【摘要】：學(xué)界對(duì)玄學(xué)派詩(shī)歌的研究主要圍繞其主題和表現(xiàn)手法展開(kāi)。對(duì)于主題,學(xué)界發(fā)現(xiàn)玄學(xué)詩(shī)的主題包括世俗和宗教題材兩方面,但他們的研究多從題材本身的特點(diǎn)出發(fā),如多恩的作品顯示出世俗和宗教并存的復(fù)雜性、馬維爾的詩(shī)歌凸顯“及時(shí)行樂(lè)”的特征、赫伯特和克拉肖的詩(shī)歌則蘊(yùn)含了明顯的宗教情感。也有研究者將該派的作品置于16、17世紀(jì)的歷史語(yǔ)境中,認(rèn)為僅僅是當(dāng)時(shí)的文化造就了其詩(shī)歌主題的兩面性。還有學(xué)者是將作品與詩(shī)人的個(gè)人經(jīng)歷相聯(lián)系,認(rèn)為詩(shī)人的生平經(jīng)歷為其作品打上了世俗或宗教的烙印。少數(shù)學(xué)者探討過(guò)赫伯特詩(shī)歌的記憶問(wèn)題,但也只是討論他的詩(shī)歌能加強(qiáng)人們對(duì)當(dāng)代宗教的記憶和情感。同樣,學(xué)界目前對(duì)玄學(xué)派詩(shī)歌技法的理解大多采用約翰遜博士對(duì)奇喻頗顯負(fù)面的評(píng)價(jià):喜弄才智,音律不雅;生拉活扯、牽強(qiáng)附會(huì)等。近來(lái)的研究也發(fā)現(xiàn),奇喻包含了一個(gè)圖像構(gòu)建過(guò)程,因此玄學(xué)詩(shī)的創(chuàng)作手法帶有視覺(jué)化特征。雖然學(xué)界關(guān)注了玄學(xué)派詩(shī)歌的圖像化問(wèn)題,但他們或是研究?jī)H僅作為技巧的手法,討論“奇喻”、“寓意畫(huà)(Emblem)”和“具像詩(shī)”的特點(diǎn),但對(duì)玄學(xué)詩(shī)人們采用的變形敘事手法,卻未予關(guān)注。此外,有些學(xué)者喜用“寓意畫(huà)”一詞作為玄學(xué)詩(shī)所用種種修辭手法的統(tǒng)稱(chēng)。此種研究方向忽視了Emblem本身最顯著的特征,而用來(lái)概括包括奇喻在內(nèi)的不同修辭手段,顯得有些籠統(tǒng)。實(shí)際上,社會(huì)歷史與人類(lèi)文明雖是呈線(xiàn)性結(jié)構(gòu)向前發(fā)展,但發(fā)展的多是物質(zhì)文明的形態(tài)。在歷史的垂直斷層面上,人類(lèi)社會(huì)形態(tài)、結(jié)構(gòu)甚至文化內(nèi)涵總是顯現(xiàn)出驚人相似的一面。由此角度思考,玄學(xué)詩(shī)與過(guò)往文化之間有無(wú)聯(lián)系?如果有,二者呈現(xiàn)出一種怎樣的聯(lián)系?且玄學(xué)詩(shī)又為何會(huì)呈現(xiàn)出此種懷舊性?此外,玄學(xué)詩(shī)人使用的種種修辭手法都涉及圖像建構(gòu)過(guò)程。具有圖像特征的修辭手法和記憶又有著怎樣的關(guān)系?再者,玄學(xué)派詩(shī)人包括了具有不同信仰的詩(shī)人,其所屬教派對(duì)圖像持有迥異的宗教政治立場(chǎng)。那么,這些持不同信仰的詩(shī)人為什么會(huì)不約而同地采用具有圖像構(gòu)建的創(chuàng)作手法?基于前人的研究和對(duì)上述問(wèn)題的思考,本文將玄學(xué)詩(shī)主題置于前人還未曾關(guān)注的文化記憶的背景下解讀,以記憶理論和圖像學(xué)理論為支撐,認(rèn)為古希臘享樂(lè)主義記憶與中世紀(jì)神秘主義宗教記憶造就了玄學(xué)詩(shī)的世俗性與宗教性。其原因是由于文化的傳承、詩(shī)人們與古希臘文化或中世紀(jì)文化的接觸以及詩(shī)人本身的際遇和性格等因素。因此玄學(xué)詩(shī)對(duì)過(guò)往文化進(jìn)行了記憶建構(gòu)。在古希臘社會(huì),有提倡肉欲享樂(lè)和精神享樂(lè)的宗教神學(xué)、現(xiàn)世哲學(xué)和與此相應(yīng)的社會(huì)表現(xiàn),同樣,玄學(xué)詩(shī)人多恩和馬維爾等有對(duì)肉欲享樂(lè)和精神享樂(lè)的描寫(xiě);在中世紀(jì),有基督教神秘主義神學(xué)理論下信徒冥想基督、與之婚配和為愛(ài)獻(xiàn)身等神秘體驗(yàn),同樣,在玄學(xué)派中,赫伯特和克拉肖有與此類(lèi)似的宗教經(jīng)歷的摹寫(xiě)。而玄學(xué)詩(shī)人使用種種帶有圖像特征的修辭手法則與其主題的記憶徽征有著直接且顯著的聯(lián)系:圖像化的手法是為記憶服務(wù)的,因?yàn)閳D像歷來(lái)與記憶傳統(tǒng)有著深厚的淵源,且圖像是喚醒和加深記憶的最佳方式。詩(shī)人們之所以用圖像來(lái)建構(gòu)記憶則與17世紀(jì)的歷史語(yǔ)境密不可分。因而,玄學(xué)詩(shī)、圖像與記憶三者是緊密相連的:玄學(xué)詩(shī)人使用種種在當(dāng)時(shí)具有“陌生化”作用的圖像手法書(shū)寫(xiě)懷舊主題,有著喚起或加強(qiáng)自我對(duì)傳統(tǒng)文化記憶的詩(shī)學(xué)效果。目的在于通過(guò)對(duì)過(guò)往文化的追憶,表達(dá)詩(shī)人面對(duì)時(shí)代變革時(shí)對(duì)傳統(tǒng)文化的關(guān)注與留戀,對(duì)當(dāng)時(shí)隨社會(huì)轉(zhuǎn)型而來(lái)的諸多不適保持的一份清醒與距離。因此,本文闡發(fā)的是在英國(guó)17世紀(jì)玄學(xué)詩(shī)的研究上學(xué)界目前還未曾關(guān)注的玄學(xué)詩(shī)的記憶傳統(tǒng)性問(wèn)題。論文除引言和結(jié)語(yǔ)部分外共分四章。引言主要做選題緣起、理論支撐、文獻(xiàn)綜述和論文主要內(nèi)容的介紹。論文第一章主要探討玄學(xué)詩(shī)圖像化記憶的呈現(xiàn)手法。記憶主要通過(guò)奇喻、寓意畫(huà)、變形敘事和具像詩(shī)四種具有不同特點(diǎn)的方式呈現(xiàn)。奇喻是玄學(xué)詩(shī)人“巧智(wit)”的語(yǔ)言呈現(xiàn)方式,它將不相關(guān)的概念或物體的相似點(diǎn)糅合在一起,因而往往含有悖論性的張力。所以含有奇喻的圖像敘述手法表現(xiàn)為畫(huà)面的悖論感或張力感。玄學(xué)詩(shī)人們或通過(guò)意象的悖論性、或是形式與內(nèi)容的反襯、抑或采用“突降”的修辭手法來(lái)呈現(xiàn)奇喻含有的悖論或張力的圖像效果。寓意畫(huà)則是以圖配文,有著非常明顯的圖像元素并主要通過(guò)兩種途徑實(shí)現(xiàn)圖像敘述功能:一是圖畫(huà)本身。以其“顯性”的意象、光線(xiàn)、色彩、空間比例能讓讀者通過(guò)感官捕捉詩(shī)歌意蘊(yùn);二是詩(shī)文中所蘊(yùn)含的“隱性圖畫(huà)”,詩(shī)歌中的意象,類(lèi)似構(gòu)圖的色彩、光線(xiàn)明暗等可將詩(shī)人靜態(tài)而抽象的內(nèi)心活動(dòng)類(lèi)比化呈現(xiàn)以加強(qiáng)讀者的感官感受。而變形敘事則是吸取了巴羅克文化之風(fēng),將“元意象”進(jìn)行多角度、多層次的變幻,或?qū)⒄麄�(gè)詩(shī)歌畫(huà)面進(jìn)行寫(xiě)意式的涂繪,從而使詩(shī)歌背離了古典主義的寫(xiě)實(shí)原則而有了現(xiàn)代主義印象派畫(huà)風(fēng)之感。具像詩(shī)可算作最經(jīng)典的視覺(jué)詩(shī)。詩(shī)歌通過(guò)文字的排列組合而具有了極強(qiáng)的圖畫(huà)效應(yīng)。且具像詩(shī)主要是以形狀傳遞視覺(jué)效果,而形狀的觀(guān)視感,即圖像的大小和體積都是靠最基本的單位——線(xiàn)條來(lái)體現(xiàn)的:線(xiàn)條長(zhǎng)短體現(xiàn)大小,線(xiàn)條的擺放位置則構(gòu)建圖形、體積和事物的空間層次。在有些詩(shī)歌中,便有此種具像元素的存在。此四種修辭手法并不局限于某一個(gè)詩(shī)人的使用,某一位詩(shī)人也不僅僅依靠一種表現(xiàn)手段,而是依據(jù)詩(shī)歌特征而有的放矢地使用。論文第二章主要探討玄學(xué)詩(shī)與古希臘享樂(lè)主義文化記憶。玄學(xué)詩(shī)中對(duì)世俗生活的肯定,對(duì)及時(shí)行樂(lè)的倡導(dǎo)和對(duì)人倫情愛(ài)的追求無(wú)不顯示出借16世紀(jì)文藝復(fù)興而重生的古希臘享樂(lè)主義記憶。古希臘社會(huì)享樂(lè)主義盛行。他們的神學(xué)、哲學(xué)及以此產(chǎn)生的生活方式無(wú)不體現(xiàn)出這一價(jià)值觀(guān):古希臘人按人本需求塑造了神,因此,神便是人的化身,有著逍遙人生之欲;此外,居勒尼學(xué)派和伊壁鳩魯派提出了“快樂(lè)主義”哲學(xué)以鼓勵(lì)世人莫負(fù)光陰及時(shí)行樂(lè)。在這樣的價(jià)值觀(guān)的觀(guān)照下,古希臘人的享樂(lè)思想得到了肯定、褒揚(yáng)與升華。因此,古希臘人追求享樂(lè)。此種文化通過(guò)文字、書(shū)籍等記憶的載體流傳到16、17世紀(jì)。文藝復(fù)興對(duì)它們的宣揚(yáng),使得此種記憶被“喚醒”。玄學(xué)詩(shī)人中主要以多恩和馬維爾為代表的兩人,由于對(duì)此記憶的接觸和個(gè)人的人生際遇及性格因素等,使得他們對(duì)此進(jìn)行了建構(gòu)。皈依國(guó)教前的多恩多創(chuàng)作愛(ài)情詩(shī),其中不乏有大膽的情愛(ài)描寫(xiě),以鼓勵(lì)世人享受人世之樂(lè)。且喜愛(ài)中古經(jīng)院辯證的他多用具有視覺(jué)特征的“玄學(xué)奇喻”穿插詩(shī)行之中。另一位詩(shī)人馬維爾也從天文、地理、科學(xué)等新發(fā)現(xiàn)汲取奇特的意象并常采用變形敘事的手法來(lái)表現(xiàn)詩(shī)歌的主題,這在他幾首膾炙人口的經(jīng)典作品中均有體現(xiàn)。論文第三章主要探討玄學(xué)詩(shī)與中世紀(jì)神秘主義文化記憶。玄學(xué)詩(shī)人皆為宗教詩(shī)人,雖信仰不同,但他們都虔誠(chéng)地敬奉上帝,因此強(qiáng)烈的宗教情感是他們?cè)姼璧囊粋�(gè)重要特征。宗教情感的流淌表現(xiàn)出詩(shī)歌對(duì)緊接古希臘羅馬文明之后中世紀(jì)濃厚的基督教神秘主義文化的追憶。除經(jīng)院哲學(xué)外,中世紀(jì)基督教文明最顯著的特點(diǎn)便是宗教神秘主義。神秘主義通常是指?jìng)�(gè)人用肉體和心靈去探知上帝和尋求天國(guó)之路的一種身心雙重體驗(yàn)?zāi)Ｊ健Ｚは牖�、與之婚配和為愛(ài)獻(xiàn)身是中世紀(jì)神秘主義者無(wú)不企盼的超驗(yàn)狀態(tài)。為了達(dá)到這一精神境界,他們多用身體的種種感知,甚至以死殉道的方式來(lái)完成。中世紀(jì)厚重的宗教文化在文藝復(fù)興時(shí)期并未退出歷史舞臺(tái)。玄學(xué)派中以赫伯特和克拉肖為代表的詩(shī)人同樣由于對(duì)此記憶的接觸和個(gè)人的人生際遇及性格因素等,在詩(shī)中對(duì)中世紀(jì)神秘主義文化進(jìn)行記憶建構(gòu)。在他們的作品中,同樣有對(duì)冥想基督、與之婚配和為愛(ài)獻(xiàn)身等中世紀(jì)神秘主義主題的描寫(xiě)。且作為對(duì)文字的圖像感非常敏感的一位詩(shī)人,赫伯特主要運(yùn)用“具像詩(shī)”的手段表現(xiàn)宗教記憶。而克拉肖作為英國(guó)首屈一指的巴羅克詩(shī)人,更將巴羅克文化繁復(fù)華麗的意象和風(fēng)格帶入詩(shī)歌之中,并用“寓意畫(huà)”的形式展示出以感官體驗(yàn)為主的巴羅克宗教沉思情感、狂喜情感和獻(xiàn)身情感。論文第四章主要探討玄學(xué)詩(shī)圖像化記憶的生成語(yǔ)境。其圖像化的寫(xiě)作手段主要基于下列四個(gè)因素的影響。首先,斯圖亞特王朝對(duì)于視覺(jué)藝術(shù)品的喜愛(ài)極大地推動(dòng)了當(dāng)時(shí)英倫小島視覺(jué)藝術(shù)的發(fā)展:上至王公貴胄、下至一夜暴富的社會(huì)投機(jī)者對(duì)繪畫(huà)作品的爭(zhēng)相收購(gòu)以及宮廷資助人對(duì)于門(mén)下文人騷客的資助對(duì)英國(guó)視覺(jué)文化的興盛起了推波助瀾之功。此外,它還受到17世紀(jì)席卷歐洲的巴羅克文化視覺(jué)處理手法的影響:玄學(xué)詩(shī)所獨(dú)有的奇喻品質(zhì)很大程度上來(lái)源于巴羅克基于類(lèi)比呈現(xiàn)的悖論手法;巴羅克對(duì)用團(tuán)、塊處理的涂繪方式和對(duì)富于變幻風(fēng)格的青睞使得玄學(xué)詩(shī)人使用了類(lèi)似的變形敘述的修辭表達(dá);而巴羅克視覺(jué)概念中對(duì)色彩的偏好則使得玄學(xué)詩(shī)人喜愛(ài)用反差強(qiáng)烈的對(duì)比性色彩烘托主題。再者,英國(guó)國(guó)教對(duì)視覺(jué)藝術(shù)的發(fā)展也持點(diǎn)頭默許之態(tài):伊麗莎白一世為保政局穩(wěn)定采取了溫和的宗教改革措施,并未完全革除天主教的元素,且其引入的具有去圖像觀(guān)的加爾文新教教義對(duì)人們教堂之外的生活指涉較少,因此視覺(jué)藝術(shù)與普通人的生活也并未完全隔離。最后,加之玄學(xué)詩(shī)人對(duì)視覺(jué)文化的接觸,他們作品的表現(xiàn)手法自然呈現(xiàn)出視覺(jué)化的特征。結(jié)語(yǔ)部分指出:玄學(xué)詩(shī)人生活的17世紀(jì)英國(guó),各種新技術(shù)、新思潮的出現(xiàn)沖擊著維持了歐洲長(zhǎng)達(dá)千年的舊有秩序與傳統(tǒng),也給人們的認(rèn)知和生活方式帶來(lái)前所未有的巨大影響和改變,再加之宗教紛爭(zhēng)、王位更迭、天災(zāi)人禍等種種因素,整個(gè)英國(guó)社會(huì)正處在一個(gè)向現(xiàn)代性轉(zhuǎn)型的時(shí)期。復(fù)雜而充滿(mǎn)矛盾的世界總是讓人難免對(duì)舊有穩(wěn)定而單一的生活圖景產(chǎn)生追憶、懷念之情。因此玄學(xué)詩(shī)人們用詩(shī)筆書(shū)寫(xiě)了過(guò)往記憶。且在手法的選取上,他們運(yùn)用了奇喻等在當(dāng)時(shí)比較新穎而獨(dú)特的修辭手法。這些對(duì)主題的表現(xiàn)起到前景化作用的圖像敘述手段有著喚起和加強(qiáng)自我對(duì)傳統(tǒng)文化記憶的詩(shī)學(xué)效果。而通過(guò)喚起對(duì)傳統(tǒng)文化的記憶,表達(dá)了詩(shī)人面對(duì)時(shí)代變革時(shí)對(duì)傳統(tǒng)文化關(guān)注、留戀、追尋的一面及對(duì)當(dāng)時(shí)隨社會(huì)轉(zhuǎn)型而來(lái)的諸多不適保持的一份清醒與距離。
[Abstract]:The study of metaphysics poetry mainly revolves around its theme and means of expression. For the theme, the subject of metaphysics is found to include two aspects of secular and religious themes, but their studies are mostly based on the characteristics of the subject itself, such as the complexity of Donne's works showing the coexistence of secularism and religion, and Marvell's poetry highlights "and The characteristics of "time", Herbert and karshaw's poems contain obvious religious feelings. Some researchers put the work of the school in the historical context of the 16,17 century. It is thought that only the culture of the time made the two sides of the theme of his poetry. And the scholars associate the works with the personal experiences of the poets and consider the poet's life. A few scholars have discussed the memory of Herbert's poetry, but only the discussion of his poetry can strengthen the memory and emotion of the contemporary religion. Similarly, the understanding of the metaphysical poetry techniques in the academic world is mostly adopted by Dr. Johnson's negative comments on the metaphor: happy The recent study also found that the metaphor contained a process of image construction, so the writing techniques of metaphysics had visual characteristics. Although the academic circles paid attention to the image of the metaphysics poetry, they or they were only a technique to discuss the "metaphor", " The characteristics of "Emblem" and "poetic poetry" have not been paid attention to by the metaphysical poets. In addition, some scholars like to use the word "allegorical painting" as a general name for various rhetorical devices used in metaphysics. This research direction ignores the most significant features of Emblem itself, and is used to sum up the metaphor, including the metaphor. Different rhetorical devices appear somewhat general. In fact, although the social history and human civilization are developing in a linear structure, most of the development is the form of material civilization. On the vertical level of history, the form, structure and even cultural connotations of human society always show an astonishing similarity. Is there any connection between culture? If so, what is the relationship between the two? And why does metaphysical poetry present such nostalgia? In addition, all kinds of rhetorical devices used by metaphysics are all involved in the process of image construction. What are the relationship between the rhetorical devices and memory with image features? And the metaphysical poets include The poets of different beliefs have different religious and political positions in their educational parties. Then why do the poets with different beliefs adopt the creative techniques of image construction? Based on previous studies and thinking about the above questions, this paper puts the theme of metaphysics in cultural memory that has not been paid much attention by the predecessors. With the support of the theory of memory and the theory of iconography, it is believed that the ancient Greek hedonistic memory and the religious memory of the medieval mysticism created the secularity and religion of the metaphysics. The reason is that the poet's contact with the ancient Greek culture or the medieval culture and the chance and character of the poet itself are due to the inheritance of culture. Therefore, the metaphysical poetry has a memory construction of the past culture. In the ancient Greek society, there were religious theology, which advocated meat appetite and spiritual enjoyment, the contemporary philosophy and the corresponding social performance, as well as the portrayal of the metaphysical poets Donne and Marvell, and the portrayal of the carnal pleasure and the spiritual enjoyment; in the middle ages, there were Christian mysticism gods. Under the theory of the mystic experience of meditation on Christ, marriage and devotion to love, in the metaphysics, Herbert and crshaw have a similar religious experience. The metaphysical poets have a direct and significant relationship with the memory emblem of their themes with the rhetorical devices with image features: image manipulation. It is for memory, because the image has always had a profound origin with the memory tradition, and the image is the best way to wake and deepen the memory. The reason why the poets use images to construct memory is closely related to the historical context of the seventeenth Century. Therefore, metaphysics, images and memory are closely linked to the three: Metaphysics poets use all kinds of times. The theme of "nostalgia", which has the role of "Defamiliarization", has the poetic effect of arousing or strengthening the memory of the traditional culture. The purpose is to express the poet's attention and attachment to the traditional culture in the face of the change of the times, and to keep a lot of discomfort in the transformation of the society at that time. Therefore, this article elucidates the memory tradition of metaphysics in the study of metaphysics in Britain in seventeenth Century. The thesis is divided into four chapters in addition to the introduction and conclusion. The introduction is mainly about the origin of the topic, the theoretical support, the literature review and the introduction of the main contents of the literature. The memory of metaphysics is presented by four different characteristics: metaphor, allegorical, deformable and pictorial poetry. The metaphor is the linguistic presentation of the metaphysical poet "wit", which combines unrelated concepts or objects together, and often contains paradoxical tension. So the image narrative technique which contains the metaphor is manifested by the paradox or tension of the picture. The metaphysical poets or the paradoxes of the imagery, or the contrast of the form and content, or the rhetorical techniques of "sudden drop" are used to show the paradoxes or tension of the imagery. The image elements are realized by two ways: one is the picture itself. With its "dominant" image, light, color, and space, the reader can capture the meaning of poetry through the senses; two is the "recessive picture" contained in the poetry, the image in the poetry, the color of the composition, the light and dark, and so on. The analogy of the state and abstract inner activity is presented to enhance the reader's sensory perception, while the deformable narrative is the wind of Barok's culture, the multi angle, multilevel change, or the painting of the entire poetic picture, which makes the poetry back from the realism of the classicism and has modernism. The impression of the impressionist style. A poem can be regarded as the most classic visual poem. Poetry has a very strong picture effect through the combination of words. And a poem is mainly used to convey visual effects in shape, and a sense of visual perception, that is, the size and volume of the image are reflected by the most basic single bits - lines: the length and the length of the lines. Size, the position of the line is set to build a figure, volume and the spatial level of things. In some poems, there are such elements. These four rhetorical devices are not limited to the use of a poet, and a poet is not only dependent on a means of expression, but is used by the characteristics of poetry. The two chapter mainly discusses the cultural memory of metaphysics and the hedonism of ancient Greece. The affirmation of secular life in the metaphysical poetry, the advocacy of the popular music and the pursuit of human love all show the rebirth of the ancient Greek hedonism memory of the Renaissance in sixteenth Century. The hedonism in ancient Greece was prevalent. Their theology, philosophy and this production were produced. The way of life embodies this value: the ancient Greeks created the gods according to the needs of human beings. Therefore, God is the incarnation of human beings and the desire of unfettered life. In addition, the greeny and Epicurus schools put forward the "happy" philosophy to encourage the world to have no time and time. Under such values, ancient Greece The thought of man's enjoyment of pleasure was affirmed, praised and sublimated. Therefore, the ancient Greeks sought pleasure. This culture passed through the memory of words and books to the 16,17 century. The revival of the Renaissance made this memory "awakened". Two of the metaphysical poets, represented mainly by Donne and Marvell, were remembered for this. They have been constructed by contact and personal experience and personality factors. Donne, before the conversion to the national religion, created many love poems, among which there was a bold description of love to encourage the world to enjoy the happiness of the world. A poet, Marvell, also draws strange images from the new discoveries of astronomy, geography and science and often uses the technique of deformable narration to show the theme of poetry. This is reflected in several of his popular classics. The third chapter of the thesis mainly discusses metaphysical poetry and the cultural memory of medieval constipation. Metaphysical poets are all religious poets. Although they have different beliefs, they all worship God devoutly, so strong religious feelings are an important feature of their poetry. The flow of religious feelings shows the recollection of the strong Christian mysticism culture in the Middle Ages after the ancient Greek and Rome civilization. It is characterized by religious mysticism. Mysticism usually refers to a pattern of physical and mental experience for individuals to explore the way of God and the kingdom of heaven by the body and mind. To meditate on Christ, to marry and devote himself to love is the transcendental state of the medieval mysticism. The profound religious culture in the middle ages did not withdraw from the historical stage in the Renaissance. In the metaphysics, the poets represented by Herbert and crabshaw were also in the poetry of the medieval mysticism because of the contact of the memory and personal life and character and character factors. Memory construction. In their works, there is also a description of the medieval mysticism about the meditation of Christ, the marriage and devotion to love. And a poet who is very sensitive to the image sense of the text, Herbert mainly uses the means of "like poetry" to express religious memory. The poet has brought the complex and luxuriant image and style of Barok's culture into poetry, and uses the form of "allegorical painting" to show Barok's sentiments of religious meditation, ecstasy emotion and devotion. The fourth chapter of the thesis mainly discusses the creation context of metaphysical poetry in image memory. The influence of the following four factors. First, the Stuart Dynasty's love of visual art greatly promoted the development of the visual art of the British Isles. Culture flourished, and it was influenced by the visual processing of the Barok culture that swept Europe in seventeenth Century: the peculiar quality of the metaphysics was largely derived from Barok's paradox based on analogy; Barok's way of painting with a regiment, a block processing and a vantage style. The metaphysical poets used the rhetorical expression of similar deformation narration, while the preference for color in Barok's visual concept made the metaphysical poets fond of contrasting the theme with contrasting contrasting colors. Furthermore, the British national religion also took a nod of acquiescence to the development of visual art: Elizabeth I adopted the stability of the Political Bureau. The moderate religious reform measures did not completely remove the elements of Catholicism, and the Calvin Protestant teachings with a view to the image were not completely involved in the life outside the church, so the visual art and the life of the ordinary people were not completely isolated. Finally, in addition to the contact of the metaphysics poets to the visual culture, the performance of their works The final part points out that all kinds of new technologies and new trends of thought in the seventeenth Century of metaphysical poets lived in England.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類(lèi)號(hào)】：I561.072
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本文編號(hào)：2132620