传奇三国我是华雄:To?Autumn?赏析－－方林

Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun,
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;

To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells.

Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair sort-lifted by the winnowing wind;
Or on a half-reap'd furrow sound asleep,
Dows'd with the fume of poppies, while thy hook
Spares the next swath and all its twined flowers.
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cyder-press, with patient look,
Thou watchest the last oozings hours by hours.

Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,
While barred clouds bloom the soft-dying day,

And touch the stubble-plains with rosy hue;
Then in a waiful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;

Hedge-crickets sing; and now with treble soft
The red-breast whistles form a garden-croft;
And gathering swallows twitter in the skies.

赏析：

这首诗写后两天，济慈给他的好友John Hamilton Reynolds一封信并附上这首诗，信里说：“现在这季节真美，——空气多好，爽利的舒适，真的，不开玩笑，真是宜人天气——蔚蓝的天空——我从来也没有这么喜欢过收割过的田野——是啊，比春天那种冰冷的绿色好多了，不知怎地，收割过的田野看上去很温暖，就像有的图画看上去温暖一样。我在星期天散步时，得到很深的印象，就写了这诗。”这就是这首诗的背景。诗一开始就说这是“多雾和成熟丰收的季节”，然后通过一系列的意象，设计读者身临其境，直接感受声、色、形、象各方面的美，获得深刻的美感，把诗人对秋天的歌颂发挥的淋漓尽致。

这首诗总三节。第一节，诗人运用拟人的手法描述秋天与太阳密谋如何使藤枝挂上一串串沉重的葡萄，是硕大甜美的果实压弯果树的枝头，让迟开的花木绽开更多的花蕾，以至于蜜蜂赶到夏天还未消尽，依然忙着采蜜，是的蜂巢里的蜜多得向外溢出。

第二节，诗人转换了角度，写的是丰收季节里劳动的人们，通过人的形象来描绘收获和温暖。谁出去跑跑，就会看见劳动者无忧无虑地坐在谷地上，头发轻轻地被微风吹起，或在尚未收割的田地里暂时熟睡，或收起地里剩下的麦穗，顶在头上渡过小溪，或在榨机旁耐心等待着苹果汁最后滴干。这一诗节使读者感受到秋天的生机勃勃。

第三节，从秋色写到秋声。一开始诗人问道：“春天的歌哪里去了”，后面劝读者不要惋惜春天歌声的消失，春天有春天的歌，秋天也有秋天的歌。然后诗人列举了落日照红了收割完毕的田野的各种鸟的交奏，河边柳间的白翎子随轻风抑扬的哀声，山间绵羊的咩咩声，树丛里的蟋蟀声，园里的知更鸟和天上麻雀的鸣叫。

    本诗献血秋色，再写“秋人”，最后写秋声，始终以丰硕温暖为总气氛，首尾完具，效果统一。全诗以抑扬格五音步写成，这样的节奏沉稳，适合颂体的格式。

（2）谈《秋颂》的意象功能与生态背景

Image Function and Ecological Background in "To Autumn"

意象是诗歌创作的重要特征.意象就是用具体形象表现人们的主观情思.在<秋颂>一诗中,济慈通过一系列的意象,将自己对阳光和温暖的眷恋,对收获之秋的欢喜表述得淋漓尽致,并运用意象的感官功能、比喻功能和象征功能,使读者如身临其境,直接感受到色彩、声音、形象等各方面的美,获得深刻的美感,领略秋的成熟与丰硕,感悟万物的生生不息.

 （）The Composition of "To Autumn"

Keats wrote "To Autumn" after enjoying a lovely autumn day; he described his experience in a letter to his friend Reynolds:

"How beautiful the season is now--How fine the air. A temperate sharpness about it. Really, without joking, chaste weather--Dian skies--I never lik'd stubble fields so much as now--Aye better than the chilly green of the spring. Somehow a stubble plain looks warm--in the same way that some pictures look warm--this struck me so much in my Sunday's walk that I composed upon it."

This ode is a favorite with critics and poetry lovers alike. Harold Bloom calls it "one of the subtlest and most beautiful of all Keats's odes, and as close to perfect as any shorter poem in the English Language." Allen Tate agrees that it "is a very nearly perfect piece of style"; however, he goes on to comment, "it has little to say."

This ode deals with the some of the concerns presented in his other odes, but there are also significant differences. (1) There is no visionary dreamer or attempted flight from reality in this poem; in fact, there is no narrative voice or persona at all. The poem is grounded in the real world; the vivid, concrete imagery immerses the reader in the sights, feel, and sounds of autumn and its progression. (2) With its depiction of the progression of autumn, the poem is an unqualified celebration of process. (I am using the words process, flux, and change interchangeably in my discussion of Keats's poems.) Keats totally accepts the natural world, with its mixture of ripening, fulfillment, dying, and death. Each stanza integrates suggestions of its opposite or its predecessors, for they are inherent in autumn also.

Because this ode describes the process of fruition and decay in autumn, keep in mind the passage of time as you read it.

Analysis

Stanza I:

Keats describes autumn with a series of specific, concrete, vivid visual images. The stanza begins with autumn at the peak of fulfillment and continues the ripening to an almost unbearable intensity. Initially autumn and the sun "load and bless" by ripening the fruit. But the apples become so numerous that their weight bends the trees; the gourds "swell," and the hazel nuts "plump." The danger of being overwhelmed by fertility that has no end is suggested in the flower and bee images in the last four lines of the stanza. Keats refers to "more" later flowers "budding" (the -ing form of the word suggests activity that is ongoing or continuing); the potentially overwhelming number of flowers is suggested by the repetition "And still more" flowers. The bees cannot handle this abundance, for their cells are "o'er-brimm'd." In other words, their cells are not just full, but are over-full or brimming over with honey.

Process or change is also suggested by the reference to Summer in line 11; the bees have been gathering and storing honey since summer. "Clammy" describes moisture; its unpleasant connotations are accepted as natural, without judgment.

Certain sounds recur in the beginning lines--s, m, l. Find the words that contain these letters; read them aloud and listen. What is the effect of these sounds--harsh, explosive, or soft? How do they contribute to the effect of the stanza, if they do?

The final point I wish to make about this stanza is subtle and sophisticated and will probably interest you only if you like grammar and enjoy studying English:

          The first stanza is punctuated as one sentence, and clearly it is one unit. It is not, however, a complete sentence; it has no verb. By omitting the verb, Keats focuses on the details of ripening. In the first two and a half lines, the sun and autumn conspire (suggesting a close working relationship and intention). From lines 3 to 9, Keats constructs the details using parallelism; the details take the infinitive form (to plus a verb): "to load and bless," "To bend...and fill," "To swell...and plump," and "to set." In the last two lines, he uses a subordinate clause, also called a dependent clause (note the subordinating conjunction "until"); the subordinate or dependent clause is appropriate because the oversupply of honey is the result of--or dependent upon--the seemingly unending supply of flowers.

Stanza II

The ongoing ripening of stanza I, which if continued would become unbearable, has neared completion; this stanza slows down and contains almost no movement. Autumn, personified as a reaper or a harvester, crosses a brook and watches a cider press. Otherwise Autumn is listless and even falls asleep. Some work remains; the furrow is "half-reap'd," the winnowed hair refers to ripe grain still standing, and apple cider is still being pressed. However, the end of the cycle is near. The press is squeezing out "the last oozings." Find other words that indicate slowing down. Notice that Keats describes a reaper who is not harvesting and who is not turning the press.

Is the personification successful, that is, does nature become a person with a personality, or does nature remain an abstraction? Is there a sense of depletion, of things coming to an end? Does the slowing down of the process suggest a stopping, a dying or death? Does the personification of autumn as a reaper with a scythe suggest another kind of reaper--the Grim Reaper?

Speak the last line of this stanza aloud, and listen to the pace (how quickly or slowly you say the words). Is Keats using the sound of words to reinforce and/or to parallel the meaning of the line?

Stanza III

Spring in line 1 has the same function as Summer in stanza I; they represent process, the flux of time. In addition, spring is a time of a rebirth of life, an association which contrasts with the explicitly dying autumn of this stanza. Furthermore, autumn spells death for the now "full-grown" lambs which were born in spring; they are slaughtered in autumn. And the answer to the question of line 1, where are Spring's songs, is that they are past or dead. The auditory details that follow are autumn's songs.

The day, like the season, is dying. The dying of day is presented favorably, "soft-dying." Its dying also creates beauty; the setting sun casts a "bloom" of "rosy hue" over the dried stubble or stalks left after the harvest. Keats accepts all aspects of autumn; this includes the dying, and so he introduces sadness; the gnats "mourn" in a "wailful choir" and the doomed lambs bleat (Why does Keats use "lambs," rather than "sheep" here? would the words have a different effect on the reader?). It is a "light" or enjoyable wind that "lives or dies," and the treble of the robin is pleasantly "soft." The swallows are gathering for their winter migration.

Keats blends living and dying, the pleasant and the unpleasant, because they are inextricably one; he accepts the reality of the mixed nature of the world.