2021年美國(guó)文學(xué)詩(shī)歌賞析

*歐陽(yáng)光明*歐陽(yáng)光明*創(chuàng)編2021.03.07**poeme221.371.Suckle”

Honey歐陽(yáng)光明（2021.03.07）Understandthetitle:1.Thenamehoneysucklecomesfromthesweetnectarthattheflowerproducestointoxicatethegreedybee.Itspowerfulfragranceseducesthehumansensesasitpervadestheair.Theperfumeofthispassionateplantmayturnamaiden’shead,hencewildhoneysuckleisasymbolofinconstancyinlove.2.Theword“wild”impliesherlivingplace;shelivesinwildernessnotinparadiseorhouse;soshewillnotbeappreciatedbyothersandfeelssorrowful.Alsoimpliesthenature,sowecansaythewriterisdescribingthenature.AnalyzeWhitman’s“SongofMyself”(Over200words)"SongofMyself"isallaboutthehumanexperience.Thehumanexperience,here,meanswhatmenofthepast,presentandfuturehaveseen,touched,smelt,andheard.InthispoemWhitmanisexplaininghowallofhumanityislikeonelivingorganism,andnoonepartismoreimportantthantheother.Insection44of"SongofMyself"Whitmansays,"Wehavethusfarexhaustedtrillionsofwintersandsummers,Therearetrillionsahead,andtrillionsaheadofthem.Birthshavebroughtusrichnessandvariety,Andotherbirthswillbringusrichnessandvariety.Idonotcallonegreaterandonesmaller,Thatwhichfillsitsperiodandplaceisequaltoany."ItisclearthatWhitmanhada*歐陽(yáng)光明*歐陽(yáng)光明*創(chuàng)編2021.03.07*歐陽(yáng)光明*歐陽(yáng)光明*創(chuàng)編2021.03.07perspectiveofthehumanraceanditshistorythatescapedmostwriters.Morespecifically,Whitmanspeaksofequalcontributiontothehumanexperienceinsection42:"Hereandtherewithdimesonthewalking,Tofeedthegreedofthebellythebrainsliberallyspooning,Ticketsbuying,taking,selling,butintothefeastneveroncegoing,Manysweating,ploughing,thrashing,andthenthechaffforpaymentreceiving,Afewidlyowning,andtheythewheatcontinuallyclaiming.ThisisthecityandIamoneofthecitizens,Whateverintereststherestinterestsme,politics,wars,markets,newspapers,schools,Themayorandcouncils,banks,tariffs,steamships,factories,stocks,stores,estateandpersonalestate.Emily’s“BecauseICouldNotStopforDeath”(Over300words)Thepoembeginswithaleisurelyimage.Atfirst,theprotagonistfeelstotallyateaseandtheusuallyfrighteningdeathisdescribedasifafamiliar friend, gentle and polite. Continuingly, the poem isdevelopeduponabasicmetaphorthatlifeisajourney.Itwastrulyratheroldacomparison,butDickinsonenricheditwithhercreativityand imagination: "School, where Children strove" "FieldsofGazingGrain"--maturity;and"SettingSun"--oldage.Then“theDewsdrewquiveringandchill-”makestheprotagonistfeelterriblycold,whichmaymeanthattheyaregettingnearerandnearertothetomb.Butatlast,hiscompanions,ImmortalityandDeath,finallydeserthimandleavehimalonetogotowardEternity.Soitseemsthatthoughdeathcheatshimandatthesametimedesertshim,theexperienceofdeathitselfisnotpainful.EmilyDickinson’spoemsjustexplainthiskindofessenceoflife,whichthenleadyoutoaworldofimaginationandthinking.Appreciatethepoem“InaStationoftheMetro”.ThepoemisessentiallyasetofimagesthathaveunexpectedlikenessandconveytherareemotionthatPoundwasexperiencingatthattime.Arguablytheheartofthepoemisnotthefirstline,northesecond,butthementalprocessthatlinksthetwotogether."Inapoemofthissort,"asPoundexplained,"oneistryingtorecordthepreciseinstantwhenathingoutwardandobjectivetransformsitself,ordartsintoathinginwardandsubjective."Thisdartingtakesplacebetweenthefirstandsecondlines.Thepivotalsemi-colonhasstirreddebateastowhetherthefirstlineisinfactsubordinatetothesecondorbothlinesareofequal,independentimportance.Poundcontraststhefactual,mundaneimagethatheactuallywitnessedwithametaphorfromnatureandthusinfusesthis“apparition”withvisualbeauty.Thereisaquicktransitionfromthestatementofthefirstlinetothesecond line’s vivid metaphor; this ‘super-pository’ techniqueexemplifies the Japanesehaiku style. The word “apparition” isconsideredcrucialasitevokesamysticalandsupernaturalsenseofimprecisionwhichisthenreinforcedbythemetaphorofthesecondline.Theplosiveword‘Petals’conjuresideasofdelicate,femininebeautywhichcontrastswiththebleaknessofthe‘wet,blackbough’.Whatthepoemsignifiesisquestionable;manycriticsarguethatitdeliberatelytranscendstraditionalformandthereforeitsmeaningissolelyfoundinitstechniqueasopposedtoinitscontent.HoweverwhenPoundhadtheinspirationtowritethispoemfewoftheseconsiderationscameintoview.Hesimplywishedtotranslatehisperceptionofbeautyinthemidstofuglinessintoasingle,perfectimageinwrittenform.Itisalsoworthnotingthatthenumberofwordsinthepoem(fourteen)isthesameasthenumberoflinesinasonnet.Thewordsaredistributedwitheightinthefirstlineandsixinthesecond,mirroringtheoctet-sestetformoftheItalian(orPetrarchan)sonnet. Appreciatethepoem“StoppingbyWoodsonaSnowEvening”.“StoppingbyWoodsonaSnowyEvening,”likemanyofFrost'spoems,exploresthethemeoftheindividualcaughtbetweennatureand civilization. The speaker's location on the border betweencivilization and wilderness echoes a common theme throughoutAmericanliterature.Thespeakerisdrawntothebeautyandallureofthewoods,whichrepresentnature,buthasobligations—“promisestokeep”—whichdrawhimawayfromnatureandbacktosocietyandtheworldofmen.Thespeakeristhusfacedwithachoiceofwhethertogiveintotheallureofnature,orremain intherealmofsociety.Somecriticshaveinterpretedthepoemasameditationondeathwoodsrepresenttheallureofdeath,perhapssuicide,whichspeakerresistsinordertoreturntothemundanetaskswhichdailylife.Analyzethepoem“TheRoadNotTaken”.thepoemisinspirational,apaeantoindividualismandnon-conformism.Thepoemconsistsoffourstanzas.Inthefirststanza,thespeakerdescribeshisposition.Hehasbeenoutwalkinginthewoodsandcomestotworoads,andhestandslookingasfardowneachoneashecansee.Hewouldliketotryoutboth,butdoubtshecoulddothat,sothereforehecontinuestolookdowntheroadsforalongtimetryingtomakehisdecisionaboutwhichroadtotake.Theironicinterpretation,widelyheldbycritics,isthatthepoemisinsteadaboutregretandpersonalmyth-making,rationalizingourdecisions.Inthisinterpretation,thefinaltwolines:Itooktheonelesstraveledby,Andthathasmadeallthedifference.areironic:thechoicemadelittleornodifferenceatall,speaker'sprotestationstothecontrary.Thespeakeradmitsinthesecondandthirdstanzasthatbothpathsmaybeequallywornandequallyleaf-covered,anditisonlyinhisfuturerecollectionthathewillcalloneroad"lesstraveledby".Thesigh,widelyinterpretedasasighofregret,mightalsobeinterpretedironically:ina1925lettertoCristineYatesofDickson,Tennessee,askingaboutthesigh,Frostreplied:"ItwasmyratherprivatejestattheexpenseofthosewhomightthinkIwouldyetlivetobesorryforthewayIhadtakeninlife."Analyzethepoem“AnecdoteoftheJar”.This famous, much-anthologized poem succinctlyaccommodatesaremarkablenumberofdifferentandplausibleinterpretations,asJacquelineBroganobservesina discussionofhowsheteachesittoherstudents.ItcanbeapproachedfromaNewCriticalperspectiveasapoemaboutwritingpoetryandmakingartgenerally.Fromapoststructuralistperspectivethepoem is concerned with temporal and linguistic disjunction,especiallyintheconvolutedsyntaxofthelasttwolines.feminist perspective reveals a poem concerned with maledominanceoveratraditionallyfeminizedlandscape.Aculturalcritic might find a sense of industrial imperialism. Broganconcludes:"Whenthedebategetsparticularlyintense,IintroduceRoyHarveyPearce'sdiscoveryoftheDominioncanningjars(apictureofwhichisthenpassedaround)."AnalyzeT.S.Eliot’s“TheLoveSongofJ.AlfredPrufrock”.(Over500words)Onthesurface,"TheLoveSongofJ.AlfredPrufrock"relaysthethoughtsofasexuallyfrustratedmiddle-agedmanwhowantstosaysomethingbutisafraidtodoso,andultimatelydoesnot.Thedispute,however,liesintowhomPrufrockisspeaking,whetherheisactuallygoinganywhere,whathewantstosay,andtowhatthevariousimagesrefer.Theintendedaudienceisnotevident.SomebelievethatPrufrockistalkingtoanotherpersonordirectlytothereader,whileothersbelievePrufrock'smonologueisinternal.Perrinewrites"The'youandI'ofthefirstlinearedividedpartsofPrufrock'sownnature",whileMutluKonukBlasingsuggeststhatthe"youandI"referstotherelationshipbetweenthedilemmasofthecharacterandtheauthor. Similarly, critics dispute whether Prufrock is somewhereduringthecourseofthepoem.Inthefirsthalfofthepoem,Prufrockusesvariousoutdoorimages(thesky,streets,cheaprestaurantsandhotels,fog),andtalksabouthowtherewillbetimeforvariousthingsbefore"thetakingoftoastandtea",and"timetoturnbackanddescendthestair."ThishasledmanytobelievethatPrufrockisonhiswaytoanafternoontea,inwhichheispreparingtoaskthis"overwhelmingquestion".Others,however,believethatPrufrockisnotphysicallygoinganywhere,butrather,isplayingthroughitinhismind.Perhapsthemostsignificantdisputeliesoverthe"overwhelmingquestion" that Prufrock is trying to ask. Many believe Prufrockistryingtotellawomanofhisromanticinterestinher,pointingtothevariousimagesofwomen'sarmsandclothingandthefinalfewlinesinwhichPrufrocklamentsthatthemermaidswillnotsingtohim.Others,however,believethatPrufrockistrying to express some deeper philosophical insight disillusionment with society,but fears rejection, pointing statementsthatexpressadisillusionmentwithsocietysuchas"Ihavemeasuredoutmy