爱伦?坡的《乌鸦》体现的超凡之美论文

爱伦?坡的《乌鸦》体现的超凡之美论文（通用4篇）

篇1：爱伦?坡的《乌鸦》体现的超凡之美论文

摘要：<乌鸦>是美国诗人、文论家埃德加•爱伦•坡的代表诗作。<乌鸦>以优美的形式、韵律极强的音乐感来表现该诗的主题“美妇人之死”。主题、形式和语言的选择反映了诗人的创作哲学，而该诗的成功实践也证实了其相关理论。

关键词：爱伦•坡;乌鸦;主题;形式;音乐性

埃德加•爱伦•坡被认为是唯美主义的先驱，他与惠特曼、狄更森一起被称为19世纪美国最有创造力的三位诗人。爱伦•坡的“为诗而诗”的观点决定了他诗歌作品的唯美主义倾向，他的诗歌作品形式精美，音韵优美。爱伦•坡在《诗歌原理》中写道：“我认为根本就不存在什么长诗，‘长诗’本身就是一个自相矛盾的词。诗之所以为诗，是因为它能够激动人心，使灵魂升华。而人们激动的短暂乃是心理的必然。”因此要创作出能给读者留下深刻印象的富于美感的诗，根据他的说法，长度在一百行上下的诗歌最为理想。

爱伦•坡在他的著作《创作哲学》中，非常详细地阐述了他对文学创作的主张，也第一次明确地提出了“美女之死”这一主题。他在文中指出：“美是诗的唯一正统的领域”，同时“忧郁是所有诗的情调中最正宗的”，而“死亡”则是所有忧郁的题材中“最为忧郁的”，因此“当死亡与美紧密联系在一起的时候”最具诗意。爱伦•坡由此得出结论“美妇人之死无疑地是最富有诗意的主题——而这主题如由悼念亡者的恋人口中说出是再恰当不过的了”。《乌鸦》就是以这一主题为基调的。

《乌鸦》是爱伦•坡的代表诗作，坡关于诗歌主张的主题之美、形式之美、音乐之美在这首诗里得以充分体现。坡在《创作哲学》一文中分析了该诗的创作过程，他有意识地选择了乌鸦这个不详之鸟来寄托。最大限度的悲痛与绝望”，这首诗要表现的就是坡最热衷的主题即由“死亡”所带来的“忧郁美”，即主题之美。

《乌鸦》一诗的形式别具一格。爱伦•坡为使诗歌达到整体的艺术效果，创作之前，诗人对该诗的长度进行了认真的考虑，认为一首诗不宜太长，太长则读者容易倦怠，或易受干扰，难以卒读;一首诗也不宜太短，太短则有点像格言警句，不能达到一定的效果。爱伦•坡在《创作哲学》中说道：一部作品只有一口气读完，否则其美的统一感便会消失，因为尘世间的杂事会干扰。所谓长诗，如弥尔顿的《失乐园》，实际上是由诸多短诗构成的，即其整体效果是诸多短暂效果所形成的”坡在确定了诗的范围和长度后，运用数学计算和逻辑推理以及心理学方面的知识，设计了一次能读完的最佳长度——即《乌鸦》的108行;《乌鸦》全诗由18节构成，每节都有6行，前5行字数相近，音节相当(都是15至16个音节)，最后一行字数及音节仅为前5行的一半。就是18节这样的6行诗组构了全诗。因此，全诗从形式上看整齐划一。显然，作者对该诗的展开方式是平直、刻板的，也正是这种刻板与全诗的氛围高度一致，表现了述者已悲哀麻木到了无可复加的程度。

音乐美是《乌鸦》最突出的特点，其节奏感和旋律感非常强。在《诗歌原理》中，坡认为诗歌只有与音乐结合才可以找到诗歌发展的最广阔的领域，他还给诗下了一个简短的定义：“美之节奏创造”。坡在《创作哲学》中为《乌鸦》设计的韵律为扬抑格。每一行的第一个音节是重读音节而第二个音节是非重读音节。其一、三行的八音步与二、四行七个半音步交替出现，最后一行以三个半音步包含一个三重韵的迭旬结束。其节奏格式始终是ABCBBB。这种诗歌的创作技巧贯穿于整首诗，为全诗打造出一种神秘、恐怖的氛围，这恰恰与青年哀伤的情绪相应，忠实地表现了该诗低回哀怨、痛苦绝望的基调。这种韵律所营造出的生离死别、凄惨感伤以及最大限度的悲痛与绝望，让读者在体会“死亡之美”这一主题的同时深深为之震撼、为之动容。

坡在《乌鸦》中的独创性就在于将这种固定的韵律和格律设计进行各种巧妙组合，大量运用头韵、行内韵、尾韵以及重复，把诗连接成为一个整体，将青年愁苦的心境贯穿始终，表达了青年哽咽不能自抑的叹息和绵绵不绝的痛苦心情。

头韵。头韵是取得音韵和谐的基本形式之一，它蕴含了语言的音乐美和整齐美，使得语言声情交融、音义一体，具有很强的表现力和感染力。《乌鸦》的音乐美在一定程度上是取决于头韵的使用。头韵的使用既取得了音乐效果又增强了诗的意境。例如，第一节的第一行中，“weak and weary”，为全诗打下了忧郁、沉闷的基调，句句读来仿佛能感受得到主人公的疲惫、消沉之心境;第三行的“nodded.nearly napping”描述了青年在困倦至极之时听到的叩门声所产生的动感声音与死寂沉沉的黑夜以及青年心中的忧伤形成了强烈的对应，产生一种恐怖的悬念。使读者切身体会到主人公在午夜时分、困倦梦幻之际突然听到门外响起的轻轻的“笃”、“笃”的叩门声，从而为全诗渲染出了神秘、恐怖的气氛。

行内韵。行内韵是指诗行中间的停顿或休止前的重读音节与该行的最后一个重读音节押韵。在《乌鸦》每一诗节的1、3行，诗人都运用了行内韵来强调诗歌的音乐性，取得了回响的效果。这里，仍先选取其第一个诗节为例加以分析：在这首诗里我们注意到爱伦•坡精心地安排了“dreary”与“weary”，“napping”与“tapping”以及下一诗节的“uttered”与“fluttered”等词。连续的行内韵形成了诗歌高度的统一性，为全诗打下了忧郁神秘的基调。使得全诗节富有强烈的节奏感，吟诵时产生极强的音乐性。

尾韵。尾韵就是整首诗的韵，是行末词尾元、辅音的重复。尾韵是这首诗中最重要的音乐手段。正如坡在《创作哲学》中指出，他刻意选用最响亮的长元音“O”作为诗歌的韵脚，很显然诗人在刻意强调这种声音并用它作为全诗的基调。这个响亮、绵长且低沉并充满哀怨的声音使全诗充满了“深沉而阴森的音响”。在这首诗的每节六行诗中有四行押/)：/韵，即第二、四、五、六行，全诗/)：/韵，共72行，以nothingmore。evermore或nevermore结束o/)：/韵的不断复现加强了诗的内在联系，一环紧扣一环，反复回旋，撼人心灵。这种音韵好似一种因悲伤哽咽不能言表的情感。表现了该诗低回哀婉、痛苦绝望的语气，诗中每一个尾韵的使用都会唤起读者心中无限的哀伤，从而使读者和这个青年一起感受着这种悲凉，体味着这种伤痛，直至最后青年心碎，近乎疯狂。

重复。在坡的诗作中，他经常运用词语和短语的重复来强调诗歌的音乐性。坡在《乌鸦》这首诗的每个诗节结尾处都反复使用了一个短促的重叠词，以增强诗歌的音乐效果。鉴于全诗的基调是悲哀的，那么为确保其整体效果，被重复的词语最好是意义单一、声音响亮、短促有力。因此为达到艺术效果及音乐美感，坡选择了以“O”加上“r”构成的响长元音结尾的nevermore一词。并让其从乌鸦这个不祥的身躯、不能进行理性思维的动物口中重复出来，似乎乌鸦不断地啃蚀青年人的心，使青年悲愤、绝望。

诗人把nevermore的不断重复与述者的哀伤之情融合起来，并在每一节的使用中赋予其不同的含义：前面7节的末行除第二节用nevermore外，其余6节都是用nothing more;从第8节一直到最后的第18节，每一节的末行都是以nevermore结尾。共重复了1 1遍。但根据语境其意义却有很大的不同：nevermore在第8、9、12节中意为乌鸦的名字叫“绝不”;从第10节到最后一节是乌鸦对主人公一系列问题的刻板回答。这些回答一个比一个离奇怪诞，听起来似乎答非所问，但又觉得非常贴切。乌鸦一次次用沙哑刺耳的nevermore将那原本荒诞不经的一幕幕幻觉串联起来，将该诗的主题升华到对生存和死亡意义的哲理探索。

nevermore的重复使用，不仅贴切地烘托了《乌鸦》忧郁、哀伤的主题，渲染出悲凉、抑郁的氛围，有助于表达述者哀伤至极的心境，而且使读者在朗读时充分体会到文字的魅力，充分领略诗中。这既有效地表达了诗歌的主题，又增强了这首诗的音乐感。

《乌鸦》费时四年，整首诗格律工整，音韵优美。坡精湛的创作艺术堪称唯美主义诗歌之经典，也正是这首诗为诗人奠定了世界文坛的不朽地位。《乌鸦》是坡的诗歌和诗论的完美结合，同时也是形式与内容的完美结合。在《诗歌原理》中，坡强调把语言作为呈现诗歌音乐美的媒介。因而，人把丰富、生动的语言、奇异的想象和美妙的音韵完美的结合在一起，巧妙的把音乐美运用于展示他的经典主题“美妇人之死”，把诗中的主人公那种痛失所爱后的凄凉、忧郁和绝望表达得淋漓尽致。诗歌的主题美、形式美、音乐美使得读者能够同述者感同身受，诗中的悲凉、恐惧、绝望也萦绕在读者的心灵，并在灵魂深处引起共鸣。

参考文献：

爱伦•坡集(诗歌与故事)[M].曹明伦，译.北京：生活•读书•新知三联书店，1995.

常耀信.美国文学简史[M].天津：南开大学出版社.1990.

潞潞.准则与尺度——外国著名诗人文论[M].北京：北京出版社，.

篇2：爱伦?坡的《乌鸦》体现的超凡之美论文

合理运用文体分析,深刻体会诗歌之美-以埃德加・爱伦・坡的《乌鸦》为例

在诗歌教学中适当运用文学文体学的一些分析方法引导学生对诗歌进行分析和解读,可以使学生更加准确地把握诗歌的主题,深刻体会到英语诗歌之美学价值和文学的`无穷魅力.文章拟以美国诗人爱伦・坡的叙事诗《乌鸦》为例来说明在课堂上如何把文体学的分析方法和文学作品的鉴赏与解读结合起来.

作 者：张辉 ZHANG Hui 作者单位：浙江万里学院,宁波,315100刊 名：浙江万里学院学报英文刊名：JOURNAL OF ZHEJIANG WANLI UNIVERSITY年，卷(期)：20(1)分类号：G04关键词：文体学 诗歌 解读

篇3：爱伦?坡的《乌鸦》体现的超凡之美论文

关键词：《乌鸦》,《江城子》,比较,相似的,不同的,魅力

1 Introduction

Edgar Allan Poe (1809-1849) was an American poet, shortstory writer and literary critic, and is considered part of the American Romantic Movement.The Raven was first published in the New York Evening Mirror in 1845, and received popular and critical praise.Over the course of the 19thand 20thcenturies, The Raven has become one of America’s most famous poems, partly as a result of its easily remembered refrain“Nevermore (Poe, 2002) .”

Su Shi (1037-1101) was a writer, poet, artist, calligrapher and statesman of the Song Dynasty, and one of the major poets of the Song era.Jiang Cheng Zi (Recording my dream on the night of the twentieth of the first month of the year Yimao) , is Su’s most celebrated memorial Ci poem.Nowadays all the Chinese people, old and young, man and woman, would like to recite it to show their special love to one another.

However, Poe’s The Raven is often done comparison with Su’s Jiang Cheng Zi only from the angle of composing to recalling their respective deceased wife.This paper attempts to make a further research of the two literary works and the two poets through comparison from plentiful points of views.

1.1 A brief analysis of The Raven by Edgar Allan Poe

Poe’s The Raven is a dark reflection on lost love, death, and loss of hope.The poem examines the emotions of a young man who has lost his lover to death and who tries unsuccessfully to distract himself from his sadness through books which however prove to be of little help, as his night becomes a nightmare and his solitude is shattered by a single visitor, the raven.

1.2 A brief analysis of Jiang Cheng Zi by Su Shi

Su’s Jiang Cheng Zi is one of the famous memorial speeches sung through the ages, which deeply expresses his truehearted love and lament for his deceased wife Wang Fu by recalling a dream.The remarkable artistic feature of this Ci poem is the wonderful combine of reality with fantasy.The whole Ci poem is written in a desolate and grieved tune, giving people very sincere feelings.

2 Similarities of the Two Literary Works and the Two Poets

Poe’s The Raven and Su’s Jiang Cheng Zi both belong to romanticism poem according to a comparative study of Chinese and English poetics.They have the similar themes, expressive way and tone.

2.1 Similar themes of the two literary woks

In his poetry Poe was concerned exclusively with his inner self, with the object of his love, and above all, with death and with the melancholy associated with loss and bereavement.Within the poem The Raven Poe divides the characters and imagery into two conflicting aspects of light and dark.For example, Lenore, who is repeatedly described as“radiant”epitomizes the world of light along with the angels she has joined.However, the Raven, as well as the dreary December night shows signs of darkness.These images of light and darkness go further to represent life and death.Poe also uses symbolism to create a strong melancholy tone.For instance, both midnight and December symbolize an end of something.Another example is the chamber in which the narrator is placed;this is used to show the loneliness of the man.

Similarly, Su also chose death and melancholy to be his main themes in Jiang Cheng Zi, but alienation and loneliness may be more profound because of his ten-year long departure with his beloved wife.Su married his wife Wang Fu when he was nineteen year old and kept an enviable marriage.His wife died when she was only 27.One night in early 1075, about 10 years after her death, Su dreamed of his wife, then composed this famous Ci.As a successor of Confucianism, Su set his goal to be successful in official career, but due to his upright and lack of flattering, he was always on the way of exile.This Ci poem sufficiently conveys his loneliness, his eagerness to communicate with his wife to release his pain.

2.2 Similar expressive way used by the two poets

In the very first sentences of The Raven, a few of words like“dreary”, “pondered”, “weak and weary”, “nodded”, and“nearly napping” (Poe, 2002) deserve our attention.The state of the narrator’s mind in The Raven is generally agreed upon—he hovers on the edge of sanity, and asks the raven questions for which he knows (yet does not want to know) the answers, but which he cannot stop himself from asking.

The state of mind is just coincided with that of Su’s while composing his Jiang Cheng Zi.As it suggests by the subtitle“Recording my dream on the night of the twentieth of the first month of the year Yimao”, Su is not in a sober mind likewise.Since life is a tragedy, the poet can only find comfort from dream.

And the above element contributes much to their remarkable imaginations in both of the two literary works.

2.3 Similar tone of the two literary works

To Poe, the creation of beauty is the sole legitimate province of a poem.The tone of its highest manifestation is one of sadness.In The Raven, the ominous bird responds to the sorrowful lover only by repeating“Nevermore”in a mournful tone.It seems foolish for him to ask how long his agony will last because“Nevermore”does not constitute a positive answer.What he does only pains him more bitterly.

So does Su set out with a mournful tone in memory of his deceased wife.Ten years has passed, the sorrow of losing his wife never disappears and will never disappear.As the ending sentence conveys, Su finds his answer to how to find peace from sorrow—that is impossible, because every night like this—”the moon shines brightly in the night, and bare pines guard the tomb (明月夜, 短松冈) (Nie, 2001) .”, he shall be in great sorrow again.

3 Differences of the Two Literary Works and the Two Poets

Though The Raven and Jiang Cheng Zi have something in common, they have different styles, different composition techniques and different thought views.

3.1 Different style of the two literary works

The poem The Raven is comprised of eighteen stanzas of six lines each, and most frequently employed trochaic octameter.The first five lines of each stanza are all in trochaic octameter, with the final unstressed syllable missing in lines two, four, and five of each stanza.The sixth line of each stanza consists of three trochees and an extra final stressed syllable.It’s a typical example of American poetry in nineteenth century.

Jiang Cheng Zi is written in Chinese traditional poetry style—Ci poetry.Jiang Cheng Zi is called Cipai.Originally it was written to be sung to a tune of this Cipai, with set rhythm, rhyme, and tempo.Its subtitle indicates the contents.It has a prose sentence structure, rhyming in the last sound of each even line.The Ci poetry of Su Shi best embodies the essence of Song poetry.

3.2 Different techniques used in composing

3.2.1 Poe’s“Music in Poetry”

It is believed that few American poets can surpass Poe’s ability in the use of English as a medium of pure musical and rhythmic beauty.The music of language is most predominant in Poe and the sound of his words cast a magic spell over the reader.His tone is awesome, sad, and melancholy.

Poe incorporates many musical elements to express his feeling in The Raven.These include assonance, alliteration, and rhyme.Assonance is the repetition of vowel sounds.For example, in“For the race and radiant maiden, whom the angels name Lenore, ”vowel sound of“a”repeats several times.Poe also used a lot of alliteration.For example, in“Doubting dreaming dreams no mortal level, dared to dream before, ”there is the repetition of the“d”sound.One last element used in The Raven is rhyme.A good example of this can be found in the first stanza:dreary, weary, tapping, door, door, and more.This is an abcbbb pattern.Each of these sound devices reinforces the meaning by emphasizing important words.

The Raven is like an elegy in the hell, shocking and threatening.Meanwhile, the ingenious uses of sound and rhyme, contribute much to the flow beauty of music, jointly manifest Poe’s eternal pursuit of aestheticism and achieve much charming the poem with immoral fame.

3.2.2 Su’s“Painting in Poetry”

“Both Poems and Paintings Are Originally the Same.They Are Natural, Neat and Clean (诗画本一律, 天工与清新) (Zhang, 2005) ”, that is Su’s famous theory about painting.Su’s theory concerning painting gives emphasis on the subjunctive side and inner cause of artistic images, painting expresses a kind of feeling that is beyond worldly affairs and rich in poetic significance and finally it forms an artistic principle combined with poems and paintings.

Matching the sad Ci poem Jiang Cheng Zi is a painting by Su.The hand scroll with ink on paper is entitled Withered Tree and Queer Rock (Kumu Guaishi Tujuan) .The painting depicts a queer rock lying at the root of a withered tree with curled branches.Su spent years in official circles where schemes and intrigues were a common occurrence.Together, the picture and the poem aptly express the poet’s pent-up grief and indignation.

Su advanced the theory of“There is painting in poetry, just as there is poetry in painting (诗中有画, 画中有诗) (Zhang, 2005) .”This has become an artistic concept sought by painters and poets of later ages.

3.3 Different attitudes towards frustrated life

3.3.1 Poe’s Gloom on no waying out

Perhaps, Edgar Allan Poe is one of most tragic figures in the history of American literature.“I was never really insane, except on occasions when my heart was touched (Liang, 2005) , ”Poe wrote a few days before he departed.Even if Poe were insane, he has every reason to be forgiven.As a motherless infant he was set apart from other children and doomed to befriend a gloomy and depressed childhood;as an ambitious and sensitive adolescent he was unimaginably humiliated and plunged into a hostile world;as a man he encouraged continual frustration and was denied the recognition he felt he deserved.Fated as he was, Poe never stopped creating at cost of his personal happiness, his sanity, and even his life.His extreme frustration and misery constitute the stuff of his dreams and materials for his poems and his stories.Disillusionment and suppression foster Poe’s grotesque mind.Reality was a nightmare to Poe.No wonder Poe was obsessed with such themes as morbid love, omnipresent death, especially the death of a beautiful woman, transient beauty, decadence, and horror, etc.

3.3.2 Su’s wisdom life derives from Buddhism

The relation between Su and Buddhism can be analyzed as following:Firstly, there are several factors that help bind Su and Buddhism closely together, such as cultural background of the society and the local community, influences by his family and his born wisdom.He is more a scholar-official learner of Buddhism than a devout Buddhist.Secondly, Su’s way of living is closely related to Buddhism.Wherever he went to fulfill his mission, he would make benefit for the local people.This is the result Buddhist theory:to have selfless compassion and pity for all the sentient beings.He suffered political persecution for several times but did not feel frustrated but felt detached.This is the result of his high Buddhist accomplishment.Thirdly, Buddhism has a thorough influence on Su’s works.He knew well a lot of Buddhist classics and expressed his views on Buddhism in terms of literature rather than philosophy.He often converted all the sudden enlightenment and inspiration gained from meditation into literary words in his works.He made full use of Buddhist references, vocabulary and theories in his works, thus brought great changes to traditional poetry.

4 Conclusion

Percy Bysshe Shelley, the major English Romantic poet said, “Our sweetest songs are those that tell of saddest thought” (Shelley, 1820) .Edgar Allan Poe’s The Raven and Su Shi’s Jiang Cheng Zi are both words written with truehearted emotions, and cry from the bottom of the soul, which display a real inside information of life and inspire a strong response among readers.Through comparison and contrast of the two works, we can better appreciate the unique charm lies in each works, and have a better view on the differences between the Chinese and Western cultures reflected by them.

参考文献

[1]Poe, Edgar Allan.Edgar Allan Poe:Complete Tales&Poems[M].Edison, NJ:Castle Books, 2002.

[2]Nie Xinsen, Yang Xianyi, Dai naidie.Chinese Song Poems[M].Beijing:Foreign Languages Press, 2001.

[3]Zhang Chong.Both Poems and Painting are originally the same.They are natural, neat and clean.—Su Shi’s Theory about Painting[J].Journal of Pinyuan Unniversity, 2005 (10) :58-60.

[4]Liang Yaping, Gong Yubo.A Haunting Ghost and His Haunted Literary World[J].Journal of Fuyang Teachers College:Social Science, 2005 (2) .

[5]Shelley, Percy.Prometheus Unbound[M].London:C and J Ollier, 1820.

[6]Fuller, Michael Anthony.The Road to East Slope:The Devel opment of Su Shi’s Poetic Voice[M].Stanford University Press, 1990.

[7]Krutch, Joseph Wood.Edgar Allan Poe:A Study in Genius[M].New York:Alfred A.Knopf, 1926.

篇4：爱伦?坡的《乌鸦》体现的超凡之美论文

《乌鸦》讲述了一个年轻学者“我”, 在夜半时分独自一人哀悼已故恋人的故事。该诗的主题是显而易见的, 也是人类所普遍遭遇的:失亲之痛。爱伦·坡曾在其《创作哲学》中说到:“这首诗正是用以体现绵绵不绝的思念和追忆的。”确切地说, 此诗是对美妇之死的思念和追忆——这在爱伦·坡看来是“世界上最富诗意的主题”。正如爱伦·坡本人在《创作原理》中所说, 是为了把两种美结合起来。一是诗歌的忧郁之美;一是世上最赋有诗情画意的主题, 即美人之死。而这样的话题最适合从痛失恋人的口中讲述出来。

一件文学作品就是一个由诸多层面构成的有机统一体, 每一个层面都可能是审美体验的对象。《乌鸦》一诗在主题、述者、时间、空间、意象、结构、用词及音韵等诸多层面都体现了爱伦·坡作为诗人的天赋。主题与述者的确定、时间与空间的安排、意象与结构的选择、用词与音韵的策划——这种种艺术手段恰到好处的调遣无不显示出诗人的高超。

《乌鸦》像爱伦·坡的许多短篇故事和诗歌一样, 情节极其简单, 然而其严格、华丽的形式美、音乐美及随之给读者带来的官能享受却是举世瞩目的。1845年, 爱伦·坡以笔名柯尔斯在《夜镜报》上发表, 立刻引起赞赏, 人们认为“这只乌鸦简直会取代作为国鸟的鹰”;同年《乌鸦》在英国发表, 立刻引起轰动, 勃郎宁夫人曾给爱伦·坡写信道:“我的朋友有的被它的恐怖性迷住了, 有的被它的音乐性迷住了”;在法国, 坡更是被当作精神领袖崇拜, 1859年, 法国19世纪伟大的批评家和诗人波德莱尔为该诗法译文的发表撰写前言《一首诗的缘起》;在中国, 郭沫若先生首先将其译成中文, 矛盾先生也给予了高度的评价。

《乌鸦》是爱伦·坡的代表诗作, 其精湛的创作艺术堪称唯美主义诗歌之经典。《乌鸦》中, 爱伦·坡的诗情和诗艺得到了最为杰出的展现, 它是爱伦·坡的创作思想和创作手法的集中体现。所以笔者试从时空、意向以及韵律等几个层面上分析该诗的语言以及文体特色, 使读者能更加准确地把握诗歌的主题, 深刻地体会英语诗歌的美学价值, 感受文学的无穷魅力。

1 时空的安排

《乌鸦》的成功源于爱伦·坡的深刻、严密的文学批评理论和他不断的创作实践, 源于他丰富的科学知识, 更源于他杰出的诗人天才。时间与空间是诗中叙述很值得关注的两个层面。诗的第一节第一行就明白指出:这是一个阴郁沉闷的子夜;之后第二节第一行述者补充道:这是一个萧索的十二月里的一个萧索的子夜。这一时间非常重要, 效果明显:严冬的一个深夜, 又黑又冷, 形单影只, 难以入眠, 神思恍惚。这是述者凄苦难耐心理的真实写照, 与整首诗的主题是一致的, 有助于营造极其伤感的氛围, 悲自从中来。深夜意味着恐怖, 神秘莫测, 往往也是各种幽灵及邪恶之物出现的时刻。可见, 一开始确定的这个时间为后来乌鸦——不祥之物的出场及烘托整首诗的氛围作了很好的铺垫。

而所叙之事发生的空间——述者自己的房间, 也是诗人精心构造的。诗人为何把空间安排在述者的房间?这一安排有何效果?亨利·列斐伏尔在其《空间的生产》一书中阐述其空间理论时指出:空间不仅是物质的存在, 也是形式的存在, 是社会关系的容器和重要的组成部分;空间具有其物质属性, 也有其精神属性:正因为人涉足其间, 空间才对我们见出意义。这一空间的安排至少有两个好处:其一, 一个狭小、封闭、有限的空间绝对有助于构造那种孤凄郁闷的效果, 这是在森林、田野或者其他任何地方做不到的;其二, 该房间因是述者和所爱恋之人熟悉之地, 温馨之所, 现在物是人非, 睹物思人, 岂不令人肠断心碎?从读者反应来看, 此种安排易使人想见诗中述者所处的环境与心境, 因而极易产生共鸣, 正所谓人同此心, 心同此理。这自然会引发读者的恻隐之心、怜悯之情。

2 意象性

《乌鸦》一诗的意象选择更是匠心独具的。显然, 乌鸦是全诗的主意象。为何选择乌鸦, 而不是人或别的什么呢?对于这一点, 爱伦·坡在其《创作哲学》中给予了解释:因为该诗的“悲伤”基调已定, 并已确定用“Nevermore” (永不复生) 一词来作为每节诗的结尾词, 以构成叠音, 强化全诗的“悲伤”基调。但如果此词从人的口中不断重复, 就产生一个难题——该词的单调与该词重复者理性之间难以协调起来。此刻, 诗人马上想到用一个能发声的非理性的生命体来取代人。自然, 首先呈现出来的就是鹦鹉, 但很快就被乌鸦所取代了, 因为作为不祥之鸟的乌鸦与全诗的氛围及基调显然更能保持一致。由此可见诗人的良苦用心。围绕乌鸦这一主意象, 诗人安排了一组辅助意象:帕拉斯神像、黑夜之中的冥界海岸、仙境、房门、灯光、椅垫等等。这样的一组意象油然生发出一种亦真亦幻、玄妙荒诞的幽婉氛围。此情此景与述者的心理状态十分吻合。寒冬腊月, 夜深人静, 述者心灰意冷, 神思恍惚, 孤苦难熬。昏昏然, 似乎听到轻轻的敲门声, 述者“满心疑惧, 莫名其妙———惊恐万分”, 心想是晚行的客人还是日思夜想的恋人的幽灵?定了定神去开门然而却“一片黑暗, 不见人影”;很快, 敲门声又起。但这次听得真切, 是在窗边。述者惊恐疑虑想看个究竟。格窗一开, 一只丑陋的老乌鸦扑楞着闯了进来, 挺立在帕拉斯女神像上, 在回答述者的一一问寻时, 但有的就这一句Nevermore。述者思念心切, 想从这来自冥界的乌鸦探听一点音讯, 乌鸦却一遍又一遍重复着Nevermore, 使述者心底残存的一点点希冀也化为乌有, 述者的心陷入死灰和沉寂。

3 音乐性

音乐是《乌鸦》的另一突出特点。矛盾先生曾这样评论道:“爱伦·坡的杰作《乌鸦》是一首极好而极难译的诗——或许竟是不能译的;因为这诗虽为不拘律的‘自由诗’, 但是全体用郁涩的声音more作韵脚, 在译本里万难仿照……这首诗的音节, 除more外, 第一节中的dreary和weary相对应, napping和tapping相应, 也不是好译的;而且全体的more韵脚对全诗的气氛也是有帮助的。译本如果要把这几层好处统统传达过来, 一定不可能。”波德莱尔很欣赏它的“深沉而阴森的音响和强有力的单调”, 认为它的“浑厚的三重音像忧郁的丧钟一样响亮”。

爱伦·坡在《创作哲理》中为《乌鸦》设计的韵律为扬抑格, 格律以第一行、第三行的8音步与第二行、第四行的715音步交替出现, 第五行与第四行相同, 最后一行以315音步包含一个三重韵的迭句结束。爱伦·坡的独创就在于将这种固定的韵律和格律设计进行各种巧妙组合, 大量运用韵脚, 头韵、内韵、半韵和精挑细选的谴词, 从而产生种种新奇的效果坡为了制造一种“艺术刺激”, 选用了迭句。为了使迭句“不断地产生新奇的效果”和配合“忧伤”的语调“, 不详”的“神秘氛围”, 甚至“迷信”的成分, 同时为了增强“声音和思想的力度”, 坡选择了以“O”加上“r”构成的响应长元音结尾的nevermore一词作为迭句, 并让其从乌鸦——不祥的身躯、难听的声音、无法进行推理的脑袋——口中重复出来。从第8节开始, 共重复了十一遍。nevermore是乌鸦唯一的话语, 听起来答非所问, 又觉非常应境, 从而将那原本荒诞不经的一幕幕幻觉串联起来, 将该诗的主题升华到对生存和死亡意义的哲理探索。根据语境, nevermore在第8、9、12节中意为乌鸦的名字叫“绝不”, 第10节则为“绝不离开”, 第11节为“绝无希望”, 第13节中为“她”“决不回来”依偎“我”, 第14节中为“决无忘忧药”?到了全诗的最后“, 我”已意识到它毫无意义, 只可能是乌鸦以前的落魄的无聊的主人教会它的唯一话语, 是“我最奢侈的自我折磨”和“无休止的悲痛怀念”的一种象征!nevermore, nevermore不停地从乌鸦那不祥的、阴惨的、凄凉的、嘶哑的喉咙中机械地冒出来, 一次比一次阴森, 一次比一次绝望, 一次比一次冷酷, 一次比一次恐怖, 在严冬的深夜, 在寂静的寝室, 独自思念亡妻的“我”被吓得神经错乱, 魂飞魄散, 读者也同样毛骨怵然, 不寒而栗!

《乌鸦》作为诗人的代表作品, 汇集了诗人全部的诗歌理念。无论是语音、韵律、修辞还是语篇层面上, 都体现了诗人的精心雕琢。它犹如天籁之音, 使读者的心灵为之震颤, 带给读者美的享受。这就是《乌鸦》之美, 这就是《乌鸦》之风韵, 这就是《乌鸦》问世后160年来脍炙人口、感人至深、因而深受人们喜爱之秘密。《乌鸦》的艺术魅力将历久弥新, 因为“美好的东西是永久的欢乐” (济慈语) 。

摘要：爱伦·坡是一位天才诗人, 他的诗歌代表作《乌鸦》是一件纯艺术品。诗中语音、韵、节奏构成了诗的音乐美。诗中主题与述者的确定、时间与空间的安排、意象与结构的选择、用词与音韵的策划等等诸种艺术手段完美的结合。即是从诗歌的时空, 意象及音乐性的安排进行迁徙, 以体现该诗非凡的艺术魅力。

关键词：《乌鸦》,时空性,意像性,音乐性

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