|
之前有一位童鞋留言，说想看英文稿的阐释，就将存货一并汇整了一下发过来～本来是想不再发纯英文稿了的，觉得没意思。我跟友朋聊天时说，刚初始写阐释时，会习惯用援引来连缀语句（尤其是长篇），因为尚不能融汇、击撞出自身可靠的观点；现今有些勇气用观点来捭阖，再适度增入引用了。就是偶尔有怕自己变得opinionated的忧虑。 部分重要的解析还见参考，因为塞入原文会显得比较冗赘；还有是怕影响到观感，不愿像一片满布脉络的胎膜一样使人眼花缭乱。我会觉得某些浪漫派的诗有难以弥散的悲感，因为a knight’s memorable love capable of marital prowess貌似不复见了，到后来更多是失衡、且失堕的鬻文以赎命。有时候极致的善、美不能被触及，更多倚重的是人求索时的感触、及经得住犹豫和迷惘的能力，而非一个确凿的答案。通常，在修辞的叠缀与变形中，读者和创作者挣脱了现实的利害关系、伦理道德约制，可以超脱自我地感受恐怖、憎恶、痛苦等经历，免于患得患失，世俗意义的“脆弱”便能升华为“不朽”。顺带一提，诗最后两句比较有争议，我个人倾向于理解成对现实“美”之急遽和理想“美”之永恒间的断裂的苦思，诗人因此再度陷入概述和论理的僵局。 Charlotte Bronte once grievously exclaimed, that Figure: The Portland Vase from the Roman period: see those creamy boughs and slumbered deities beneath!Conclusion Writing odes is challenging, while too little adherence to factual details seems flippant and irresponsible, too much commitment to the object’s possible implications seems pedantic, like those squelchy granola scholars of Keats’ day. Famously, Keats ponders human beings’ negative capability: the ability to live with affliction and illness without getting rattled by them, as well as the capacity to sympathise with others.Keats’ poems mark the traits of Romantic poems with their reasonable judgement being subdued or eclipsed by the presence of imagination. Sometimes they bear resemblance to a valiantly unremitting campaign against the stifled societal norms.参考- ^Fanny possesses a feisty wit such as her taste for fashionable clothes; she was designed to find a spouse with monetary means and prestige (perhaps resulting from her family’s straitened financial circumstances), while Keats was inconspicuous and little-known by the world when he was alive. The latter passed away beholding his prospect of matrimony being blasted, his workpieces criticized as wishy-washy, or being potboiler out of lucre. He was in complete bohemian penury like early Yeats. Both were petty and censorious.
- ^This epitaph derives from the play Philaster, a tragicomedy featuring the catharsis of disappointment when Bellario falls desolately in love with Philaster. Water is more forbearing and amenable to proof than the rough-hewn stone; a lot of people have been sculpting their names on stones as they acclimate to their social surroundings, but are being looked askance at and inevitably forgotten.
- ^as one of Keats’ most cultivated odes and an Ekphrasis, it rhetorically represents a painting or sculpture in poetic form, sometimes being re-polished in alignment with pastoral nature (as evident in “Sylvan historian”, which associates with Roman god of the woods, synonymous with the word woodlands) Some further historical context is the debate centred around whether artefacts such as Elgin Marbles should be returned to the country of origin, or continue being institutionalised in British museum as being previously brought to England by an ambassador.
- ^adj. unmoving OR adv. unchangeable from her virginal state? But remaining unchanged may mean risking never getting beyond irritating, bratty surfaces.
- ^The urn’s melodious silence ravishes the poet for its permanence, as supported by the motionless phrase “still”. This is similar with establishing an antebellum fictitious, anti-historic past for southern plantations, the brocades and glowing chandeliers in Gone With The Wind.
- ^Hellenism in literature resonates with how the draconian, darkened Neoclassical art hearkens back to ancient Greek style in visual art field.
- ^This is spondaic variation of iambic pentameter. Spondaic patterns are all syllables with equal stress, such as ad hoc, heartburn.
- ^Ditties are short but delicate songs; pipes are handheld flute instruments. Timbrels are similar with tambourine, like the circular drums. The poet’s imaginative capacity allows his desire for something/someone pleasurable to transcend the actual experience of subduing them. Similarly, the anticipation of love is more thrilling than its being actually materialised, “ridged like clamshells” [from Bishop’s poem The Moose] waiting to be opened. The lovers would no longer be tormented by the pangs of pining for unrequited love, and the vulnerable fertility. As real romantic or sexual gratification barely lives up to our expectation. In a relationship, we mortals could be deceived into thinking that the serenity and moments of understanding last forever. When the reality turns out to be disappointing, the sense of self-abasement might be a weary-hearted turnoff, that is, to blunt your strength of purpose.
- ^This is the use of chiasmus involving two flipped clauses regarding the theme.
- ^Indeed Keats once enunciated in his letters, that “I am certain of nothing but the holiness of hearts affection and the truth of imagination—What the imagination seizes as Beauty must be truth—whether it existed before or not—for I have the same Idea of all our Passions as of Love: they are all, in their sublime, creative of essential Beauty.” Beauty, nature and spontaneous imagination (that is, the Dionysian procession) are directly linked to the revelation of universal truth.
- ^It means the innermost part; an inner sanctum https://www.definitions.net/definition/penetralium
(m.taIks.com)
|
