文体学论文西风颂

AStylisticAnalysisofOdetotheWestWindand“蜀道难”Abstract:PercyByssheShellyandLiBaiwerebothknownfortheirromanticstyles.ThispassagetakethetwomasterpiecesOdetotheWestWindbyShellyand“蜀道难”byLiBaiandanalyzetheforegroundedfeaturesinthetwopoemsrespectivelyandthestylisticeffectstheyachieveandexplorethesimilaritiesanddifferencesbetweenthetwopoems.Keywords:stylisticeffects,romantic,foregroundedfeatures,Inspiredbythestarryskywitchremindedhimoftalentpoetsintheworldhistory,YuGuangzhong,amodernChinesepoetoncewrote:“ThehigheststarisLiBai\andthebrightestonemustbeShelly”PercyByssheShellyandLiBai,althoughlivedindifferenttimesanddifferentcountries,.OdetotheWestWindisanodewrittenbyShelleyin1819.Atthattime,machineslikethestockingframes,spinningframesandpowerloomshavebeenintroducedintovariousindustriesandthreateningtoreplaceless-skilledworkers,deprivingthemofmeansoflivelihood.Andpeople’slives,alreadyhard,weremadeevenworsebythefamineandchronicunemploymentresultingfromtheNapoleonicWars.On1August16,1819,acrowdofpeoplegatheredtogetheratStPeter'sFieldtocallforreform,onlytobekilledinlargenumbersbycavalry.Enragedbythemassacre,Shellywrotethepoem,OdetotheWestWind,inwitchheexpressedhishopethatpeople’srevolutioncan,likethepowerfulwestwind,sweepthecountryandbringregenerationofbothhimselfandthesociety.“蜀道难”,witchmeansHardRoadsinSichuan,isapoemwrittenbyLiBai,agreatromanticpoetofChinafromTangDynasty.ThispoemdepictsthebumpyandperilousmountainroadtoSichuanwitchwaslocatedinabasin.Itisalsobelievedthemountainroadisasymbolofthedangeroussituationthecountrywasinatthattime.Inthesetwopoems,ShellyandLiBaishowedrichimaginationandstrongemotion.Also,theybothusednaturalthingstosymbolizesocialrealities.InthefollowingpassageIamgoingtoanalyzetheforegroundedfeaturesinthetwopoemsrespectivelyandthestylisticeffectstheyachieve,andexplorethesimilaritiesanddifferencesbetweenthetwopoems.OdetotheWestWindIPhonemicDeviation/Overregularity1.Omission.InOdetotheWestWind,syncope,theomissionofamedialpartofaword,areoftenusedasshowninthefollowingexamples:(1)“Herclariono'erthedreamingearth,andfill…”(2)“Scarceseem'davision;Iwouldne'erhavestriven…”Intheabovelines,Shellyused“o'er”for“over”,“ne'er”for“never”,sothathecouldbetterandmoreeasilyarrangesoundpatternsandaddtotherhythmofthepoem.2.Alliteration.ThefollowinglinesaretakenformOdetotheWestWind.（1）“OwildWestWind…”（2）“ThineazuresisteroftheSpringshallblow…”（3）“Drivingsweetbudslikeflockstofeedinair…”Alliterationusedintheselinescanincreasetherythmofthepoemandaddtoitsmusicalquality.Andalso,theimmediaterepeated“w”canbeseenasanimitationofthehowlofthewestwindthusmakereadersfeeltheferocityofit,whiletheintermittentrepeated“s”soundsgentleandslowthusconveysafeelingofbeingcaressedbythespringwind.3.RhymeSchemeOdetotheWestWindconsistsoffivecantos,eachwithfourtercets(ababcbcdc)andarhymingcouplet(ee).ThisrhymeschemeiscalledTerzarimawhichwasfirstusedbytheItalianpoetDanteAlighieriinhisDivinaCommedia.ItisadifficultformtouseinEnglishbecauseoftherelativeshortageofrhymewordsavailableinEnglishwhichhasamorecomplexphonologycomparedwithItalian.ButShellyusedthisunusualrhymeschemetoachievecertaineffects.Thesecondlineofeachtercetandthefirstandsecondlinesofthenexttercet,althoughindifferenttercets,arecloselylinkedintheirmeaning.Forexample,thesecondlineofthefirsttercet,“Thou,fromwhoseunseenpresencetheleavesdead”andthefirstlineofthesecondtercet,“Yellow,andblack,andpale,andhecticred”,arebothdescribingthedeadleavesblastedbythewind.Theinterlockingthree-linerhymesuggeststhecloseconnectionbetweenthefourtercetsintheircontentineachcanto,thuscontributestothesmoothflowofthepoem,justlikethemovementofthewind.Besides,Comparedtoastanzawitchconsistsofatleastfourlines,theshorterthree-linetercetsignifiestheshortbutstronggustsofwindwithlittleintervals,creatinganurgent,breathlessandintensefeeling,afeelingofonwardmotionasthewindmovesforward.IISemanticDeviation1.SymbolismAsIhavesetoutinthebackgroundofthispoem,OdetotheWestWindisnotjustpayingthepoet’stributetothewestwind,anaturalstream.Thepoetusedthewestwindtosymbolizeastrongpowerofrevolution,aspriteoffreedom,thatcanfreehiscountryofoppression,unfairness,povertyandothersocialproblems.2.Personification.ThepersonificationofthewestwindisperhapsthemoststrikingfeatureofOdetotheWestWind.Throughoutthispoem,Shellyaddressedthewestwindusing“thou”,asifitwereamightygodandcelebratedhisgreatpowerandfreedom.Shellygavethewestwindhumanattributes，suchasin“Othou,whochariotesttotheirdarkwintrybed…”（line6)andin“Onetoolikethee:tameless,andswift,andproud”(line56).Inthispoem,thewestwindisnolongeralifelessstreaminnature,butanomnipotentandomnipresentpersonwithindividuality.Personificationofthewestwindallowsthepoettotalktoitusingsecondperson,agoodwaytofullyexpresshisstrongfeelingsandintensifiesitslyricquality.3.SimileShelly’srichimaginationandromanticqualitycanbebestshownbytheingenioussimileusedinthispoem.Thefollowingaresomeexamples:(1)“Thou,fromwhoseunseenpresencetheleavesdeadAredriven,likeghostsfromanenchanterfleeing…”（2）“Thewingedseeds,wheretheyliecoldandlow,Eachlike