英美詩歌分析·

PAGE2PAGE5挽歌：The

poem

has

been

ranked

among

the

best

of

the

18th

century

English

poetry.In

order

to

create

the

atmosphere

of

melancholy,

Gray

uses

his

own

techniques:1

Nature

as

a

background

for

the

display

of

emotion.

(first

3

stanzas:

a

picture

if

twilight)all

the

natural

objects,

either

directly

or

by

contrast,

reflect

the

mood

of

manromantic

melancholy.

2

Employment

of

some

long

vowels

and

diphthongs

to

create

its

own

melancholic

tone

which

permeates

the

whole

elegy.(1st

line)

3

Use

of

end-stopped

lines

which

sound

firm

and

finished.

The

termination

of

the

end-stopped

lines

beautifully

enacts

the

completion

of

the

things.

This

technique

of

writing

here

hints

that

the

lives

of

the

poor

come

to

an

end.

Throughout

the

whole

poem,

the

author

shows

his

great

sympathy

for

the

poor,

the

lowly

and

the

unrenowned

in

these

graves,

while

he

expresses

his

unmistakable

censure

upon

the

great,

the

powerful

and

the

wealthy

who

in

their

lifetime

have

contempt

for

the

common

people

or

brought

havoc

to

the

country.

He

stresses

the

fact

that

death

is

inevitable

and

that

everyone

is

equal

before

death

no

matter

who

he

is.

Theme:

It

is

a

meditation

on

human

mortality,

the

tragic

dignity

it

gives

to

all

mankind,

&

the

stability

&

serenity

of

rustic

life.

The

Elegy

lies

in

Gray's

perfect

expression

of

what

all

men

feel

about

life

&

death.

In

this

poem,

Gray

reflects

on

death,

the

sorrows

of

life

&

the

mysteries

of

human

life

with

a

touch

of

his

personal

melancholy.

The

poet

compares

the

ordinary

people

with

the

great

ones,

wondering

what

the

commons

could

have

achieved

if

they

had

had

the

chance.

Here

he

reveals

his

sympathy

for

the

poor

&

the

unknown,

but

mocks

the

great

ones

who

despise

the

poor

&

bring

havoc

on

them1.WhatisGray’sopinionofhigh-bornpersonsvis-a-visthelow-born?：thefateofthosewhoonceheldimportantoffices,whohaveenjoyedbeauty,wealthandpowerwillbethesameasthatofthoseordinary,humblepeoplewhentheydie.Becauseofpovertyorotherhandicaps,manytalentedpeopleneverreceivetheopportunitiestheydeserve.Everyperson–nomatterhowimportant,powerful,orwealthy–endsupthesame,dead.2.CommentonGray’sline,“Thepathsofgloryleadbuttothegrave.”Thefateofthosewhoonceheldimportantoffices,whohaveenjoyedbeauty,wealthandpowerwillbethesameasthatofthoseordinary,humblepeoplewhentheydie.Everyperson–nomatterhowimportant,powerful,orwealthy–endsupthesame,dead.4Doyoubelievehisdeadbrothersandsistersinfluencedhiminthewritingofhispoem?Yes.hewillcheishthelife,therewillalwaysbegriefatmospherewhenhewrotepoet.5.Whatisan“animatedbust”(line41)?thephrasecarriessomenoteofirony,whatisthespecialnatureoftheirony,Animatedbust:life-likemarblefigure.Itelaboratefuneralmonumentscannotbringbackthedeadtolife丁亭寺thebeginningofthepoemgoeslikethis”fiveyearshavepassed….”whatimpressiondotheselinesgiveyou?：Thepoemopenswiththespeaker’sdeclarationthatfiveyearshavepassedsincehelastvisitedthislocation,encountereditstranquil,rusticscenery,andheardthemurmuringwatersoftheriver.Wordsworthemphasizestheactofreturningbymakingextensiveuseofrepetition.Healsousesthephrase"onceagain"twice,bothtimesinthemiddleofaline,breakingtheflowofthetext.ItisinthismannerthatthereaderisintroducedtothenaturalbeautyoftheWyewhatattitudedoesthespeakerhavetowardnature?：wordsworthadvocatesareturntonature.Accordingtohim,societyandthecrowdedunnaturallifeofcitiestendtoweakenandperverthumanity;andareturntonaturalandsimplelivingistheonlyremedyforhumanwretchedness.Heshowssympathytothecommonpeople.Itissympathygoestotheverysmallchildrensufferingfrompovertyandmisery.Threestagesofhisgrowingup,definedintermsofhisevolvingrelationstothenaturesecen:a.theyoungboy’spurelyphysicalresponsiveness.bthepost—adolescent’saching.dizzy,andequivocalpassionslovewhichismorelikedread;thiswasthestateofmindontheoccasionofhisfirstvisit.C.hispresentstateinwhichforthefirsttimeheaddsthoughttosense.Allhisknowledgeofhumansuffering,sopainfullyacquiredintheinteriorchastenshimwhileitenrichesthevisiblescenelikeachordofmusicandhehasgainedalsoawarenessofan”immanent”whichlinkshismindandalltheelementsoftheexternalworld.Theme：Wordsworthtracedtheprogressofhisloveofnationfromcoarsephysicalpleasuresofhisboyhood,throughtheachingjoysanddizzyrapturesofhisadolescence,tohispresentnaturereflectivecontemplationinformedbyexpericanceandknowledgeofsuffering！Thefulltitleofthispoemis“LinesComposedaFewMilesaboveTinternAbbey,onRevisitingtheBanksoftheWyeduringaTour.July13,1798.”Publishedin1798inLyricalBallads,thispoemiswidelyconsideredtobeoneofWordsworth'smasterpieces.Itisacomplexpoem,addressingmemory,mortality,faithinnature,andfamiliallove.Thepoem'sstructureissimilarlycomplex,makinguseofthefreedomofblankverseaswellasthemeasuredrhythmofiambicpentameter.Theflowofthewritinghasbeendescribedasthatofwaves,acceleratingonlytostopinthemiddleofaline(caesura).Therepetitionofsoundsandwordsaddstotheebbandflowofthelanguage,appropriatelyspeakingtotheebbandflowofthepoet'smemories.Form:“TinternAbbey”iscomposedinblankverse,whichisanameusedtodescribeunrhymedlinesiniambicpentameter.Itsstyleisthereforeveryfluidandnatural;itreadsaseasilyasifitwereaprosepiece.Butofcoursethepoeticstructureistightlyconstructed;Wordsworth’sslightvariationsonthestressesofiambicrhythmsisremarkable.Linessuchas“Here,underthisdarksycamore,andview”donotquiteconformtothestress-patternsofthemeter,butfitintoitloosely,helpingWordsworthapproximatethesoundsofnaturalspeechwithoutgrosslybreakinghismeter.Occasionally,dividedlinesareusedtoindicateakindofparagraphbreak,whenthepoetchangessubjectsorshiftsthefocusofhisdiscourse.！Dividedintofivestanzasofdifferentlengths,thepoembeginsinthepresentmoment,describingthenaturalsetting.Wordsworthemphasizestheactofreturningbymakingextensiveuseofrepetition:"Fiveyearshavepassed;fivesummers,withthelength/Offivelongwinters!andagainIhear/Thesewaters..."Healsousesthephrase"onceagain"twice,bothtimesinthemiddleofaline,breakingtheflowofthetext.ItisinthismannerthatthereaderisintroducedtothenaturalbeautyoftheWyeRiverarea.！Secondstanza,Wordsworthdepartsfromthepresentmomenttodescribehowhismemoriesofthesceneinspiredandsustainedhimoverthepastfiveyears.Lifeawayfromnatureisdescribedasbeing"inlonelyrooms,andmidthedin/Oftownsandcities."Meanwhile,natureisdescribedwithalmostreligiousfervor:Wordsworthuseswordssuchas"sublime,""blessed,"and"serene."Wordsworthreferstoa"blessedmood"twice,emphasizinghisspiritualrelationshipwithnature.Interestingly,whileWordsworthusesmanywordsrelatedtospiritualityandreligioninthispoem,heneverreferstoGodorChristianity.Itseemsthatnatureisplayingthatroleinthispoem,especiallyattheendofthesecondstanza,whenWordsworthdescribesasortoftranscendentmoment:！Nature,itseems,offershumankind("we")akindofinsight("Weseeintothelifeofthings")inthefaceofmortality("wearelaidasleep").Wordsworthlaysemphasisonthelastlinebymakingitonlyeightsyllables(fouriambs)long,asopposedtoten.！Thirdstanza,Wordsworthreturnstothepresentandacknowledgesthathisfaithmightbein"vain,"butreiterateshowimportanthismemoriesofthislandscapehavebeentohim,addressingtheriverdirectly:"OsylvanWye!"Asinmanyofhisotherpoems,Wordsworthpersonifiesnaturalformsornatureasawholebyaddressingthemdirectly(apostrophe).！Wordsworthseemstovaluethisperiodofhislife,andremembersitwithasomewhatnostalgicair,althoughheadmitsthatinthissimplertime("Thecoarserpleasuresofmyboyishdays"),hewasnotsosophisticatedasheisnow.Inthepresent,heisweigheddownbymoreseriousthoughts.Healludestoalossoffaithandasenseofdisheartenment.ThistransitioniswidelybelievedtorefertoWordsworth'schangingattitudetowardstheFrenchRevolution.AsFranceandBritainenteredtheconflict,Wordsworthlosthisfaithinhumanity'scapacityforharmony.Heturnstonaturetofindthepeacehecannotfindincivilization.！Wordsworthgoesontodescribeaspiritorabeingconnectedwithnaturethatelevateshisunderstandingoftheworld:This"presence"couldrefertoGodorsomespiritualconsciousness,oritcouldsimplyrefertotheunifiedpresenceofthenaturalworld.Intheinterconnectednessofnature,Wordsworthfindsthesublimeharmonythathecannotfindinhumankind,andforthisreasonheapproachesnaturewithanalmostreligiousfervor:！Inthiskeypassage,Wordsworthoutlineshisunderstandingofconsciousness.LikeotherRomanticpoets,Wordsworthimaginesthatconsciousnessisbuiltoutofsubjective,sensoryexperience.Whathehearsandsees("ofallthatwebehold.../ofallthemightyworld/Ofeyeandear")createshisperceptionsandhisconsciousness("bothwhattheyhalf-create,/Andwhatperceive").The"languageofthesense"--hissensoryexperiences--arethebuildingblocksofthisconsciousness("Theanchorofmypurestthoughts").Thus,hereliesonhisexperienceofnatureforbothconsciousnessand"all[his]moralbeing."！Laststanza,WordsworthreturnstothepresenttoaddresshissisterDorothy,andexplainsthatlikehismemoryofthisnaturalplace,herpresenceoffersakindofcontinuityinhislife.Althoughheexperiencesanxietyabouthisownmortality,theideathatDorothywillrememberhimandrememberthismomentafterhisdeathcomfortshim.DorothyofferscontinuitybecauseWordsworthseeshimselfinher(Dorothywasalsoapoetandthetwospentagreatdealoftimetogether),literallyseeinghis"formerpleasuresintheshootinglights/Ofthywildeyes."WordsworthseesthatDorothyexperiencestheWyewiththesameenthusiasmashedidfiveyearsearlier.Movingintoadiscussionofthefuture,hehopesthatDorothy'smemoriesofthislandscapewillsustainherinsadtimesthewaytheysustainedhim,andoffersupa"prayer"thatthiswillbethecase:！WordsworthaddressesnaturewithasortofspiritualfaithwithoutactuallycitingGodorreligion.Instead,hefocusesentirelyonnatureandonDorothy.！InthelastlineshecreatesasortofpactbetweenDorothy,thenaturalenvironment,andhimself,asiftryingtoestablishandcapturethememoryofthisprecisemomentforever:！Withthesewords,hecreatesabeautifulillustrationofthemechanicsofmemory.Notonlydoeshewanttorememberthismomentinthisbeautifullandscape,buthealsowantsDorothytorememberhowmuchhelovedit,andhowmuchmoreheloveditbecauseheknewthatshewouldrememberittoo.Thus,natureisnotonlyanobjectofbeautyandthesubjectofmemories,butalsothecatalystforabeautiful,harmoniousrelationshipbetweentwopeople,andtheirmemoriesofthatrelationship.ThisfallsinlinewithWordsworth'sbeliefthatnatureisasourceofinspirationandharmonythatcanelevatehumanexistencetothelevelofthesublimeinawaythatcivilizationcannot.！Thesubjectof“TinternAbbey”ismemory—specifically,childhoodmemoriesofcommunionwithnaturalbeauty.“TinternAbbey”istheyoungWordsworth’sfirstgreatstatementofhisprinciple(great)theme:thatthememoryofpurecommunionwithnatureinchildhoodworksuponthemindeveninadulthood,whenaccesstothatpurecommunionhasbeenlost,andthatthematurityofmindpresentinadulthoodofferscompensationforthelossofthatcommunion—specifically,theabilityto“l(fā)ookonnature”andhear“humanmusic”;thatis,toseenaturewithaneyetowarditsrelationshiptohumanlife.Inhisyouth,thepoetsays,hewasthoughtlessinhisunitywiththewoodsandtheriver;now,fiveyearssincehislastviewingofthescene,heisnolongerthoughtless,butacutelyawareofeverythingthescenehastoofferhim.Additionally,thepresenceofhissistergiveshimaviewofhimselfasheimagineshimselftohavebeenasayouth.Happily,heknowsthatthiscurrentexperiencewillprovidebothofthemwithfuturememories,justashispastexperiencehasprovidedhimwiththememoriesthatflickeracrosshispresentsightashetravelsinthewoods.！“TinternAbbey”isamonologue,imaginativelyspokenbyasinglespeakertohimself,referencingthespecificobjectsofitsimaginaryscene,andoccasionallyaddressingothers—oncethespiritofnature,occasionallythespeaker’ssister.Thelanguageofthepoemisstrikingforitssimplicityandforthrightness;theyoungpoetisinnowayconcernedwithostentation.Heisinsteadconcernedwithspeakingfromtheheartinaplainspokenmanner.Thepoem’simageryislargelyconfinedtothenaturalworldinwhichhemoves,thoughtherearesomecastings-outformetaphorsrangingfromthenautical(thememoryis“theanchor”ofthepoet’s“purestthought”)tothearchitectural(themindisa“mansion”ofmemory).OdeonaGrecianUrnInthefirststanza,thespeakerstandsbeforeanancientGrecianurnandaddressesit.Heispreoccupiedwithitsdepictionofpicturesfrozenintime.Itisthe“stillunravish’dbrideofquietness,”the“foster-childofsilenceandslowtime.”Healsodescribestheurnasa“historian”thatcantellastory.Hewondersaboutthefiguresonthesideoftheurnandaskswhatlegendtheydepictandfromwheretheycome.Helooksatapicturethatseemstodepictagroupofmenpursuingagroupofwomenandwonderswhattheirstorycouldbe:“Whatmadpursuit?Whatstruggletoescape?/Whatpipesandtimbrels?Whatwildecstasy?”Inthesecondstanza,thespeakerlooksatanotherpictureontheurn,thistimeofayoungmanplayingapipe,lyingwithhisloverbeneathagladeoftrees.Thespeakersaysthatthepiper’s“unheard”melodiesaresweeterthanmortalmelodiesbecausetheyareunaffectedbytime.Hetellstheyouththat,thoughhecanneverkisshisloverbecauseheisfrozenintime,heshouldnotgrieve,becauseherbeautywillneverfade.Inthethirdstanza,helooksatthetreessurroundingtheloversandfeelshappythattheywillnevershedtheirleaves.Heishappyforthepiperbecausehissongswillbe“forevernew,”andhappythattheloveoftheboyandthegirlwilllastforever,unlikemortallove,whichlapsesinto“breathinghumanpassion”andeventuallyvanishes,leavingbehindonlya“burningforehead,andaparchingtongue.”Inthefourthstanza,thespeakerexaminesanotherpictureontheurn,thisoneofagroupofvillagersleadingaheifertobesacrificed.Hewonderswheretheyaregoing(“Towhatgreenaltar,Omysteriouspriest...”)andfromwheretheyhavecome.Heimaginestheirlittletown,emptyofallitscitizens,andtellsitthatitsstreetswill“forevermore”besilent,forthosewhohaveleftit,frozenontheurn,willneverreturn.Inthefinalstanza,thespeakeragainaddressestheurnitself,sayingthatit,likeEternity,“dothteaseusoutofthought.”Hethinksthatwhenhisgenerationislongdead,theurnwillremain,tellingfuturegenerationsitsenigmaticlesson:“Beautyistruth,truthbeauty.”Thespeakersaysthatthatistheonlythingtheurnknowsandtheonlythingitneedstoknow.Themes:Ifthe“OdetoaNightingale”portraysKeats’sspeaker’sengagementwiththefluidexpressivenessofmusic,the“OdeonaGrecianUrn”portrayshisattempttoengagewiththestaticimmobilityofsculpture.TheGrecianurn,passeddownthroughcountlesscenturiestothetimeofthespeaker’sviewing,existsoutsideoftimeinthehumansense—itdoesnotage,itdoesnotdie,andindeeditisalientoallsuchconcepts.Inthespeaker’smeditation,thiscreatesanintriguingparadoxforthehumanfigurescarvedintothesideoftheurn:Theyarefreefromtime,buttheyaresimultaneouslyfrozenintime.Theydonothavetoconfrontaginganddeath(theirloveis“foreveryoung”),butneithercantheyhaveexperience(theyouthcanneverkissthemaiden;thefiguresintheprocessioncanneverreturntotheirhomes).Thespeakerattemptsthreetimestoengagewithscenescarvedintotheurn;eachtimeheasksdifferentquestionsofit.Inthefirststanza,heexamines"sadness"inhim.ThesecondstanzaintroducestheGreekauthorSophocles'ideaof"theturbidebbandflowofhumanmisery".Acontrastisformedtothesceneryofthepreviousstanza.Sophoclesapparentlyheardthesimilarsoundatthe"Aegean"seaandthusdevelopedhisideas.Arnoldthenreconnectsthisideatothepresent.Althoughthereisadistanceintimeandspace,thegeneralfeelingprevails.Inthethirdstanza,theseaisturnedintothe"SeaofFaith",whichisametaphorforatimewhenreligioncouldstillbeexperiencedwithoutthedoubtthatthemodern(Victorian)agebroughtaboutthroughDarwinism,theIndustrialrevolution,Imperialism,acrisisinreligion,etc.Thefourthandfinalstanzabeginswithadramaticpledgebythelyricalself.Heaskshislovetobe"true",meaningfaithful,tohim.Forthebeautifulscenerythatpresentsitselftothemisreallynotwhatitseemstobe.Onthecontrary,asheaccentuateswithaseriesofdenials,thisworlddoesnotcontainanybasichumanvalues.Thesehavedisappeared,alongwiththelightandreligionandlefthumanityindarkness."We"couldjustrefertothelyricalselfandhislove,butitcouldalsobeinterpretedasthelyricalselfaddressinghumanity.Thepleasantsceneryturnsintoa"darklingplain",whereonlyhostile,frighteningsoundsoffightingarmiescanbeheard.InthispoemArnolddescribestheseaasfaithandacycleoflife,andinsteadofmanbeingagainstnature,naturebecomesametaphorofhumanemotions.light...gone:Thisclauseestablishesasenseofrhythminthatthelightblinksonandoff.Inaddition,theclauseforeshadowsthemessageoflaterlines--thatthelightoffaithinGodandreligion,oncestrong,nowflickers.WhetheranobserveratDovercanactuallyseealightatCalaisdependsontheheightofthelighthouseandthealtitudeatwhichtheobserverseesthelight(becauseofthecurvatureoftheearth),onthebrightnessofthelight,andontheweatherconditions.

cliffs...vast:Thesearewhitecliffs,composedofchalk,alimestonethateasilyerodes.LikethelightfromFrance,theyglimmer,furtherdevelopingthethemeofaweakeningofthelightoffaith.Thefactthattheyeasilyerodesupportsthistheme.

moon-blanched:whitenedbythelightofthemoon.

grating....pebbles:Here,grating(meaningrasping,grinding,orscraping)introducesconflictbetweentheseaandthelandand,symbolically,betweenlong-heldreligiousbeliefsandthechallengesagainstthem.However,itmaybeanexaggerationthatthatpebblescauseagratingroar.

strand:shorelineStanza2Sophocles...Aegean:ArnoldalludesheretoapassageintheancientGreekplayAntigone,bySophocles,inwhichSophoclessaysthegodscanvisitruinonpeoplefromonegenerationtothenext,likeaswellingtidedrivenbywinds.

it:"theeternalnoteofsadness"(Line14).

Aegean:TheseabetweenGreeceandTurkey.InthetimeofSophocles,thelandoccupiedbyTurkeywasknownasAnatolia.

turbid:muddy,cloudy

Find...thought:Inthesoundofthesea,thepoet"hears"athoughtthatdisturbshimasdidtheoneheardbySophocles.Stanza3interpretationTherewasatimewhenfaithinGodwasstrongandcomforting.Thisfaithwrappeditselfaroundus,protectingusfromdoubtanddespair,astheseawrapsitselfaroundthecontinentsandislandsoftheworld.Now,however,theseaoffaithhasbecomeaseaofdoubt.Sciencechallengesthepreceptsoftheologyandreligion;humanmiserymakespeoplefeelabandoned,lonely.Peopleplacetheirfaithinmaterialthings.Stanza4neither...pain:Theworldhasbecomeaselfish,cynical,amoral,materialisticbattlefield;thereismuchhatredandpain,butthereisnoguidinglight.

darkling:dark,obscure,dim;occurringindarkness;menacing,threatening,dangerous,ominous.

Where...night:E.K.BrownandJ.O.BaileysuggestthatthislineisanallusiontoGreekhistorianThucydides'accountoftheBattleofEpipolae(413B.C.),awalledfortressnearthecityofSyracuseontheislandofSicily.Inthatbattle,AtheniansfoughtanarmyofSyracusansatnight.Inthedarkness,thecombatantslashedoutblindlyatoneanother.BrownandBaileyfurtherobservethattheline"suggeststheconfusionofmid-Victorianvaluesofallkinds..."(Brown,E.K,andJ.O.Bailey,eds.VictorianPoetry.2nded.NewYork:RonaldPress,1962,Page831).Interpretation

Letusatleastbetruetoeachotherinourmarriage,inourmoralstandards,inthewaywethnk;fortheworldwillnotbetruetous.Althoughitpresentsitselftousasadreamland,itisasham.Itoffersnothingtoeaseourjourneythroughlife.多福海濱towhomisthepoemaddressed?ThispoemwaswrittenwhenMatthewArnoldandhiswifestayedinDoverin1851beforetheycrossedtheChanneltogotoParisfortheirhoneymoon.Itisbothamournfulelegyandpartlyadramaticmonologuesincethespeakerspeakssometimestohimselfandothertimestoaddresshisbelovedwife.whatthethemedoesthepoetembodyinthispoemThepoetryofMatthewArnoldrepresentsitsageinaveryprofoundway.WefindthetruevoiceofaVictorianwriterbroodingseriouslyoverthelossoffaithandmeaningoflife.NineteenthcenturyHellenism,Romanticinterestinfolktalesandlegends,thelikingofsolitarymeditationallhaveagrasponthispoet.Inhispoetrycouldbedetectedasenseofsadnessresultingfromlivinginanagewhereone’sspiritualpursuitsareindanger.Contemplativeandargumentative,Arnold’spoetryoftenfocusonsubjectsofpsychologicalisolation“TheLoveSongofJ.AlfredPrufrock”！Summary:Thispoem,theearliestofEliot’smajorworks,wascompletedin1910or1911butnotpublisheduntil1915.Itisanexaminationofthetorturedpsycheoftheprototypicalmodernman—overeducated,eloquent,neurotic,andemotionallystilted.Prufrock,thepoem’sspeaker,seemstobeaddressingapotentiallover,withwhomhewouldliketo“forcethemomenttoitscrisis”bysomehowconsummatingtheirrelationship.ButPrufrockknowstoomuchoflifeto“dare”anapproachtothewoman:Inhismindhehearsthecommentsothersmakeabouthisinadequacies,andhechideshimselffor“presuming”emotionalinteractioncouldbepossibleatall.Thepoemmovesfromaseriesoffairlyconcrete(forEliot)physicalsettings—acityscape(thefamous“patientetheriseduponatable”)andseveralinteriors(women’sarmsinthelamplight,coffeespoons,fireplaces)—toaseriesofvagueoceanimagesconveyingPrufrock’semotionaldistancefromtheworldashecomestorecognizehissecond-ratestatus(“IamnotPrinceHamlet’).“Prufrock”ispowerfulforitsrangeofintellectualreferenceandalsoforthevividnessofcharacterachieved.！Form:“Prufrock”isavariationonthedramaticmonologue,atypeofpoempopularwithEliot’spredecessors.Dramaticmonologuesaresimilartosoliloquiesinplays.Threethingscharacterizethedramaticmonologue,accordingtoM.H.Abrams.First,theyaretheutterancesofaspecificindividual(notthepoet)ataspecificmomentintime.Secondly,themonologueisspecificallydirectedatalistenerorlistenerswhosepresenceisnotdirectlyreferencedbutismerelysuggestedinthespeaker’swords.Third,theprimaryfocusisthedevelopmentandrevelationofthespeaker’scharacter.EliotmodernizestheformbyremovingtheimpliedlistenersandfocusingonPrufrock’sinteriorityandisolation.Theepigraphtothispoem,fromDante’sInferno,describesPrufrock’sideallistener:onewhoisaslostasthespeakerandwillneverbetraytotheworldthecontentofPrufrock’spresentconfessions.IntheworldPrufrockdescribes,though,nosuchsympatheticfigureexists,andhemust,therefore,becontentwithsilentreflection.Initsfocusoncharacteranditsdramaticsensibility,“Prufrock”anticipatesEliot’slater,dramaticworks.！Therhymeschemeofthispoemisirregularbutnotrandom.Whilesectionsofthepoemmayresemblefreeverse,inreality,“Prufrock”isacarefullystructuredamalgamationofpoeticforms.Thebitsandpiecesofrhymebecomemuchmoreapparentwhenthepoemisreadaloud.Oneofthemostprominentformalcharacteristicsofthisworkistheuseofrefrains.Prufrock’scontinualreturntothe“women[who]comeandgo/TalkingofMichelangelo”andhisrecurrentquestionings(“howshouldIpresume?”)andpessimisticappraisals(“Thatisnotit,atall.”)bothreferenceanearlierpoetictraditionandhelpEliotdescribetheconsciousnessofamodern,neuroticindividual.Prufrock’sobsessivenessisaesthetic,butitisalsoasignofcompulsivenessandisolation.Anotherimportantformalfeatureistheuseoffragmentsofsonnetform,particularlyatthepoem’sconclusion.Thethreethree-linestanzasarerhymedastheconclusionofaPetrarchansonnetwouldbe,buttheirpessimistic,anti-romanticcontent,coupledwiththedespairinginterjection,“Idonotthinkthey(themermaids)wouldsingtome,”createsacontrastthatcommentsbitterlyonthebleaknessofmodernity.茵夢湖1whatcanweknow,fromthepoem,aboutthepoet’sattitudetowardthelifeofhisday?Disgustedanddisappoint2structure:ThethreestanzashavethesameABABrhymeschemn;Hasendrhymeinanababrhymeschemn;Lackofpunctuationandquestion,marks;Comma,semi-colons,colons;Longlinelength4WhydoesthepoetwanttogotoInnisfree?TiredoflifeofhisdayTofindapeacefullife6WhatdoyouthinkthespeakerwilldoatInnisfree?Yeatssoughtroeacapeintoanideallandwherehecouldlivecalmlyasahermitandenjoythebeautyofnature.7.Inwhatwaysdovariousrhythmicandothersoundeffectsconveythemessage(s)ofthepoem?意象派原則1.Tousethelanguageofcommonspeech,buttoemploytheexactword,notthenearly-exact,northemerelydecorativeword.2.Webelievethattheindividualityofapoetmay