Stylistic Analysis of the Poem A Red,Red Rose

ISSN 1009-5039zw wx@overseaen.comOverseas English海外英語(yǔ)htp:/:/www .overseaen.comTe:+86-551-5690811 5690812Stylistic Analysis of the Poem A Red, Red Rose王莉《蘭州交通大學(xué).甘肅蘭州730070)Abstract: In the Barow sense, the sysisi is the study of lerature syle. This paper will only focus on the sty'e of poety and analyze thesylistie haceities of the porm ied A Rel, Red Roe by Robert Buns. Through and alysis,s the asthere value and resons ofis pop-ularity and etermality will be revealed.Key words: sylstis; style; poetry中圖分類(lèi)號:1106.2文獻標識碼:A文章編 號1009 -5039(2012)03-0208- 021 Introductionimages in the poems, which is not easy and must be based on theThe word "style”" may have many diferent meanings and relfer.completednderstanding of the poem. Francis Bacon once saidences. According to the father of linguistics- -Saussure, he made a" History has reference to the memory, poetry to the imagination,distinction between langue and parole. The former relers to the sys-and philogophy to the reason." To apreciate a poem well, readerstem of rules common to speakers of a particular language; and themust exert his imagination to feel the poet's feel and see the poet'slatter refers to particular uses of this system or the selection from see. The last but not the least ie the analysis of the poem throughthis system, that a person or group of persons will make on this or the, sometimes, regular, in most cases, the diverging expressionsthat occasion. Thus, the style belongs to parole. It consists in choic- which are the best window for us the see the deep meaning of the po-es from the total linguistic repertoireof a particular language. In lit-m. Generally speaking, we will analyze the poem terature appreciation, "style may refer to a person's distinctive lan- netic, grammatical, lexical, syntactic, and rhetoric levels. Surely forguage habits, or the set of individual characteristics of language some special-formed poems, readers can sense the unique feelinguse. Often, it concentrates on a person's particular singular or origi- through the form of the poem itself. To undersantd a poem well,nal features of speaking or wring. Hence at the extreme end stylewhat the readers must know is the experience of the poet and undermay refer to a writer's deviations formnal relatively normal use of lan- what kincf circumstances the poem came into being.guage" (Xu 2005:7).However, as Widdowson advocated，appreaciation of poems isDiferent texts have different styles, take adverisement and le- not the priviledge of the elite, ordinary people can also understandgal document as an example, the former can use dfeet rdifferent rhetorie poems as the feling of the poets is the soul of the poem. For thedevices to make it as attractive as possible whereas the ltter must:ame poem, different people may have different understanding,be as rigorous and formnal as possible. As to literature the situation which is quite necessary and acceptable as everyone has differentis sinilar, there are great dffrences between diferent languageexperiences and dfferent insights. In this paper. 1 will just analyzeforms. In this paper, I will only focus on the style of poetry and ana-the poem A Red Red Rose by Robert Bumns :according to my ownlyze the poem A Red, Red Rose by Robert Burns.understanding.2 Style of Poetry3 About Robert Burns"Taitionally, poetry has been calegorized as EPIC (which cel-Robert Burns (1759-1796) was born al Aloway, Ayshire,Sco-ebrates a figure of heroie proportions doing deeds that iluminateland, in a poor Scottish peasant's family, the eldest of seven sons.the history and character of anaion), as DRAMATIC (which tellsHe had only lwo and a half years of regualr schooling, frot 1765 toor implies a story involving dramatic tensions), and as LYRIC1767, and after that he was chienly taught by his father while he(which melodiously emphasizes the personal emotions of the poet).helped with the work on farm. He did a good deal of reading andBut whatever lype of poetry we read, it is the language of the poemknew the old Scotish songs and ballads and also some French. Bythat first atracts us." (Xu 2005:270)1775, when he was 16, he was already thprincipal lavourer on thePoems in fauct provide language for feling and aim to exercisefarm, but his interest in poetry developed and he already stratedan emotive function, to arouse the feelings of their readers. Thewriting some poetry. But the poverty seemed not to decide to leavecharacteristics of poems can be summed叩as the fllowing: com-them alone until 1786, when the poems by Burns were publishedpression- one word does thevork of several, and a simple phraseunder the tile of "Poems Chiely in the Scottish Dialect" which wascondenses a whole train of thought; extreme care in word choice;well recerived. After that, he published the section edition andfree arrangement of word order; full manipulation of sound effectsmany other poems, in which he expressed his idea on French Revo-and the manipulation of sight. (Xu 2005)lution. In 1976, he died at the early age of 37.In ppreciation of poemns, readers should pay atention to theHis poems were all short poems. many of them occasional po-中國煤化工MYHCNM HG收稿日期:2011-11-18修回 日期:2011-12-15作者簡(jiǎn)介:王莉,就職于蘭州交通大學(xué)外國語(yǔ)學(xué)院，講師,主要研究方向為應用語(yǔ)言學(xué)。208 /到既懲97 1110公。本欄目責任編輯:揚菲非2012年02月Overseas English海外英誦向前，她的努力舉動(dòng)即使不能抵抗社會(huì )和世俗排山倒海的力無(wú)法遏制。另一方面,她又時(shí)刻緬懷過(guò)去的人和自然和諧共處量,但卻有著(zhù)重要的意義。的傳統生活。她給瑪姬安排了一葉方舟,幻想能在這個(gè)大勢之在這場(chǎng)大洪水中,瑪姬就像是連接社會(huì )和自然的橋梁,將下,保留方寸之地,但并沒(méi)有成功，只能和流逝了過(guò)去、現在時(shí)湯姆救了出來(lái),給他帶來(lái)了希望。這樣,洪水不再是自然意義光的佛洛斯河合為- _體,在死亡中和自然和諧共處。艾略特一上的洪水,它流過(guò)了現在的整個(gè)圣奧格鎮,淹沒(méi)了一切。也就直都是一個(gè)矛盾的小說(shuō)家。在《佛》中.她表現出對工業(yè)革命的是說(shuō),它把開(kāi)始工業(yè)化的圣奧格鎮整個(gè)摧毀,包括佛洛斯河沿深切關(guān)心和憂(yōu)慮,試圖在自然傳統和工業(yè)化中尋找- - 條共存的岸迷人風(fēng)光、紅洼地和磨坊- -并 吞沒(méi)?，敿У臓I(yíng)救計劃失敗，道路,但隨著(zhù)兩兄妹的死亡,這個(gè)愿望以失敗告終。就意味著(zhù)她并不能像諾亞一樣在不可逆轉的工業(yè)革命潮流中注釋:拯救入類(lèi)的靈魂。工業(yè)革命的浪潮勢不可擋?，敿Ш蜏废氡３诌^(guò)去的田園傳統,重新過(guò)著(zhù)和自然和諧共存的日子已經(jīng)不①③⑥喬治.艾略特,佛洛斯河磨坊,孫法理,譯.南京:譯林出可能,所以兄妹的倆在這樣的大背景下是沒(méi)有希望和前途的。版社2002:3,316,561.死亡就成了最終的歸宿,只有在死亡中,兩人能夠擁抱、和解，②、④Garrard, Greg.Ecocriticism.London,New York:Routledge,在自然中得到寧靜?！拔迥旰?地面上已經(jīng)沒(méi)有了洪水破壞的可2004:59.見(jiàn)痕跡。..大自然抹平了她受到的破壞--卻不完全。 沖⑤Eliot, George. "George Eliot and Objects", The Mill on the倒的樹(shù)沒(méi)有重新生根,沖壞的山巒還留下疤痕:即使長(cháng)出來(lái)新Floss, Carol T. Christ, ed.New York:W. w. Noton & Compaiy,綠,已不是當年的樹(shù)了。綠色植被下的山巒還保留了當年撕裂Ince,1994:563.的痕跡。在關(guān)心往昔的眼睛看來(lái),修復畢竟不可能完全。"⑥艾參考文獻:略特在小說(shuō)最后明確告訴我們，杜黎弗-家堅持的傳統和自然[1] Bennett JGeorge Eliot: Her Mind and Her Art[M]Cambridge:都已經(jīng)破工業(yè)革命的影響改變,不可能恢復。也就是說(shuō),國家現代化給英國社會(huì )帶來(lái)了巨大的損失,個(gè)人甚至為此付出生命Cambridge University Press, 1954.[2] Frye N.The Great Code[M].Sandiego:Harcourt brace & company,的代價(jià).這些都是永遠無(wú)法挽回。1982.4結論(3] Lermer L.The Victorians(M].L.ondon:Methwen & Company Ltd,整個(gè)小說(shuō)中,艾略特都在思考:英國工業(yè)化給整個(gè)維多利亞社會(huì )帶來(lái)怎樣的沖擊和考驗呢?在小說(shuō)的前三卷中幾乎都[4] Rosendale S.The Greening of Literary Scholarship: Literature,在描述風(fēng)光旖旎的佛洛斯河畔風(fēng)光,磨坊主一家怡然自得的田Theory, and the Environment[M].Lowa City,IA:University of園式生活。這是工業(yè)化未曾侵人的自然生活狀態(tài)。但后四卷Lowa Press,2002.杜黎弗一家面臨困境，思想上開(kāi)始展現困惑和彷徨。社會(huì )變革[5] Showalter E.A Literature of Their Own: British Women Novelists時(shí)期的焦慮和不安影響了這個(gè)家里的每個(gè)成員。磨坊的所有from Bronte to Lessingl M].Beijing:F oreign Language Teaching權轉移就是工業(yè)革命的后果,它在這個(gè)家里就代表了當時(shí)英國and Research Press,2004.社會(huì )工業(yè)化對普通自耕農生活的作用。[6] F. 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