spooning

“TheWildHoneySuckle”

Understandthetitle:ehoneysucklecomesfromthesweetnectarthattheflowerproducestointoxicatethe

fumeofthispassionateplant

mayturnamaiden’shead,d“wild”impliesher

livingplace;shelivesinwildernessnotinparadiorhou;soshewillnotbeappreciatedbyothersandfeelssorrowful.

Alsoitimpliesthenature,sowecansaythewriterisdescribingthenature.

TheWildHoneySuckle

PhilipFreneau

1ststanza:

Thehoneysucklelivesanobscure,unknown,forgotten,rene,andsafelife.

2ndstanza:Thepure,innocenthoneysuckleisnotcontaminatedbythevulgareyeofpeopleandprotected,embraced,

andnurturedbyNature.

3rdstanza:griefupontheflower’sdeath

4thstanza:nothinggained,nothinglost

TheScarletLetter

作者：NathanielHawthorne

赏析：

ofrebellionwithinanemotionallyconstrictedPuritansociety.

Hawthorne’ssuperbcraftsmanship

psychologicalinsight;cretmotivationsinhumanbehaviour;guilt&anxietyresultedfromsinsagainst

humanity,ide.

g:PuritanbackgroundofNewEnglandin17C

rne:masterofSymbolism.

Pearl=thematicsymbol:conquencethesinofadulteryhasbroughttothecommunityandpeoplelivinginthe

community.

LetterA=differentsymbolicmeanings(adultery,angel,able,advance,admiration,etc.).Theambiguityisoneofthe

salientfeaturesofthework.

:committedsinbuttruetoGodandherlf;notarealsinner;sinfuljustinthesinfuleyesoftheconventional

Puritans.

ngworth:physician,coldobrveroflife,lookingonmankindasthesubjectofexperiment;lostinrevenge;

nottruetohimlf/others/God;realvillainofthestory,truesinner.

dale:partnerofHester’ssin;theconcealmentofthefirstsinledtothecondsin;nolongertrueto

God/others,butkepttruetohimlf;intellectualarrogance&betrayingofhonestyconflictwithinhim,ledtothetwisting

anddistortionofhispersonality;suffermostinstory.

“SongofMylf”

"SongofMylf"anexperience,here,meanswhatmenofthepast,prent

andfuturehaveen,touched,smelt,poemWhitmanixplaininghowallofhumanityislikeone

livingorganism,ion44of"SongofMylf"Whitmansays,"We

havethusfarexhaustedtrillionsofwintersandsummers,Therearetrillionsahead,

havebroughtusrichnessandvariety,callonegreaterandone

smaller,Thatwhichfillsitsperiodandplaceiqualtoany."ItisclearthatWhitmanhadaperspectiveofthehuman

ecifically,Whitmanspeaksofequalcontributiontothehuman

experienceinction42:"Hereandtherewithdimesontheeyeswalking,Tofeedthegreedofthebellythebrains

liberallyspooning,Ticketsbuying,taking,lling,butintothefeastneveroncegoing,Manysweating,ploughing,

thrashing,andthenthechaffforpaymentreceiving,Afewidlyowning,

thecityandIamoneofthecitizens,Whateverintereststherestinterestsme,politics,wars,markets,newspapers,

schools,Themayorandcouncils,banks,tariffs,steamships,factories,stocks,stores,realestateandpersonalestate.

“BecauICouldNotStopforDeath”

t,theprotagonistfeelstotallyateaandtheusuallyfrighteningdeath

isdescribedasifafamiliarfriend,uingly,thepoemisdevelopeduponabasicmetaphorthatlife

rulyratheroldacomparison,butDickinsonenricheditwithhercreativityandimagination:"School,

whereChildrenstrove"--childhood;"FieldsofGazingGrain"--maturity;and"SettingSun"--“theDews

drewquiveringandchill-”makestheprotagonistfeelterriblycold,whichmaymeanthattheyaregettingnearerand

ast,hiscompanions,ImmortalityandDeath,finallyderthimandleavehimalonetogo

towardEternity.

Soitemsthatthoughdeathcheatshimandatthesametimedertshim,theexperienceofdeathitlfisnotpainful.

EmilyDickinson’spoemsjustexplainthiskindofesnceoflife,whichthenleadyoutoaworldofimaginationand

thinking.

“InaStationoftheMetro”.

ThepoemisntiallyatofimagesthathaveunexpectedlikenessandconveytherareemotionthatPoundwas

lytheheartofthepoemisnotthefirstline,northecond,butthementalprocessthat

linksthetwotogether."Inapoemofthissort,"asPoundexplained,"oneistryingtorecordthepreciinstantwhena

thingoutwardandobjectivetransformsitlf,ordartsintoathinginwardandsubjective."Thisdartingtakesplace

otalmi-colonhasstirreddebateastowhetherthefirstlineisinfact

subordinatetothecondorbothlinesareofequal,ontraststhefactual,mundane

imagethatheactuallywitnesdwithametaphorfromnatureandthusinfusthis“apparition”

isaquicktransitionfromthestatementofthefirstlinetothecondline’svividmetaphor;this‘super-pository’

d“apparition”isconsideredcrucialasitevokesamysticaland

supernaturalnssiveword‘Petals’

conjuresideasofdelicate,femininebeautywhichcontrastswiththebleaknessofthe‘wet,blackbough’.Whatthepoem

signifiesisquestionable;manycriticsarguethatitdeliberatelytranscendstraditionalformandthereforeitsmeaningis

rwhenPoundhadtheinspirationtowritethispoem

lywishedtotranslatehisperceptionofbeautyinthemidstof

uglinessintoasingle,perfectimageinwrittenform.

Itisalsoworthnotingthatthenumberofwordsinthepoem(fourteen)isthesameasthenumberoflinesinasonnet.

Thewordsaredistributedwitheightinthefirstlineandsixinthecond,mirroringtheoctet-stetformoftheItalian

(orPetrarchan)sonnet.

m

=beautifulfacesinthecrowdwaitingforthetrain.

“StoppingbyWoodsonaSnowEvening”.

“StoppingbyWoodsonaSnowyEvening,”likemanyofFrost'spoems,exploresthethemeoftheindividualcaught

aker'slocationontheborderbetweencivilizationandwilderneschoesa

akerisdrawntothebeautyandallureofthewoods,which

reprentnature,buthasobligations—“promistokeep”—whichdrawhimawayfromnatureandbacktosocietyand

akeristhusfacedwithachoiceofwhethertogiveintotheallureofnature,orremaininthe

iticshaveinterpretedthepoemasameditationondeath—thewoodsreprenttheallureof

death,perhapssuicide,whichthespeakerresistsinordertoreturntothemundanetaskswhichorderdailylife.

shipre.

tetrameter

atstanza,

gshceme:aaba/bbcb/ccdc/dddd

hyme

“TheRoadNotTaken”.

thepoemisinspirational,apaeantoindividualismandnon-conformism.

irststanza,eenoutwalkinginthe

woodsandcomestotworoads,dliketotryoutboth,

butdoubtshecoulddothat,sothereforehecontinuestolookdowntheroadsforalongtimetryingtomakehisdecision

nicinterpretation,widelyheldbycritics,isthatthepoemisinsteadaboutregretand

personalmyth-making,rationalizingourdecisions.

Inthisinterpretation,thefinaltwolines:

Itooktheonelesstraveledby,

Andthathasmadeallthedifference.

areironic:thechoicemadelittleornodifferenceatall,thespeaker'akeradmitsin

thecondandthirdstanzasthatbothpathsmaybeequallywornandequallyleaf-covered,anditisonlyinhisfuture

recollectionthathewillcalloneroad"lesstraveledby".

Thesigh,widelyinterpretedasasighofregret,mightalsobeinterpretedironically:ina1925lettertoCristineYatesof

Dickson,Tennese,askingaboutthesigh,Frostreplied:"Itwasmyratherprivatejestattheexpenofthowhomight

thinkIwouldyetlivetobesorryforthewayIhadtakeninlife."

’s“Prufrock”.

Onthesurface,"Prufrock"relaysthethoughtsofaxuallyfrustratedmiddle-agedman

whowantstosaysomethingbutisafraidtodoso,pute,however,liesintowhom

Prufrockisspeaking,whetherheisactuallygoinganywhere,whathewantstosay,andtowhatthevariousimagesrefer.

lievethatPrufrockistalkingtoanotherpersonordirectlytothereader,

whileothersbelievePrufrock'ewrites"The'youandI'ofthefirstlinearedividedpartsof

Prufrock'sownnature",whileMutluKonukBlasingsuggeststhatthe"youandI"referstotherelationshipbetweenthe

rly,criticsdisputewhetherPrufrockisgoingsomewhereduringthe

irsthalfofthepoem,Prufrockusvariousoutdoorimages(thesky,streets,cheaprestaurants

andhotels,fog),andtalksabouthowtherewillbetimeforvariousthingsbefore"thetakingoftoastandtea",and"time

toturnbackanddescendthestair."ThishasledmanytobelievethatPrufrockisonhiswaytoanafternoontea,inwhich

heispreparingtoaskthis"overwhelmingquestion".Others,however,believethatPrufrockisnotphysicallygoing

anywhere,butrather,isplayingthroughitinhismind.

Perhapsthemostsignificantdisputeliesoverthe"overwhelmingquestion"lieve

thatPrufrockistryingtotellawomanofhisromanticinterestinher,pointingtothevariousimagesofwomen'sarms

andclothingandthefin,however,

believethatPrufrockistryingtoexpresssomedeeperphilosophicalinsightordisillusionmentwithsociety,butfears

rejection,pointingtostatementsthatexpressadisillusionmentwithsocietysuchas"Ihavemeasuredoutmylifewith

coffeespoons"(line51).ManybelievethatthepoemisacriticismofEdwardiansocietyandPrufrock'sdilemma

rndHarlanwrote"Formanyreaders

inthe1920s,Prufrockdto

reprentthwarteddesiresandmoderndisillusionment."

Asthepoemusthestreamofconsciousnesstechnique,itisoftendifficulttodeterminewhatismeanttobeinterpreted

ral,EliotusimagerywhichisindicativeofPrufrock'scharacter,reprentingaging

mple,"Whentheeveningisspreadoutagainstthesky/Likeapatientetherizeduponatable"(lines

2-3),the"sawdustrestaurants"and"cheaphotels,"theyellowfog,andtheafternoon"Asleep...tired...oritmalingers"

(line77),arereminiscentoflanguoranddecay,whilePrufrock'svariousconcernsabouthishairandteeth,aswellasthe

mermaids"Combingthewhitehairofthewavesblownback/Whenthewindblowsthewaterwhiteandblack,"show

hisconcernoveraging.

MobyDickHermanMelville

:captainofthewhalingship

:nameofthewhalingship

:therebelliousstruggleofCaptainAhabagainsttheoverwhelming,mysteriousvastnessoftheuniverand

itsawesomesometimesmercilessforces.

s&allegory:

Pequod=microcosmofhumansociety;

Thevoyage=aarchfortruth;

MobyDick=nature(complex,unfathomable,malignant,beautiful),anultimatemysteryofuniver.

ToHelenEdgarAllanPoe

:celebratethenurturingpowerofwomen—Helen’sbeautyissoothingandprovidesafety&curity.

theimage&impressionoftheidealized&unrealwoman;

entbeauty,heartdesired,inaccessible.

on,assonance,consonance,repetition

/ababa/abbab

=goddess;Psyche=goddessofthesoul

AnnabelLee

Rhyme,Rhythm,Repetition:PoeusthreeR’s–rhyme,rhythm,andrepetition–in“AnnabelLee”tocreateaharmony

ofsoundsthatunderscoretheexquisiteharmonyofthenarrator’srelationshipwithhisbeloved.

ebetweenthenarratorandAnnabelLeeissostrongandbeautifulandpurethateventhe

raphs,thehighestorderofangelsinheaven,tempttokillthislovebyndingachillingwindthatkills

r,theloveremainsalive–eternal–thofa

beautifulwomanisacommonthemeinPoe’swriting.

Poerepeatsthisrhythmicpatternthroughoutthepoem,repeats

keyphras–suchasinthiskingdombytheaandmyAnnabelLee(ormybeautifulAnnabelLee)–tocreatehaunting

tion,Poesometimesrepeatswordsorwordpatternswithinasingleline,asin(1)manyandmanyayear

ago,(2)welovedwithalovethatwasmorethanlove,and(3)mydarling–therenhancestherhythm

ofthepoemwiththerepetitionofconsonantsounds(alliteration).Notice,forexample,therepetitionofthe“w”and“l”

soundsinthislineinStanza2:Butwelovedwithalovethatwasmorethanlove."Poesometimescouplesrepetitionof

consonantsoundswithrepetitionofvowelsounds,asinmanyandmany,loveandbeloved,andthowhowereolder

thanwe.

Imagery–DarknessandLight:Impliedandexplicitimagesofdarknessandlightoccurthroughoutthepoem.

Poe’sArtistictheories

Poemsshouldbeshort,conciandreadableatonesitting;

Theaimofpoemwritingisbeauty;themostbeautifulthingdescribedbyapoemisthedeathofabeautiful

woman;thedesirabletoneofapoemismelancholy;

Heoppoddidacticpoems;

Hestresdtheformofpoem,especiallythebeautifulandneatrhyme.

HisViewandTheme

1)Heconcludesthat“thedeathofabeautiful

womanis,unquestionably,themostpoetical

topicintheworld”.

2)Melancholyisthemostlegitimateofallthe

poetictones.

3)Hewasinterestedinimaginationandfancyas

wellasdeductionandinduction.

FirstStanza

Noticetherecurrenceof"m"and"n"sounds(alliteration).

SecondStanza

Coveted:envied,rented

ThirdStanza

thiswasthereason:theraphs'envy

longago:thewordchomanyayearagoinLine1,Stanza1.

acloud:Usingthewordsinsteadoftheskyinfusforebodingandgloomwhilesymbolizingthedarkenvyofthe

raphs.

lpulchre:n,ofcour,hasalwayshadamonarchy,thetypeofgovernmentthat

wouldruleina"kingdombythea

Fourthstanza

outofacloudbynight:Uofthisphraemphasizesthedarkenvyoftheangelsandtheirsneakyscheme(which

unfoldsunderthecoverofnight).

chillingandkilling:anexampleofinternalrhyme

FifthStanza

Thenarratorherefocusonthreeworlds:(1)earth,therealmofhumans;(2)heaven,therealmofangels;and(3)hell,

ebetweenhimandAnnabelisstrongerthananyotherearthlyloveandcansurvivethe

sinistereffortsoftheangelsandthedemonstosabotage蓄意破坏it.

ever,disver:internalrhyme

SixthStanza

Poestressimageryoflightinthisstanza,associatingmoonbeamswithdreamsabouthisbelovedandtheradianceof

ixthline,heusafigureofspeechcalledanaphora首语重复法whenhewritesthewordmy

fourtimes.

"Iheardaflybuzz--whenIdied"

Thepoemsincludeobrvationsofnature,accountsofamoment’srevelation,descriptionsofxualstirrings,and

son’ms

poeticidiomisnotedforitslaconicbrevity,byanarratorwho

mgivesthereaderaninsidelookintothefinal

isthecentralfigurereprentingtheoncomingofdeath.

Thepoemisfullofmanymetaphorsandsimiles,suchasthekingmentionedinthepoemwhoreprentsabeliefin

dingofthepoemaffirmsEmilyDickinson'mhasashorttitlebutis

sinevitabletoallwhoareborn,althoughnotalldeathsaredisturbedbyapeskyfly.

“IheardaFlybuzz”employsallofDickinson’sformalpatterns:trimeterandtetrameteriambiclines(fourstressinthe

firstandthirdlinesofeachstanza,threeinthecondandfourth,apatternDickinsonfollowsathermostformal);

rhythmicinrtionofthelongdashtointerruptthemeter;stingly,alltherhymes

beforethefinalstanzaarehalf-rhymes(Room/Storm,firm/Room,be/Fly),whileonlytherhymeinthefinalstanzaisa

fullrhyme(me/e).Dickinsonusthistechniquetobuildtension;anoftruecompletioncomesonlywiththe

speaker’sdeath.