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本文借用博令关于第三类狂喜即诗性狂喜的概念对杰拉德·霍普金斯的诗歌进行解读。根据博令对第三类狂喜的解释,预言家不仅可以被动地观察到神祗透过他进行言说而其意志与意识不受影响,还能以神谕的形式说出神祗的启示。霍普金斯发现了敦斯·苏格图对“此性”的概念化并解构了这一概念,将其投射到其作为诗人的自我。作为诗人,霍普金斯在自然的多样性中得到欣喜和愉悦。为了理解自然的意义,霍普金斯在苏格图关于普遍自然与特定自然观点的影响下,借用其“凝观”与“内景”作为本体论和认知论工具,奋力迈向整体精神现实的大门,以其对“基督即我我即基督”的坚定信念接近常人只识其一二的精神真实。诗人能够透过狂喜的眼睛感知看似毫无关联的碎片背后的隐形整体,凭借其信念言说,发出语言的声音,从而完成其言出而神入(ek-static)的诗歌行为,演绎其狂欢诗学。
In this paper, we use Bourun’s concept of ecstasy, the third type of ecstasy, to interpret Gerard Hopkins’s poems. According to Böhner’s explanation of the third type of ecstasy, the prophet can not only passively observe that the god is speaking through him but his will and consciousness are not affected, and the divine revelation can be made in the form of an oracle. Hopkins discovered that Dun & Schutus conceptualized “this nature ” and deconstructed this concept, projecting it to his ego as a poet. As a poet, Hopkins is delighted and delighted in the diversity of nature. In order to understand the meaning of nature, Hopkins borrowed his “visions” and “inner views” as ontological and cognitive tools under the influence of Socrates on the view of universal nature and particular nature, To the whole door of spiritual reality, with its firm faith in “Christ, Me, Me, Christ,” approaches the spirit of common people knowing one another only. The poet, through an ecstatic eye, perceives the invisible wholeness behind the seemingly unrelated fragments and, by virtue of his belief and speech, utters the voice of language to accomplish his ek-static poetic act and perform his carnival Poetics.