appreciation of “huswifery”nTaylor gets

18、 straight to the human point even in the title, telling us that we are about to read about housework and domesticity. By asking God to use him as a woman would use a mundane, everyday object (in this case, a spinning wheel).nTaylor gives an account of each working part of a spinning wheel, each line

19、 adding a new layer to his metaphor in order to make him a Spinning Wheel complete .To start, the distaff is what holds the raw wool or flax into place when spinning; Taylor asks God to make His Holy Word his own distaff so that he can be guided into the proper places presumably to lead a virtuous l

20、ife (2). The flyers are what regulate the action of the spinning, and Taylor wants Gods Swift Flyers to regulate and/or temper his own Affections and actions (3).2021-10-17nOn a spinning wheel, the spool twists the yarn into a cord of consistent thickness (or “weight”); in asking God to make his sou

21、l a “holy spool,” Taylor is perhaps asking that his soul be a medium through which Gods doctrine is interpreted in a consistent manner (4). In the next two lines ,Taylor wants his own conversation to be Gods reel, to hold together the metaphorical thread of Gods Word, and through him and his convers

22、ation, God can gather together what he has spun on his Taylor-turned-spinning-wheel.nIn just six lines, Taylor has effectively equated each way a spinning wheel works with a way in which he can takes Gods Word and doctrines, interpret them, and give them back to his congregation in a fashion that is

23、 both pleasing to God and understandable by his parishioners. 2021-10-17Thomas Paine (1737-1809)托馬斯托馬斯潘恩潘恩 2021-10-17npropagandistna major influence in the American Revolution nMain works: (a series of pamphlets) Common Sense The American Crisis (16 pamphlets) The rights of man The Age of Reasonnsty

24、le: plain and persuasive2021-10-17Philip Freneau (1752-1832) Father of American poetry, propagandist, satirist, loyal follower of Jefferson 2021-10-17Evaluation American poets before Freneau wrote mostly on the religious theme and either in style or structurally they imitated English poets. Freneau,

25、 the first American-born poet, was one of the earliest who cast their eyes over the natural surroundings of the New Continent and American subject matter. principal poet of the period; a transitional role between neoclassicism and romanticism.2021-10-17Major WorksnThe Rising Glory of America (1772)

26、The British Prison Ship (1781) The Wild Honey Suckle (1786) The Indian Burying Ground (1788)nsome of his themes and images anticipated the works of some 19th-century writers. 2021-10-17The Wild Honey Suckle （ 1786） This is one of the most quoted works of Freneau. It was written in 1786 in regular 4

27、tetrameter stanzas, with 6 lines for each stanza and a rhyme scheme of “ababcc.”2021-10-17音步音步(Foot) n英詩(shī)中重讀與非重讀音節(jié)的特殊性組合叫作音步。一個(gè)音步的音英詩(shī)中重讀與非重讀音節(jié)的特殊性組合叫作音步。一個(gè)音步的音節(jié)數(shù)量可能為兩個(gè)或三個(gè)音節(jié)，但不能少于兩個(gè)或多于三個(gè)音節(jié)，節(jié)數(shù)量可能為兩個(gè)或三個(gè)音節(jié)，但不能少于兩個(gè)或多于三個(gè)音節(jié)，而且其中只有一個(gè)必須重讀。分析英詩(shī)的格律就是將它劃分成音而且其中只有一個(gè)必須重讀。分析英詩(shī)的格律就是將它劃分成音步，并區(qū)分出是何種音步以及計(jì)算音步的數(shù)量。這種音步劃分叫

28、步，并區(qū)分出是何種音步以及計(jì)算音步的數(shù)量。這種音步劃分叫scansion。根據(jù)一首英詩(shī)組成的音步數(shù)量，每一詩(shī)行一個(gè)音步稱。根據(jù)一首英詩(shī)組成的音步數(shù)量，每一詩(shī)行一個(gè)音步稱“單音步單音步”(monometer)；每一詩(shī)行有兩個(gè)音步的，稱；每一詩(shī)行有兩個(gè)音步的，稱“雙音雙音步步”(dimeter)；含有三個(gè)音步的，稱；含有三個(gè)音步的，稱“三音步三音步”(trimeter)；此；此外還有四音步外還有四音步(tetrameter）、五音步、）、五音步、(pentameter)、六音步、六音步(hexameter)、七音步、七音步(heptameter)、八音步、八音步(octameter)。 2021-

29、10-17抑揚(yáng)格抑揚(yáng)格 n如果一個(gè)音步中有兩個(gè)音節(jié)，前者為輕，后者為重，則這種音步如果一個(gè)音步中有兩個(gè)音節(jié)，前者為輕，后者為重，則這種音步叫抑揚(yáng)格音步，其專業(yè)術(shù)語(yǔ)是（叫抑揚(yáng)格音步，其專業(yè)術(shù)語(yǔ)是（iamb, iambic.）。輕讀是）。輕讀是“抑抑”，重讀是，重讀是“揚(yáng)揚(yáng)”，一輕一重，故稱抑揚(yáng)格。，一輕一重，故稱抑揚(yáng)格。 n英語(yǔ)中有大量的單詞，其發(fā)音都是一輕一重，如英語(yǔ)中有大量的單詞，其發(fā)音都是一輕一重，如adore, excite, above, around, appear, besides, attack, supply, believe, return等，所以用英語(yǔ)寫詩(shī)，用抑揚(yáng)格就很便利

30、。也就是說(shuō)，抑等，所以用英語(yǔ)寫詩(shī)，用抑揚(yáng)格就很便利。也就是說(shuō)，抑揚(yáng)格很符合英語(yǔ)的發(fā)音規(guī)律。因此，在英文詩(shī)歌中用得最多的便揚(yáng)格很符合英語(yǔ)的發(fā)音規(guī)律。因此，在英文詩(shī)歌中用得最多的便是抑揚(yáng)格，百分之九十的英文詩(shī)都是用抑揚(yáng)格寫成的。是抑揚(yáng)格，百分之九十的英文詩(shī)都是用抑揚(yáng)格寫成的。2021-10-17n下面的這兩句詩(shī)就是抑揚(yáng)格詩(shī)。下面的這兩句詩(shī)就是抑揚(yáng)格詩(shī)。 n Alone she cuts and binds the grain, nAnd sings a melancholy strain. nAn iamb or iambus is a metrical foot used in various

31、types of poetry. Originally the term referred to one of the feet of the quantitative meter of classical Greek prosody: a short syllable followed by a long syllable (as in i-amb). This terminology was adopted in the description of accentual-syllabic verse in English, where it refers to a foot compris

32、ing an unstressed syllable followed by a stressed syllable (as in a-bove).2021-10-17揚(yáng)抑格揚(yáng)抑格 如果一個(gè)音步中有兩個(gè)音節(jié)，前者為重，后者為輕，如果一個(gè)音步中有兩個(gè)音節(jié)，前者為重，后者為輕，則這種音步叫揚(yáng)抑格音步，其專業(yè)術(shù)語(yǔ)是（則這種音步叫揚(yáng)抑格音步，其專業(yè)術(shù)語(yǔ)是（trochee, trochaic.）。重讀是）。重讀是“揚(yáng)揚(yáng)”，輕讀是，輕讀是“抑抑”，一重，一重一輕，故稱揚(yáng)抑格。與抑揚(yáng)格恰好相反。一輕，故稱揚(yáng)抑格。與抑揚(yáng)格恰好相反。 nShake your chains to earth like dew 2

33、021-10-17n英語(yǔ)中也有一批其讀音為一重一輕的單詞，英語(yǔ)中也有一批其讀音為一重一輕的單詞，如如Happy, many, holy, yonder, headlong, flaming, upper, grandeur, failing等。寫揚(yáng)等。寫揚(yáng)抑格的詩(shī)，此類詞正好合適。但這類詞在英抑格的詩(shī)，此類詞正好合適。但這類詞在英語(yǔ)中其數(shù)量不及前面的那些多，與英文的語(yǔ)語(yǔ)中其數(shù)量不及前面的那些多，與英文的語(yǔ)言規(guī)律不十分吻合，所以揚(yáng)抑格詩(shī)不多。言規(guī)律不十分吻合，所以揚(yáng)抑格詩(shī)不多。2021-10-17野金銀花野金銀花譯文一譯文一n美好的花啊，你長(zhǎng)得這么秀麗，美好的花啊，你長(zhǎng)得這么秀麗，n卻藏身在這僻

34、靜沉悶的地方卻藏身在這僻靜沉悶的地方n甜美的花兒開了卻沒人親昵，甜美的花兒開了卻沒人親昵，n招展的小小枝梢也沒有人觀賞；招展的小小枝梢也沒有人觀賞；n沒游來(lái)蕩去的腳把你踩碎，沒游來(lái)蕩去的腳把你踩碎，n沒東攀西摘的手來(lái)催你落淚。沒東攀西摘的手來(lái)催你落淚。 2021-10-17n大自然把你打扮得一身潔白，大自然把你打扮得一身潔白，n她叫你避開庸俗粗鄙的目光；她叫你避開庸俗粗鄙的目光；n她布置下樹蔭把你護(hù)衛(wèi)起來(lái)，她布置下樹蔭把你護(hù)衛(wèi)起來(lái)，n又讓潺潺的柔波淌過(guò)你身旁；又讓潺潺的柔波淌過(guò)你身旁；n你的夏天就這樣靜靜地消逝，你的夏天就這樣靜靜地消逝，n這時(shí)候你日見萎蔫終將安息。這時(shí)候你日見萎蔫終將安息。

35、2021-10-17n那些難免消逝的美使我銷魂，那些難免消逝的美使我銷魂，n想起你未來(lái)的結(jié)局我就心疼；想起你未來(lái)的結(jié)局我就心疼；n別的那些花兒也不比你幸運(yùn)別的那些花兒也不比你幸運(yùn)，n雖開放在伊甸園中也已凋零；雖開放在伊甸園中也已凋零；n無(wú)情的寒霜再加秋風(fēng)的威力，無(wú)情的寒霜再加秋風(fēng)的威力，n會(huì)叫這花朵消失得一無(wú)蹤跡。會(huì)叫這花朵消失得一無(wú)蹤跡。2021-10-17n朝陽(yáng)和晚露當(dāng)初曾把你養(yǎng)育，朝陽(yáng)和晚露當(dāng)初曾把你養(yǎng)育，n讓你這小小的生命來(lái)到世上；讓你這小小的生命來(lái)到世上；n若原本無(wú)名，就沒什么可失去，若原本無(wú)名，就沒什么可失去，n因?yàn)樗劳霾辉钅愀淖?；因?yàn)樗劳霾辉钅愀淖儯籲這來(lái)去之間不過(guò)是一個(gè)鐘點(diǎn)

36、這來(lái)去之間不過(guò)是一個(gè)鐘點(diǎn)n這就是脆弱的花享有的天年。這就是脆弱的花享有的天年。2021-10-17譯文二譯文二n美麗的金銀花，美麗的金銀花，你粲然綻放于幽靜一角。你粲然綻放于幽靜一角。芳菲滿枝，無(wú)人垂顧，芳菲滿枝，無(wú)人垂顧，迎風(fēng)起舞，無(wú)人注目。迎風(fēng)起舞，無(wú)人注目。游子從不踐踏你的玉體，游子從不踐踏你的玉體，過(guò)客從不催落你的淚滴。過(guò)客從不催落你的淚滴。造化令你素裹銀妝造化令你素裹銀妝你得以遠(yuǎn)離庸人的目光。你得以遠(yuǎn)離庸人的目光。2021-10-17n她賜予你一片綠陰蔥蔥，她賜予你一片綠陰蔥蔥，她帶給你一泓流水淙淙。她帶給你一泓流水淙淙。恬靜的夏日倏然流淌，恬靜的夏日倏然流淌，你終于紅衰翠減，玉隕香

37、消。你終于紅衰翠減，玉隕香消。n嫵媚動(dòng)人，你卻無(wú)法盛顏久長(zhǎng)，嫵媚動(dòng)人，你卻無(wú)法盛顏久長(zhǎng)，落紅滿地，你令我黯然神傷。落紅滿地，你令我黯然神傷?？v然在伊甸樂(lè)園，人間天堂，縱然在伊甸樂(lè)園，人間天堂，也難免一日凋零，滿目凄涼。也難免一日凋零，滿目凄涼。2021-10-17n蕭瑟秋風(fēng)，凄白秋霜，蕭瑟秋風(fēng)，凄白秋霜，你終于消失得無(wú)影無(wú)蹤。你終于消失得無(wú)影無(wú)蹤。n朝霞暮露，朝霞暮露，孕育了你嬌小的身軀。孕育了你嬌小的身軀。你從塵土來(lái)，又歸塵土去，你從塵土來(lái)，又歸塵土去，來(lái)時(shí)一無(wú)所有，去時(shí)化作塵土，來(lái)時(shí)一無(wú)所有，去時(shí)化作塵土，可嘆生命苦短，可嘆生命苦短，你終究紅消香斷。你終究紅消香斷。2021-10-17 野

38、忍冬花 菲利浦弗瑞諾 艷花，似這般嬌滴滴任招展，無(wú)言，廝守著冷落荒原少攀折，你隨意綻出甜花蕊，無(wú)人顧，你柔枝仍做寒暄顏無(wú)游蕩之腳踏碎你玉容花面，更無(wú)忙碌之手對(duì)你把熱淚輕彈是造化著素衫安排就這段天緣，則令你躲開那俗眼凡間，又為你栽植出輕蔭一片，還送來(lái)做伴流水聲潺潺悄聲兒去也，你夏日芳容，到頭來(lái)妙齡須老花自殘嘆只嘆萬(wàn)般媚態(tài)終須朽，忍見你眼睜睜來(lái)日遭劫難！終須朽也縱然是別樣群芳有嬌容更美，盛開在伊甸恨無(wú)情霜欺，金秋肅殺，此花當(dāng)零落，便留下殘骸也難想當(dāng)初，朝暉夕露，托出你體態(tài)玲瓏面，既無(wú)得，便無(wú)失，或芳消香殘，留得花魂不變，悵妍紅易褪浮生短，只在一瞬間2021-10-17修辭手法：修辭手法：其一，擬人

39、（其一，擬人（personification）n詩(shī)中起句突兀，把詩(shī)眼詩(shī)中起句突兀，把詩(shī)眼“flower”展現(xiàn)在讀者展現(xiàn)在讀者面前，把野金銀花擬成面前，把野金銀花擬成“人人”來(lái)寫。詩(shī)中用了來(lái)寫。詩(shī)中用了“thy”(你的你的)，賦予，賦予“flower”以生命和靈感，以生命和靈感，給他著上詩(shī)人自己的感情色彩，就像站在讀者給他著上詩(shī)人自己的感情色彩，就像站在讀者面前，使人感到形象親切。人格化這一手法突面前，使人感到形象親切。人格化這一手法突出了全詩(shī)的抒情效果，加強(qiáng)了語(yǔ)言的形象特征。出了全詩(shī)的抒情效果，加強(qiáng)了語(yǔ)言的形象特征。2021-10-17其二，排比其二，排比(parallelism)。n在第一詩(shī)

40、節(jié)中用了兩對(duì)排比的句式在第一詩(shī)節(jié)中用了兩對(duì)排比的句式: “Untouched thy honeyd blossoms blow, unseen thy little branches greet; No roving foot shall crash thee here ,No busy hand provoke a tear.”此詩(shī)節(jié)用兩個(gè)前綴此詩(shī)節(jié)用兩個(gè)前綴un-構(gòu)成的反義詞和兩個(gè)構(gòu)成的反義詞和兩個(gè)no來(lái)引導(dǎo)排比句式，對(duì)來(lái)引導(dǎo)排比句式，對(duì)渲染美麗的金銀花得天獨(dú)厚的生長(zhǎng)環(huán)境起到了渲染美麗的金銀花得天獨(dú)厚的生長(zhǎng)環(huán)境起到了推波助瀾和加強(qiáng)語(yǔ)勢(shì)的作用。推波助瀾和加強(qiáng)語(yǔ)勢(shì)的作用。2021-10-17其

41、三，重復(fù)其三，重復(fù)(repetition)n在最后詩(shī)節(jié)在最后詩(shī)節(jié)“If nothing once, you nothing lose”(空空然來(lái)，空空然去空空然來(lái)，空空然去)中，詩(shī)人匠心獨(dú)中，詩(shī)人匠心獨(dú)運(yùn)，把運(yùn)，把 nothing（烏有）重復(fù)兩次，且把這兩（烏有）重復(fù)兩次，且把這兩個(gè)詞放在兩句對(duì)稱的位置上，顯示出語(yǔ)言的穿個(gè)詞放在兩句對(duì)稱的位置上，顯示出語(yǔ)言的穿透力；除了加強(qiáng)語(yǔ)言所承載的信息量外，也為透力；除了加強(qiáng)語(yǔ)言所承載的信息量外，也為短暫的人生添了一層空寂、蕭瑟和凄涼。短暫的人生添了一層空寂、蕭瑟和凄涼。2021-10-17其四，夸張其四，夸張(hyperbole)n在最后詩(shī)節(jié)里，把花的生

42、命期說(shuō)成在最后詩(shī)節(jié)里，把花的生命期說(shuō)成“The space between, is but an hour, The frail duration of a flower”，很顯然作者想借，很顯然作者想借 “an hour”來(lái)表示世間的一切瞬息萬(wàn)變和人來(lái)表示世間的一切瞬息萬(wàn)變和人生的短暫。但再短的花期，也不可能在生的短暫。但再短的花期，也不可能在“an hour”自然凋謝，轉(zhuǎn)瞬即逝自然凋謝，轉(zhuǎn)瞬即逝。2021-10-17其五，暗喻其五，暗喻 (metaphor)。n從第一詩(shī)節(jié)的從第一詩(shī)節(jié)的 fair flower（美麗金銀花）開始，（美麗金銀花）開始，到最后詩(shī)節(jié)的到最后詩(shī)節(jié)的 The frai

43、l of a flower（花的生命瞬（花的生命瞬息即逝）結(jié)尾，形成強(qiáng)烈的對(duì)比，宛如世間萬(wàn)物息即逝）結(jié)尾，形成強(qiáng)烈的對(duì)比，宛如世間萬(wàn)物從生到死的一個(gè)輪回從生到死的一個(gè)輪回,達(dá)到首尾呼應(yīng)，渾然一體的達(dá)到首尾呼應(yīng)，渾然一體的藝術(shù)境地。不管何物藝術(shù)境地。不管何物,生時(shí)都朝氣勃勃，光彩照人；生時(shí)都朝氣勃勃，光彩照人；但彌留時(shí)，都死氣沉沉，老態(tài)龍鐘。真可謂生命但彌留時(shí)，都死氣沉沉，老態(tài)龍鐘。真可謂生命孕育著死亡，死亡蘊(yùn)含著生命。人生不就是這樣孕育著死亡，死亡蘊(yùn)含著生命。人生不就是這樣生生死死，一個(gè)輪回接著一個(gè)輪回地傳承下去嗎？生生死死，一個(gè)輪回接著一個(gè)輪回地傳承下去嗎？這是詩(shī)人的精心設(shè)置和巧妙構(gòu)思。這是

44、詩(shī)人的精心設(shè)置和巧妙構(gòu)思。2021-10-17Appreciation of the poemnIn this poem, honey suckle, instead of rose or daffodil becomes the subject of depiction; it is “wild” just to convey the fresh perception of the natural scenes on the new continent. The flowers, similar to the early Puritan settlers, used to believe t

45、hey were the selects of God to be arranged on the abundant land, but now have to wake up from that fantasy and be more respectful to natural law. Time is constant but the time of a life is short, any favor is relative but change is absolute; with or without the awareness, nature develops; flowers were born, bloomed and declined to repose, and human being would exist in exactly the same way. A philosophical meditation is indicted by the description of the fate of a trivi