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爱尔兰诗人谢默斯·希尼曾用“丰饶角”和“空壳”来比喻两种不同的诗歌创作,他自己的诗歌在不同阶段同样体现了丰饶角和空壳的特征。希尼诗歌创作风格的这一变化源于他在不同阶段对诗歌与现实关系的不同看法。在创作初期,受生活和文化环境的影响,希尼的诗歌侧重表现现实的复杂性和矛盾性。但是到了后来,随着环境的改变以及诗人身份的确立,希尼越来越强调诗歌具有改变现实的想象性力量。此时希尼诗歌的重心从语言的复杂含混转向了诗歌的寓意性,以此来纠正现实的局限,帮助读者进入精神层面,获得对生活更开阔和更深刻的理解。正是借助这一超越现实的视角,希尼的后期诗歌不但使日常事物具有了神奇的魅力,而且超越了现实的伦理价值和理解限度,对生命有了新的认识和感悟。
The Irish poet Seymour Sini used two different poems, “Feng Rao Kok” and “Shells”. His own poems also embody the characteristics of abundance and empty shells at different stages. This change in the style of Poe’s poetry stems from his different views on the relationship between poetry and reality at different stages. In the early days of creation, influenced by the life and cultural environment, Shini’s poems focused on the reality of complexity and contradiction. But then, as the environment changed and the poet’s identity was established, Shinni increasingly emphasized the imaginative power of poetry to change reality. At this time, the focus of the poems of Shini shifted from the complex connotation of language to the meaning of poetry in order to correct the limitations of reality, help the readers enter the spiritual level and gain a broader and deeper understanding of life. It is by virtue of this transcendental perspective that Sinie’s later poems not only make the everyday things magically attractive, but also transcend the real limits of ethical value and understanding and have a new understanding and perception of life.