西风颂的文体学分析英文文档格式.docx
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西风颂的文体学分析英文文档格式.docx
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KeyWords:
Phoneticlevel;
lexicallevel;
syntacticlevel;
forms;
contents
1Introduction
“Usingproperwordsinproperplaces,andthisistherealdefinitionofstyle.”FromthedefinitionofstylethatSwiftgave.Wecanmakeacomprehensionthatthelanguageexpressionwayofaliteraryworkisthemostremarkablestyle.AstheoldChinesesayinggoes,“thestyleistheman”.Byreadingthewordsandphrasesofawork,itisnowonderthatwecanguessthecreatingtimeandauthorofthework.Forinstance,thewritingstyleofElizabethanAgeisfullofpassionandromanticcolor,andintegratedandunifiedinstructure.ThestyleofHemingwayisclear,conciseandsimpleinsentencestructure.
Butwecannottreatdifferentthingsasthesame;
wedon’texcludethepossibilitythatauthorsindifferenttimesmayhavesimilarwritingstyle.Actually,sincethestylisticscameintobeing,thereisnounifieddefinitionofstyle.Manyexpertsandscholarstriedtogiveadefinitionofstylefromtheirownresearchfields.Simplyspeaking,therearetworesearchobjectsofstyle—oneistheideologicalcontentsofliteraryworks;
theotherislinguisticfeatureofstyle.Thatistosay,itmainlyreferstoformsandcontents.
Contentsarethethoughtsandviewofauthor.Formsincludegrammar,vocabulary,rhetoricdevicesandsoon,i.e.linguisticphenomenon.Expertsarguedabouttherelationshipbetweenformsandcontentsallthetime.Generallyspeaking,earlystylistsemphasizedtheresearchoflanguageformsratherthancontents,suchas,both“wayofwriting”and“modeofexpression”showtheseparationofformsandcontents.Butlater,peoplearemoreandmorelikelyemphasizetheimpartibilitybetweenthem.Then,what’stherelationshipbetweenliteraryworksandstylistics?
Likealiteraryworkcananalyzeindifferentangles,theanalyticalmethodsofstylisticsaredifferent.Thevarietyofproblemanalysiscomesfromtheinfluenceofthelinguisticsandliterarycriticism.Untilnow,literaturetextisthemostcommonmaterialsofproblemanalysis.Stylisticanalysisdependsmainlyontextitself.
Moststylisticanalysisisnotonlyforthepurposeofsimplyanalyzingthecharacteristicsoftextitself,buttoshowthefunctiononexplainingtexts,orcombineliteratureeffectswithlanguagecauses.Fromallabove,wecandrawaconclusionthatstylisticsmainlyreferstotheanalysisoftextandtheapplicationoflanguage,thatis,stylisticanalysismeansthecombinationofthoughtsandlanguagefeaturesoftheauthors.ThispapertriestoanalyzeShelley’sOdetotheWestWindinphonetic,lexicalandsyntacticLevel.
2ThePhoneticLevel
Comparedwithotherliteraryforms,poetrypaysmoreattentiontothemusicality.Differentfromotherauthorsthatuselanguagestoexpressinformation,poetsnotonlyexpressmeaningwithwords,butalsoconveysound.Themusicalityofpoetryissoimportantthatmusicalitybecomesoneoftheindispensableconditionsofdefinitionofpoetry.Themusicofpoetryisthatpoetscombinerhythm,rhymeandwords,inthepurposeoffoilingtheatmosphereofpoetry,enhancingtheemotionalrenderingofpoetryandgivingreaderstheenjoymentofbeauty.Andthemusicalityofpoetryismainlyshowedinrhymeandmeter.Whileanalyzingpoetry,voiceisalwaysanimportantstandard.Shelley’sOdetotheWestWind,tidyinmeters,stronginrhythm,showsoutthecharmofmusic.Thus,achievethepurposeofrenderingatmosphereandexpressmindbyacoustics.
2.1Rhyme
Thelinesofthewholepoemmainlyconformtotheiambicpentameterwhichisthemostcommonrhymeinthispoem.Thiskindofrhymeiscadencedandfullofmusicality.Exceptrhymes,thispoemusemanyalliterations,likeinthefirstlineofthefirststanzainChapterone,“OWildWestWind”,inthesecondstanza,“wintry”,inthethirdstanza,“where,winged,within”allalliterateinsemivowel.Thiskindofrhymesoundslikewestwinesweepingfromyourears,expressestheobjectsvividandvisual.
2.2Pause
Everylanguagesandstyleshavepauses.However,pausesinpoetryaremoreobviousandsystemicthanprose.Englishpausesarerelatedtolinesofpoetryandrhythms.Differentpauseformshavedifferentliterarystyles.InEnglish,thereareatleastfoursilentpauseforms.Poetusedmanyintermediatestops,meanspauseinthemiddleoftheline.Forexample,atthebeginning:
OWildWestWind,thoubreathifAutumn’sbeing
Thou,fromwhoseunseenpresencetheleavesdead
Aredriven,likeghostsfromanenchanterfleeing
Thecommainthelinemeanstheintermediatestop.Thispauseslowdowntherhythmofthepoemandhighlightthetremendouspowerofthewestwind.
3TheLexicalLevel
Shelleyuserhetoricaldevicestomakeunrealimagesmorespecific,vivid,andmakeflatwordsfullofstronginfection.Here,therhetoricaldevicesmainlyrefertosimile,metaphorandpersonification.
3.1Simile
Eachlikeacorpsewithinitsgrave(仿佛是坟墓中的尸体)
LoosecloudslikeEarth’sdecayingleavesareshed(纷乱的云彩恰如满地枯叶,从天空和海洋交叉的枝干上吹落下来)
Oh!
Liftmeasawave,aleaf,acloud!
(请把我当做波浪、落叶、云!
)
3.2Metaphor
Thelocksoftheapproachingstorm(把云层比作发怒的酒神)
Ifalluponthethomsoflife!
(把生活的磨难比作荆棘)
Thetrumpetofaprophecy!
(把西风比作号角)
3.3Personification
Thepoetpersonifiedwestwindfromthebeginningtotheend,namethewestwind“thelifeofautumn”,“thesisterofspring”,“thewildspirit”andsoon.Thus,showtheunrestrainedpowerinfrontofthereadersvividly.
4TheSyntacticLevel
Byanalysisoftheinversion,repetitionandrhetoricalquestioninthispoem,weknowclearerabouttherelationshipbetweenformsandcontents.
4.1Inversion
Inversionmeansbreakthenormalorderofsentencesinordertoachieveacertainartisticeffectorinpursuitofrhythm.eg.:
Whochariotesttotheirdarkwintrybed
Thewingedseeds,wheretheyliecoldandlow
ThesetwolineslocatedinthelastlineofthesecondstanzainChapteroneandthefirstlineofthethirdstanza.Wecanclearlyseethesetwolinesarerelated.Thenormalordershouldbe:
Whochariotestthewingedseedstotheirdarkwintrybedwheretheyliecoldandlow(驾车把长着翅膀的种子送到黑暗的冬日之床,躺在冰冷的地底)。
Therefore,theinversionlinksthetwosentences,playsanimportantroleincontinuityandadjustingthestructure.
4.2Repetition
Repetitionisacommonfigureofspeech,anditseffectistoemphasizeorachieveaspecificeffect.Forinstance,inthesentence:
“Onetoolikethee,tameless,andswift,andproud”,therearethree“and”.Theutilizationofthethree“and”emphasizestherageofwestwindandromanticismofwriter.
4.3RhetoricalQuestion
RhetoricalQuestionreferstoapositiveornegativesentencepatternbyusinginterrogative.Itismorestrongtoemphasizeaconceptbyusingrhetoricalquestionratherthanpositivesentenceandnegativesentence.Attheendofthispoem,the“Ifwintercomes,canspringbefarbehind?
”hasencouragesmanypeopletoregainconfidence.ThereasonwhythissentenceiscontagiousisShelleyusedrhetoricalquestioninthissentence.ItleavesawidethinkingspacetoreadersanditshowsShelley’saspirationofbeautifulspringandoutlookoffuture.
5Conclusion
OdetotheWestWindisaclassiclyricpoetryofEnglishRomanticpoets,Shelley.Heexpressedhisfeelingthroughdescribingscenesinhiswork,andhecombinedtheformofpoemsandthecontentofpoemsbyutilizingmanykindsofmeansofartisticexpression.Intheformofpoems,ShelleycombinedtheterzarimainDivinaCommediaandthesonnettoformanewpoeticform.Inphonology,thebasicrhyme-schemecanincarnatetheintegralityandcompactednessofpoeminstructure,atthesametimeitcaneliminatethemonotonousfeeling.Thewholepoemisrhythmicandcatchytoshowthecharacterofpoemwhichcreateacertainambiancebyphonology.Therearealotoffiguresofspeechinpoemsuchassimileandpersonification.Shelleyshowedthescenesthatwestwindappearsatearth,skyandseatoexpresshisfeelingincisivelyandvividly.Inaddition,throughtheanalysisofinversion,repetitionanderotesis,wecanstronglyfeeltheartisticcharmofthepoem.
Thispoemexpressesthepoet’slovefornature,praisestothewestwind’sspiritofblastingandnurturingthenewthings,andalsoexpressestheoptimismforthevictoryoftherevolutioninthefuture.Shelleyusesophisticatedlanguagearttechniquestoperfecttheimplementationoftheunityoftheformandtheme.
References
CarlWoodring,JamesShapiro.
TheColumbiaHistoryofBritishPoetr.北京:
外语教学与研究出版社,2005。
Thornborrow,JoannaandWareingShan.PatternsinLanguage:
StylisticsforStudentsofLanguageandLiterature.Beijing:
ForeignLanguageTeachingandResearchPress.(10)2004,3.
刘守兰,《英美名诗解读》。
上海:
上海外语教育出版社,(10)2004。
罗婷,“雄浑激昂的狂飙曲----雪莱《西风颂》音韵效果浅析”,《湘潭市反学院院报》,(15)1994。
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