解读《夜莺与玫瑰》中的唯美主义
夜莺与玫瑰论文
王尔德童话《夜莺与玫瑰》中的唯美主义Aestheticism in Oscar Wilde’s FairyTale The Nightingale and the Rose摘要本文从形式和内容入手，探讨了王尔德《夜莺与玫瑰》童话中的唯美主义体现，从而揭示了王尔德“为艺术而艺术”，“艺术高于一切”的唯美主义价值观。
在形式上，分别从修辞、意象入手，分析了童话在文字层面上精巧华丽的美以及作者构造奇幻图画的写作技巧。
在内容上，从更深层次的讽刺、象征、人物刻画、死亡与悲剧之美以及二元对立等方面分析，表现了作者强烈的情感，对爱与艺术美的追求，对善的颂扬以及对恶的摈弃，并从中反映了艺术与当时社会现实生活的关系。
关键字：唯美主义，修辞，意象，对立ABSTRACTFrom the aspects of form and content, this thesis will analyze the embodiment of Aestheticism in Oscar Wilde‘s The Nightingale and the Rose, in order to manifest his aesthetic values of ―Art for art‘s sake‖ and ―Art is superior‖. From the aspect of form, the paper argues from rhetoric and image to analyze the writing methods to construct fantastic images and magnificent beauty on the literal level. From the aspect of content, the thesis analyzes from irony, symbol, depiction of characters, beauty of anticlimax and binary antithesis of two specific elements, expressing the authors‘intense emotion, pursuit towards art and beauty, glorification of goodness, and critique towards vice.Keywords: Aestheticism, rhetoric, image, antithesisContents1 Introduction (1)2 Previous Studies (4)3 Embodiment of Aestheticism in form (5)3.1. Beauty of rhetoric (5)3.1.1 Use of repetition (5)3.1.2 Use of antithesis (5)3.1.3 Use of synaesthesia (6)3.1.4 Use of personification (6)3.2 Beauty of image (7)3.2.1 The combination of movement and stillness (7)3.2.2 Converting between concrete and abstract images (8)4 Embod iment o f Aestheticism in co ntent (10)4.1 Beauty of rhetoric (10)4.1.1 Use of sarcasm (10)4.1.2 Use of symbol (11)4.2 Beauty of imagery (12)4.2.1 The nightingale (12)4.2.2 The student (14)4.2.3 Beauty of anticlimax (death and tragedy) (16)4.2.4 Binary antithesis of two specific elements (17)4.2.4.1 The binary antithesis of poem and reality (17)4.2.4.2 The binary antithesis of deep and shallow emotion 185 Conclusion (19)Works cited (20)1IntroductionOscar Wilde (1854—1900) is a famous dramatist, novelist and poet in the 19th century‘s England. He has a great deal of accomplishments in nearly every field of literature. His novel The Portrait of Dorian Gray, comedies Lady Windermere’s Fan, A Woman of No Importance as well as The Importance of Being Earnest all created sensation when they were published. With gifts of language, Wilde was once acclaimed by Y eats: ―I never before heard a man talking with perfect sentences, as if he had written them all overnight with labour and yet all spontaneous.‖（吴伟仁，2006）In the 19th century in England, industry developed rapidly. Following the development of industry, the principle of materialism infiltrated into every status of the society. Wilde thought that in the age he lives ―to be practical is everything‖, in his words: ―Present people‘s life has been entirely affected by business.‖As English female writer V erginia Woolf wrote in her later observation: ―Behavior of human-beings have been changed tremendously.‖（章安祺，2003)In intellectual sphere, people generally feel the shortage of culture and loss of beauty. Thus aesthetic movements developed in the universities and intellectual circles in the last decades of the 19th century. It reflected artists‘ sense of frustration and uncertainty against materialism and restrictive moral code of bourgeoisie. Because of this, artists withdrew from political and social stage, and escaped into aesthetic isolation. Wilde is the main representation of the aesthetic movement. His aesthetic opinion can be summarized as ―Art is superior.‖In detail, Wilde‘s aestheticism can be related in several aspects below: He advocates the pure artistic theory. ―Art for art‘s sake‖–Art has independent life, which is far away from the real world, not related to ethics. All excellent works of art pursue pure art effect. So, ―the only beautiful thing is that irrelevant to us.‖―Artists should neither have any purposes of utilitarianism, nor be restrained by ethics.‖He emphasizes ―the admiration of form‖ He considers that art has one highest principle, the principle of form. As he once said: ―You needn‘t have superb rationalimagination, deep satire towards life, even excited emotion.‖―Form is all you need.‖About the relationship between life and art he thought, ―Life imitates art much more than art imitates life.‖ Art is always ahead of life. It‘s not art reflecting the reality but the reality reflecting art. The real society is ugly and vulgar. Only ―beauty‖has perpetual value. ―Art is superior to life. Life is dull and disorderly. But art can satisfy our emotion need of love and resent, joy and pain.‖He believes art superior to all other things. ―In order to pursue entertainment and beauty, one can disregard and sacrifice anything.‖―Art is life itself. It is ignorant of death, which is absolute truth, ignorant of facts.‖ (Ellmann, 1988) Here art has its broaden meaning, which includes beauty entertainment and joy. Here beauty is some kind of free beauty which is sublime epicurean and irrelevant to utilitarianism; joy is not purely sensory enjoyment, but coming from life, creation and love.The fairy tale The Nightingale and the Rose is chosen from his The Happy Prince and Other Tales,1888. His another book about fairy tale is A House of Pomegranates. They are regarded as works of superior quality among the world‘s creation of fairy tales. The famous Chinese writer ZhouZuoren said that: ―The two books are purely poems…In my opinion their feature is the plentiful words and wit of spirit.‖(王开林，2002)These fairy tales extol love beauty art and kind heart, satirize selfish and cruel behavior and show sympathy to the insulted weak. ―The different elements of narration provide social satire, comedy of manners, moral allegory and a commentary on aestheticism for the cognoscenti.‖ (Varty, 2005) In The Nightingale and the Rose, the theme is also around above topics. A student wept sadly, for the reason that the girl he loved promised to dance with him if he got a red rose. But he can‘t find one in his garden. A nightingale saw and was moved by the student. Regarding him as a true lover, she decided to find a red rose for him. Disregarding some insects‘ query and sneer, she flied over the garden, from white rose-tree to yellow rose-tree, and then finally found a red rose-tree. The tree answered it wouldn‘t have any rose that year, but if she wanted a red rose she must sing all night long with her breast against a thorn. The thorn must pierce her heart and her life-blood must flow into tree. Death is a great price to pay for a red rose.But the nightingale believed love is more precious than life. Thus she did what the red rose-tree told her to do. She died and a rose as red as ruby was produced. The student discovered the red rose in his garden. He was so excited for he had never seen any rose like it. However, when he hopefully brought the rose to the girl, she refused, because she wanted to dance with the Chamberlain‘s nephew who had sent her some real jewels. Angrily the Student threw the rose and a cart-wheel went over it. He thought love silly and went back to read books again.This fairy tale praised the nightingale kind-hearted, selfless, and persevering in the pursuit of love. It also criticized the girl ungrateful superficial. Rodney Shewan claimed this fairy tale to be ―the most concise social critique‖. (Shewan, 1977) Through the whole story, Wilde‘s views of Aestheticism are manifested themselves. In the following paragraphs, I will analyze them from the aspects of form and implied meaning, to reveal how Wilde‘s Aestheticism is embodied in this fairy tale by more specific and detailed analysis on the aspects of rhetoric and imagery. Thus we can have deeper understanding of the writer, his Aestheticism and his works.2 Previous StudiesPredecessors have ever since researched this fairy tale and have already made profound achievements in some aspects.They analyzed and eulogized various kinds of beauty, from superficial level of diction and sentences to deep level of theme and emotion. They wanted to probe the inner spirit of the fairy tale, Wilde‘s individual temperament and style, and connect them to the aesthetic purpose of Wilde‘s creation and the whole social background. Wilde once wrote to a friend that the tales were ―meant partly for children, and partly for those who have kept the childlike faculties of wonder and joy, and who find in simplicity a subtle strangeness.‖(Beckon, 1970) which I think may be his main purpose to write these fairy tales. He wanted to bring people simple joy and made them ponder in the seeming simplicity.Otherwise, they also probe the usage of various writing methods, such as peculiar imagination, humorous irony combined with philosophy, and the changing of characters and readers‘emotion. Wilde‘s friend Alexander Galt Ross (1860—1927) wrote: ―One of the chief functions of the true fairy story is to excite sympathy.‖ (Beckon, 1970)Wilde is the representative of aestheticism and decadent literature. Some people criticized his aesthetic works to be decadent; while others thought him to be writer of real art and beauty. In his works, we realized the antithesis of dream and reality. He took art beauty and love as his ideal, having the sense of justice. On the other hand, he was extremely individualistic.Since a long time ago, Wilde‘s theory of ―Art for art‘s sake‖has been considered disadvantage outweighing advantage, because he overstressed literary beauty, letting the relationship between art and life upside down. Especially in the domestic art sphere, where artists paid more attention to life, their social responsibility was stressed. Aestheticism was condemned having messed people‘s course of recognizing things and induced writers into the concept of ―Form is everything.‖3 Embodiment of Aestheticism in form3.1 Beauty of rhetoricWilde is best adept at visual refined language abounding in color and sound. Rhetoric is one aspect of the beautiful language. Repetition, contrast, metaphor, personification and synaesthesia are often used in this fairy tale. The seemingly simple rhetoric has polished the fairy tale a lot.3.1.1 Use of repetitionThe rhetorical effect of sentence repetition varies with individual cases, but most writers use it to add force and emphasis to their statement.（冯翠华，1995）―Give me a red rose,‖ she cried, ―and I will sing you my sweetest song.‖（奥斯卡·王尔德，1996）This sentence appears three times in the fairy tale. It indicates the nightingale‘s eager mood to find the red rose. It was a long process. She failed to find a red one the first and second time, but didn‘t give up. She insisted on her seeking and at last achieved her expect. From the repetition we can see the hardship in finding a red rose. Facing continuous failure, the nightingale maintained a resolute and positive attitude. The repetition transfers to us a shock and more intense emotion.3.1.2 Use of antithesis(contrast)Antithesis is the deliberate arrangement of contrasting words or ideas in balanced structural forms to achieve force and emphasis. The form of the expression is very important for effect, for the force of the emphasis, whether for profundity of judgement, for humor or for satire, depends chiefly on the juxtaposition of direct opposition, of glaring contrasts.（冯翠华，1995）Wilde has used several contrast to manifest a kind of beauty that exist between two opposite things or two opposite aspects in one thing. For example, the death of the nightingale and the blossom of the red rose forms striking contrast. The exhaustion of nightingale leads to the blossom of the rose. Nightingale‘s crimsonblood dyes the rose red. As nightingale pressed closer to the thorn, ―Bitter, bitter was the pain, and wilder and wilder grew her song‖ (奥斯卡·王尔德，1996) The marvelous rose grew from white to pink then to crimson. It was the nightingale who let her life-blood and energy ebbed away from her and transferred to the red rose. The red rose was the fruit of nightingale‘s death, also the bitter price of the nightingale‘s pursuit of love.3.1.3 Use of synaesthesia―the mixing of sensations; the concurrent appeal to more than one sense; the response through several senses to the stimulation of one‖（文军，1991）Wilde is good at describing a scene with various blended senses, and makes the readers as if be present at the scene.Take examples, ―It is pleasant to sit in the green wood, and to watch the Sun in his chariot of gold…Sweet is the scent of the hawthorn.‖ Here from visual sense and sense of smell Wilde described the pleasure and bright of life. The brilliant Sun with chariot of gold and the crystal Moon with chariot of pearl enhance each other‘s beauty in the sky, forming a splendid spectacle. While fragrance of flowers floats far and near, making people refreshed in mind and heart.―…blossomed a marvelous rose, petal following petal, as song followed song.‖―Bitter, bitter was the pain, and wilder and wilder grew her song.‖ (奥斯卡·王尔德，1996) From visual sense, sense of hearing and sense of pain, the heroic scene of nightingale‘s sacrifice reappears before readers.3.1.4 Use of personification―attributes human qualities and abilities to inanimate objects, animals, abstractions, and events.‖(Bander, 1978)Unlike in other stories, personification is widely used in this fairy tale which becomes an outstanding feature of it. Every animal and plant has been personified, from big sun and moon in the sky to little insects on the ground. Their language is lively and vivid. Each character has distinctive personality which makes the story touching. For example, the offish attitude of the Green Lizard the Butterfly and the Daisy reflects the general attitudeof the English in those years.3.2 Beauty of imageBeautiful language is an outstanding feature of this fairy tale which produces many exquisite images that constantly emerge in the fairy tale. ―An image is a literal and concrete representation of a sensory experience or of an object that can be known by one or more of the senses. It is the means by which experience in its richness and emotional complexity is communicated.‖(Holman & Harmon, 1986) Light and shadow, color and smell, sound and shape, quality and movement, the multitudinous image interweave with one another, constructing poetic imagery. And in these images, we can find out some special writing methods.3.2.1 The combination of movement and stillness―but passion has made his face like pale ivory, and sorrow has set her seal upon his brow.‖(奥斯卡·王尔德，1996) Sorrow is originally a kind of static state which presents itself on people‘s face. But here it comes into a movement. It climbs up on the boy‘s face. That is more vivid than just stating the fact.―And a delicate flush of pink came into the leaves of the rose‖ (ibid) Here we can feel the process how the color of the rose changes. It changes little by little from delicate to dark.―Echo bore it to her purple cavern in the hills, and woke the sleeping shepherds from their dreams. It floated through the reeds of the river, and they carried its message to the sea.‖ (ibid) Here the author describes the nightingale‘s last song with movement. Like a deliver, it fluctuates and spreads far away, and brings message and blessing to all creatures.3.2.2Converting between concrete and abstract imagesIn this fairy tale, when describing abstract things, the author likes to use some concrete images to deepen their value and impression in readers‘hearts. Otherwise, when describing concrete things, the author sometimes use abstract images to create a romantic and hazy atmosphere.For example, when describing color, the author uses concrete images a lot. They can avoid the monotony of using simple color words. White is drawn as ―pale ivory‖, ―the foam of the sea‖, ―the snow upon the mountain‖, ―pale as the mist that hangs over the river‖, ―pale as the feet of the morning, and silver as the wings of the dawn.‖Y ellow is drawn as ―the hair of the mermaiden who sits upon an amber throne‖, ―the daffodil that blooms in the meadow before the mower comes with his scythe‖ And red is drawn as ―the feet of the dove‖, ―the great fans of coral that wave and wave in the ocean-cavern‖, ―crimson like the rose of the eastern sky‖, ―crimson was the girdle of petals, and crimson as a ruby was the heart.‖ (奥斯卡·王尔德，1996) When describing the value of love, the author wrote like this: ―It is more precious than emeralds, and dearer than fine opals. Pearls and pomegranates cannot buy it, nor is it set forth in the marketplace. It may not be purchased of the merchants, nor can it be weighed out in the balance for gold.‖(ibid) After comparing with concrete precious jewelry, this sentence indicates that love is priceless. It can‘t be substituted by money or material in reality.The nightingale‘s voice is described like ―water bubbling from a silver jar‖(ibid). From the concrete simile, we can feel the sweet of the voice as if we have heard the bump of water in dear silver container.When referring to the image of a true lover, the author wrote like this: ―Flame- coloured are his wings, and coloured like flame is his body. His lips are sweet as honey, and his breath is like frankincense.‖ (ibid) The image of a lover is originally hard to definite, but here the author describes it with concrete elements. Being emphasized on body lips and breath, the lover mingles with flame honey and frankincense, like an angle with wings. With the image, readers can image keen and beautiful passion in love.Moreover, Wilde also used some abstract images to describe concrete things. For instance, ―As the shadow of a rose in a water-pool, so was the rose that blossomed on the topmost spray of the Tree.‖―She swept over the garden like a shadow, and like a shadow she sailed through the grove.‖ (ibid) In these two places, description of a rose turns to its shadow in a water-pool, and description of the flyingnightingale also turns to its abstract shadow. The rose becomes hazy and romantic while the nightingale‘s quick movement and slender figure is revealed thoroughly, as if both of them are living in two artful pictures.4Embodiment of Aestheticism in content Through the contrast of beauty in visual world and frightfulness in real world, Wilde has used beautiful images to embody abstract beauty in his aesthetic opinion. His purpose is definite, that he wanted art not be constrained by materialism and restrictive moral code in the society. He wanted to create a world of art, which should be imitated by the real life. He tried to rectify evils in the world with beautiful art, providing an ideal mode for people‘s life.4.1 Beauty of rhetoric4.1.1 Use of sarcasmThere is much sarcasm used in this fairy tale, from which ingeniously mirrors Wilde‘s hatred towards the money worship and gang of philistine in the English society at that time. He wants to use the ―beauty‖ of art to resist the ―ugly‖ in vulgar reality.For example, ―Why is he weeping?‖asked a little Green Lizard, as he ran past him (the student) with his tail in the air. ―Why, indeed?‖ said a Butterfly, who was fluttering about after a sunbeam. ―Why, indeed?‖ whispered a Daisy to his neighbour, in a soft, low voice. ―He is weeping for a red rose,‖said the Nightingale. ―For a red rose?‖they cried, ―how very ridiculous!‖and the little Lizard, who was something of a cynic, laughed outright. (奥斯卡·王尔德，1996)Above is the conversation between the nightingale and other animals and plants. The Lizard represents some arrogant person. They have no sympathy towards others. Like cynics, they often laugh at others‘misfortune or disadvantage, building their happiness upon others‘ sadness. The butterfly represents one kind of people who like flattering. They don‘t judge things themselves but depend on others. The Daisy represents some coward people who have concern towards others but dare not show this concern directly.Towards the three types of people Wilde showed his sarcasm. These people are the miniature of partial people existed in the society in that era, who were foolishvulgar indifferent and snobbish. When principle of materialism infiltrated into the society, they didn‘t comprehend love and art, but doubted and criticized Wilde‘s aestheticism.The other sarcasm exists in the conversation between the student and the daughter of the Professor at the end of the story. But the girl frowned. ―I am afraid it will not go with my dress,‖she ……went into the house. (ibid) Facing the red rose which was gotten after great hardships, the girl went back on her words. Her attitude was so indifferent and merciless. She‘s a person full of vanity. What she pursuits is money and status. So she looked down upon the student and received the invitation of the Chamberlain‘s nephew who had sent her some real jewels. She‘s the representation of utilitarian people who were the targets Wilde hold displeasure and complaints in that society.4.1.2Use of symbolIn literature, a symbol is a thing that refers or suggests more than its literal meaning. Often symbols we meet in fiction are inanimate objects. In a broad literary sense, a symbol is such a trope that combines a literal and sensuous quality with an abstract or suggestive aspect.（钱坤强 & 袁宪军，2004）Some seemingly simple things or scenes may transfer Wilde‘s profound implication.Such as, ―But the winter has chilled my veins, and the frost has nipped my buds, and the storm has broken my branches, and I shall have no roses at all this year.‖ (奥斯卡·王尔德，1996) Here we can see, the tree of red rose has been broken by the winter, the frost and the storm. The sentence also implies cruelty of reality. It‘s like a person who has encountered adversity and numerous setbacks, depressed and feeble. This is the impediment ahead of the nightingale on her way to get the red rose. It also implies that Wilde‘s way to pursue art is not smooth. There exists much impediment, such as not understanding and critique of the sphere of intellectuals then.However, Wilde decided to insist on his proposition, even if he would sacrifice what he owned. We can see it in the fairy tale from the nightingale‘s attitude. ―Thereis a way,‖ answered the Tree; ―but it is so terrible that I dare not tell it to you.‖―Tell it to me,‖said the Nightingale, ―I am not afraid.‖(ibid) These sentences imply Wilde‘s determination. The solution is hard, while the future is rough. But in order to achieve her target, bravely and firmly, the nightingale is ready to cope with her challenge.At last the nightingale succeeded. The song she sang when she pressed her breast against the thorn symbolizes the process of passion between a couple, from ―birth of love in the heart of a boy and a girl‖ to ―the birth of passion in the soul of a man and a maid‖ to ―flush in the face of the bridegroom when he kisses the lips of the bride‖to ―the Love that is perfected by Death, the Love that dies not in the tomb‖. (ibid) The passion experiences the process from naive to mature, from mild to beautiful and ardent.―Press closer, little Nightingale,‖ cried the Tree, ―or the Day will come before the rose is finished.‖ (ibid) It symbolizes the dark before the dawn. That time may be the most crucial moment, when the leading role will often go through the most difficult trial. And the nightingale was also experiencing her most painful moment before the rose was finished.From the beginning to the end, we can feel a kind of persistent and dauntless spirit of the nightingale, which symbolizes Wilde‘s attitude towards art. That is, regardless of hardship and impediment, be brave enough to pursue.4.2Beauty of imagerySeveral characters have appeared in the fairy tale, the nightingale the student the girl and other animals and plants which are all personified. Each of them symbolized one kind of crowd in the society at that time. From them, we can find some of Wilde‘s aesthetic opinion.4.2.1 The nightingaleThe nightingale is the protagonist of this story. Even though she is feeble in figure and energy, with extreme courage, she has done great thing for strangers that in this aspect she even overpasses those wise and strong people. We can take thenightingale as the symbol of Wilde, for they share similarity in some aspects. Wilde always eulogizes love as the eternal theme in his fairy tale. Love is also the nightingale‘s pursuit all through her life.She‘s a typical idealist. In her mind, love is the most valuable thing in the world. ―Surely Love is a wonderful thing. It is more precious than…nor can it be weighed out in the balance for gold.‖ (奥斯卡·王尔德，1996) She even sacrifices her precious life for seeking of sincere love. Love is powerful supreme and holy. It can neither be influenced by social conventions nor by fame and money in reality. ―Love is wiser than Philosophy, though she is wise, and mightier than Power, though he is mighty.‖(ibid) All these are the reflection of Wilde‘s Aestheticism, for Wilde once said ―In order to pursuit comforts and beauty, one can disregard and sacrifice everything.‖Love here is what he said comforts and beauty. However, in the era when Wilde was living ―practice is every thing‖, what people pursued was money power and status. Selfless love was not welcomed in the reality. So she was destined to have a tragic finale.She‘s warm-hearted and always ready to help others. All of these originate from her universal love to the world. She has ardent love for life, ―Life is very dear to all. It is pleasant to sit in the green wood, and to watch the Sun in his chariot of gold, and the Moon in her chariot of pearl. Sweet is the scent of the hawthorn, and sweet are the bluebells that hide in the valley, and the heather that blows on the hill.‖ (ibid) Life is happy and bright in her mind. She has ardent love for others and sympathy to the student. Though she knew the student not, she was willing to sing of him and tell his story to the stars night after night, and selflessly devoted her life in helping the student to find a red rose. Finally even though her flesh and blood exterminated, the spirit of love she having expressed was imperishable.In fact what she has done and said reflected the inner hope of herself. She wants to fulfill her own wish. For in her values, love is of the first importance. It‘s pure and lofty. It‘s the objective of her living. By helping others to obtain love, herself can also obtain inner-heart‘s satisfaction. ―she sat silent in the oak-tree, and thought about the mystery of Love.‖―Love is better than life.‖―All that I ask of you in returnis that you will be a true lover.‖ (ibid)She longed for and pursued love, regardless of some opposite features in her surrounding. In fact she just lives in the beautiful dream she made for herself. Even though the student didn‘t comprehend her intention; other animals and plants failed to understand or even sneered at the nightingale as an idealist, she never changed her mind. ―In an age of turmoil, in the horrible moment of disputes and despair, only the palace of beauty makes us forget and merry. Where shall we go if we don‘t go there?‖（王尔德，1988）Above reflected Wilde‘s aesthetic philosophy. Love symbolizes comforts and beauty, in other words, art. Her opinion that love is superior to all other things in the nightingale‘s values actually means that art is superior to all other things. It breaks away from the real life to a certain degree. For in reality, not everyone agrees with the values. Many people take material and money as their pursuit, like the daughter of the Professor. The student thought love stupid at the end of the fairy tale. Even more people can‘t comprehend it. So actually the opinion of ―Love is superior to other things‖ (ibid) just lives in the nightingale‘s mind which is her beautiful dream. ―Art has its independent life.‖―It‘s irrelevant to reality, ……‖ (ibid)4.2.2The studentHe is also a performer of Aestheticism. But at the same time he is ignorant and stubborn. He has no difference with other animals and plants. So his pursuit towards Aestheticism is destined to fail.He‘s also an idealist, because he is still dreaming of love and tortured by it. ―But with me she will not dance, for I have no red rose to give her.‖ (奥斯卡·王尔德，1996); and he flung himself down on the grass, and buried his face in his hands, and wept. He was indeed an infatuated young man.Another aspect of the student as a performer of Aestheticism is his complete dependence on books. Even when encountering problem, he expected to find solution from books. ―I have read all that the wise men have written, and all the secrets of philosophy are mine, yet for want of a red rose is my life made wretched.‖。
解读《夜莺与玫瑰》中的唯美主义
摘要:作为英国唯美主义运动的倡导者,为了“艺术而艺术”是王尔德唯美主义的精髓,他追求形式完美和艺术技巧。
象征、重复、明喻、暗喻、“三段式”叙事手段等艺术技巧在王尔德童话作品《夜莺与玫瑰》中的运用,赋予了作品形象美、音乐美、色彩美等美,给读者带来了感官上的愉悦。
关键词:夜莺与玫瑰; 唯美主义; 艺术技巧; 形象美;音乐美;色彩美一唯美主义唯美主义,就是以艺术的形式美作为绝对美的一种艺术主张。
认为“美”才是艺术的精髓。
这里所说的美,是指脱离现实的技巧美。
因此,有时也将唯美主义称为“美的之上主义”。
它形成于19世纪后期出现在英国艺术和文学领域,提倡“为艺术而艺术”、一味追求形式完美和艺术技巧的唯美主义运动(AestheticMovement) [ 1 ]。
唯美主义运动的主要特征包括:追求建议性而非陈述性、追求感观享受、对象征手法的大量应用、追求事物之间的关联感应———即探求语汇、色彩和音乐之间内在的联系。
英国著名作家、诗人、戏剧家、艺术家奥斯卡·王尔德是唯美主义艺术运动的倡导者。
“维多利亚时代文学之所以伟大的部分原因就在于以王尔德为首的唯美主义文学在英国文学史上留下了浓彩重墨”。
[ 1 ]童话历来被认为是他唯美主义理论最理想的载体。
本文将从艺术技巧使用的角度解读王尔德童话作品《夜莺与玫瑰》中的唯美主义。
二《夜莺与玫瑰》中运用的艺术技巧及其中的美王尔德是形式的信奉者,无论是理论上的召唤,还是文学创作的实践,都说明形式是王尔德孜孜以求的。
王尔德唯美主义对形式( form)强烈的爱好,对形式完美和艺术技巧的追求,在童话《夜莺与玫瑰》中具体体现在丰富多彩的积极修辞在作品中的运用。
积极修辞( active rhetoric)是相对“在形式上要求‘明确’、‘通顺’、‘平匀’、‘稳密’,偏于‘记述的’”消极修辞(passive rhetoric)而言的,它“是偏于‘表现的’,‘以生动地表现生活的体验为目的的’,因而是‘具体的、体验的、情感的’。
《夜莺与玫瑰》：爱情与美的化身
《夜莺与玫瑰》：爱情与美的化身爱情与美的化身：《夜莺与玫瑰》“爱情不是你拥有的，而是你舍不得失去的。
”这是法国小说家圣埃克苏佩里在《小王子》中的名言，也是奥斯卡王尔德的《夜莺与玫瑰》所传达的主旨。
作为一篇现代寓言，本文将从夜莺与玫瑰的角度，探究爱情与美的化身。
作品以夜莺和学生、玫瑰和王子的爱情故事交叉展开。
夜莺为了帮助学生得到他所爱的姑娘，献出了自己的生命，而玫瑰也因为自恋而失去了爱人王子的青睐。
这两个角色涵盖了爱情中最基本的两个方面，一个是奉献，一个是自我。
在爱情中，没有一方绝对支配了对方，因为爱情是一种奉献与接纳相互的过程。
正如夜莺所言，“人类之所以不懂得爱情，那是因为他们对此视若理所当然”。
真正的爱情必须是自愿的，并包含了接受爱的人的全部，包括他们存在中的优点和缺点。
除了爱情，作品中还有美的主题，人们通常认为美是自然的产物，比如花朵、风景等。
但王尔德表达了一种不同的看法，他认为美不仅仅存在于自然之中，也可以创造出来，就如同玫瑰。
美是一个人对世界的一种感知，也是一种精神实质。
这里美代表着人类感性和创造性的表现，我们内在的特性可以通过独特的形式呈现出来。
玫瑰是自恋、傲慢和自私的化身，但她确实美丽，因为她拥有了自我的理解和表达。
这也是王尔德对美的理解，创造者需要有对自我存在的认识，才能创造出美丽的作品。
爱情与美，在《夜莺与玫瑰》中经历了许多考验，无论是夜莺还是玫瑰，他们在寻找和守护美的过程中都经历了巨大的痛苦和牺牲。
在现实生活中，很多人都面临着寻找美与受到伤害的困境。
但正是因为这些磨难，我们才会珍惜美，也会明白美不是不劳而获的，需要发掘和表达自己内心的东西。
《夜莺与玫瑰》不仅仅是一部美好的爱情故事，更是对于爱情和美的高度表达。
作品中通过夜莺和玫瑰的化身，传达了爱情和美的真正内涵：一种奉献和接纳相互交织的感情，一种对自我存在的认识和表达。
爱情与美是人类最美好的追求，也让我们变得更加完整和美好。
夜莺与玫瑰讽刺了什么
夜莺与玫瑰讽刺了什么
作品赞扬了爱情的可贵，讽刺了世间的拜金主义。
《夜莺与玫瑰》是英国唯美主义作家王尔德创作的童话作品之一，首次出版于1888年，收录于《快乐王子及其他故事》。
在《夜莺与玫瑰》中，作者赋予了夜莺以自己的思想，借夜莺之嘴写出了作者对真爱的追求，在夜莺做了以死换红玫瑰的决定后，作者描写了橡树的感受，表现出了橡树对夜莺的疼爱和理解，让人深刻感受到生离死别的无奈与痛苦以及朋友的有力支持。
而夜莺的最后一曲，作者将月亮拟人化，说月亮倾听夜莺的歌唱而沉溺其中忘了天明，依然挂在天空中，深刻的表现出了夜莺是在用真情在歌唱，用真心在创造红玫瑰，同时也渲染了永别的清凉之情。
浅析王尔德唯美主义童话《夜莺和玫瑰》中的形式美与精神美
我们 勇敢地 改造 自然 ， 是使 之美 的努力 ” 。因此 ，艺 “ 术家是 美 的作 品的创 造者 ” 。
炙人 口、 充满 想象 的童话 ， 像 是 一篇 隽 永 的散 文 ， 更
有 着 众 多 的 意 象 、 富 的 色 彩 和 诗 一 般 的 韵 律 ， 不 丰 无
王尔 德 的这篇童话 是 印象 的云集 、 象 的荟 萃 。 意
美丽 的动物 ， 有橡 树 、 菊 、 也 雏 水仙 等美丽 的植物 ， 还
有 美丽 的绿宝 石 、 宝 石 以 及美 丽 的 花 园 、 海 、 红 大 雪
精 神 美 也 是 王 尔 德 唯美 主 义 艺术 观 追 求 的 旨 趣 。一 种艺术 风格 的形 成 ， 与作 家 赋 予他 作 品的 还
思 想 情 感 不 可 分 。在 《 莺 与 玫 瑰 这 篇 童 话 中 ， 夜 其
瞬 即逝 而具 有一种 难 以把 握 的动 态美感 。个体 的印 象是 因人而异 的 ， 因此 ， 印象又具 有鲜 明的个性 大 学学 报 （ 会 科学 版 ） 社
Ｊ ｕ ｎ ｌ ｆＳｏ ｔ ｗｅｔＡｇｒｃ ｌｕ ａ ｉｅｓｔ Ｓ ｃａ ｃｅ ｃ ｄｔｏ ｏ ｒ ａ ｕ ｈ ｓ ｏ ｉｕｔ ｒ ｌＵｎｖ ｒ ｉ ｙ（ ｏ ｉｌＳ ｉｎ ｅ Ｅ ｉｉｎ）
中 图 分类 号 ：１ ６ Ｉ０ 文 献 标识 码 ： Ａ 文 章 编 号 ： Ｇ ２ ５ ７ （ ０ １ ０ —０ １ ０ ｌ ７ ３ ９ ２ １ ） ５ １ ９— ３
王 尔 德 ， 位 １ 世 纪 末 英 国 唯 美 主 义 的 代 表 作 这 ９ 家 ， 生 共 写 了 ９篇 童 话 ，夜 莺 与 玫 瑰 》 录 在 他 的 一 《 收 第 一 部 童 话 集 《 乐 王 子 与 其 他 故 事 》 ， 部 童 话 快 中 这 集 于 １８ ８ ８年 出 版 。 王 尔 德 的 童 话 创 作 并 不 丰 富 ， 但
生存的世俗与唯美的追求_浅析王尔_省略__夜莺与玫瑰_中的唯美主义艺术观_凌茜
生存的世俗与唯美的追求———浅析王尔德《夜莺与玫瑰》中的唯美主义艺术观凌 茜(西北师范大学 外国语学院,兰州 730020)提要: 作为英国唯美主义运动的倡导者,“为艺术而艺术”是王尔德唯美主义艺术观的精髓,他运用多种体裁的创作实践着自己的艺术主张。
本文着重从不被人们重视的王尔德童话作品《夜莺与玫瑰》的分析中,探究他的唯美主义的特征,认为在这篇童话作品中,王尔德通过虚构的故事和幻想的形象,充分表达了对真、善、美的讴歌和假、丑、恶的鞭挞。
同时,也将唯美主义的艺术观发挥到了极致。
关键词: 王尔德;《夜莺与玫瑰》;唯美主义中图分类号: I88 文献标识码: A 文章编号: 1003-3637(2008)04-0046-03 作为19世纪后期英国唯美主义文学运动的代表人物,王尔德的唯美主义文学观和创作成就在我国和在西方评论界一样,成为始终不衰的研究话题。
但是无论是在西方学术界,还是在我国的评论界,在对王尔德唯美主义文学观进行研究时,人们只把注意力集中在他的长篇小说《道林・格雷的肖像》和诗剧《莎乐美》等作品上,而对王尔德的童话创作的关注和研究却远远不够。
作为唯美主义运动主力的王尔德,必然会在他的所有创作中体现唯美主义的艺术观。
因此,本文着重从王尔德的童话故事《夜莺与玫瑰》的分析入手,来探究其唯美主义的人生观和艺术观。
一、王尔德唯美主义创作的时代背景19世纪中后期,是被英国史学家誉为“黄金期”的维多利亚时代。
此时,正是“产业革命”后工商业空前迅猛发展之际,物质世界发生了人们见所未见、闻所未闻的剧变,“物质至上”的拜金主义之风弥漫了大不列颠的整个社会。
社会矛盾加剧,人心浮动,社会处于大变动的前夜。
唯美主义文艺思潮正是在这个被称为“世纪末”的历史时期登上了文坛。
王尔德对于资本主义现实及艺术商品化现象极为不满。
对于科学和唯物文化教育不以为然,对传统的现实主义和新出现的自然主义文学观都持一种反对的态度。
在生活中,他对一切假仁假义、虚伪和庸俗习气感觉敏锐,对资产阶级贵族社会的精神贫乏取讽刺鄙视态度,大胆地嘲笑当时英国流行的道德的卑鄙,总之,王尔德对当时英国的现实与艺术都产生了幻灭感和危机感。
解读《夜莺与玫瑰》中的唯美主义
一
唯美主义
唯美主义 ， 是以艺术 的形式美 作为 绝对美 的一种艺 就 术主张。认为“ ” 美 才是艺术 的精 髓。这里所 说 的美 ， 是指 脱离现实的技 巧美。 因此 ， 时也 将唯 美主 义称 为 “ 的 有 美 之上主义” 。它形成 于 １ ９世纪后 期 出现 在英 国艺术 和文 学领域 ， 倡“ 提 为艺 术 而 艺 术 ” 一 味 追 求 形 式 完 美 和 艺 术 、 技 巧 的 唯美 主义 运 动 （ ｅｔｅ ｃＭｏｅ ｎ） ｊ Ａ ｓ ｔ ｖｍｅｔ 。 ｈｉ 唯美主义运动 的主要特 征包括 ： 追求 建议性 而非 陈述 性 、 求 感 观 享 受 、 象 征 手 法 的 大 量 应 用 、 求 事 物 之 间 追 对 追 的关联感应—— 即探求语汇 、 色彩 和音乐之 间内在 的联 系。 英国著名作家 、 诗人、 戏剧 家 、 艺术家 奥斯卡 ・ 尔德 王 是唯美主义艺术运动 的倡导者 。“ 多利亚 时代文学 之所 维 以伟大的部分原 因就在 于 以王尔德 为首 的 唯美 主义文 学 在英 国文学史上 留下 了浓彩 重墨 ” …童 话历 来被 认 为是 。 他唯美主义理论 最理 想 的载 体 。本 文将从 艺 术技 巧使 用 的角度解读王尔德童话作 品《 夜莺与玫瑰 》 中的唯美主义。
ＶＯ ．３ ． Ｉ １ ＮＯ ６
ＮＯ ．２ ０ Ｖ ０９
解读《 夜莺 与玫瑰》 中的唯美主义
朱 洁
（ 湖南工程学院 外 国语学院 ， 湖南 湘潭 ４ １０ ） １１ ４
摘 要： 作为英国唯美主义运动 的倡导者 ， 了“ 为 艺术而艺术” 是王尔德唯美主义的精髓 ， 他追求形式完美和艺术技巧。 象征、 重复、 明喻 、 、三段式” 暗喻 “ 叙事手段等 艺术技巧在 王尔德 童话作 品《 莺与玫瑰》 夜 中的运 用， 予 了作 品形象美、 赋 音 乐美、 色彩美等美 ， 给读者带来 了感 官上的愉悦。 关键词 ： 夜莺与玫瑰 ；唯美主义 ；艺术技巧 ；形象美 ； 音乐美 ； 色彩美
简析唯美主义思想在王尔德《夜莺与玫瑰》
简析唯美主义思想在王尔德《夜莺与玫瑰》作者：齐俊来源：《青年文学家》2013年第30期国家级特色专业（英语）项目编号：TS12154摘要：奥斯卡·王尔德是唯美主义的代表作家，他的作品中体现了他的唯美主义思想，文章从形式和精神上分析其童话故事《夜莺与玫瑰》中唯美主义思想的体现。
关键词：王尔德；《夜莺与玫瑰》；唯美主义思想作者简介：齐俊，女，1979年生，安庆师范学院外国语学院讲师，研究方向为英语语言文学。
[中图分类号]：I106 [文献标识码]：A[文章编号]：1002-2139（2013）-30-0-0219世纪后期唯美主义运动在英国的文学和艺术领域中逐渐开始兴起。
在当时唯美主义被定义为和法国象征主义同出一脉的运动，其本身在英国只是作为了其中一个巨大的分支。
在反对维多利亚风潮中其自身也作出了巨大的贡献，后浪漫主义的基本特征在唯美主义中也有所体现。
唯美主义运动中相关的作家和艺术人指出：将观感愉悦最大限度地提供给人类是艺术最根本的使命，并非是对某种道德以及情感信息的传播；以任何形式存在的说教因素都不应该存在于艺术中，艺术应该是对单纯美感的追求。
他们如痴如醉的追求艺术的“美”，认为艺术的本质便是“美”，并且提出在生活中应该模仿艺术的美。
奥斯卡·王尔德（1856-1900）就是唯美主义的代表，他的童话故事《夜莺与玫瑰》正是体现了作者的唯美主义思想。
一、王尔德思想中唯美主义的体现王尔德通过自身对唯美主义的实践为唯美主义的彰显做出了巨大的贡献，他在实践过程中对唯美主义进行了大力倡导。
仅从现实和艺术形式两者之间的关系上来看，艺术源于现实但是应该超越现实是王尔德对艺术的基本理念，同时还应该游离在人生之外。
现实中的所有都是艺术的劲敌。
实感是一切艺术坏处产生的源头。
自然是最明白的，而一旦明白之后便不能够称之为艺术。
一切不切实际不具艺术实感的艺术都是因为对现实的描写而出现的。
因此便将所有和现实生活有关的艺术都定位到了拙劣艺术范畴中，艺术的存在若能够愈加远离现实，现实的超脱便能够更加完美的实现。
- 1、下载文档前请自行甄别文档内容的完整性，平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益，请联系客服反馈,我们会尽快为您处理(人工客服工作时间：9:00-18:30)。
摘要:作为英国唯美主义运动的倡导者,为了“艺术而艺术”是王尔德唯美主义的精髓,他追求形式完美和艺术技巧。
象征、重复、明喻、暗喻、“三段式”叙事手段等艺术技巧在王尔德童话作品《夜莺与玫瑰》中的运用,赋予了作品形象美、音乐美、色彩美等美,给读者带来了感官上的愉悦。
关键词:夜莺与玫瑰; 唯美主义; 艺术技巧; 形象美;音乐美;色彩美一唯美主义唯美主义,就是以艺术的形式美作为绝对美的一种艺术主张。
认为“美”才是艺术的精髓。
这里所说的美,是指脱离现实的技巧美。
因此,有时也将唯美主义称为“美的之上主义”。
它形成于19世纪后期出现在英国艺术和文学领域,提倡“为艺术而艺术”、一味追求形式完美和艺术技巧的唯美主义运动(AestheticMovement) [ 1 ]。
唯美主义运动的主要特征包括:追求建议性而非陈述性、追求感观享受、对象征手法的大量应用、追求事物之间的关联感应———即探求语汇、色彩和音乐之间内在的联系。
英国著名作家、诗人、戏剧家、艺术家奥斯卡·王尔德是唯美主义艺术运动的倡导者。
“维多利亚时代文学之所以伟大的部分原因就在于以王尔德为首的唯美主义文学在英国文学史上留下了浓彩重墨”。
[ 1 ]童话历来被认为是他唯美主义理论最理想的载体。
本文将从艺术技巧使用的角度解读王尔德童话作品《夜莺与玫瑰》中的唯美主义。
二《夜莺与玫瑰》中运用的艺术技巧及其中的美王尔德是形式的信奉者,无论是理论上的召唤,还是文学创作的实践,都说明形式是王尔德孜孜以求的。
王尔德唯美主义对形式( form)强烈的爱好,对形式完美和艺术技巧的追求,在童话《夜莺与玫瑰》中具体体现在丰富多彩的积极修辞在作品中的运用。
积极修辞( active rhetoric)是相对“在形式上要求‘明确’、‘通顺’、‘平匀’、‘稳密’,偏于‘记述的’”消极修辞(passive rhetoric)而言的,它“是偏于‘表现的’,‘以生动地表现生活的体验为目的的’,因而是‘具体的、体验的、情感的’。
它‘对于形式本身也有强烈的爱好;对于语辞的形、音、义都随时加以注意和利用’,不但要‘使人明白’,还要‘使人感动’。
强调带有感情色彩地‘表现’自己的思想,追求美感,追求动人[ 2 ]。
《夜莺与玫瑰》一文中所使用的积极修辞手段包括:词法手段中的头韵、选词手段方面描述性形容词和具体动词的恰当使用;喻格手段中的明喻、隐喻、拟人、层进、突降等;叠词手段;句法手段中特殊句式修辞手段如:重复句、倒装句、修辞问句、句式变换修辞等;篇章手段有象征;语篇技巧辞格如描述、“三段式”叙事手段以及通过运用多种语言手段和华丽的词语来表现王尔德风格特征的风格手段等。
正是这么丰富的积极修辞手段的运用,才创造出了这篇形象鲜明、语言柔美、结构精巧、韵律无穷的经典之作。
(一)象征手法与形象美《夜莺与玫瑰》是王尔德《快乐王子童话集》中的一篇,它讲述了夜莺为帮助一个穷学生实现其爱情愿望而不惜牺牲自己的生命,用荆棘刺破胸膛将心脏流出的鲜血和连夜对月而歌的音乐换来寒冬里红宝石般美丽的玫瑰,但玫瑰最终却为学生所弃的故事。
一个动人却令人心酸的爱情故事! 但真正懂得爱情的并非故事中的男女主人公,而是那只懂得爱情并愿意为爱情牺牲生命的夜莺。
作品大量地使用了象征手法,把幻想与现实有机结合起来。
这是童话创造的一种常用手法。
“为了表现某种性格或说明某个事理,作者从生活中找出某些人、物、现象,甚至某种社会观念的性格、性质和特征,集中到童话形象上,然后又赋予其个性,并使之依照这一个性去说话、行动,从而达到象征的目的”[ 3 ]。
文章中rose象征了美丽的爱情,只有呕心沥血甚至付出生命才能获得它,它也代表着王尔德一生追求的至高无上的美;而夜莺则象征了追求真挚爱情的人,它为得到rose (爱情)付出了自己的生命,夜莺就是王尔德美学思想的化身。
夜莺对爱情的执着追求有如王尔德对至高无上的美和艺术的追求;年轻学生象征着装满书本知识而缺乏感情敏感度,并且对爱情没有执着追求的功利主义者;当年轻学生怀疑夜莺的真诚而发出议论“她的歌唱得蛮好的,但她真的有感情吗? 我恐怕她是没有的。
实际上她和大多数艺术家一样,只是表面上的东西,没有真诚。
她是不会为别人而牺牲自己的生命的”[ 4 ]。
夜莺依然不改变自己追求真爱的决心,她用行动证明了自己是会为了别人而牺牲自己生命的。
这种执着是感人至深的,是心灵美的具体表现——为爱而奉献一切。
夜莺执著追求真爱的精神正是王尔德追求至高无上的美的精神。
夜莺的死象征着王尔德对美和艺术至死不渝的追求。
教授的女儿——年轻学生爱恋的对象,则象征着为了宝石就不守诺言的典型的物质追求者;蜥蜴、蝴蝶和雏菊都不能理解夜莺的举动并加以嘲笑,代表着批评指责和怀疑王尔德唯美主义艺术观的一部分人的思想。
象征着那些不懂爱情、愤世嫉俗的人群。
同时,我们也不难看出,王尔德在选择至爱象征体时的良苦用心:玫瑰,芬芳而色彩艳丽的鲜花,诗人心中典型的爱情象征,时常会令人想起RobertBurns的经典诗句“Omy love’s like a red, red rose”[ 5 ] ;夜莺,这棕色而拥有美妙歌喉的鸟儿,也常是诗人们赞颂的对象,如济慈的夜莺颂等。
王尔德以诗人的心把这两个至美的对象选来分别象征自己至爱的美和追求至美的自己,在形象刻画上就把《夜莺与玫瑰》诗意化了。
正是大量象征手法的运用,才把这个看似简单的童话故事赋予了深刻的寓意。
创造出铭刻人们心中的美丽形象“夜莺”,“折射出王尔德唯美主义理论追求的理想艺术——将人性的至美归于至爱”[ 6 ]。
(二) 明喻、暗喻与色彩美比喻是用具体的、浅显的、熟知的事物去说明或描写抽象的、深奥的、生疏的事物的一种修辞手法。
在《夜莺与玫瑰》中,对色彩等抽象事物的描述,王尔德巧妙运用了明喻、暗喻等修辞手段,给读者的视觉感官造成强烈刺激,使读者在眼前产生一个个具体可感的物象。
如:( 1)My roses are white, as white as the foam of the sea, and whiter than the snow upon the mountain.(2)My roses are yellow, as yellow as the hair of the mermaiden, and yellower than the daffodil that blooms in the meadow.(3)My roses are red, as red as the feet of the dove, and redder than the great fans of coral.(4) .and a delicate flush of p ink came into the leaves of the rose, like the flush in the face of the bridegroom when he kissed the lip s of the bride.(5) . crimson was the girdle of petals, and crimson as ruby was the heart.关于“White, yellow, red, p ink, crimson”等颜色,作者通过明喻、暗喻及形容词比较级作了生动、具体的描述(见例1～5等) 。
这里,王尔德所选的喻体别具匠心:白,不是平常所用的as white as snow,而是比高山上的白雪更白的像海洋里的泡沫般的白;黄,是比草原上的向日葵更黄的如孩子们喜爱的童话世界里美人鱼美丽头发般的黄;红,是比大海里的红珊瑚还红的如孩子们特爱的和平鸽的脚丫般的红;粉红,是有如新郎亲吻新娘时因激动而脸蛋泛红的红;深红,是犹如红宝石般神秘而高贵的红。
从高山到草原到海洋,从童话世界的美人鱼到现实生活中的新郎新娘..多么广阔的世界! 多么奇妙的想象! 多么新颖的比喻! 因而又创造了多么炫丽的色彩美! 如此奇异的想象使童话又具有了超现实的朦胧美、神秘美。
体现了王尔德现实与幻想相结合的艺术风格。
(三)“三段式”叙述手段、重复、倒装句等诗歌创作的艺术技巧与音乐美“三段式”叙述手段是一种篇章手段,就是“将性质相同而具体内容相异的三个或三个以上的事物连贯在一起,使故事的人物性格和主题思想得到完整鲜明的表现,给人留下深刻的印象”[ 3 ]。
重复包括句子结构的重复和词的重复。
如:在作品中,学生因没有红玫瑰而哭泣遭到嘲笑,分别有三种动物L izard, butterfly, daisy用相似的问话“whyhe sweep ing?”表达他们对学生行为的不理解和嘲笑;再如,夜莺寻找红玫瑰时分别去了三处: white rose tree, yellowrose - tree, red rose - tree, 夜莺跟他们说的都是同一话题:“Give me a red rose. And Iwill sing you mysweetest song”。
玫瑰树给她的也是句型结构一样,修辞手段一样,结果一样的答复:( 6)“My roses are white, as white as. and whiter than. but go to my brother.”(7)“My roses are yellow, as yellow as. and yellower than. but go to my brother.”(8)“My roses are red, as red as. and redder than. B ut I shall have no rose.”当夜莺用歌声赞颂爱情时,也是通过“三段式”和重复的结构形式来描述的:(9)“She sang first of the birth of love in the heart of a boy and a girl.”(10)“She sang of the birth of passion in the soul of a man and a maid.”(11)“she sang of the love that is perfected by death.”这种“三段式”的叙述通过词或句子结构的重复来完成,产生的是有如诗歌般的节奏韵律,这种富有韵律感的描写使《夜莺与玫瑰》富有了诗意的优美。
同时,爱情三部曲是在层进法的运用中一步一步得到升华的:从少男少女间青涩的爱到成年男女间充满激情的爱,直至相爱双方进入坟墓却得到永生的爱情。
爱的升华是以夜莺不停的歌声和汩汩流出的心血为代价的。
真爱难得啊!倒装句处处皆是,全文不下10多处。
重复的使用在全文不下20 处。