Essay代写：An analysis of Shelley's poems－r51due

下面为大家整理一篇优秀的essay代写范文- An analysis of Shelley's poems，供大家参考学习，这篇论文讨论了雪莱的诗歌评析。雪莱早期的诗歌创作明显具有一种唯美主义倾向，其文章使用的语言色彩明艳。在创作风格方面，雪莱早期的作品是朦胧的，同时也是甜美而忧伤的，用词较为华丽。雪莱每部作品的完成都离不开英国传统民族文化的影响。英国的民间传说大多具有神话主义色彩，美轮美奂的神话故事就成为了雪莱诗歌的精神来源。

Shelley, a famous English modern poet, is one of the most gifted lyric poets in the history of world literature. He especially likes to be unconventional and pursue the literary trend of The Times. He is a unique master of symbolism. Shelley was a Platonist and a great idealist. The most striking feature of his poetry is its pure beauty, especially in the lyric aspect of his poetry. But at the same time, he is also deeply in love with traditional literature and can absorb the essence from traditional literature and make use of it. He is famous for his romantic literary methods, but his works can often be seen in the shadow of traditional literature. To be sure, the main source of Shelley's symbolism is traditional literature. Unconsciously, Shelley was able to quickly find important information related to symbolism in traditional literature, especially the works created by romantic writers represented by Blake, so as to promote his own symbolism theory and creation of works.

From the perspective of cognitive linguistics, Shelley's poems are symbolic. The meaning of his poetic language is a mode of thinking that expresses abstract things with the concept of concrete things. Symbolism is universal in all literary styles, not limited to poetry as a literary genre. Specifically, in the theory of cognitive poetics, firstly, the performance of poetry relies on symbolism; Secondly, poetic symbolism is essentially indistinguishable from conventional symbolism in everyday discourse. It can be said that poetic symbolism is built on the premise of conventional symbolism. The most obvious difference between conventional symbolism and poetic symbolism is that poetic symbolism always expands and refines or even combines them in a way that transcends conventional symbolism. Extension refers to the use of more source domain structures than conventional symbols. Refinement refers to the use of more detailed and specific source domains than conventional symbols. Questioning refers to questioning the limitations of conventional symbols. The so-called combination refers to the combination of several conventional symbols.

The theory of cognitive poetics began in 1983, after which a large number of linguists made unremitting research on it before its development and expansion. In the current research process of China, the essence of cognitive poetics is actually a means of applying cognitive linguistics theory to literary texts for criticism. The concept symbol theory formed in the early 1980s is one of the main theories of cognitive linguistics, and its application is also very extensive. The most obvious feature of conceptual symbolic theory is the distinction between "symbol" and "symbolic expression". It can be seen from the above content that symbolic language is the concept of concrete things, that is, the so-called source domain in the article, through which abstract things are expressed in the form of concrete concepts. However, symbolic expression is actually a kind of linguistic expression of symbolism. For decades, through the concrete study of conceptual symbols, it has been found that many concepts, especially abstract concepts, are often understood in the form of symbols. Most linguists support this view. There are examples of how the expression of a poem is refined or combined around a conventional symbol. For example, the success of Shelley's poem ode to the west wind, a masterpiece of naturalism by the famous British modern poet Shelley, is partly due to the conventional symbols related to the concepts of "center" and "edge". However, there are still some linguists who hold a negative attitude towards the above views. After a lot of in-depth studies, some modifications have been made. No matter linguists who support this view or deny it or revise it, their research on symbolism is carried out by qualitative analysis of one or more texts, and few quantitative data are available on a large scale. Linguists have given explanations for this. They believe that literary criticism emphasizes the unique characteristics of each text or author, and emphasizes the novel and in-depth interpretation of literary texts, so it refuses to draw general conclusions from a large amount of corpus. Since cognitive poetics is recognized as a method of literary criticism, it is logical that the study of cognitive poetics follows the consistent style of literary criticism. In this case, this paper believes that large-scale quantitative data is necessary. Firstly, this paper discusses the development background of symbolic language theory in cognitive linguistics, and then takes the analysis of poetry text as an example to analyze the theory in detail, and finally describes its significance.

In London at the end of the 19th century, there appeared a book named "symbolic movement in literature", which was also the work. The modern French poets baudelaire, verlaine, malam and others formally appeared in the world literary world in the form of a school. Only then did the English poets begin to consciously rediscover the value of symbolism in their creation. The author Arthur ? Simon put this epoch-making works for Shelley. Therefore, many critics believe that it was through Simon that Shelley accepted the influence of French symbolism. Nevertheless, Shelley's views on symbolism do not seem to coincide with those of Simon, for Simon was far behind Shelley in the richness of metaphor and symbolic language.

Shelley's early poetry creation obviously had an aesthetic tendency, and the language color used in his articles was bright and brilliant. No matter "Prometheus liberated", "cloud", "to the lark", "queen mab" and "ode to the west wind" are full of magical colors. In terms of the style of creation, Shelley's early works are obscure, sweet and sad at the same time. Shelley's works can not be completed without the influence of British traditional national culture. Most of the British folklore has a mythological color, the beautiful fairy tales became the spiritual source of Shelley's poetry. In his poems, we can easily find the emergence of mysticism, the artistic conception of his works is profound and fantastic. His symbols are usually completed by mythic stories or mythic characters. Mythic stories provide a good carrier for his creation and expression of thoughts, and symbolism is an important rhetorical device for the theme of his works.

In the early stage, Shelley created a large number of poems, which occupied a very important position in the literary world. Many people believed that Shelley was a passive recluse from reality. The early poems are fresh and natural as a whole, the language is quite beautiful and fluent, and the flavor of simple folk is flowing everywhere. The whole poem does not show the depressed color of post-victorian romantic poetry. Moreover, from the perspective of the language of poetry texts, Shelley has always had an ideal country in his subconscious mind. "Innisfree Island" is actually an island in English folklore, which does not exist in reality. In this poem, Shelley set out to go to a place that is not needed, which is actually a situation of confrontation with the reality at that time. Like many of his early poems, this one USES text to construct a secret place, a secret place that exists in reality. The best footnote to this aspect is a hidden theme of "walking" in Shelley's early poetry, which is a unique phenomenon in Shelley's early poetics and an important channel to open his thoughts. For example, in the song "to Mary": "like the brilliance of your body, that cannot be hidden, the most beautiful brilliance. I would give my life for such a good dream as yours, and I would die a martyr with a smile, before the altar of love without bloodshed. The implied attitude and image of "walking" are obvious, which represents Shelley's spirit of advocating freedom. In Shelley's poems, "walking" is not death or escape as we think, but rather a kind of pursuit and exploration. It is the author's silent resistance and opposition to the chaotic society at that time. This point is similar to tao yuanming, the famous pastoral poet in ancient China, whose poems often express a kind of profound thinking and silent resistance to the society at that time. "There is truth in this," he said. In Shelley's opinion, maybe folklore can express more things that cannot be expressed in words and realize his deep desire for an ideal world. Shelley's symbolically long narrative poem "Prometheus unbound" was written in 1819. The poem is based on the mythological stories of ancient Greece. The protagonist Prometheus reflects the poetic characteristics of Shelley's romanticism, and the poem ends with the joy of the universe and the arrival of spring. According to vico, folk myths and mythological heroes are imaginary concepts imagined by people, which do not exist in reality. Just like poetry, they are imaginary things and the embodiment of "poetic wisdom". Therefore, in his opinion, art and myth have always been isomorphic, and myth and poetry can be well integrated. However, folk myths cannot be fabricated at will, which is a special way of ancient people's cognition of things and a poetic explanation based on reality. Therefore, in Shelley's poems, folk fairy tales become the symbol of his creation and the silent revelation of reality. The author constantly enriches the theme of the poem by drawing material from life, so that the content of the whole poem is rich and the emotion is real. As for the image selection of poetry, Shelley usually chooses the image with a sense of modernity, and often USES the fusion of modern and ancient times, which is rich in profound philosophical connotation. Poetry is not only rich in the reality of life, but also full of dialectical and critical thinking, so that readers can feel the author has a broad range of knowledge, experience and other poetry different from the spirit of literature.

To sum up, it is not difficult to see the uniqueness of Shelley's symbolism. What makes him unique is that he will not simply follow the existing traditional symbolism, but absorb and improve traditional symbolism, and integrate universality and particularity into his unique symbolism. It is worth mentioning that Shelley held a view that the starting point must be his own practical experience, not for the sake of symbol, and insisted on combining the "secret thoughts" of individuals with the universal knowledge of mankind. For Shelley, symbolism is an important means of expression rather than the purpose of expression. His real purpose in writing poems is to reveal what is hidden behind by means of symbolism. He once said that poetry is worthless unless it shows something higher than itself. Although Shelley's symbolic system is out of the ordinary, it is not made up at will, because the poetry written by Shelley is based on the truth because it can be endowed with richer content through symbols. It can be said that literary tradition, especially romantic tradition, is Shelley's symbolic treasure house. He excavated many symbols and the concept of symbols for his own use. In many cases, literary historians believe that Shelley was a late symbolist poet. In fact, through analysis, this paper believes that Shelley's works are adhering to the romantic color, and transcend the realism of poetry. His symbolism was a school of its own and had a great influence. He found symbolism in traditional literary works and gave full play to it. At the same time, he also developed his great talent in symbolism, which led him to create unique symbolist theories and poems, and eventually became the master of British symbolism.

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