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本文旨在通过考察诸如《彼此难堪》中“still”此类关涉句法韵律的实例,指出艾米莉·狄金森对虚词的使用不仅有助于揭示隐含的诗歌美感与诗意,还有助于对虚词的再认识。本文认为,这种对诗歌莫衷一是却相得益彰的解读,与很多中国古典诗歌有异曲同工之妙,譬如贾岛的那首著名唐诗《题李凝幽居》,该诗以“推”和“敲”的辨析而闻名。但依本文拙见,从音韵学角度考虑该诗得以流传千古的原因却在于对“还”这一不起眼的虚词的运用(大致等同于“still”)。作为该诗不可替代的存在,“还”的作用却湮没在历朝历代的诗歌批评之中。本文将立足于道家经典《道德经》《庄子》和《列子》以及维特根斯坦的语言哲学,在不过度阐释的前提下赋予狄金森诗歌“虚心”“反动”等道家内涵。读懂狄金森就在于读懂如何经由虚词,被散落在诗行各处但不能简化的“我”激发沉闷语词之活力,使“我”所见皆为人之本性中应有之生命力量。
The purpose of this paper is to point out that Emily Dickinson’s use of function words not only helps to reveal the implied beauty and poetic poetry but also examines the rhythms of syntax such as “still ” in “embarrassment to each other” Help to re-recognize the function words. This paper argues that this kind of incomprehensible poem but complement each other’s interpretation, and many Chinese classical poetry are similar to the same wonderful, such as Jia Dao’s famous Tang poem “Poetry Li condensate”, the poem to “push” and “knock” “Distinguished and famous. However, according to my humble opinion, the reason why this poem can be spread from the perspective of phonology lies in the use of the obscure function word (also roughly equivalent to ”still “). As the irreplaceable existence of this poem, the function of ”also“ was buried in the criticism of the poems of different dynasties. This essay will give Dickinson the poetic connotation such as ”Hypocritical“ and ”reactionary“ based on the Taoist scriptures ”Zhuangzi“ and ”Liezi“ and Wittgenstein’s philosophy of language. Reading Dickinson is to read how to stimulate the vitality of boring words through the virtual words scattered throughout the poem but can not be simplified, so that ”I " should be seen in the human nature Life force.