导　　师： 周建新

学科专业： 050201

授予学位： 硕士

作　　者： ;

机构地区： 华南理工大学

摘　　要： 本论文着重研究威廉·巴特勒·叶芝/(1865-1939/)爱情诗歌中的意象及其作用。叶芝是二十世纪伟大的英语诗人之一,他的诗歌创作/(包括爱情诗歌创作/)一般按照时间分段可以分为早期/(1889-1903/)、中期/(1904-1925/)和晚期/(1925-1939/)。他的诗歌从早期的浪漫主义发展到中期的现实和现代主义,继而发展到晚期的象征主义和玄学主义。随着诗歌风格的变化,叶芝在每个时期的爱情诗歌中采用了不同的意象,这些意象各有相似或不同的象征或指代作用。 在早期爱情诗歌中,叶芝采用了大量的爱尔兰神话和民间传说中的意象,以它们象征他和爱人的关系;他也采用了玫瑰意象,用来象征着永恒的美、爱尔兰和他的爱人。在中期爱情诗歌中,叶芝采用了神话中的天鹅意象,既象征永恒的爱情和美,又指代他的爱人。在晚期爱情诗歌中,叶芝创造了一个女性意象:狂野的女巫意象。在叶芝的早期和中期爱情诗歌中,叶芝描绘了两种不同的女性:温顺而不在场的女性和强大而不可得的女性。因此,本论文把叶芝早期和中期爱情诗歌中的女性与晚期的狂野的女巫意象进行了比较,从而得知叶芝在不同时期对于女性和爱情的看法。 通过分析叶芝爱情诗歌中的意象,本论文发现叶芝在每个时期对于爱情的看法是不断变化的。在早期诗歌中,叶芝认为爱情应该自然地产生和消逝。并且他认为爱情更多是精神上的共鸣,而不是肉体上的结合。因此,叶芝一方面在诗歌中表达他对爱情的追求,一方面流露出犹豫。在中期诗歌中,叶芝表达了他对于永恒的爱情的渴望,但是随着年岁增长、身体衰老,叶芝逐渐认识到他和爱人的生命不是永恒的,因此他们的爱情也不可能是永恒的。在晚期诗歌中,叶芝通过狂野的女巫之口表达了他对爱情的看法,即爱情是灵魂与肉体的统一。 从叶芝在不同时期的爱情诗歌中创造的三种女性可以看出,叶芝对女性的态度也发生了变化。在早期和中期爱情诗歌中,叶芝描绘的温顺的女性符合传统的女性的形象,并且她在两性关系中处于服从地位。而强大的女性是“新女性”的化身,但是她的力量来自于男性。并且,在叶芝的爱情诗歌中,这两种女性从来没有发出自己的声音。在叶芝的中期和晚期诗歌中,他创造出一个狂野的女巫的形象,她不仅表达了自己对爱情的看法,并且她不再是男性的附庸。 The thesis focuses to study the images in William Butler Yeats’s love poetry. Yeats is one of the great English-language poets of the 20th century, and his poetry /(including his love poetry/) can be divided into three periods: the early period /(1889-1903/), the middle period /(1904-1925/) and the late period /(1925-1939/). His poetic styles evolve from Romanticism in the early period, to Realism and Modernism in the middle period, to the mixture of symbolism and metaphysics in the last period. Along with the change of styles, the images that Yeats uses in his love poems change also in every period. In his early period, Yeats borrows some images from Irish legends and folktales. These images could be regarded the epitomes of the relation of Yeats and his beloved. And he exploits the occult image of the Rose, which serves the symbol of eternal beauty, Ireland and his beloved. In his middle period, Yeats uses the swan image to symbolize the immortal love and beauty, and associates the swan with his beloved. In the late period, Yeats creates a women image: the wild witch image. In the early and middle periods, Yeats has already depicted two types of women: one is timid and absent, the other is powerful and unattainable. Therefore, the wild witch image is compared with the women in the early and middle periods, so as to find out Yeats’s attitude toward women and love in different period. Through the analysis of the images in Yeats’s love poetry, it is found that the attitude of Yeats toward love is evolving all the time. In the early period, Yeats thinks that love should be nature, and it occurs and wanes naturally. And he thinks that love is more spiritual than sexual. Therefore, when Yeats describes his pursuing of love, he indicates his hesitation. In the middle period, Yeats expresses his longing for the immortal love. However, as he and his beloved grow old, he realizes that their love could not be immortal as their lives are perishable. In the late period, Yeats, through the voice of the wild witch, expresses his opinion that love is the unity of body and soul. The attitude of Yeats toward women is also evolving in the three periods, which is reflected by the three types of women he creates in his love poetry. In the early and middle periods of Yeats’s love poetry, the timid woman conforms to the image of traditional women, and she is subordinate in the relation of man and woman. The powerful woman is the embodiment of“new women”; however, her power comes from men. And their voices are not heard in the love poems. In Yeats’s love poetry of middle and late period, the wild witch expresses her opinion about love, and she is no longer subordinate to man.

关 键 词： 叶芝 爱情诗歌 意象 爱情 女性

分 类 号： [I712]

领　　域： [文学]