John_Donne诗歌特点+评论（课堂PPT）

JohnDonne,SelectedReading:TheFleaHolySonnet10,JohnDonnesPortraitat23,WomancatchingFlea,1,MetaphysicalPoetry,Thetermmetaphysicalisusedtodesignatetheworkof17th-centurywriterswhowerepartofaschoolofpoetsusingsimilarmethodsandwhorevoltedagainsttheromanticconventionalismofElizabethanlovepoetry,inparticularthePetrarchanconceit.Itincludesacertainanti-feministtradition.,2,JohnDonnewastheacknowledgedleaderofthepoetstodayidentifiedasmetaphysical(thoughtheythemselveswouldnothaveusedtheterm,norhaveconsideredthemselvestoconstituteaschoolofpoetry).Noexactlistofmetaphysicalpoetscanbedrawnup.SomewereProtestantreligiousmystics,likeHerbert,VaughanandTraherne;someCatholic,likeCrashaw;onewasanAmericanclergyman,EdwardTaylor.Whilelesseasilyassimilatable,Marvellsharescertainaffinitieswiththemetaphysicalpoets.Themetaphysicalsarepopularwithmodernreadersbecauseoftheirrealism,theirintellectualism,andtheirbreakwiththeirimmediateliterarypast.,3,characteristics(1),atendencytopsychologicalanalysisofemotionofloveandreligionapenchant(“hobby”)forimagerythatisnovel,unpoeticalandsometimesshocking,drawnfromthecommonplace(actuallife)ortheremote(eruditesources),includingtheextendedmetaphorofthemetaphysicalconceitsimplediction(comparedtoElizabethanpoetry)whichechoesthecadencesofeverydayspeech,4,Characteristics(2),meter:oftenrugged,notsweetorsmoothlikeElizabethanverse.ThisruggednessgoesnaturallywiththeMetaphysicalpoetsattitudeandpurpose:abeliefintheperplexity(“mess,chaos”)oflife,aspiritofrevolt,andtheputtingofanargumentinspeechratherthansong.form:frequentlyanargument(withthepoetslover;withGod;withoneself)Thebestmetaphysicalpoetryishonest,unconventional,andrevealsthepoetssenseofthecomplexitiesandcontradictionsoflife.Itisintellectual,analytical,psychological,andbold;frequentlyitisabsorbedinthoughtsofdeath,physicallove,andreligiousdevotion.,5,metaphysicalconceit（博喻）,A“metaphysicalconceit”isafar-fetchedandingeniousextendedcomparison(or“conceit”)usedbymetaphysicalpoetstoexploreallareasofknowledge.Itfindstellingandunusualanalogiesforthepoetsideasinthestartlinglyesoteric（深奥的）ortheshockinglycommonplace-nottheusualstuffofpoeticmetaphor.,6,FamousExamples,Itisoftengrotesqueandextravagant,e.g.CrashawscomparisonofMaryMagdalenestear-filledeyesasTwowalkingbaths;twoweepingmotions/Portableandcompendiousoceans.DonnescomparisonofhisunionwithhislovertothedraftsmanscompassinAValediction:ForbiddingMourningismoresuccessfulbecauseitgivesusaperceptionofarealbutpreviouslyunsuspectedsimilaritythatisthereforeenlightening.,7,TheSourcesofConceits,Typicalmetaphysicalconceitscomefromawidevarietyofareasofknowledge:coins(mintage);alchemy;medievalphilosophyandangelology(seee.g.DonnesAirandAngels”);meteorology(sighsareblasts,tearsarefloods);mythology(thePhoenixsriddle,theriverStyx);government(sheisthestate,heisthePrincefromDonnesTheSunRising);travelling(DonnesGoandCatchaFallingStar);astronomy;metallurgy(goldtoairythinnessbeat);geometry(thetwincompasses);law;geography.,8,Overallexplanation(1),FleaswereapopularsubjectforjocosehumorousandamatorylovepoetryinallcountriesattheRenaissance.Theirpopularitystemsfromaneventthathappenedinaliterarysalon(aplacewherepoetsandotherscametorecitepoetryandconverse).Thesalonwasrunbytwoladies,andonoccasionafleahappenedtolandupononeladysbreast.Thepoetswereamazedatthecreaturesaudacity,andwereinspiredtowritepoetryaboutthebeast.Itsoonbecamefashionableamongpoetstowritepoemsaboutfleas.,9,Overallexplanation(2),Inthispoem,theIofthepoemislyinginbedwithhislover,andtryingtogethertogivehervirginitytohim.(Itcould,ofcourse,quiteeasilybeaFEMALEItryingtoseduceaMALE,butIwillstickwithoneforconvenience).Whilelyingthere,henoticesaflea,whichhasobviouslybittenthemboth.Sincethe17-centuryideawasofsexasaminglingoftheblood,herealisesthatbymixingtheirbloodstogetherinitsbody,thefleahasdonewhatshedidntdaretodo.,10,Overallexplanation(3),Then,heargues,sincethefleahasdoneit,whyshouldntthey?Tobackuphisargument,hereferstothemarriageceremony,whichstatesthatmanandwomanshallbeoneflesh.Hearguesthatsincetheyhavemingledtheirbloodsandarethereforeoneblood,theyarepracticallyonefleshandarethereforemarried!,11,Overallexplanation(4),Then,heargues,sincethefleahasdoneit,whyshouldntthey?Tobackuphisargument,hereferstothemarriageceremony,whichstatesthatmanandwomanshallbeoneflesh.Hearguesthatsincetheyhavemingledtheirbloodsandarethereforeoneblood,theyarepracticallyonefleshandarethereforemarried!,12,Overallexplanation(5),However,thefleafinallyiskilled,andthepoetisforcedtochangetactics.There,heargues,killingthefleawaseasy,andasyousayithasntharmedus-well,yieldingtomewillbejustaseasyandpainless.Thispoemborrowsalotofreligiousimagery,becauseithelpsaddanaburdauthoritytothepoem,asDonnetriestoarguethatwhattheyareabouttodoisnotonlysupportedbyGod,buttonotdoitwouldbeheretical.,13,PoeticDevices,Directaddress:Markebutthisflea.Repetition:AndmarkeinthisConceits:FleaChurchFlea,14,MovementWithinthePoem,Firststanza:ContemplativeandwhimsicalSecondstanza:Becomesmoreabsurd,pacegetsfasterThirdstanza:Slowingandreversalofargument.Notagoodideatowritedown,butinterestingtonotethatthepaceofthepoemfollowsthatofsex-agradualbuild-upofintensityleadingtothesudden,climactic.deathofaflea.,15,Imagery,Muchreligiousimagery:onebloodmadeoftwo-impliessexand/orpregnancy(ie,motherandchildarethetwo)threelivesinoneflea-holytrinitycloysterdsacrilege,threesinnesinkillingthree-moreholytrinityimagerybloodofinnocence,16,GeneralComments(1),Circularargument.Thefleastartsandendsasnothing.Hijackingofmarriageceremony.TheAnglicanmarriageceremonyincludesthelinesManshallbejoineduntohiswifeandtheytwoshallbeoneflesh.Comparewithonebloodmadeoftwo,ThisfleaisyouandI.,etc.Argumentgainsconfidencethroughoutthestanzas,andisthenabruptlyturnedaround.Thereisalotofhyperboleinthispoem,atechniquethatDonneoftenusestomakeapoint.,17,GeneralComments(2),Notetheroleofthefemaleinthispoem-herobjectionsarenevernoted,justreactedto,andshemakesthemostpowerfulstatementinthepoem,yetitisanon-verbalstatement(hercrushingoftheflea)Onebloodmadeoftwo.-inDonnestime,thesexactwasthoughtobeaminglingofthebloods-sothelineisbothlewdandplayful,especiallyasitisfollowedbytheteasingAndthis,alas,ismorethanweewoulddoe.,18,GeneralComments(3),Purpledthynaile.-purplewasaveryexpensivecolour,associatedwithroyaltyandromance.AlsonotethatinthefirsttwolinesofthisstanzaDonneisarguingthatthedeathofthefleaismoreimportantthanthelossofvirginity.Notagoodideatousethisinaformalexam,butnoteMeitsuckdfirst,andnowsucksthee-apparentlyinthe17thcenturytheprintedslookedalotliketheprintedf:Itwouldbenosurprise.thatDonneisbeingdeliberatelyambivalenthere.,19,GeneralComments(4),Donnesrhymeschemeplaysanimportantpartinthemeaning.Alltwenty-sevenlinesofthepoemfollowtheaabbccdddrhymescheme.Thisconsistencyinpatternreflectsthespeakerspersistenceasheproceedswithhisrequestforintimacythroughoutthepoem.,20,Death,BenotProud,DEATHbenotproud,thoughsomehavecalledtheeMightyanddreadfull,for,thouartnotso,For,those,whomthouthinkst,thoudostoverthrow,Dienot,pooredeath,noryetcanstthoukillme.Fromrestandsleepe,whichbutthypicturesbee,Muchpleasure,thenfromthee,muchmoremustflow,Andsoonestourbestmenwiththeedoegoe,Restoftheirbones,andsoulesdeliverie.,21,ThouartslavetoFate,Chance,kings,anddesperatemen,Anddostwithpoyson,warre,andsicknessedwell,Andpoppie,orcharmescanmakeussleepeaswell,Andbetterthenthystroake;whyswellstthouthen;Oneshortsleepepast,weewakeeternally,Anddeathshallbenomore;death,thoushaltdie.,22,ThissonnetispartofacollectioncalledTheHolySonnets.Donne,anAnglicanpriestandveryreligiousman,looksatthethemeofdeath,somethingthatscaresmostpeople.Hepointsoutthatoneshouldnotinfactbeafraidofdeathatallbecauseitissimplythegatewaytoanotherhappiereternallife.Thepoetinfactpersonifiesdeath,speakingdirectlytoDeathasifitwereaperson.HeaccusesDeathofhavingabsolutelynothingtoboastaboutbecause,intheend,Deathhasnopowerwhatever.,23,PetrarchanSonnet,Ithas14lines,dividedintothreequatrainsandarhymingcouplet.Thequatrainsdealwiththechiefthemeofthesonnet,andtherhymingcoupletconcludestheargument.Eachlineofthesonnethas10syllablesofiambicpentameters-i.e.therearefivefeet(calledpentameters),andeachfootcontainsashortsyllablefollowedbyalongone(iambic):,24,Therhymingschemeisasimpleone:abbacddceffeggNote:TherhymingcoupletattheendisusuallyasignthatoneislookingatanElizabethansonnet.,25,DONNESPOEMISBASEDUPONTHEFOLLOWINGEXTRACTFROMTHESCRIPTURES:,Listen,Itellyouamystery:Wewillnotallsleep,butwewillallbechanged-inaflash,inthetwinklingofaneye,atthelasttrumpet.thenthesayingthatiswrittenwillcometrue:Deathhasbeenswallowedupinvictory.Where,Odeath,isyourvictory?Where,Odeath,isyoursting?Thestingofdeathissin,andthepowerofsinisthelaw.ButthanksbetoGod!HegivesusvictorythroughourLordJesusChrist.Corinthians15:51-57,26,CLOSERANALYSIS,General:Deathisoftenpresentedasaperson(theGrimReaper)whogoesaboutwithasicklereapinginaharvestofsouls.Indeed,StPaulhimselfpersonifiesdeathinhislettertotheCorinthians,henceDonneismerelyimitatingthegreatmaster.,27,Quatrain1:,ThepoethascontemptforDeath,scorningDeathsfalsepride.Hepointsoutthat,althoughmostpeopleareterrifiedofDeath(somehavecalledtheemightyanddreadful),thereisnoreasonatallforthisfear.Peoplewhoappeartodie,saysthepoet,donotactuallydiebutratherpassintoanothereternallifeofhappiness.Deaththereforehasnoreasontobeproud,ortoboastofhisaccomplishmentsbecauseinrealityDeathhasnopowerwhatever.,28,Quatrain2:,Deathismerelyapictureofeternalrestandsleep.Justasrestandsleepbringmuchhappiness,soDeathwillbringmuchmorehappinessbecausehebringseternalrest.Eventhebestpeoplewilleventuallydie,