浪漫主義文學(xué)論文精選(九篇)

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第1篇：浪漫主義文學(xué)論文范文

[關(guān)鍵詞]浪漫主義小說(shuō) 死亡主題 復(fù)歸 自然 悲劇

浪漫主義[romanticism]是西方文化的“舶來(lái)品”。在浪漫主義的敘事中有三個(gè)明顯的特征:“主觀性”、“復(fù)歸過(guò)去”和“回到自然”。在中國(guó)傳統(tǒng)文學(xué)受西方浪漫主義影響的前提下,中國(guó)文化傳統(tǒng)和作家的寫(xiě)作的情態(tài)以“死亡”來(lái)驚醒價(jià)值判斷。在中國(guó)現(xiàn)代文學(xué)的敘事中,浪漫的“復(fù)歸”是這個(gè)時(shí)期大多數(shù)作家的寫(xiě)作心聲和創(chuàng)作理想。

一、“主觀性抒情”與“個(gè)性化色彩”

綜觀20世紀(jì)中國(guó)現(xiàn)代小說(shuō)中浪漫主義的表征,首先表現(xiàn)為“主觀性抒情”和“個(gè)性化色彩”的浪漫敘事理想?！爸饔^性抒情”是浪漫主義者主張表現(xiàn)自己的主觀體驗(yàn),抒發(fā)內(nèi)心情懷,它不在乎外在力量的影響,有較大程度的“私人化”特征。這一特征不僅在西方浪漫主義作家中表現(xiàn)突出,在中國(guó)五四作家,如創(chuàng)造社作家郁達(dá)夫、郭沫若,創(chuàng)造社“小伙計(jì)”作家周全平、葉靈鳳、倪貽德,新月社詩(shī)人徐志摩、聞一多、朱湘等人的文學(xué)文本中都不突出的體現(xiàn),可以說(shuō),現(xiàn)代文學(xué)30年是浪漫主義文學(xué)真正自覺(jué)的時(shí)代。在此基礎(chǔ)上引起的“個(gè)性化色彩”敘事體現(xiàn)了浪漫主義的原初意義:以人為本,張揚(yáng)人的價(jià)值和意義,反對(duì)基督教神學(xué),達(dá)到人性的最大解放,而其實(shí)質(zhì)是“個(gè)人主義”。受其影響,20世紀(jì)中國(guó)文學(xué)中曾出現(xiàn)過(guò)不同時(shí)期的浪漫主義表征,五四時(shí)期創(chuàng)造社、新月社、湖畔詩(shī)社的作家和詩(shī)人在為人和為文上都帶有鮮明的浪漫主義色彩。魯迅的文學(xué)活動(dòng)中也顯示了強(qiáng)烈的個(gè)性主義精神?！赌α_詩(shī)力說(shuō)》不僅介紹西方浪漫主義作家作品,還展露了魯迅的浪漫主義理想,他謳歌的“撒旦派”詩(shī)人拜倫、雪萊等人就是浪漫主義者,他的散文詩(shī)集《野草》在寫(xiě)作方法上就體現(xiàn)出浪漫主義與現(xiàn)代主義的創(chuàng)作方法。20世紀(jì)20年代的浪漫主義作家受到歐洲前浪漫主義者盧梭的“返歸自然”思想和斯賓諾莎等人的“泛神論”影響,以自然為宣泄對(duì)象,通過(guò)對(duì)自然的歌頌,表達(dá)對(duì)神的否定和對(duì)自然力、對(duì)人性的肯定?；仡欀袊?guó)現(xiàn)代作家的創(chuàng)作,這一特征十分突出,郭沫若、郁達(dá)夫以及廢名、艾蕪等人的作品都具有典型的“個(gè)性化”的藝術(shù)旨趣。

二、“復(fù)歸過(guò)去”與“個(gè)體生命體驗(yàn)”

在現(xiàn)代文學(xué)的創(chuàng)作中,作家創(chuàng)作時(shí)既接受外來(lái)文學(xué)形式和思潮影響,又真實(shí)地再現(xiàn)個(gè)體生命體驗(yàn)的文學(xué)模式,即在“復(fù)歸過(guò)去”的過(guò)程中,尋求“個(gè)體的生命體驗(yàn)”。這一點(diǎn),郁達(dá)夫小說(shuō)的創(chuàng)作實(shí)踐具有典型性:第一,在接受視野上,郁達(dá)夫在創(chuàng)作中接學(xué)了西方文學(xué)、哲學(xué)思想,如提倡盧梭的“回歸自然”的思想,肯定勞倫斯小說(shuō)的風(fēng)格和欽佩屠格涅夫小說(shuō)對(duì)“多余人”的刻畫(huà),以及對(duì)日本“私小說(shuō)”表現(xiàn)方法的吸收與借鑒等。第二,在個(gè)體生命的表現(xiàn)與書(shū)寫(xiě)上,郁達(dá)夫大膽地展示自己的留日生活、回國(guó)后的生活,其中,對(duì)狎妓于青樓的過(guò)程、頹廢的精神、悲觀厭世的情緒都作了真實(shí)的外露。這一寫(xiě)作模式在中國(guó)現(xiàn)代小說(shuō)史上是具有開(kāi)創(chuàng)性的,這對(duì)創(chuàng)造社的作家葉鼎洛、倪貽德等人影響很大,也對(duì)非創(chuàng)造社作家王以仁、馮沅君等人有著強(qiáng)烈的榜樣作用?？梢哉f(shuō),郁達(dá)夫的小說(shuō)創(chuàng)作從身體到精神的模仿,是一種毫無(wú)掩飾的、徹底的模仿。從這個(gè)意義上看,屬于這一模仿類(lèi)型的小說(shuō)是寫(xiě)于1927年以前的作品,作品都以20世紀(jì)20年代前后中國(guó)的社會(huì)生活為背景,寫(xiě)出了時(shí)代青年、知識(shí)分子的憂(yōu)國(guó)憂(yōu)民之情,寫(xiě)出了他們對(duì)貧富懸殊的不滿(mǎn)和對(duì)生命力受壓制吶喊,作品中的諸多情節(jié)替“死亡”來(lái)展示,主人公的死往往具有一種“復(fù)歸自然”的文學(xué)人生理想。而小說(shuō)中所懸置的“死亡”問(wèn)題,正是把人們的注意力引向現(xiàn)世的生存,悲劇死亡的結(jié)局恰恰是對(duì)現(xiàn)世生存的復(fù)歸;主體生存意識(shí)的幻滅,孤獨(dú)、空虛、飄零、頹廢、變態(tài)的也是個(gè)體特有的生命體驗(yàn),在“沉默中滅亡”的悲劇也是“五四”時(shí)期許多浪漫青年的社會(huì)歸宿。作者的創(chuàng)作主題的最終目的由此傳達(dá)出來(lái),即由個(gè)人的死亡推及到時(shí)代的死亡。

三、“情感的回歸”與“自然的敘事格調(diào)”

浪漫主義將“死亡”定義為理想境界里的“復(fù)歸”不僅僅是一種情感的欲求和回歸,更是一種唯美自然的敘事格調(diào);而其敘事規(guī)則也表現(xiàn)為一種“回歸自然”原則。小說(shuō)《邊城》演繹的是一次唯美之死,展現(xiàn)的是作者清新浪漫的死亡理想,同樣是一種詩(shī)意境界的“復(fù)歸”。沈從文作為自覺(jué)的敘述者、歌者,一方面使他在躋身都市生活里自覺(jué)地以“鄉(xiāng)下人”的目光和評(píng)判尺度來(lái)看待中國(guó)的都市文明,表現(xiàn)人性最真切的欲望;另一方面追求人性的自然張揚(yáng)以及強(qiáng)健生命力的健康發(fā)展。沈從文執(zhí)著于“人性追求”,強(qiáng)調(diào)生命力的張揚(yáng),歌頌古老人性的健康淳樸,嘆惋現(xiàn)代文明入侵下的人性變異;在宣揚(yáng)“人性復(fù)歸”的同時(shí),也將“死亡”作為“人性復(fù)歸”理想的實(shí)現(xiàn),這在一定程度上表現(xiàn)了他獨(dú)特的地域的、民族的文化歷史態(tài)度,也是他在城鄉(xiāng)對(duì)峙的整體結(jié)構(gòu)中批判文明在進(jìn)入中國(guó)的初始階段的丑陋的創(chuàng)作理想?！哆叧恰窋?xiě)了一個(gè)悲劇,小說(shuō)中似是而非的“死亡結(jié)局”是極具浪漫主義色彩的,恰恰表現(xiàn)了沈從文對(duì)“湘西”的未來(lái)無(wú)法預(yù)知的困惑與現(xiàn)實(shí)沖擊理想的矛盾,表現(xiàn)了創(chuàng)作主體在理想境界里的期許和限度,但作品的敘述并不給人奇崛的震撼或特別的悲郁,在作者詩(shī)意和抒情的筆端,生、死、聚、散,一切都是那么自然。在這里道家的“天人合一”以及“回歸自然”的思想得到了一種完美體現(xiàn)。而“死亡”在這里被演繹成一種那種簡(jiǎn)樸、原始、悠遠(yuǎn)的感覺(jué);現(xiàn)代化社會(huì)發(fā)展進(jìn)程的必然使生命的更迭成為不可回避的現(xiàn)實(shí),在渴望人類(lèi)樸素文明與排斥現(xiàn)代“文明”的沖突中,創(chuàng)作主體營(yíng)造了“不悖乎人性的人生形式”的死亡道德的“烏托邦”,流露出對(duì)工業(yè)文明污染后的現(xiàn)代社會(huì)的失望與“情感的回歸”的價(jià)值模式。

參考文獻(xiàn):

第2篇：浪漫主義文學(xué)論文范文

There are many domains research about romanticism. Whereas， the research about British positive romanticism is little. The positive romanticism has its remarkable characteristics in the various countries. The English positive romanticism pushed the romanticism literature to the high tide. Shelley’s Ode to the West Wind is one of the best works of positive romanticism of Britain. This thesis mainly analyzes the background of Ode to the West Wind， and the features of positive romanticism. This thesis appreciates Ode to the West Wind in various ways by analyzing the subjectivism， the political lyricism， idealism. This thesis also illustrates the features of human being admiration for nature. Both the style of this poem and the writing ways of the poem express the British positive romanticism characteristics vividly.

Key Words

Ode to the West Wind; British; positive romanticism

摘　要

文學(xué)的研究有很多領(lǐng)域，對(duì)浪漫主義的研究也有很多，但是把積極浪漫主義獨(dú)立起來(lái)研究卻很少。積極浪漫主義的特征在各國(guó)國(guó)家都有其顯著的鮮明的特征。在英國(guó)積極浪漫主義詩(shī)人用積極浪漫主義文學(xué)把浪漫主義文學(xué)推到了。雪萊的《西風(fēng)頌》是英國(guó)積極浪漫主義的優(yōu)秀作品，該論文通過(guò)對(duì)《西風(fēng)頌》創(chuàng)作背景及積極浪漫主義的定義分析；及對(duì)該詩(shī)歌特征的賞析，充分地展現(xiàn)了積極浪漫主義主觀性、政治抒情性、理想性。該論文也表現(xiàn)了崇尚自然熱愛(ài)自然等特點(diǎn)。又從詩(shī)歌的創(chuàng)作風(fēng)格、寫(xiě)作方法等特征都把英國(guó)乃至整個(gè)歐洲的積極浪漫主義的特征表現(xiàn)的淋淋盡至。

關(guān)鍵詞

西風(fēng)頌; 英國(guó); 積極浪漫主義;

Introduction

The romanticism is often regarded as an important branch of literature. It completely manifested the social characteristic of British at that fixed period， and expressed the society's request through literature. Therefore， the close relation between literature and society was fully displayed.

The romanticism developed extremely fast in British. The essence of romanticism reflected present situation and the needs of society. Moreover， positive romanticism in Britain has manifested the different of positive romanticism characteristic. Therefore， the positive romanticism also reflected the culture of British in 19th century.

Poetry is an effective way to express positive romanticism. In order to better understand the positive romanticism， it is necessary to realize the superficial meaning and the deep meaning that the poetry express. Ode to the West Wind as one of the famous work of the English positive romanticism at that fixed period， it manifest the English positive romanticism in various kinds of ways. It can be found that Ode to the West Wind is concluded with triumphant and hopeful mind. This poem has a deep influence on his generation and almost changed the value of his people.

I. The Definition of Romanticism and Positive Romanticism

At the early 19th century， pan-European movement took place in art and philosophy. The term derives from the Romances of the Middle Ages， and it refers to the idealization of reality. In the late 18th century， it began to mean anti-Classicalism and it also represented a trend towards the picturesque and the Gothic， nostalgia， mystery and dramatic love .e.g. Walpole， Beckford and Fuseli. By the early 19th century， it had been broadened in many aspects， such as enthusiasm， the rediscovery of the artist as a supremely inpidual creator， the development of nationalistic pride， and the exaltation of the senses and emotions over reason and intellect. In addition， romanticism is a philosophical revolt against rationalism and intellect. This breadth of meaning has led to the definition of Romanticism as a 'feeling' and very little else.

In Britain， the term refers to his literary and artistic movement of the late 18th and early 19th century. Romanticism rejected the earlier philosophy of the Enlightenment， which stressed that logic and reason were the best response human had in the face of cruelty， stupidity， superstition， and barbarism. Instead， the romantics asserted that reliance upon emotion and natural passions provided romantic movement typically asserts the unique nature of the inpidual， the privileged status of imagination and fancy， the value of spontaneity over “artifice” and “convention，” the human need for emotional outlets， the rejection of civilized corruption， and a desire to return to natural primitivism and escape the spiritual destruction of urban life. Their writings are often set in rural or Gothic settings and they show an obsessive concern with “innocent” characters-children， young lovers， and animals. The major romantic poets included William Blake， William Wordsworth， John Keats， Percy Bysshe Shelley， and Lord Gordon Byron.

Artistic and intellectual movement that originated in the late 18th century and stressed strong emotion， imagination， freedom from classical correctness in art forms， and rebellion against social conventions. Romanticism， attitude or intellectual orientation that characterized many works of literature， painting， music， architecture， criticism， and historiography in Western civilization over a period from the late 18th to the mid-19th century. Romanticism can be regard as a rejection of the precepts of order， calm， harmony， balance， idealization， and rationality that typified Classicism in general and late 18th-century Neoclassicism in particular. To some extent， it is also reaction against the Enlightenment and against 18th-century rationalism and physical materialism in general. Romanticism emphasizes the inpidual， the subjective， the irrational， the imaginative， the personal， the spontaneous， the emotional， the visionary， and so on.

Compared with passive romanticism， positive romanticism strengthens the will of men， and arouses the rebellion against reality and any else. Positive romanticism is that celebrated the power of inpidual self to create a world or to raise its particular conditions.

II. The Background of Romanticism and Positive Romanticism

Romanticism was one of the trends of literary and artistic thought， produces with the 18th century， at the beginning of 19 centuries Europe bourgeois revolution time.

In 18th century France's Enlightenment idealism advocated freedom of thought， emancipation of man's inpidual character and returning to the nature， and requested breaking royal power. In 19th century romanticism movements was started in European.

In the 19th century Europe various countries labor movement and the revolutionary movements are blustery. The working class in England strived for their own rights to subsistence， the same bourgeoisie launches the heroic struggle， took of a literature performance real life important methods， it with the time revolution mood associated production revolution literature， the revolutionary literature and the romanticism union has formed the positive romanticism. Byron and Shelley are representatives for British positive romanticism.

III.The Background of Shelley and Ode to the West Wind

A. The Background of Shelley

Percy Bysshe Shelley (1792—1822)， England’s greatest lyric poet， came from a family of some importance and power. His father was Sussex county gentleman and a Whig Member of Parliament; his grand-farther， who became a baronet， had amassed a great fortune. Shelley， the oldest son， accordingly grew up with the prospect of becoming a man of wealth and title. At Eton， he proved a good classical scholar， but was not very happy， for he was by nature revolutionary and unconventional. He was known as “mad shelly” and astronomy， and the exciting experiments he conducted， gave rise to many stories. The persecutions which he endured and witnessed at school gave him a lifelong detestation of tyranny and violence.

Shelley went to Oxford full of plans and ideas for changing the system of society. Being convinced that religious faiths were harmful to man’s happiness， he and his friend T.J.HoggH put forth a small study in logic， called the Necessity of Altheism， which was objected by the Oxford authorities ， however， shelly and Hogg declined to discuss the matter. As a result they were sent off. It was a disaster for a boy at 18， for he lost a valuable education at Oxford. He fell out with his father and became a wan-darer. Though he would eventually inherit a fortune， he had no ready money. When he was 19， he eloped with Harriet Westbrook， a girl of 16 whom he scarcely knew. From Then on， shelly， always full of schemes， went on a quixotic expedition to redress the wrongs of the Irish; from Lyn mouth shortly afterwards he distributed a seditious pamphlet called the rights of man， scattering some copies by balloon and putting others into bottles and throwing them into the sea. In 1813 he printed and published extraordinary poem， Queen Mab privately which expressed his belief in a new golden age.

In his glorification of revolutionary ideas， Shelley had sought out William Godwin， author of political justice， who had married Mary Wollstonecraft， author of The Rights of Women. His marriage with Harriet proved a complete failure; Shelly eloped with Godwin’s 15-year-old daughter Mary. But that year Harriet was found drowned in the serpentine and her two children by shelly became the subject of a lawsuit. For Shelley， he was not only deeply shocked by the tragedy but also suffered the bitterness of losing his children. However， the life had to go on. To get rid of solitude， he married Mary Godwin later at Marlow， on the Thames. There， in 1816， he wrote Ablator， or the Spirit of Solitude， the first long poem to show his true genius. Next year he wrote a long imaginative poem on liberty and love， the Revolt of Islam， which contained many fine passages of description and narrative and was inspired by the French Revolution.

At that time， Shelly had become a friend of Leigh Hunt and Peacock and had met Keats. Finally in 1818， to escape prejudice and insult， and also Godwin’s constant demands for money， Shelley decided to seek peace in Italy. There shelly gave up his dream of reforming the world by the means of direct political action and decided to pass on his inspiration to others through his poetry. In this belief he composed his Prometheus Unbound， enjoyed for its incomparable music， its color and story， as well as because it contained Shelly’s noblest ideas. To this period， too， he wrote his Lines in the Eugenia Hills and Julian and Maddalo， an autobiographical poem based on a happy visit to Byron in VeniceH. Meanwhile Shelly wrote his finest lyric， such as the Cloud， the Skylark， the Ode to the West Wind and so on. The music and intensity showed that Shelly was entering on a new stage of personal and imaginative greatness.

B. The Background of Ode to the West Wind

The poem was composed in 1819 when European labor movement and the revolutionary movement surged. To fight for their right， British working class began to struggle with the bourgeoisie. At August of that year， 80，000 workers in Manchester held a massive demonstration. Of course， the reactionary authorities had dispatched troops to suppress. That was well-known as the Bideilei Massacre. For Shelley was in favor of British revolution， he was expelled from the United Kingdom. Then he came to Italy， he met Keats， had made great influence to Shelley a lot on revolutionary cause. Form the above; we can see that in Britain there was no freedom.

Ode to the West Wind is the most representative of Shelley’s feelings and thoughts at that time. It is a mixture of death and rebirth. Shelley is concerned with the regeneration of himself spiritually and poetically and of Europe politically. In the first three stanzas， the dynamic force of the west wind is manifested in its power on the land， in the air， and in the sea in different seasons. It is the destroyer and preserver. It will destroy the old world and herald in a new one. In the fourth stanza Shelley wishes that he were a leaf， a cloud， and a wave， so that he could feel the power of the west wind; but he is aware of his age and his sufferings in life， which have bent him down. Finally， he appeals to the wind， the wind of aspiration and change， to reinvigorate him and to give force and persuasiveness to his poetry.

IV. The Features of Positive Romanticism in Ode to the West Wind

A. Enthusiasm

The romanticism has two big branches which are the negative romanticism and the positive romanticism. To a certain extent the positive romanticism has its positive characteristic as the name suggests.

The positive romanticism mostly manifests in the positive romanticism poet dares to face the reality， critique society's darkness， is spearheaded at the feudal aristocracy， opposed in the capitalist society survives the feudal factor， simultaneously all sorts of evil phenomenon which creates to bourgeoisie itself also has the exposition， thus the fill revolt， the fight fervor， will send ideally in the future， will yearn for the new happy life. In this poem， Shelley wants to create a new free country. He talks of the “Mediterranean” and the “summer dream”. In the dream， the reader finds the sea lying “Beside a pumice isle in baize’s bay quivering within the waves’ in tenser day”. Shelley implants the ideas of volcano with the word “pumice.” The “old palaces and tower” stir vivid image of ancient Rome and Greece in readers mind. Shelley also uses these images in the sea’s dream to show that the natural world and the human social and political world are parallel.

B. Subjectivism

In the poem the west wind is not merely the wind of the nature， the subject which is the counter-capitalism counter-old influence， instead of regarding poetry as “a minor to nature” the source of which is in the outer world， romantic poets describe poetry as “the spontaneous overflow of powerful felling” which express the poets mind.

In Ode to the West Wind， Percy Bysshe Shelley tries to gain transcendence， for he shows his thoughts， like the "winged seeds" trapped. The west wind acts as a driving force for change and rejuvenation in the human and natural world. Shelley views winter not just as last phase of vegetation but as the last phase of life in the inpidual， the imagination， civilization and religion. Shelley looks forward to freedom. From this “winged seeds” it presents image of flying and freedom. The important word is “seeds” for it which shows that even in death， new life will grow out of “grave” the phrase “winged seeds” also brings images of religions， angels or souls which can create new life continuously.

Heavenly images are confirmed by his use of the word “azure” which is also defined besides the meaning of blue sky， In Webster’s dictionary， as an “unclouded vault of the heaven”， the word “azure” is connected with the word “spring”， and it helps show Shelley’s view of rejuvenation. In addition， the word “spring” also means to rise up except being a literary metaphor for rebirth. In line nine， Shelley uses soft sounding phrases to communicate the blowing of the wind， this tierce cuts as an introduction and foreshadow of what is to come later. Shelley goes on to talk of the wind as a “destroyer and preserver”. The wind is also a person that to create freedom. Form this we can see that “wind” is a power which can destroy the old day and create new life. Therefore， Ode to the West Wind is a song of revolution at that time.

C. Idealism and Imagination

Just like Gorky pointed out “the romanticism is one mood， it complex moreover throughout how many fuzzily reflected actually is covering transition time society's all feelings and the mood color， but， its main key is to new thing anticipation”. The romanticism refers to the appearance according to the people， through the life phenomenon idealization description， and them displays certain social psychology and the emotion creation method. The romanticism ideal displays in the character image mold are the romanticism which is based on the basis of the idealized principle， through the unreal plot， in a special environment， exerts oneself in the description ideal the character image. These characters often have the unusual super human's moral character， ability and the behavior. The positive also inherit this feature.

轉(zhuǎn)貼于 In this poem we can see that Shelley wants to establish a new free society. “drive my dead thoughts over the incantation of this verse; like wither，d leaves to quicken a new birth”， and “if winter comes， can spring be far behind”. It is obvious that Shelley is looking forward to new thoughts and new society.

On behalf of the positive of romantic， Shelly can’t see the future of socialism， but he also can't escape the circle of ideal socialism. It makes another feature of positive of romantic idealism. Does the poet describe what they will create in this poem?

D. Political Tendentiousness

Judging from the background of the positive romanticism， the positive romanticism must have certain characteristic belonged to that era. Political tendentiousness is the positive romanticism to that time reflection and the portrayal.

From Ode to the West Wind we can feel the intense of political tendentiousness， the west wind is “destroyer and preserver”， the west wind Cleans these which “yellow， and black and pale， and hectic red” Heartless. The west wind “thou on whose stream ， mid the steep shy，s commotion”. The west wind is not the nature wind. It is the revolution wind， the wind against bourgeoisie， and against the power of Feudal.

E. Emotion and Nature

The romanticism poet's poetry mostly originates from the nature. Nature for the romanticists comes to the forefront of the poetic imagination. Nature is not only the major source of poetic imagery， but provides the dominant subject matter. Wordsworth conceives of nature as “the nurse， the guide and guardian of my heart and soul.” Nature to the romanticists is a source of cleanliness and spiritual understanding; it is a teacher; it is the stepping-stone between man and god， so romantic poets mostly take describing the nature to eulogize the nature as the subject. The positive romanticism poet has not discarded this characteristic.

According to Shelley said “the idea of writing this first poem is basically. In Florence Arnoux river bank woods， same day the temperature is genial， fresh， but this storm is gathering the moisture， under the incline the autumn rain”. From this the poet has felt the wild westerly wind， and life of the fall breath. Then the poet wrote westerly wind only because of this real， and the magnificent sight.

From the poem it is can be seen that Shelley was eulogy the west wind， but he was not just a singers， he Represents taking the westerly wind as the topic， taking the subject in the nature， and this is full of the fervor the poetic composition， selects a scene in this is naturally the romanticism universal characteristic also is the positive romanticism characteristic， does obeisance? Wordsworth sends the poet in a big way for representative's lakeside always describes the nature .in this poem Shelley described the change of the fall. The poet creates originating from the Italian Florence's suburb. Is precisely because the poet is good at observing the nature， only then had this classical poetry.

The romanticism writers all advocate the nature. Is naturally they express the feelings the nature carry. The romanticism work is often expressed the feelings， and author’s emotion pouring out swiftly with reveals. The positive romanticism is more radical， therefore the sentiment expresses intensely. Shelley has also displayed this characteristic in Ode to the West Wind. This poem starts from the eulogy westerly wind， in fourth Stanza “if I were a dead level thou mightiest bear; if I were a swift cloud to fly with thee” The poet compares oneself to others by the westerly wind. The poet expressed the poet the deep love and yearned for the nature through the westerly wind. He used the westerly wind to urge on oneself， expressed the free pursuit， with the hope to establish happy world.

F. Syncretism with Other Art

Form this poem， it can be found that very strange rhyme， because Shelley use the tetrza rima. It is a three line unit a tercet .rhyming a b a， the “b” rhyme is carried into next tercet ，b c b ，each stanzas has four tercets of interlocking rhyme and ends in a couplet using the middle rhyme of the last tercet. Thus the rhyme schemes are a b a， c d c， d e d and go on. It makes the rhyme very cheerful， and it also enables the poem and has the very strong rhythm， and highlight the musicality. It is just the same as Dante's Divine Comedy. From this poem， it also can be found that the beauty of music from the west wind， “make thy lyre， even as the forest is”. The Aeolian harp gives musical sounds as the wind blows through it. Here the forest is compared to the Aeolian harp lyre， and the poet prays that he also maybe the Aeolian harp so that he could feel the power of the west wind. It makes the sound of west wind more vivid and makes the poem more musical.

G. The Writing Style

The writing style of the poem efficiently reflects the features of positive romanticism.

a. The Free Writing Style

There are differences between writing techniques of romanticism and literature before it. In style， the romantic poets are prefer to boldness over the preceding age’s desire for restraint， maximum suggestiveness over the neoclassical ideal of clarity， free experimentation over the “rules” of composition， genre， and decorum， and they promoted the conception of the artist as “inspired” creator over that classicism literature which sticks to old ways equally， constrains the inpiduality， and it isn’t like the realism literature same language to encourage sharply， but is pursues the inpiduality liberation creation absolutely free， the poetry aspect is not tracking down traditional the form. Displays in the romanticism literature creation many and varied creation style.

First， romanticism is good at using the technique of exaggerating symbol. It also likes utilizing the magnificent literary flourishes， in the work fills the vivid rich analogy， causes beautiful and ugly， friendly and forms the sharp contrast and the striking comparison wickedly. The positive romanticism has completely inherited these characteristics of romanticism， and the language even more encourages.

In 19th， many poets like writing poem. Poem is the best choice for many positive romantic poets. For example，the most famous work of Byron is Don Juan， the most famous poem of Keats is Ode to a Nightingale. Because poem can express their feelings and it is one kind of art language， the poem is one kind of art which is to the soul and to the exploration. The poem can express the inner soul. It can make the distance between the human and the poetry closer. It also can form the sympathetic chord， and reach the effect of beautiful enjoyment. The poem is one kind of creativity. It does not stop using the language to create inner world. As the energetic movement， it is the way to liberate inner feelings， so it indicates another world. The poem is supposed to be revolutionary and timeliness. Sometimes it is mind record， which is based on the background of time. The poem is in the form of rhythmic， so the artistic effect is very obvious. All of these are expressed by the positive poets.

b. The Feature of the Poem’s Words

Romanticism is different from the realism and other literature， the words of romantic literature are very flowery， which is the as the positive romanticism. From this poem we also can get the feature. In this poem the feature of the language gorgeous mainly displays in the strong sentimental color and the bright demeanor. For example， when the poet writes the leaves， he uses the “Yellow， black， pale， hectic red”， and when he writes the wind there are many places using the word “hear”， which express that many time the poet wants to make the hearing and the vision unify to make the word more vivid.

The words of this poem’ express intense Summons， for example， “Pestilence-stricken multitudes， with living hues and odors plain and hill， of the horizon to the zenith's height， like writher’s leaves to quicken a new birth. If Winter comes， can spring be far behind?”

H. Rhetoric Device

a. Hyperbole

In this poem， Shelley used many hyperboles. Hyperbole in other words is exaggeration. It puts a picture into the readers mind. Hyperbole is frequently used in humorous writings. Hyperbole is common in humorous poetry， because it can make a point in a light-hearted way. It can be used to poke fun at someone or something. In this poem the hyperbole is used clearly; poet’s thoughts change very fast. Sometimes it maybe in the sky， but sometimes it is in the Mediterranean.

b. The Symbol Device

In the romantic poets view the symbol is aesthetic correlatives of nature’s emblematic language. There are great values because they could simultaneously suggest many tings， and they are regard as being superior to the one –to –one communications of allegory. Partly， it may have been the desire to express the “inexpressible” the infinite through the available resources of language that led to symbol at one level and myth (as symbolic narrative) at another. "Ode to the West Wind" used the symbol device， the entire first poem surrounds the autumn westerly wind to write an essay from the beginning to end， regardless of is describes the scenery or expresses feelings， all has not been separated from this specific description object， has not used political terminology and revolutionizes the slogan. However read after this short poem， we deep deeply feel actually， Shelley in sings the westerly wind， is incompletely sings the westerly wind， in the poet essence is through sings the westerly wind to sing to revolutionize. In poem westerly wind， remnant leaf， seed， class cloud， rainstorm thunder and lightning， sea mighty waves， seabed colored tree and so on， all is the symbolic things， they are containing the profound implication， the moving scenery which the nature wind and cloud surges， is the world vigorous development revolutionary struggle symbolic reflection.

Conclusion

The romanticism has two aspects. There are positive romanticism and the negative romanticism. Literature has regional characteristic， so positive romanticism in British has their own characteristic. The romanticism asserted that reliance upon emotion and love and passions for nature provided a valid and powerful means of knowing and a reliable guidance to ethics and living.

The Ode to the West Wind took the world literature， and it has manifested many characteristics of positive romanticism， but it didn’t completely manifest the positive romanticism characteristic. Subjectivism， idealism， deeply loves for nature all embodiment the characteristics of positive romanticism.

Shelley is one of the repressive of positive romanticism. To some extent， Shelley is famous for “Ode to the West wind”. This poem is filled with triumphant and hopeful emotion.

This thesis targets at analyzing the features of positive romanticism. There also exist some faults in this thesis. The author hopes other English learners make more research.

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第3篇：浪漫主義文學(xué)論文范文

1、《雅舍小品》。梁實(shí)秋的一部散文作品集，篇篇精致、優(yōu)雅、幽默、有趣，常旁征博引，信手拈來(lái)渾然天成，會(huì)心一笑中品味社會(huì)百態(tài)；

2、《浪漫的與古典的》。梁實(shí)秋曾出版過(guò)論文集，宣揚(yáng)白璧德的新人文主義。梁實(shí)秋是我國(guó)現(xiàn)代文學(xué)批評(píng)史上一位頗為獨(dú)特的批評(píng)家，其前后期的批評(píng)理念差別很大：前期以浪漫主義批評(píng)為主，后期轉(zhuǎn)而皈依于古典主義批評(píng)的門(mén)下；

3、《槐園夢(mèng)憶》。收錄了女人、男人、孩子、中年、老年、退休、講價(jià)、乞丐吃相、飲酒、吸煙、雅舍、清華八年、憶《新月》、談話(huà)的藝術(shù)、升官圖、學(xué)問(wèn)與趣味、利用零碎時(shí)間、罵人的藝術(shù)。

（來(lái)源：文章屋網(wǎng) ）

第4篇：浪漫主義文學(xué)論文范文

關(guān)鍵詞：奇詩(shī) 浪漫主義 本色 南社交游

一、導(dǎo)言

晚清政治砥礪，作為中國(guó)最后一代傳統(tǒng)文人，蘇州狂人黃人異軍突起，藝苑游騁，其首著的煌煌《中國(guó)文學(xué)史》被錢(qián)仲年先生譽(yù)為“牛腰巨挺，為國(guó)人自著文學(xué)史之嚆矢”，②其所著的戲曲被王永健先生譽(yù)為“文界之異軍蒼頭”，③黃人，這座在清末民初文學(xué)界引起軒波的豐碑正逐步走進(jìn)學(xué)人的研究視野，但因其文學(xué)作品散佚較多，加其曲高和寡，故一般人很難探其堂奧，遑論得其驪珠者也，鄙人草莽，欲懷先生“先著祖鞭”之志，廁追尋者之列，踵前人之足跡以觀先生風(fēng)雅之志。

二、黃生不怕人不識(shí)，變幻離奇逞神力

黃人是南社早期重要詩(shī)人。且在文學(xué)史論、小說(shuō)理論、小說(shuō)著譯、辦刊結(jié)社乃至詞典編纂諸方面均有建樹(shù)。他創(chuàng)造了近代文壇上五個(gè)“最早”：（1）最早編寫(xiě)《中國(guó)文學(xué)史》。（2）最早提出小說(shuō)美的特殊本質(zhì)。（3）最早編寫(xiě)百科大辭典。（4）最早刊載沈三白的《浮生六記》。（5）最早創(chuàng)辦白話(huà)報(bào)。

然而，作為一個(gè)具有進(jìn)步意義的傳統(tǒng)文人，我們不應(yīng)該忽視中國(guó)文學(xué)的正統(tǒng)主流文學(xué)形式――詩(shī)歌的研究，而這正是其思想精髓之淵藪。錢(qián)仲聯(lián)《近百年詩(shī)壇點(diǎn)將錄》點(diǎn)摩西為天煞星黑旋風(fēng)，贊曰：“黃摩西，晚清之王仲瞿也。于書(shū)無(wú)所不讀，自詩(shī)、詞、小說(shuō)，以及名學(xué)、法律、醫(yī)藥、內(nèi)典、道籍，莫不窮究，兼通諸異術(shù)。慕黃石齋、黃陶庵、黃梨洲、黃九煙之為人，自顏其居曰‘石陶梨煙室’。詩(shī)兼仲瞿、定庵之長(zhǎng)，而更為奇肆?！段煨缭┤瘴g詩(shī)》寄寓時(shí)事，可匹袁昶《地震詩(shī)》，而藻采過(guò)之?！雹?/p>

三、“青蓮之逸，昌黎之奇，長(zhǎng)吉之怪，義山之麗”――無(wú)所不師而無(wú)定師

從《黃人集》所收1500余詩(shī)來(lái)看，黃人詩(shī)于律、絕、古風(fēng)、民謠、各類(lèi)闋調(diào)皆有所作，題材遍及詠史、懷古、寫(xiě)景、記事、論文、論詩(shī)等題材，如黃人的詩(shī)中有觸及時(shí)勢(shì)，反映清末政局，“寄寓時(shí)事，可匹袁昶《地震詩(shī)》，則藻采過(guò)之”⑤的《戊戌元旦日蝕》等長(zhǎng)篇古風(fēng)，黃人在這首詩(shī)借日蝕的自然現(xiàn)象，對(duì)晚清朝政進(jìn)行了尖銳的批評(píng)與譴責(zé)。

黃人還寫(xiě)了不少通俗易懂、朗朗上口的民謠。《勸種桑歌》從種桑的好處、用地、施肥、修剪到養(yǎng)蠶的要領(lǐng)、繅絲的方法都一一作了通俗說(shuō)明，其中寫(xiě)道：“玄貝蕉萃米囊肥，游手安飽績(jī)女饑。紡線(xiàn)織布雖平等，洋紗奪之利已微?！薄俺钭舛惸撼罨?，一年辛苦不得償，有田有力總有法，何不聽(tīng)我歌種桑?！雹奁潢U述之明了，說(shuō)理之清楚，既充分顯示了黃人的博學(xué)多才，又反映了他貼近生活的平民意識(shí)。

除了在詩(shī)歌題材上宏偉闊綽外，在風(fēng)格上亦是“轉(zhuǎn)益多師是汝師”，如其在《前出塞和老杜韻》中的“生材必有用，殺賊好身手。七尺葬馬革，此志蓄之久”，以及在《偶書(shū)》中的“燕昭筑高臺(tái)，羅致天下士。士無(wú)賢不肖，概以黃金市”，此兩處均化用李白的詩(shī)典和事典。而在《夢(mèng)游仙》中的“石破天驚補(bǔ)不平，當(dāng)關(guān)鐵額尚猙獰”及《太平洋七歌》中的“赤彘云中赤帝子連弩驚天大魚(yú)死”句以及《天上遙》全篇?jiǎng)t是凸顯的李長(zhǎng)吉的奇特乖舛之風(fēng)。而在《和退之此日足可惜韻寄耀堂》中則與韓詩(shī)風(fēng)格絕類(lèi)。

秦琪說(shuō)黃人“古體跌蕩縱橫，雄奇瑰麗，骨蒼而韻逸，氣而趣博”。⑦姚曉雷在分析黃人《題長(zhǎng)吉集》時(shí)寫(xiě)道：黃人“是一個(gè)才華高妙且極富有創(chuàng)新熱情的人……他題詠李賀詩(shī)集，既肯定李賀的奇崛幽峭，裱麗凄清的浪漫主義風(fēng)格，但又認(rèn)為李賀并非不可企及和逾越，表達(dá)了黃人勇于創(chuàng)新的自信和自己獨(dú)特的風(fēng)格”。⑧黃人的詩(shī)中“滿(mǎn)懷著驚人的奇氣，勢(shì)壓九州的奇情，其奇舉和奇句之馨香可直達(dá)天庭”。⑧

四、 “詩(shī)本天籟，出于自然”――黃人詩(shī)之真性美

摩西在其所著《中國(guó)文學(xué)史》中提出“詩(shī)本天籟”，“感情是自然的”主張。他不僅反對(duì)評(píng)論者“憑臆見(jiàn)”的各種說(shuō)詩(shī)，也不贊成詩(shī)人專(zhuān)意于拗體、蜂腰、斷弦等等。⑨基于這種觀點(diǎn)，摩西主張?jiān)姼枰獙?xiě)出“真意”，保持“本色”，具有“真性情”。摩西賦詩(shī)填詞和評(píng)論詩(shī)詞，強(qiáng)調(diào)“奇氣”、“奇情”、“奇舉”和“奇句”。因而奇?zhèn)?、瑰異和恣肆，既是摩西?shī)詞的藝術(shù)風(fēng)格，也是他對(duì)詩(shī)美的追求。

在摩西看來(lái)，“感情為自然的，而思想則為當(dāng)然也。感情傾向于客觀的一方面，而思想則傾向于主觀的方面者也。感情之程度，其受感者，雖文野萬(wàn)有不齊，而其能感者則一”。再者，欣賞天籟、自然之作，必然反對(duì)締飾雕琢。摩西論《詩(shī)之修詞法》曰：

雖全出天籟，而如風(fēng)行水上，云在空中，瞬息千變，各呈奇巧。后世詞章家嘔心涸腦，自矜創(chuàng)獲，終不能遁出其范圍。是知瓊琚玉佩之莊嚴(yán)，終遜秋波一轉(zhuǎn)之剪彩；刻楮之工巧，何如春風(fēng)一噓。一切格律、神韻、性靈之徑磋聚訟，皆盲人爭(zhēng)象耳。⑨

由于黃人所處的是一個(gè)“荊棘遍地，豺虎載道”⑩的時(shí)代，眾多文人萌生黍離麥秀之感，椎心泣骨之痛，于是尋求解脫，而黃人亦秉著抒發(fā)“本真之性”的創(chuàng)作原則，創(chuàng)作一些隱逸之詩(shī)，毫不矯揉造作。如其在《游虞山詩(shī)序》中所說(shuō)：“獨(dú)念吾儕偃息承平，上之不能贊禹刊益烈之績(jī)，次之不能銘燕然溯昆侖，又不能筆蓬瀛為國(guó)家鼓吹，惟是放志林麓，借漁樵仙釋荒涼寂寞之境，以鳴其豫，良足感……三徑就荒，歸計(jì)未決?！贝似献反笥碇z烈，下溯刻石燕然之勛功，而反躬自省，唯有放志山林，梅妻鶴子，方解荒涼之境，可謂感情真切直露。其在《小說(shuō)林發(fā)刊詞》中亦云“鴟夷一舸，青冢一不失幽芬”，借用范蠡泛扁舟的典故，以及《金縷曲》中“娥眉自古招人妒。倒不如淮南雞犬，舐丹飛去”淮南王雞犬升天的故事來(lái)隱喻作者的心境。其真性情可見(jiàn)一斑。

五、近代浪漫主義之魁首

錢(qián)仲聯(lián)《夢(mèng)苕庵詩(shī)話(huà)》評(píng)曰：近人論浪漫主義詩(shī)人，爭(zhēng)稱(chēng)蘇曼殊。曼殊尚浮淺不足道。若吾邑黃摩西，則不愧近代浪漫詩(shī)人之魁首矣！此論良是。

摩西之詩(shī)構(gòu)思奇特，往往通過(guò)奇異的想象，用奇情洋溢的奇句構(gòu)成生動(dòng)有魅力的形象，這類(lèi)佳作真是不勝枚舉。

如《送窮》中“敝衣惡食古帝子，轉(zhuǎn)世又為后羿氏。門(mén)外神荼顏可怕，葦索飛來(lái)縛汝下，送與鐘馗佑除夜”以浪漫主義筆調(diào)寫(xiě)出了勞動(dòng)人民希望擺脫貧窮的淳樸愿望?！都涝?shī)》詩(shī)具有一瀉千里的磅礴大氣，其中“欲祭詩(shī)，應(yīng)祭我，祭我何如祭詩(shī)妥？我難不死詩(shī)長(zhǎng)生，骨枯肉爛心血存”一句頗有“我以我血薦軒轅”之感。

他如《時(shí)疫盛行戲作》、《祝心淵望岳圖》、《暑劇戲作參用昌谷、玉川體》、《過(guò)湖蕩紀(jì)事》等等，都是充分顯示了浪漫主義特色的詩(shī)篇。而這些浪漫主義的體現(xiàn)主要是借助那奇崛的想象以及“妙手偶得”的語(yǔ)言氣勢(shì)，其雖不能與太白相儔，但亦軌其道，得其髓矣，此言豈為過(guò)乎？

但是，最為出奇而引人刮目相看的，當(dāng)推《元旦日蝕詩(shī)》：“帝納芻蕘，布新除舊。三臺(tái)四輔，煥徹左右。群星壞政，或黜或宥。九天失色，出處列宿。姑釋勿問(wèn)，以備四守。月卜其夜，日卜其晝。各安其位，不相刺謬，天眼復(fù)完，以矚宇宙?！?/p>

錢(qián)仲聯(lián)《夢(mèng)苕庵詩(shī)話(huà)》指出：“雖使盧仝、徐積、劉基執(zhí)筆，亦不能過(guò)。詩(shī)作于光緒戊戌，指斥金輪，語(yǔ)意極顯，詩(shī)家之董狐也。”即在古典詩(shī)詞史上，可與盧仝的《月蝕詩(shī)》和劉基的《二鬼詩(shī)》鼎足而三。全詩(shī)以寄托的手法，激昂的神態(tài)，瑰麗的詞藻，一展黃人胸中的豪氣。

當(dāng)然有人說(shuō)摩西之詩(shī)由“豪宕”而歸于“平淡”。應(yīng)該強(qiáng)調(diào)的是，摩西詩(shī)風(fēng)前后雖有變化，但萬(wàn)變不離其宗，其浪漫主義的奇情壯采和奇氣瑰異特點(diǎn)，則是一以貫之的。何以會(huì)形成摩西這種恣肆的浪漫主義文風(fēng)呢，秦琪的《摩西遺詩(shī)序》可以做佐證：“所為詩(shī)，近體高華秀拔，神骨天成。古體跌宕縱橫雄奇瑰麗，骨蒼而韻逸，氣而趣博，以其胸中所幽苦怨憤磅礴郁積者一發(fā)于詩(shī)?！?/p>

六、后記

黃摩西所處時(shí)代如李鴻章所言：“處數(shù)千年未有之奇局，自應(yīng)建數(shù)千年未有之奇業(yè)?！睔v史的特殊機(jī)緣使近現(xiàn)代成為一個(gè)奇人輩出的時(shí)代。亂世出英雄，這是著眼于政治的解讀，從文化學(xué)術(shù)的視角來(lái)看，也同樣可以說(shuō)亂世出奇才。

正如文史專(zhuān)家時(shí)萌教授所言：“世稱(chēng)摩西為‘奇人’、隆杰’，僅為其個(gè)性放浪不守繩墨之一面，其實(shí)先生亦有其莊正之一面。如戊戌年從容論政，辛亥時(shí)參與鼎革；既掩護(hù)章太炎力避緹騎于前，又吟詩(shī)寄懷太炎獄中于后；倡小說(shuō)之新論，編弘揚(yáng)新學(xué)之辭典，等等。先生存年四十八度春秋，歷經(jīng)動(dòng)蕩激變，其學(xué)其行，莫不與時(shí)代之遞變符節(jié)，惜乎長(zhǎng)才未展，赍志而沒(méi)，然不愧為才氣踔厲之一代學(xué)人?！雹?/p>

注釋

① 柳亞子.胡寄塵詩(shī)序[A]//孫之梅.南社研究[M].人民文學(xué)出版社，2003：382.

② 錢(qián)仲聯(lián).蘇州奇人黃摩西評(píng)傳序[A]//王永健.“蘇州奇人”黃摩西評(píng)傳[M].蘇州大學(xué)出版社，2003.

③ 王永健.20世紀(jì)中國(guó)古代戲曲研究的拓荒者黃摩西戲曲理論批評(píng)簡(jiǎn)論[J].東南大學(xué)報(bào)（哲學(xué)社會(huì)科學(xué)版），2000（01）.

④ 夢(mèng)苕庵論集[M].中華書(shū)局，1993.

⑤ 近百年詩(shī)壇點(diǎn)將錄?天煞星黑旋風(fēng)李逵[A]//夢(mèng)苕庵論集[C].中華書(shū)局，1993.

⑥ 勸種桑歌[A]//江慶柏，曹培根.黃人集[M].上海文化出版社，2001：214.

⑦ 秦琪.摩西遺詩(shī)序[A]//江慶柏，曹培根.黃人集[M].上海文化出版社，2001：359.

⑧ 姚曉雷.黃人“題長(zhǎng)吉集”析[A]//元明清詩(shī)鑒賞辭典[C].1994.

⑨ 中國(guó)文史?分論?韻[M].蘇州大學(xué)圖書(shū)館藏.

⑩ 與雷鐵書(shū)[A]//南社叢刻?第十三集[C].江蘇廣陵古籍，1996.

第5篇：浪漫主義文學(xué)論文范文

一、沈從文的小說(shuō)理論是對(duì)傳統(tǒng)小說(shuō)理論的突破，成就了現(xiàn)代小說(shuō)理論的輝煌

傳統(tǒng)觀念是輕視小說(shuō)的，認(rèn)為小說(shuō)是不登大雅之堂的。在讀書(shū)人心目中，只有詩(shī)、文、詞才是正經(jīng)的“文學(xué)藝術(shù)”。雖然經(jīng)過(guò)梁?jiǎn)⒊热说?ldquo;小說(shuō)界革命”，提高了小說(shuō)在變革社會(huì)中的政治地位，但小說(shuō)在文學(xué)上的正宗地位，并沒(méi)有得以肯定。直到“五四”文學(xué)革命倡導(dǎo)時(shí)期，小說(shuō)的文學(xué)正宗地位才得以確立。“五四”時(shí)期，沈從文和一樣，都是將小說(shuō)視為文學(xué)的正宗的，不僅在理論上予以重視，而且用自己的創(chuàng)作來(lái)確立小說(shuō)的文學(xué)的正宗地位。他后來(lái)在《我怎么就寫(xiě)起小說(shuō)來(lái)》一文中說(shuō)：“動(dòng)搖舊社會(huì)，建立新制度，做個(gè)‘抒情詩(shī)人’似不如做個(gè)寫(xiě)實(shí)小說(shuō)作家工作扎實(shí)而具體。因?yàn)楹笳咚憩F(xiàn)的，不僅情感或觀念，將是一系列生動(dòng)活潑的事件，是一些能夠使多數(shù)人在另外一時(shí)一地，更容易領(lǐng)會(huì)共鳴的事件。”[1]這是沈從文創(chuàng)作小說(shuō)的出發(fā)點(diǎn)。在變幻莫測(cè)的小說(shuō)理論世界，沈從文自始至終都認(rèn)為藝術(shù)應(yīng)該為人生、應(yīng)該擁抱人生的宗旨。與當(dāng)時(shí)文壇領(lǐng)軍人物魯迅重視用小說(shuō)來(lái)改造國(guó)民精神不同的是，沈從文企圖通過(guò)對(duì)人性的表達(dá)和對(duì)“生命神性”的探求，來(lái)獲得“生命的明悟”，以緩解現(xiàn)實(shí)的痛苦，從而達(dá)到社會(huì)重造與生命重造的目的。更值得一提的是，沈從文把“人性表達(dá)”看得超越于時(shí)代，卻不脫離現(xiàn)實(shí)生活，避開(kāi)階級(jí)、政治、商業(yè)角度單純刻畫(huà)人性，這成為沈從文小說(shuō)人性觀的獨(dú)特之處。

沈從文是個(gè)有鮮明創(chuàng)作個(gè)性和獨(dú)特風(fēng)格的作家，他在小說(shuō)創(chuàng)作上勤于學(xué)習(xí)，勇于探索，從不墨守成規(guī)。在傳統(tǒng)小說(shuō)理論的基礎(chǔ)上，他創(chuàng)造性地發(fā)展了抒情小說(shuō)這一體式，創(chuàng)造了詩(shī)意的抒情小說(shuō)文體，或詩(shī)化抒情小說(shuō)體。他實(shí)際上是把詩(shī)和散文引進(jìn)小說(shuō)之中，打破了三者的界限，從而也就擴(kuò)大了小說(shuō)的表現(xiàn)領(lǐng)域及其審美的功能。他還表示，“將文學(xué)限于一種定型格式中，使一般人以為必如此如彼，才叫做小說(shuō)，叫做散文，叫做詩(shī)歌”，這樣的習(xí)慣觀念會(huì)束縛住“自己一支筆，無(wú)從使用，更使一般人望而卻步，不敢用筆，即用筆，寫(xiě)出來(lái)和習(xí)慣不大相合，也不成功！”短篇?jiǎng)?chuàng)作應(yīng)當(dāng)是“揉小說(shuō)故事散文游記而為一”，“自成一個(gè)新的型式”。[2]沈從文是詩(shī)化小說(shuō)的代表作家，他繼承和發(fā)展了廢名開(kāi)創(chuàng)的詩(shī)化小說(shuō)的傳統(tǒng)，并在現(xiàn)代文學(xué)第二個(gè)十年達(dá)到大成。沈從文的小說(shuō)風(fēng)格直接影響了他的學(xué)生汪曾祺，而汪曾祺的小說(shuō)又直接或間接地影響了后來(lái)的張承志的小說(shuō)創(chuàng)作。從廢名始，這些作家的作品顯示了詩(shī)化小說(shuō)在中國(guó)現(xiàn)代文學(xué)史上的發(fā)展進(jìn)程。

米蘭·昆德拉說(shuō)：“小說(shuō)家存在的意義不是對(duì)既成現(xiàn)實(shí)作出準(zhǔn)確的臨摹，而是必須對(duì)存在作出判斷和思考。”他提出了“情緒的體操”與“抽象的抒情”的創(chuàng)作方法，這體現(xiàn)出的是一種生存的焦慮，是作家對(duì)我們現(xiàn)實(shí)生活處境的深刻洞察，是對(duì)生命的詩(shī)性關(guān)照。

二、沈從文的小說(shuō)理論大大推進(jìn)了小說(shuō)理論的現(xiàn)代化進(jìn)程

沈從文的小說(shuō)理論既借鑒西方現(xiàn)代小說(shuō)理論的某些觀念和觀點(diǎn)，又在此基礎(chǔ)上有所創(chuàng)新和開(kāi)拓，沈從文雖然沒(méi)有正式進(jìn)入大學(xué)學(xué)過(guò)西方文學(xué)理論，但從事教學(xué)和編輯工作的大量經(jīng)驗(yàn)和超凡的藝術(shù)感悟力，已使他的理論觸及到了批判現(xiàn)實(shí)主義小說(shuō)和浪漫主義小說(shuō)的某些實(shí)質(zhì)問(wèn)題，這集中的體現(xiàn)在他聲稱(chēng)所受契訶夫和屠格涅夫等作家作品的影響，但他從不拘泥于前人的認(rèn)識(shí)和成果，而是“兼容并包，從不排斥拒絕不同方式浸入生命的任何離奇不經(jīng)事物”，[6]卻又依據(jù)自己的文化個(gè)性和審美趣味，取其精華，然后加以創(chuàng)造性的運(yùn)用。契訶夫和屠格涅夫兩位作家對(duì)社會(huì)最底層人民的關(guān)注與同情，對(duì)沈從文的理念和創(chuàng)作產(chǎn)生了深遠(yuǎn)的影響。在人物塑造上，沈從文主張“表現(xiàn)社會(huì)下層人們的生存狀態(tài)”，要求小說(shuō)積極反映社會(huì)下層現(xiàn)實(shí)，關(guān)注普通人的命運(yùn)，這無(wú)疑代表了某種現(xiàn)代意識(shí)的覺(jué)醒，成為“五四”所提倡的通俗、平易的“國(guó)民文學(xué)”、“寫(xiě)實(shí)文學(xué)”及“社會(huì)文學(xué)”等觀念的先聲。屠格涅夫“把人和景物相錯(cuò)綜在一起”的敘事方法對(duì)沈從文田園牧歌式的鄉(xiāng)土文學(xué)創(chuàng)作產(chǎn)生影響，不過(guò)沈從文在此基礎(chǔ)上作了更深的探索和發(fā)掘，從而形成其獨(dú)特的浪漫理論。他自稱(chēng)是20世紀(jì)“最后一個(gè)浪漫派”，這種浪漫不同于西方浪漫主義對(duì)現(xiàn)實(shí)極端不滿(mǎn)，在藐視中自覺(jué)地疏離現(xiàn)實(shí)，而他的小說(shuō)不僅表現(xiàn)了一種田園牧歌情調(diào)，或呈現(xiàn)出詩(shī)意的風(fēng)格，更是充滿(mǎn)憂(yōu)傷和艱辛的人生圖景。另一方面，西方浪漫主義秉承希伯來(lái)文化的神秘、怪誕 傳統(tǒng)，拒絕理性、平凡，強(qiáng)調(diào)“真正的詩(shī)所唯一承認(rèn)的東西，是令人驚嘆的東西，不可思議的東西，神秘的東西。”[7]而沈從文所向往和一心希望建造的是一座供奉“人性”的希臘小廟，這種與“人性”關(guān)聯(lián)的其人其事其情并不荒誕也不神秘，都真真切切地來(lái)自現(xiàn)實(shí)生活，給人們一種親切感。

三、對(duì)中國(guó)整個(gè)鄉(xiāng)土小說(shuō)創(chuàng)作、小說(shuō)理論產(chǎn)生深遠(yuǎn)的影響

從當(dāng)代小說(shuō)理論的視野來(lái)看，沈從文小說(shuō)理論涉及的方方面面，無(wú)不對(duì)中國(guó)整個(gè)鄉(xiāng)土小說(shuō)創(chuàng)作、小說(shuō)理論產(chǎn)生深遠(yuǎn)的影響。沈從文在小說(shuō)題材上主張“鄉(xiāng)土生活與民族精神”的結(jié)合，著重表現(xiàn)中國(guó)鄉(xiāng)村恬靜和諧的生活與淳樸率真的人性，既反映出東方文化的博大、淡遠(yuǎn)與時(shí)代的空靈和浪漫，又具有歷史的悲劇和文化的反思，從而擴(kuò)展了魯迅以來(lái)鄉(xiāng)土小說(shuō)追求“鄉(xiāng)土批判”的內(nèi)涵。他主張的“鄉(xiāng)土”一方面要表現(xiàn)當(dāng)時(shí)鄉(xiāng)土小說(shuō)的一些共同特征，如鄉(xiāng)民的生存狀態(tài)、民情風(fēng)俗、鄉(xiāng)愁情緒等等；另一方面，又要通過(guò)對(duì)湘西民眾生存與異域情調(diào)的描述，傾盡全力地表現(xiàn)了一種“優(yōu)美，健康，自然，而又不悖乎人性的人生形式”。這種“人生形式”是從來(lái)就有的，生生不息的，它融化在了人們的日常生活中，變成了一種人的道德、信念、人情、人性，或者說(shuō)是一種無(wú)所不在的“地域文化”，這種“地域文化”是邊城獨(dú)有的。在風(fēng)俗畫(huà)中蘊(yùn)含豐富的文化，就使這風(fēng)俗畫(huà)顯得余味無(wú)窮，也使沈從文的“鄉(xiāng)土”觀念超越了許多同時(shí)代作家的作品，從而形成了沈從文獨(dú)特的現(xiàn)實(shí)視象。這對(duì)后來(lái)的許多作家都產(chǎn)生了一定的影響。以韓少功、賈平凹為代表的尋根作家都“企圖利用神話(huà)、傳說(shuō)、夢(mèng)幻以及風(fēng)俗為小說(shuō)的架構(gòu)，建立一種自己的理想觀念、價(jià)值觀念、倫理道德觀念和文化觀念”。這種風(fēng)格的營(yíng)造不難看出沈從文界定的小說(shuō)即“人事現(xiàn)象和夢(mèng)的現(xiàn)象”的混合影子。

沈從文對(duì)當(dāng)代鄉(xiāng)土小說(shuō)藝術(shù)的突出貢獻(xiàn)，還在于他善于運(yùn)用非常個(gè)性化的方言、土語(yǔ)，精心建造一個(gè)神秘莫測(cè)的美好的湘西世界，在小說(shuō)的抒情詩(shī)手法和田園詩(shī)風(fēng)格等方面取得了自己獨(dú)特的成就。他對(duì)鄉(xiāng)村現(xiàn)實(shí)的想象沒(méi)有流于一般的革命模式，更富有抒情詩(shī)意味的地域小說(shuō)比起吳祖緗、張?zhí)煲?、沙汀和艾蕪等人更具政治教化意義的現(xiàn)實(shí)主義作品，給后來(lái)年輕一代作家?guī)?lái)了特別大的鼓舞。此后的很多作家諸如蕭紅等就受他抒情詩(shī)手法的影響，其小說(shuō)中所蘊(yùn)含的深厚的文化內(nèi)涵也在以后的文學(xué)創(chuàng)作尤其在建國(guó)后的尋根文學(xué)中得以繼承。金介甫曾在《羊城晚報(bào)》的訪(fǎng)談錄中指出，沈從文對(duì)世界華文文學(xué)的影響很大，包括臺(tái)灣在內(nèi)，新時(shí)期的年輕作家，像何立偉、古華、韓少功、孫建中、賈平凹、阿城，還有他40年代的學(xué)生汪曾祺，直接繼承了他的田園牧歌風(fēng)格。另外，尋根文學(xué)在審美上突出“善”和“美”，具有一種浪漫主義的精神內(nèi)核，其對(duì)文化功利性和文學(xué)藝術(shù)性的自覺(jué)追求表現(xiàn)出浪漫主義的風(fēng)格，細(xì)細(xì)分析，不難發(fā)現(xiàn)這種審美特征受到了沈從文小說(shuō)理論和創(chuàng)作的影響。

【參考文獻(xiàn)】

[1] 沈從文.沈從文全集（第12卷）[M].太原：北岳文藝出版社，2002.414.

[2] 錢(qián)理群編.二十世紀(jì)中國(guó)小說(shuō)理論資料（第4卷）[M].北京：北京大學(xué)出版社，1997.457.

[3] （捷克）米蘭·昆德拉.小說(shuō)的藝術(shù)[M].北京：三聯(lián)書(shū)店，1992.158.

[4] 沈從文.沈從文小說(shuō)[M].浙江：浙江文藝出版社，2007.

[5] （美）金介甫.沈從文筆下的中國(guó)社會(huì)與文化（虞建華，邵華強(qiáng)譯）[M].上海：華東師范大學(xué)出版社，1994.

[6] 沈從文.從文自傳[M].北京：十月文藝出版社，2008.

[7] 劉小楓.詩(shī)化哲學(xué)[M].濟(jì)南：山東文藝出版社，1986.30.

【作者簡(jiǎn)介】

第6篇：浪漫主義文學(xué)論文范文

古今中外，文學(xué)界對(duì)于文學(xué)批評(píng)的重視程度都隨著時(shí)間的發(fā)展越來(lái)越高，而且經(jīng)過(guò)漫長(zhǎng)的歷史發(fā)展，我們漸漸的發(fā)現(xiàn)，對(duì)于同樣的作品，不同的國(guó)家對(duì)其的評(píng)價(jià)是不同的，也可以說(shuō)文學(xué)批評(píng)受到各國(guó)文化差異的影響。每個(gè)國(guó)家都有其特定的歷史文化，而這些文化背景在一定程度上會(huì)對(duì)該國(guó)家的文學(xué)評(píng)論產(chǎn)生一定的影響。也正是存在差異的文化評(píng)論造成了文學(xué)評(píng)論的多樣性。英美文化也是如此，存在著差異，對(duì)英美兩國(guó)的文學(xué)評(píng)論造成了一定的影響。下面是我對(duì)這一問(wèn)題的簡(jiǎn)單認(rèn)識(shí)。

關(guān)鍵詞：

英美文化；文化差異；文學(xué)評(píng)論

一.文學(xué)評(píng)論的內(nèi)涵

文學(xué)評(píng)論，顧名思義，評(píng)論文學(xué)。用專(zhuān)業(yè)的術(shù)語(yǔ)來(lái)講，是應(yīng)用文學(xué)方面的理論知識(shí)，對(duì)特定的文學(xué)內(nèi)容，比如說(shuō)文學(xué)作品，文學(xué)思想等進(jìn)行探討、研究等一系列文學(xué)性質(zhì)的活動(dòng)，以解釋文學(xué)發(fā)展的內(nèi)部規(guī)律，從而幫助相關(guān)的文學(xué)家進(jìn)行文學(xué)創(chuàng)造，推動(dòng)整個(gè)文學(xué)的健康穩(wěn)定發(fā)展。

二.英美文學(xué)的相關(guān)內(nèi)容

英美文學(xué)是對(duì)英、美兩國(guó)民間文化藝術(shù)的總稱(chēng)。同樣的是兩個(gè)現(xiàn)實(shí)生活的生動(dòng)反應(yīng)。我認(rèn)為文學(xué)具有很強(qiáng)的表現(xiàn)能力和表述功能，而且英美兩國(guó)的文化比較多元化，決定了其文學(xué)風(fēng)格的多元化，戲劇、小說(shuō)、詩(shī)歌等類(lèi)型多樣，各具特點(diǎn)：（1）英國(guó)文學(xué)的特點(diǎn)英國(guó)是一個(gè)臨海國(guó)家，不僅氣候極具海洋性，其文學(xué)也是如此，包容性十足，充滿(mǎn)著浪漫主義的氣息，再加上英國(guó)的經(jīng)濟(jì)、歷史發(fā)展傳統(tǒng)，在經(jīng)歷了文藝復(fù)興、啟蒙運(yùn)動(dòng)之后，英國(guó)的文學(xué)由浪漫主義、現(xiàn)實(shí)主義等開(kāi)始轉(zhuǎn)向?qū)憣?shí)主義，這是英國(guó)文學(xué)發(fā)展的一般趨勢(shì)。（2）美國(guó)文學(xué)的特點(diǎn)美國(guó)是一個(gè)多民族的移民國(guó)家，建國(guó)的時(shí)間比較短，在19世紀(jì)之前，美國(guó)文學(xué)可以說(shuō)是依附于英國(guó)文學(xué)，具有英國(guó)文學(xué)的一些特征，但是在19世紀(jì)末期之后，美國(guó)文學(xué)開(kāi)始脫離英國(guó)文學(xué)，逐漸形成了自己獨(dú)特的風(fēng)格，多方面、平民化、自由化等。就像美國(guó)的社會(huì)一樣充滿(mǎn)著自由、民主的氣息。

三.英美文學(xué)評(píng)論的內(nèi)容

各國(guó)的文學(xué)評(píng)論各具特點(diǎn)，但是仍然是有規(guī)律可循的，需要注意三個(gè)問(wèn)題，首先是文學(xué)倫理問(wèn)題，這是要放在首位進(jìn)行考慮的問(wèn)題；其次是道德評(píng)論，這是進(jìn)行文學(xué)評(píng)論的關(guān)鍵所在；最后是審美評(píng)論問(wèn)題。具體到英美兩國(guó)來(lái)說(shuō)，文學(xué)評(píng)論與該國(guó)發(fā)展的實(shí)際情況有著極大的關(guān)系，在女權(quán)主義、殖民主義等思想觀念的影響下，文學(xué)評(píng)論研究文學(xué)和社會(huì)的關(guān)系，開(kāi)創(chuàng)了文學(xué)研究的新方向。

四.英美文化差異對(duì)于英美文學(xué)的影響

（1）英美兩國(guó)的語(yǔ)言差異對(duì)英美文學(xué)評(píng)論的影響

1.英國(guó)的語(yǔ)言英國(guó)文化歷史悠久，民族文化發(fā)展時(shí)間較長(zhǎng)，有著深厚的歷史文化底蘊(yùn)，就拿英國(guó)的官方語(yǔ)言：英文來(lái)講，許多的文學(xué)評(píng)論家在對(duì)英國(guó)文學(xué)進(jìn)行評(píng)論時(shí)，使用語(yǔ)言十分的謹(jǐn)慎，這既能說(shuō)明文學(xué)評(píng)論家謹(jǐn)慎的態(tài)度，同時(shí)也更能說(shuō)明英文的地位和重要性，可以說(shuō)英文便是英國(guó)的象征，因此出于這樣的態(tài)度，英國(guó)文學(xué)評(píng)論是相對(duì)拘謹(jǐn)?shù)?、缺乏新時(shí)期的創(chuàng)新與個(gè)性；

2.美國(guó)的語(yǔ)言美國(guó)官方使用的語(yǔ)言也是英文，但是卻是美式英文，雖然說(shuō)在本質(zhì)上，英式英語(yǔ)和美式英語(yǔ)沒(méi)有發(fā)生什么變化，但是就是美式英語(yǔ)的稱(chēng)謂便能很好的說(shuō)明問(wèn)題，美式英語(yǔ)是美國(guó)的創(chuàng)造，是美國(guó)爭(zhēng)取獨(dú)立的體現(xiàn)，眾所周知美國(guó)發(fā)展歷史比較短，而且是移民國(guó)家，文化發(fā)展多元化特征十分顯著，在獨(dú)立之后，美國(guó)在政治、歷史等方面都沒(méi)有歷史遺留問(wèn)題，可以說(shuō)美國(guó)的民主革命是十分成功的，相應(yīng)的在文學(xué)評(píng)論方面美國(guó)的文學(xué)評(píng)論就彰顯個(gè)性和創(chuàng)新性。

（2）文化歷史差異對(duì)英美文學(xué)評(píng)論的影響人本主義是英美兩國(guó)共同宣揚(yáng)與崇拜的，但是英美兩國(guó)的人本主義又存在著具體的差別：

1.人本主義是英國(guó)發(fā)展歷史上很早便出現(xiàn)的，但是在文學(xué)評(píng)論領(lǐng)域人本主義是十分保守的，神權(quán)和禁欲主義依然處于主導(dǎo)地位，我認(rèn)為這是英國(guó)資產(chǎn)階級(jí)革命不徹底的生動(dòng)體現(xiàn)，資產(chǎn)階級(jí)的妥協(xié)性在文學(xué)領(lǐng)域的再現(xiàn)，莎士比亞是英國(guó)最為偉大的文學(xué)家，我認(rèn)為沒(méi)有之一，莎士比亞不僅影響了英國(guó)一代人，更影響了整個(gè)世界。他的作品可以說(shuō)是英國(guó)文學(xué)創(chuàng)作的典型代表，對(duì)其作品進(jìn)行研究之后發(fā)現(xiàn)，人文主義在其作品中有很多的體現(xiàn)。

2.相比英國(guó)的人本主義，美國(guó)就十分創(chuàng)新、獨(dú)特。當(dāng)然這和美國(guó)發(fā)展的歷史是密不可分的，美國(guó)的獨(dú)立是十分果斷的，沒(méi)有歷史遺留問(wèn)題，爭(zhēng)取獨(dú)立自由的觀念理論深入人心，美國(guó)的人本主義十分的激進(jìn)而且在一定程度上還有對(duì)人本主義的創(chuàng)新理解。在這基礎(chǔ)上美國(guó)的文學(xué)評(píng)論就顯得更加激進(jìn)、創(chuàng)新。

五、小結(jié)：

第7篇：浪漫主義文學(xué)論文范文

Romanticism， as a historical phase of the 19th century in literature， stresses the close relationship between man and nature， and continues a change of direction from the attention paid to the outer world of social civilization to the inner world of the human spirit. Romantics feel that the present society denies people’s essential human need， and their expectation to live in countryside， which is beautiful， quiet and could prevent human from sadness， terror， and fear. As You Like It is one of Shakespeare’s four famous comedies. The whole story happens in Arden forest. The duke senior and his old followers take residence in the forest， and when they arrive there and live for some days， they are fully attracted by the beautiful scenery and forget the court’s sadness. Country life makes people get refreshed. Romanticism critics give a high praise to As You Like it.

This paper tries to analyze the close relationship between As You like It and Romanticism. In the play， the author demonstrates a living world which has close relationship with men and is the source of their life. Based on the analysis of the close relationship between the play and Romanticism， and four scenes extracted from the play， the paper aims at the exploration and interpretation of Romanticism in the play.

Key Words

Romanticism; As You Like It; nature; emotion; comedy

摘　要

發(fā)生在19世紀(jì)的浪漫主義文學(xué)鑄造了文學(xué)史上的一段神話(huà)，對(duì)后世產(chǎn)生了深遠(yuǎn)的影響。浪漫主義文學(xué)注重描寫(xiě)人的內(nèi)心感受，并認(rèn)為現(xiàn)實(shí)社會(huì)忽略了人的本質(zhì)追求，并主張回歸原始的田園生活，在寧?kù)o幽雅的自然鄉(xiāng)村生活能讓人身心得以放松，遠(yuǎn)離塵世生活的壓力，喧囂?！督源髿g喜》作為莎士比亞的四大喜劇之一，整個(gè)劇情在寧?kù)o、秀美的亞登森林中展開(kāi)，講述了被其弟篡奪了爵位后的老公爵和他的忠實(shí)的隨從們來(lái)到森林里，忘卻宮廷的虛偽與爭(zhēng)奪，享受著自然的洗禮，心靈也得以?xún)艋蜕A，給人一種浪漫的情懷。19 世紀(jì)的浪漫主義學(xué)者對(duì)這部喜劇情有獨(dú)鐘。

在作品中作者展現(xiàn)了一個(gè)與人類(lèi)有著密切聯(lián)系，并賦予人類(lèi)生活的自然世界。論文通過(guò)對(duì)作品與浪漫主義的密切關(guān)系以及四幕精彩劇情的分析，揭示與解讀《皆大歡喜》中的浪漫主義。

關(guān)鍵詞

浪漫主義；皆大歡喜；自然；情感；喜劇

Introduction

Romance has a close relationship with people. It does not only make life colorful， but also lets people understand how to live a better life. Facing the stresses from work， one can do some romantic things to relax. It is known to all， that Romanticism was popular in Europe in the 19th century. Romantics stressed the close relationship between man and nature. They expected to live in countryside， and they always viewed intuition and emotions more important than reason and common sense. There was much greater stress on emotions in the writing of the romantic period. Romantics held the notion that one could find truth through one’s feelings. They thought the world as a lively， breathing being， and admired those who could speak the words from their inner world， and expect every person to express their feeling freely. They believed everybody’s inner self (subconscious) was meaningful， and everybody should have an opportunity to be creative and to express his own thoughts. The 19th century romantic critics regarded As You Like It as the declaration of Romanticism. As You Like It is one of Shakespeare’s four comedies which was seen as a perfect comedy. From the writing background and the contents of Act ii scene i， Act iii scene ii， Act iii scene ii， Act iii scene v， there is a conclusion that everyone looks forward to having a romantic life.

Through analysis of As You Like It， readers can understand the demonstration of Romanticism in the play and know more about Romanticism which makes people’s life more lively， interesting and harmonious.

I. A Brief Introduction to Romanticism

Romanticism (the Romantic Movement)， a literary movement， is profound shift in sensibility， which took place in Britain and throughout Europe during 1770-1848. Intellectually it marked a violent reaction to the Enlightenment. Politically it was inspired by the revolutions in America and France and popular wars of independence in Poland， Spain， Greece， and elsewhere. Emotionally it expressed an extreme assertion of the self and the value of inpidual experience (the 'egotistical sublime')， together with the sense of the infinite and transcendental. Socially it championed progressive causes， though when these were frustrated it often produced a bitter， gloomy， and despairing outlook. The romantics paid great attention to the spiritual and emotional life of man. Personified nature plays an important role in the pages of their works.

A. The Characteristics of Romanticism

(1) Romanticism was a rebellion against the objectivity of rationalism. It was a movement of conscious rebellion against being too objective. The romantic spirit was one of subjectivity of inward feelings that one could trust one’s subjective responses. Romantics placed a high premium upon the creative function of imagination， and saw art as a formulation of intuitive and imaginative perceptions that tend to speak a nobler truth than that of fact.

(2) For romantics， the feelings， intuitions and emotions were more important than reason and common sense. The controversy was one between head thinking and heart feeling. There was a much greater stress on emotions in the writing of the romantic period. Romantics held that one could find truth through one’s feelings. This is just the opposite of the rational theories that Benjamin Franklin followed. Rationalists would say that people could find truth through scientific investigation， but romantics were ready to trust their feelings as an avenue for finding truth and finding what was essential in life They believed that the irrational was important in human experience and that not everything could be explained by reason.

(3) Romantics did not think of the world as a ticking watch made by God. They thought of the world as a living， breathing being. They stressed the close relationship between man and nature. They viewed nature as an example and source of vivid physical beauty and as a manifestation of spirit in the universe. With deep love for nature， they saw nature as a revelation of truth， the living garment of God. Therefore， nature was a suitable subject for true art. They believed that God was immanent in creation. In other words， when they would look at the finite objects in this world， they would find the presence of an infinite God.

(4) Romantics emphasized inpidualism， placing the inpidual against the group， against authority. They saw the inpidual at the very center of life and art. They emphasized personal freedom and freedom from formalism， tradition， and conformity. They delighted in self-analysis， intricate examination and full exposure of the soul. They cherished no hero-worship， yet believed in the perfectibility of humanity. Romantics believed in the natural goodness of human beings. They held that humanity close to nature would behave well， and would not be hindered by civilization.

(5) Romantics affirmed the inner life of the self， and wanted each person to be free to develop and express his own inner thoughts. They believed everybody’s inner self (subconscious) was meaningful， and everybody should have an opportunity to be creative and to express his own thoughts.

(6) Romantics cherished strong interest in the past， especially the medieval. They were attracted by the primitive because the primitive often was innocent and close to nature. There were many things written by the romantics about the American Indian. They romanticized the American Indian into a noble savage who was close to nature. Their attitudes were quite different from Puritans who emphasized that the Indians were wild， degenerate barbarians. They compared them to Satan. The romantics would look at the Indians as close to nature and therefore close in touch with God. The romanticists paid great attention to the spiritual and emotional life of man. Personified nature plays an important role in the pages of their works.

(7). Romantics were attracted by the wild， irregular， indefinite， remote， mysterious， and the strange.

Romanticism has a deep influence on the contemporary time. Today， many people still have been researching on it. By reading As You Like It， one can have a feeling that the rebirth of romanticism. As you like it is a comedy written by Shakespeare， who was a popular playwright writing for the commercial theater in London in the 16th century. Shakespeare was not college-educated， and although his company had the sponsorship of King James， his work was not entirely "respectable.” He has written many plays， including comedies， tragedies and some sonnets. His work had great influence through ages over the world. To the Romantics， however， Shakespeare’s plays are the essence of folk poetry， the ultimate vindication of their faith in spontaneous creativity. Many European dramas in 19th century were influenced by him. Painters illustrated scenes from his plays， and composers based orchestral tone poems and operas on his narratives. As You Like It was one of the most famous comedies of Shakespeare’s. From the setting of the whole story one can find that the forest life is full of truth， kindness， beauty and love， which was the life that the 19th romantics were expecting to.

II. Shakespeare’s As You Like It

A. Background

In 1598，Shakespeare wrote As You Like It. And it becomes one of his four famous comedies. The play tells a tale happening in the Forest of Arden which is near the hometown Strafford –upon –Avon. When he was a child， he went to play in that place， and had a good memory about that period. He was attracted by the peace and beautiful views and expected to live there. In 16th there was a movement happening in Europe where humanist thinkers and scholars made attempts to get rid of those old feudalist ideas in Medieval Age， to introduce new ideas， and they also voiced that man did not only have ability to perfect himself and to perform wonders， Shakespeare was influenced by this sense， later these beliefs were expressed in the play As You Like It.

B. Summary

As the play opens， Duck Fredrick has usurped the title and throne of his elder brother， Duck Senior. The elder Duke and his loyal followers have taken up residence in the Forest of Arden. The banish duke’s daughter named Rosalind， when Frederick drove out her father， still kept in his court as a companion for his own daughter Celia. A close friendship had grown up between these ladies， which the quarrels of their fathers did not break. Celia tried by every kindness in her power to repay Rosalind for the injustice. Orlando and Oliver are two brothers pided by enmity， Orlando has long been mistreated by his brother and when Orlando enters a wrestling match sponsored by Duke Frederick， he attracts the attention of Rosalind. Likewise， Duke Frederick’s daughter and Rosalind to Arden like her father; Celia， Frederick’s daughter and Rosalind’s best friend， travels with her. Rosalind disguises herself as a boy called Ganymede， and Celia will take the part of “his” sister， Aliens. They are accompanied by the clown Touchstone. They met Orland， Rosalind promises to cure Orlando’s heartache by letting him pour his feelings out to Ganymede as if he were Rosalind. Also as Ganymede， Rosalind attempts a match between Silvia’s and Phebe that goes awry; Phebe falls for Rosalind’s Ganymede alter ego. Touchstone also courts a country girl named Audrey.

The resolution begins when Oliver enters the camp. Orlando saved him from an attack by a lion， and the two brothers have reconciled， upon meeting Celia， now Oliver falls in love. A duck senior promise to join them in wedlock the next day， Rosalind makes Phebe to marry Silvius if she can’t have Ganymede， when all have gathered for the wedding. Rosalind reveals herself as the erstwhile Ganymede， She and Orlando are happily reunited. And Phebe agrees to marry Sivius. The duke gave his consent to the marriage; and Orlando and Rosalind ，Oliver and Celia， were married at the same time， and though their wedding could not be celebrated in this wild forest with any splendors， yet a happier wedding day was never passed， and while they were eating under the cool shade of pleasant trees， a message arrived to tell the duke the joyful news， that his dukedom was given bake to him， this joyful news came just in time to perfect the joy of all who were the wedding of princesses. The duke was now able to reward those friends who had stayed with him in the forest， and these worthy followers， though they had patiently shared his troubles， were very well pleased to return in peace and happiness to the palace of their lawful duke.

Frederic， angry at his the flight of his daughter Celia， and entered the wild forest， he was met by an old religious man， with whom he had much talk， and who in the end completely turned his heart from his wicked plan， he became truly sorry， and resolved to give up his dukedom to spend the rest of his days in a religious.

In this play we can touch the country life more truly from old Duck’s speech in Act ii Scene I; the dialogue between Touchtone and Corin Act iii Scene ii 2.from the Act iii Scene ii， Act iii Scene v we can know that each person expect to be free to develop and express his own inner thoughts. And everybody’s inner self (subconscious) is meaningful; man should have an opportunity to be creative and to express his own thoughts.

III. Analysis of Some Specific Acts of the Comedy

A. Affirmation of the Inner Life of the Self

Although the great Romantic works often center on terror or rage， the motive force behind these passions is most often a relationship between a pair of lovers. Rosalind is waiting for Orlando in the forest. She overhears a conversation between a young shepherd and Phebe a shepherdess he lovers， but Phebe refuses the shepherd’s love， chilling him cruelly and telling him to leave her along. Rosalind has seen enough and she jumps into the conversation， chiding Phebe for being too cruel to the poor shepherd. In Rosalind eyes， everyone has the right to love other people .and whatever love or be loved， all should perish this love and catch this love closely， because that is the best gifts. Of all the emotions celebrated by the Romantics， the most popular was love. Medieval troubadours had celebrated courtly adultery according to a highly artificial code that little reflected the lives of real men and women while agreeing with physicians that romantic passion was a potentially fatal disease. It was the romantics who first celebrated romantic love as the natural birthright of every human being， the most exalted of human sentiments， and the necessary foundation of a successful marriage. Whether or not one agrees that this change of attitude was a wise one， it must be admitted to have been one of the most influential in the history of the world. In this comedy， Rosaland says:

You are a thousand times a proper man that she a woman. Is such fools as you that make the world full of ill-favored children.’ is Not her glass but you that flatter her， And out of you she sees herself more proper but， mistress， know yourself， down on your knees， and thank heaven， fasting， for a good man’s love; During the life we should not refuse the love of other people .when we come to the world ，we are crowed by the care of parents and giving out our love to the people around us .and love should not choose object everyone has the equal right to receive the care from others( Huang Bikang，2005，35)

B. Emphasis on Inpidualism

Romanticism emphasized the inpidual， the subjective， the personal， the spontaneous， and the emotional. Before the 18th Century， few Europeans concerned themselves with discovering their own inpidual identities. In the Arden forest， Touchtone meets Corin， a shepherd， and they engaged in a comic debate about the advantage and disadvantages of shepherds’ life in the country in contrast to the life of a courtier. This dialogue between a court and a shepherd in the Forest of Arden hits upon the central theme of the play， namely， idyllic country life purges the human mind of the dirt collect in the complicated power relation of the human society. From this talk， we can find that: people earn that they eat， get that they wear. They were not what they had been born: nobles， peasants， or merchants. The new industrialists naturally liked to credit themselves for having built their large fortunes and rejected the right of society to regulate. Just as Corin says:

Those that are good manners at the court are as ridiculous in the country as the behavior of the country is most mock able at the court. You told me you salute not at the court but you kiss your hands; that courtesy would be uncleanly if courtiers were shepherds. Besides， our hands are hard. I am a true laborer: I earn that I at， get that I wear， owe no man hate， envy no man’s happiness， glad of other men’s good， content with my harm， and the greatest of my pride is to see my ewes graze and my lands suck.. ( Huang Bikang，2005，57)

C. The Close Relationship Between Man and Nature

Particular perspectives with regard to nature varied considerably--nature as a healing power， nature as a source of subject and image. Frederick has seized his brother’s power and banished him from his dukedom. The duke senior then has to live in the Forest of Arden with his loyal followers. In the forest， this life is so simple and common， there is no wear the luxurious clothes and jewelry， no big house， no warm close. This offered the old duke’s everyday life in the forest. But the old duke enjoys this life. To understand why this should have been so， we need to look more closely at the nature of the style and its origins. There has hardly been a time since the earliest antiquity that Europeans did not celebrate nature in some form or other， but the attitudes toward nature common in the Western world today emerged mostly during the Romantic period. The Enlightenment had talked of "natural law" as the source of truth， but such law was manifest in human society and related principally to civic behavior. Unlike the Chinese and Japanese， Europeans had traditionally had little interest in natural landscapes for their own sake. Romantics stress the close relationship between man and nature. The subject of the relationship of Romanticism to nature is a vast one which can be touched on here. The old duke attracted by the wild life， in winter he shrinks with cold. But in this shrinking， old duke find out a true self. Nature has great power which makes the old man lives so well， just as he said below:

Now， here feel we not the penalty of Adam， the season’s difference， as the icy fang and churlish chiding of the winter’s wind. Which when it bites and blows upon my body even till I shrink with cold， but this is no flattery: these are counselors that feeling persuade me what I am?” Sweet are the uses of adversity， which， like the toad， Ugly and venomous， wears yet a precious jewel in his head; And this our life， exempt from public haunt， Finds tongues in trees， books in the running brooks， Sermons in stones， and good in every thing. I would not change it. (Huang Bikang， 2005，55)

D. Pursuit of Emotions

The Romanticists paid great attention to the spiritual and emotional life of man. In the Forest of Arden， the youth man Orlando， something in the heart is haunting him， which makes him miss someone everyday. He hangs little love poems on trees and brushes to express his love to Rosalind. At the same time the girl he loved is also in love with him， but he does know that. Romantics generally called for greater attention to the emotions as a necessary supplement to purely logical reason. Personified nature plays an important role in the pages of their works. Remembered childhood， unrequited love， and the exiled hero were constant themes. They discussed dreams， dramatic illusion， and Romantic sensibility， the process of creativity， the limits of Classicism and Reason， and the dynamic nature of the Imagination. In As You Like It， Rosalind talks that:

Love is merely madness， and I tell you， deserves as well a dark house and a whip as madmen do; and the reason why they are not so punished and cured is， that the lunacy is so ordinary that the whispers are in love too. Yet I profess curing it by counsel. He was to imagine me his love， his mistress; and I set him every day to woo me. At which time I would being a monish youth， grieve， be effeminate， changeable ，longing and liking proud， fantastical， apish， shallow， inconstant， full of tears， full of smiles; for every passion something， and for no passion truly any thing ，as boys and women are for the most part cattle of this color. (Huang Bikang， 2005， 46)

In the forest， the idyllic country life shows out the theme of life: truth， kindness， beauty and love. In this comedy， Shakespeare opens a door to the life of the perfect point. And this life style was received and profound by the latter people. From the publication of lyrical Ballads by Wordsworth and Coleridge in 1798 to the death of sir Walter Scott in 1832， a new movement appeared on the literary area .the essence of this new movement is the glorification of instincts and emotion， a deep renovation of nature and a flaming zeal to remark the world .Under the influence of the America and French revolutions， national liberation movements and democratic movements swept across many European countries

.

Conclusion

Through the analysis of the comedy As You Like It， a conclusion can be made that romance is a part of our life. It can make life colorful and exciting. From Act ii scene I; Act iii scene ii 2; Act iii scene ii; Act iii scene v， the whole play shows a point: man not only has the right to enjoy the beauty of the life but has the ability to make himself perfect and to pursue more wonderful life. The 19th romantics hold the same view. A high praise has been given to As You like it by most romantics and it was regarded as the declaration of romanticism. Poem Schleget has said “Nothing is wanted to call forth the poetry which has its dwelling in nature and human mind but to throw off all artificial constrain a restore both to their native liberty”.( Huang Bikang，2005，54)

Rousseau， a French philosopher， is generally regarded as the father of Romanticism. He rejects the worship of reason. He thinks for some really vital problems of life， and it is much safer to rely on feeling， to follow our innocence of primitive. He also insists that the progress of learning is destructive to human happiness preaches civilized men should “return to nature’’. Romantic literature is a revival of folk literature， a real awakening of interest in the life of the common people， a sense of universal brother and a growing sympathy for sufferings of people. As you like it it was written in the 16th century， but the romanticism in the play shows man’s inner emotion. Love not only exists between lover and relatives， but also between friends. Just as the play writes， the Rosalind and Orlando love each other so deeply and so truly that though they departed for a while， they could meet each other. As the Rosalind said， “Everyone has the right to love and been loved.” (Huang Bikang， 2005， 54)In the forest of the Arden， people are pretty and love exists here and there.

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第8篇：浪漫主義文學(xué)論文范文

關(guān)鍵詞 西方文學(xué) 隱喻 運(yùn)用

一、隱喻的基本含義

隱喻，也叫“暗喻”，是指隱藏的比喻，隱喻一般都不明顯。從結(jié)構(gòu)上來(lái)說(shuō)，兩個(gè)概念域之間的映射就是隱喻，即原始域和目標(biāo)域之間的映射，是在兩個(gè)域之間潛在相似性和語(yǔ)義遷移的激活。從功能層面上來(lái)說(shuō)，用一種事物去經(jīng)歷和體驗(yàn)另一種事物，便是隱喻的本質(zhì)。隱喻所體現(xiàn)的是思維的問(wèn)題，而不是簡(jiǎn)單的語(yǔ)言問(wèn)題。

“隱喻是將明喻縮減到一個(gè)詞的一種簡(jiǎn)化形式，這個(gè)詞被投放到一個(gè)看似屬于它，其實(shí)并不屬于它的位置?！彪[喻分廣義和狹義的兩種：廣義的隱喻被稱(chēng)為基本隱喻或根本隱喻，它不僅僅只是一種簡(jiǎn)單的語(yǔ)言現(xiàn)象，更是一種復(fù)雜的思維方式，是修辭形式的廣泛運(yùn)用，同時(shí)也是語(yǔ)言的概念得以充分表達(dá)的重要條件；而狹義的隱喻是指用另一種思想內(nèi)容的名稱(chēng)來(lái)替代原本的思想內(nèi)容，而且這種做法是有意而為的。

古希臘哲學(xué)家亞里士多德對(duì)隱喻曾經(jīng)這樣定義，說(shuō)隱喻是將某一事物的構(gòu)成轉(zhuǎn)移為另外一個(gè)事物的名稱(chēng)，這種轉(zhuǎn)移的方式可以是從屬到種或者是從種到屬。有些學(xué)者這樣解讀隱喻：“隱喻充斥在人們的日常生活中，他不僅出現(xiàn)在人們的語(yǔ)言交流中，而且還蘊(yùn)含在思維和行動(dòng)中?！?/p>

二、隱喻的主要派別

（一）夸美紐斯提出了關(guān)于“種子”的隱喻

“種子”隱喻指的是“神圣可教性”，它在《大教學(xué)論》中首次被提出，成為其認(rèn)知思維的重要基礎(chǔ)?？涿兰~斯在《大教學(xué)論》中分析了“種子”的隱喻。主要分為三個(gè)方面：首先，其指出人是一切事物中最完整、最高貴、最美好的。其次，其提出了美德、博學(xué)、篤信三者種子，在每個(gè)人的身上都存在，從而使人更加敬重上帝、領(lǐng)悟生活，按照道德規(guī)律而生存。

（二）洛克提出的“白板說(shuō)”隱喻

洛克不同意天賦觀念，其認(rèn)為知識(shí)是通過(guò)后天學(xué)習(xí)所得的，而能力是上天賦予的。其將人心假定為一塊沒(méi)有任何標(biāo)記的白板，主要靠外在力量進(jìn)行塑造和雕刻。然而，后來(lái)形成的知識(shí)和理念在上面刻下了印痕，這便是所謂的“白板說(shuō)”。

（三）蘇格拉底提出的“產(chǎn)婆術(shù)”隱喻

古希臘偉大的哲學(xué)家蘇格拉底認(rèn)為，經(jīng)驗(yàn)?zāi)軌蚶砬咫[晦的模糊觀念，對(duì)先驗(yàn)觀念的激發(fā)具有重要的作用，從而獲取絕對(duì)的新知識(shí)。其在教學(xué)過(guò)程中主要采用兩種教學(xué)方法：第一步是進(jìn)行一定程度上的諷刺。他和各種人進(jìn)行交談，討論這些人關(guān)心的話(huà)題。第二步就是所謂的產(chǎn)婆術(shù)。這一步的主要作用是，讓對(duì)方對(duì)自己原有的認(rèn)識(shí)加以否決，發(fā)現(xiàn)自己認(rèn)識(shí)的困惑，在此基礎(chǔ)上，引導(dǎo)其進(jìn)行正確的認(rèn)識(shí)，從而更好的認(rèn)知真理，以形成科學(xué)的概念。

（四）柏拉圖提出的“洞穴中囚徒”的隱喻

隱喻運(yùn)用中最嫻熟的大師之一就是柏拉圖，其部分哲學(xué)思想和認(rèn)知理念都是用隱喻進(jìn)行表達(dá)的。在《理想國(guó)》中柏拉圖運(yùn)用了“太陽(yáng)喻”、“線(xiàn)段喻”和“洞穴喻”這三個(gè)隱喻來(lái)對(duì)理念論加以闡述。其中太陽(yáng)喻停留在直接形式上，它通過(guò)語(yǔ)言結(jié)構(gòu)解析隱含的認(rèn)知結(jié)構(gòu)。線(xiàn)段喻上升到間接形式上，它通過(guò)認(rèn)知結(jié)構(gòu)解析隱含的思維規(guī)則。洞穴喻則升華到到邏輯結(jié)構(gòu)的高度，它呈現(xiàn)出一個(gè)完整形態(tài)的認(rèn)識(shí)論模型。

三、西方文學(xué)中的隱喻

（一）神話(huà)中的隱喻

世界各個(gè)文明的文藝初創(chuàng)大多都是以神話(huà)傳說(shuō)為開(kāi)端的。鄧啟耀對(duì)此論述說(shuō)：“神話(huà)思維方式是一種以事物的模糊相似性為根據(jù)，在想象的幻化中將萬(wàn)事萬(wàn)物容納進(jìn)一個(gè)真空的整體系統(tǒng)中，從而進(jìn)行整體模比的隱喻類(lèi)比方法?！逼渲校纫怨糯ＥD神話(huà)傳說(shuō)中的《奧德塞》和《伊利亞特》這兩大史詩(shī)最引人入勝，是隱喻使用中的經(jīng)典運(yùn)用。

（二）浪漫主義詩(shī)歌中的隱喻

隱喻的主要表現(xiàn)形式是想象，這集中體現(xiàn)在了浪漫主義詩(shī)歌中。遠(yuǎn)古神話(huà)的作者認(rèn)為其描寫(xiě)的事情是真實(shí)發(fā)生的，而浪漫主義文學(xué)的解讀者和作者明知其為假，卻心甘情愿接受幻覺(jué)的欺騙，暫時(shí)放棄不信任，是一種解讀策略和自覺(jué)的藝術(shù)創(chuàng)作手法。

四、隱喻在西方文學(xué)中的主要功能

（一）使隱喻的研究對(duì)象得以豐富

語(yǔ)言學(xué)是一門(mén)以認(rèn)知問(wèn)題作為研究對(duì)象的基礎(chǔ)學(xué)科，而認(rèn)知問(wèn)題是關(guān)系到人的成長(zhǎng)和發(fā)展的一個(gè)重要問(wèn)題。人的成長(zhǎng)和發(fā)展主要表現(xiàn)在兩個(gè)方面：一是社會(huì)身份地位和個(gè)體外在身體的變化，二是個(gè)體內(nèi)在的人生閱歷的累積，以及人生價(jià)值實(shí)現(xiàn)的過(guò)程。表述人的成長(zhǎng)和發(fā)展有多種方式和方法，要想從整體上分析人的變化發(fā)展，并形成文字表述，則更是難上加難。運(yùn)用科學(xué)的方法目前僅能對(duì)事實(shí)做出外在觀察，它不能描述一個(gè)人內(nèi)在的世界，不能對(duì)內(nèi)在世界進(jìn)行實(shí)質(zhì)性的把握。

（二）使語(yǔ)言學(xué)的性質(zhì)更加透徹

隱喻，在很大程度上體現(xiàn)了以人為本的人文主義特點(diǎn)，突出了認(rèn)知活動(dòng)的內(nèi)涵意義。認(rèn)知隱喻的本質(zhì)是一種語(yǔ)言現(xiàn)象，難免會(huì)與一定的文化背景有聯(lián)系。認(rèn)知學(xué)者生存在一個(gè)有意義的認(rèn)知世界里，不能完全隸屬于科學(xué)世界的范圍。認(rèn)知隱喻要求個(gè)人正確的表達(dá)理解認(rèn)知理念，這體現(xiàn)了厚實(shí)的文化內(nèi)涵及語(yǔ)言的生動(dòng)感，同時(shí)可以彌補(bǔ)科學(xué)語(yǔ)言的不足。

（三）有利于認(rèn)知理念的反思研究

隱喻集語(yǔ)言現(xiàn)象、思維方式、文化現(xiàn)象三者于一身，隱喻的認(rèn)知價(jià)值在于體會(huì)認(rèn)知活動(dòng)的精神，把握認(rèn)知活動(dòng)的內(nèi)在，理解認(rèn)知活動(dòng)的文化。我們探索研究隱喻的含義，不只是為了實(shí)現(xiàn)對(duì)認(rèn)知的理解，豐富對(duì)認(rèn)知的領(lǐng)悟，更是一種對(duì)精神世界的探索。

五、結(jié)語(yǔ)

通過(guò)闡述隱喻的基本含義、分析隱喻的主要派別、聯(lián)系西方文學(xué)中隱喻的實(shí)例以及揭示隱喻在西方文學(xué)中的主要功能，明確了隱喻在西方文學(xué)中的重要地位，也為以后熟練的運(yùn)用隱喻打下了堅(jiān)實(shí)的基礎(chǔ)，提供了良好的借鑒。

參考文獻(xiàn)：

[1]彭懿，白解紅.通感認(rèn)知新論[J].外語(yǔ)與外語(yǔ)教學(xué)，2008.

第9篇：浪漫主義文學(xué)論文范文

關(guān)鍵詞：艾略特 新批評(píng) 神話(huà)原型

1922年發(fā)表于英國(guó)《標(biāo)準(zhǔn)》和美國(guó)《日晷》雜志的艾略特的長(zhǎng)詩(shī)《荒原》的確是文化界和文學(xué)界的一大事件。詩(shī)的標(biāo)題以及其中所包含的對(duì)現(xiàn)代文明的看法似乎準(zhǔn)確地反映出了第一次世界大戰(zhàn)后的西方社會(huì)和文化。戰(zhàn)爭(zhēng)本打算拯救歐洲文明，但卻成為歷史上最殘酷，最具毀滅性的一場(chǎng)災(zāi)難。是怎樣的文明促使爆發(fā)了這樣的戰(zhàn)爭(zhēng)？《荒原》破碎凌亂的結(jié)構(gòu)具有如此多的詩(shī)歌技巧方面的革新，徹底地改變了人們對(duì)于什么是詩(shī)歌以及怎樣創(chuàng)作詩(shī)歌的看法。以至于后來(lái)的詩(shī)人都無(wú)法繞過(guò)這座高山，無(wú)論是模仿還是反對(duì)，都要認(rèn)真審視這首艾略特的詩(shī)歌。艾略特在大學(xué)時(shí)代就開(kāi)始寫(xiě)一些傳統(tǒng)的詩(shī)歌，但自從他于1908年閱讀了亞瑟?西蒙的《文學(xué)中的象征派運(yùn)動(dòng)》之后，了解了拉福格和其他一些法國(guó)象征派詩(shī)人，改變了他對(duì)詩(shī)歌的看法?！镀蒸敻ヂ蹇饲楦琛肪蛣?chuàng)作于這一時(shí)期。此后，龐德開(kāi)始熱情地向文學(xué)界介紹這位年輕的美國(guó)詩(shī)人，說(shuō)他“完全通過(guò)自己的訓(xùn)練而變得現(xiàn)代化”。

艾略特的評(píng)論性文章與他的詩(shī)歌同樣重要。在那篇影響深遠(yuǎn)的《傳統(tǒng)與個(gè)人才能》中，他稱(chēng)西方的詩(shī)歌傳統(tǒng)是一個(gè)有機(jī)的，富于彈性的平衡體。當(dāng)有新的詩(shī)人進(jìn)入時(shí)，他便不停地改變。文章還稱(chēng)不應(yīng)通過(guò)社會(huì)、歷史和政治的因素來(lái)理解詩(shī)歌，而應(yīng)通過(guò)其他詩(shī)人及詩(shī)歌來(lái)理解文學(xué)這一自足的世界。他的另一些文章貶低那些說(shuō)教式的，解釋性的，或敘述性的詩(shī)歌，如密爾頓和維多利亞時(shí)代的詩(shī)人創(chuàng)作的作品。而褒揚(yáng)那種晦澀的，諷刺性的，簡(jiǎn)潔的和象征性的作品，如17世紀(jì)的玄學(xué)派詩(shī)人多恩和赫伯特。

在《傳統(tǒng)與個(gè)人才能》中，艾略特關(guān)于詩(shī)歌的非個(gè)人化主張主要包括以下三方面的含義：

1．詩(shī)人與傳統(tǒng)的關(guān)系。任何詩(shī)人都不能脫離詩(shī)的傳統(tǒng)而單獨(dú)具有它的完全意義?！八偷秒S時(shí)不斷地放棄當(dāng)前的自己，歸附更有價(jià)值的東西，一個(gè)藝術(shù)家的前進(jìn)是不斷地犧牲自己，不斷地消滅自己的個(gè)性。”要做到消滅個(gè)性這一點(diǎn)，藝術(shù)才可以說(shuō)達(dá)到了科學(xué)的地步了。

2．詩(shī)人的創(chuàng)作過(guò)程具有非個(gè)性化的特點(diǎn)。詩(shī)人的心靈實(shí)在是一個(gè)儲(chǔ)藏器，收藏著無(wú)數(shù)的感覺(jué)，詞句，意象，擱在那兒直到能組成新化合物的各分子到齊了，心靈的催化作用則開(kāi)始發(fā)生作用，于是詩(shī)便產(chǎn)生了。

3．詩(shī)歌表現(xiàn)情感具有非個(gè)人化的特點(diǎn)。艾略特認(rèn)為詩(shī)人表現(xiàn)的情感并非是他個(gè)人的情感，也不是詩(shī)人在生活中某種特殊事件所激發(fā)的情感。個(gè)人情感可能是單純的，粗疏的，甚至是枯燥乏味的，而詩(shī)中表現(xiàn)的情感則是極為豐富復(fù)雜。

從這一系列理論可以看出艾略特與20世紀(jì)之前大部分詩(shī)人的不同，也就不難理解遵循這一理論創(chuàng)作的《荒原》給西方詩(shī)壇帶來(lái)的巨大震撼，使《荒原》成為了現(xiàn)代派詩(shī)歌的先聲?！痘脑酚晌鍌€(gè)不連續(xù)的片斷構(gòu)成（死者葬禮，對(duì)弈，火誡，水里的死亡，雷霆的話(huà)），每一個(gè)片斷都包含有多個(gè)人物，多個(gè)聲部，有關(guān)文學(xué)和歷史的暗示，當(dāng)代生活的碎片，以及眾多的神話(huà)和傳說(shuō)。艾略特曾說(shuō)：“我是憑借這些片斷抵御生活的幻滅。”全詩(shī)缺少敘述性及解釋性的語(yǔ)言，而是通過(guò)反復(fù)出現(xiàn)的“死亡與復(fù)活”的神話(huà)組織詩(shī)篇。在《荒原》中，艾略特幾乎句句引經(jīng)據(jù)典，使用了多位詩(shī)人的詩(shī)句甚至是詞語(yǔ)，來(lái)印證詩(shī)人與傳統(tǒng)的不可分割。如在第一節(jié)“死者的葬禮”中對(duì)于倫敦城的描寫(xiě)：

并無(wú)實(shí)體的城，

在冬日破曉的黃霧下，

一群人魚(yú)貫地流過(guò)倫敦橋，人數(shù)是那么多，

我沒(méi)想到死亡毀壞了這許多人。

嘆息，短促而稀少，吐了出來(lái)，

認(rèn)人的眼睛都盯住在自己的腳前。

關(guān)于“并無(wú)實(shí)體的城”見(jiàn)于法國(guó)象征派詩(shī)人波德萊爾的詩(shī)集《惡之花》中的《七個(gè)老人》：

熙熙攘攘的城市，充滿(mǎn)了夢(mèng)影

鬼魂在白天也陪伴著路人。

“我沒(méi)想到死亡毀壞了這許多人”和“嘆息，短促而稀少，吐了出來(lái)”均可見(jiàn)于但丁的《神曲》之《地獄》篇。

如此多的一長(zhǎng)串人/我從來(lái)沒(méi)有想過(guò)/死亡已經(jīng)毀滅了這許多人

以及對(duì)于那些不能擁抱上帝的異教徒的描寫(xiě)：

在這，我能聽(tīng)見(jiàn)的/沒(méi)有痛苦，只有嘆息/永恒的空氣都為之顫抖

對(duì)于詩(shī)歌與傳統(tǒng)的關(guān)系，在新批評(píng)運(yùn)動(dòng)主將韋勒克和沃倫合著的《文學(xué)理論》中也有論及：“從個(gè)人經(jīng)驗(yàn)到藝術(shù)完成之間有著一段距離，其中也包含著作家想象、虛構(gòu)和創(chuàng)作的過(guò)程，更為重要的是，文學(xué)傳統(tǒng)和慣例決定了作家創(chuàng)作的方式?！笨梢詫?duì)比浪漫主義詩(shī)人華茲華斯的創(chuàng)作理論來(lái)理解這段話(huà)：“詩(shī)是強(qiáng)烈情感的自然流露，它起源于在平靜中回憶起來(lái)的情感。”艾略特之不同于浪漫主義詩(shī)人可見(jiàn)一斑。新批評(píng)運(yùn)動(dòng)的支持者認(rèn)為每一首詩(shī)都是一部自足的文學(xué)作品，需要對(duì)其意象、暗示、歧義等做出分析。艾略特的文學(xué)評(píng)論為他們提供了理論，而他的詩(shī)歌則提供了樣本。威廉?維姆薩特與門(mén)羅?比厄茲利合寫(xiě)的《意圖謬誤》和《感受謬誤》兩篇論文旨在為新批評(píng)提供理論依據(jù)。傳統(tǒng)的文學(xué)批評(píng)，無(wú)論是古典主義的“模仿說(shuō)”，或是浪漫主義的“表現(xiàn)說(shuō)”，把意圖作為評(píng)價(jià)作品的標(biāo)準(zhǔn)。維姆薩特和比厄茲利則認(rèn)為，“作品的真正意圖是個(gè)不可靠的概念，從作者心理起因中尋找批評(píng)標(biāo)準(zhǔn)的做法是一種‘謬誤’”。于是，新批評(píng)的操作原則在另一位其支持者布魯克斯的手上化為四個(gè)要點(diǎn)：在處理詩(shī)的結(jié)構(gòu)方面，應(yīng)把握“反諷(irony)”和“詩(shī)的戲劇化結(jié)構(gòu)(poem as drama)”；在處理詩(shī)的語(yǔ)言方面，應(yīng)把握“含混(ambiguity)”和“悖論(paradox)”。

艾略特在其《玄學(xué)派詩(shī)人》中的一番話(huà)可以和新批評(píng)運(yùn)動(dòng)的主張互相參照：“就我們的文明的目前狀況而言，詩(shī)人很可能不得不變得艱澀，我們的文明涵容著如此巨大的多樣性和復(fù)雜性，而這種多樣性和復(fù)雜性作用于精細(xì)的感受力，必然會(huì)產(chǎn)生多樣而復(fù)雜的結(jié)果。詩(shī)人必然會(huì)變得越來(lái)越具有涵容性、暗示性和間接性，以便強(qiáng)使――如果需要可以打亂――語(yǔ)言以適合自己的意思?！?/p>

“四月是最殘忍的一個(gè)月，荒地上/長(zhǎng)著丁香，把回憶和欲望/摻合在一起，又讓春雨/催使那些遲鈍的根芽”，《荒原》的首句為人津津樂(lè)道的一個(gè)“四月”和“殘忍”的聯(lián)系可以說(shuō)明艾略特關(guān)于詩(shī)歌語(yǔ)言的主張?！八脑隆边@一在浪漫主義詩(shī)人筆下溫馨的季節(jié)在艾略特筆下有了新的含義，這一催生人的欲望的季節(jié)也會(huì)帶來(lái)痛苦。另舉一例，第三節(jié)《火誡》中那個(gè)女打字員在經(jīng)歷了那毫無(wú)意義的后：

她回頭在鏡子里照了一下，

沒(méi)大意識(shí)到她那已經(jīng)走了的情人；

她的頭腦讓一個(gè)半成型的思想經(jīng)過(guò)

“總算完了事，完了就好”

美麗的女人墮落的時(shí)候，又

在她的房里來(lái)回走，獨(dú)自

她機(jī)械地用手撫平了頭發(fā)，又隨手

在留聲機(jī)上放上一張片子。

根據(jù)艾略特原注，該段源自英國(guó)感傷主義作家哥德密斯的著作《威克菲爾德牧師傳》，當(dāng)奧莉維亞重返她的失聲之地時(shí)唱道，

當(dāng)可愛(ài)的女人墮落時(shí)/……什么能洗涮她的屈辱？/為了掩蓋它/為了隱藏它/為了向愛(ài)人懺悔/擁抱他/只能死去

而女打字員所做的是“隨手在留聲機(jī)上放上一張片子”，兩相對(duì)照，諷刺的意味立即顯現(xiàn)。艾略特給《荒原》所寫(xiě)的注釋很多也起到了反諷的意味。

然而，新批評(píng)運(yùn)動(dòng)的反對(duì)者克蘭認(rèn)為“‘新批評(píng)’將批評(píng)活動(dòng)變成一種狹隘的實(shí)踐操作，似乎只能從象征，反諷等方面去分析作品”。另一文學(xué)家?jiàn)W爾森指責(zé)燕卜遜只考慮詞語(yǔ)，文學(xué)問(wèn)題被簡(jiǎn)化為“歧義問(wèn)題”的討論，而置“詩(shī)歌本質(zhì)”問(wèn)題不顧。芝加哥學(xué)派針對(duì)新批評(píng)的薄弱環(huán)節(jié)，提倡一種全面的批評(píng)。認(rèn)為情節(jié)、人物、思想、語(yǔ)言應(yīng)該統(tǒng)一起來(lái)考慮。他們采用亞里士多德的理論和方法，探討文學(xué)作品的模仿性，形式與內(nèi)容的關(guān)系，“憐憫”與“恐懼”的情感作用等一般文學(xué)理論與問(wèn)題。

M.H.艾布拉姆斯在《鏡與燈――浪漫主義文論及批評(píng)傳統(tǒng)》中說(shuō)，對(duì)待文學(xué)批評(píng)，“一種較為可行的辦法是采用一個(gè)不把自身哲學(xué)強(qiáng)加于人的分析圖示，在有待比較的理論中，把盡可能多的理論所共有的主要特征利用起來(lái)，然后慎重地運(yùn)用這一分析圖，隨時(shí)準(zhǔn)備將一切有助于眼下不同的特征收納進(jìn)來(lái)”。

基于這一見(jiàn)解，本文還試圖通過(guò)《荒原》談?wù)劯トR的神化原型說(shuō)。

艾略特在《荒原》的注釋中說(shuō)，“不僅是題目，就連整個(gè)詩(shī)歌的計(jì)劃和詩(shī)中的許多象征”都受到了魏斯登女士的著作《從儀式到神話(huà)》和弗雷澤《金枝》的影響，尤其是《金枝》第四部有關(guān)阿貼士、阿東尼士和歐西利士的有關(guān)神話(huà)。這些神已經(jīng)被視為人格化的繁殖神，他們的健康，尤其是性能力的健忘就會(huì)迎來(lái)豐收，而他們受到傷害，性能力一旦遭到破壞，大地就會(huì)荒蕪，河水就會(huì)枯竭。繁殖神的復(fù)活，荒原又會(huì)復(fù)生，萬(wàn)物重新昌盛。因此，這一帶的先民舉行儀式，祈禱他們的復(fù)活，以求五谷豐登，種族繁榮。

弗萊對(duì)神話(huà)原型概念給予了新的解釋?zhuān)沟眠@一概念真正進(jìn)入了文學(xué)研究領(lǐng)域。他主張把作家的具體作品放到作家的全部作品中去。后來(lái)，又進(jìn)一步主張把某些文學(xué)結(jié)構(gòu)要素置于文學(xué)傳統(tǒng)中考察。那么，是什么把詩(shī)人和傳統(tǒng)聯(lián)系起來(lái)呢？其中必有一個(gè)中介因素，這便是“原型”。在《批評(píng)的剖析中》，弗萊指出，原型就是“典型的即反復(fù)出現(xiàn)的”意象。在弗萊看來(lái)，神話(huà)是一種結(jié)構(gòu)形式，神的誕生、歷險(xiǎn)、勝利、受難、死亡、復(fù)活是一個(gè)完整的循環(huán)故事。正如晝夜更替，四季循環(huán)一樣。神的生與死，死后又復(fù)活，包含著文學(xué)的一切故事。文學(xué)總的說(shuō)來(lái)是“移位”的神話(huà)。

基于這一“原型”說(shuō)，弗萊把西方文學(xué)劃分為五個(gè)階段。第一個(gè)階段被稱(chēng)為“神話(huà)時(shí)代”，文學(xué)緊密地依附于神話(huà)。而在近百年間，大部分的嚴(yán)肅創(chuàng)作都有趨于諷刺文學(xué)的形式，處于第五個(gè)階段。這些文學(xué)作品的主人公在能力和智力方面低與我們，使我們感到是在居高俯視一個(gè)受奴役、受愚弄或荒誕的場(chǎng)面。在諷刺文學(xué)中，人失去了自我的尊嚴(yán)，外在環(huán)境變成了一個(gè)與人自身無(wú)法協(xié)調(diào)的荒誕世界。

從《普魯弗洛克情歌》中的百無(wú)聊賴(lài)的“用咖啡匙量走我的生命”的年輕人到《荒原》中的女打字員，似乎正表現(xiàn)了這種荒誕意識(shí)，顯現(xiàn)出類(lèi)似神話(huà)那種人類(lèi)無(wú)法控制和理解的世界。弗萊試圖通過(guò)遠(yuǎn)離文本，來(lái)找尋文學(xué)創(chuàng)作中的規(guī)律，而且還把西方的文學(xué)史分為五種模式，這與上文討論的新批評(píng)論者注重文本，形式的“近觀”法不同。希望能如艾布拉姆斯所說(shuō)，能從各種角度來(lái)解讀《荒原》，對(duì)其有一全面的認(rèn)識(shí)。

參考文獻(xiàn)：

[1]The Norton Anthology of American LiteratureShorter Fourth Edition W. W. Norton &Company1995.