In the poem, the poet enthusiastically praised the lark with romanticism. In the poet's pen, the lark is a symbol of joy, light and beauty. Poets use metaphors, analogies and questions to describe larks. He compared the lark to a poet, to a girl in a boudoir, and to a firefly, thus vividly showing the beautiful image of the lark to readers. The poet compared the lark's singing with the spring rain, the chorus at the wedding and the song of victory, highlighting the great power of the lark's singing. Poetry is short in rhythm, light and smooth, full of passion, with interlocking sections and layers of advancement, which is very artistic.
The lark image in Shelley's poems is not a pure lark in essence, but an ideal self-image of the poet, or the image carrier of the poet's ideal. Poets and larks are similar in many ways: they both pursue light, despise the ground and yearn for an ideal world. The only difference is that the poet painfully felt the huge gap between ideal and reality, which does not exist for larks. Judging from the tone of the whole poem, although Shelley felt the pain of distant ideals, he still surpassed sentimentality with a rising positive emotion. Poetry is very skillful in artistic expression, well written, with a strong sense of rhythm, beautiful and lively style, and the article has a magnificent and open momentum. Poetry is full of vitality and spirit, and it has a forward force.
Shelley attached great importance to the social significance of art and thought that the creation of art promoted the transformation of life according to the principles of justice and beauty. Poets exaggerate noble sentiments in order to arouse readers' general excitement, express their desire for virtue and awaken people's strong feelings about the incompatibility of despicable desires. He said, "A great poem is an inexhaustible source of wisdom and happiness." To the lark embodies and contains almost all the main points of Shelley's poetic theory.
Twenty-one sentences in the whole poem. Start with praise and end with exclamation. In good order, the structure is rigorous. It can be roughly divided into six or seven small paragraphs.
According to Mrs Shelley's recollection, this poem was written at dusk in the summer of 1820. Shelley heard larks chirping while walking in the countryside of Hangzhou. The first section seems to be the poet's strong feeling and initial reaction at that time, and other sections are born out of it. First of all, he made a general evaluation and praise of the lark and its singing: calling the lark a "happy spirit" comes from "heaven or near heaven", implying that the joyful singing is sacred, which is almost equivalent to saying that this song should only exist in heaven. He expressed the poet's aesthetic point of view with "the art of not carving, pouring out your heart" He believes that good poetry should be an ideological passion and image that emerges directly from the depths of the soul.
The second section is the most beautiful section of the whole poem, which is the basis of all imagination. The typical movement of larks jumping from the ground and the typical habit of singing while flying are written. The third and fourth sections describe the lark rising into the clear sky to meet the rising sun, infecting readers with a series of cheerful and clear images, and pulling readers' thoughts back to the lark's song.
In the fifth, sixth and seventh sections, the poet described the beautiful feeling of hearing with visual images such as sharp arrows of starlight, bright moon and beautiful rain falling in neon clouds.
The eighth section directly compares the lark to a poet, saying that the lark "is like a poet, hiding in the brilliance of thought and reciting impromptu poetic rhyme until the sympathy of the whole world is awakened by hopes and worries that have never been noticed." He once again stressed that a good work of art should express true feelings by improvisation and highlight the position of thought in artistic creation with the brilliance of thought. The last two lines preach the poet's sacred mission, that is, Shelley repeatedly talked about "awakening sympathy." The phrase "never noticed" shows that poets are more sensitive than ordinary people. They are "the most sensitive and imaginative people" and "legislators and prophets". They should have the ability and responsibility to reveal the truth that ordinary people have never noticed.
In the ninth section, he compared the lark's song to "Sweet Love in Song Like" sung by a girl in love, in order to "dispel her painful feeling of love". This is the poet's state.
Then, he compared it to flying fireflies and sparkling streamers, roses and intoxicating fragrance, all of which are like girls living in seclusion in boudoir. It embodies what Shelley said, poets don't write poems for Wenda. In the twelfth section, the sparkling grassland, the sound of spring rain and the three dense images sprouting after the rain bring out three generalized and accurate adjectives: clear, fresh and happy. On a higher level, we can judge the beautiful quality of lark singing.
The fourth paragraph, from section 13 to section 15, discusses the origin of beauty. "Bird or Fairy" echoes the first section "Happy fairies, you never seem to be a bird". Then give the answer by asking questions.
Shelley believes that without noble thoughts and sentiments, there is no way to create beautiful works of art. The reason why Marriage Chorus and Song of Triumph must be poor is because in his view, the traditional marriage system is only a part of the order in which people oppress others, and the war and violence that bring triumph are the "root of all evil".
Section 15 puts forward the relationship between art and life and nature. Shelley thinks that art is life ((J quasi-realistic reproduction). Shelley also attached great importance to imagination, "Poetry can be interpreted as the expression of imagination". However, the imagination he admired also came from life. When talking about natural scenery, beautiful mountains and rivers, human tyranny, war scenes and various achievements of human civilization, he said: "I absorbed the nourishment of my poetic image from these sources." Beautiful and romantic flowers are also deeply rooted in the soil of real life.
Verses 16 and 16 say that the lark's song is sweet and cheerful, because it "loves, but never knows the sorrow of loving too much". Section 17 talks about death. People always think that the greatest pain of all living things is the loss of life. Shelley believes that after understanding the true meaning of life and death, we can reach a fearless and open position. Shelley believes that rational people should benefit mankind, which is the value of life. Noble souls will never die, but will only return to their original source and become one with the "universal spirit". At that time, death was death. This understanding is also an important reason why Shelley is always optimistic and open-minded, although he always has a premonition of impending death.
Lark is an idealized poet.
The following three sections reflect the same characteristics of romantic poetry: praising nature to reflect the ugliness of human society and human misfortune, but also revealing a certain truth: "We look forward and backward, worrying about things that don't exist. Our most sincere laughter is also mixed with some distress. Our most beautiful music is the tune that can best pour out our sadness. " Read here, people in real life, can not produce * * *?
Section 20 further summarizes the beauty of lark singing, explaining that the reason why works of art are wonderful and rich is that the author has extraordinary qualities, and superb artistic skills can only be used by artists who despise dust.
"Despising dust" means that larks "leap out of the ground" and get rid of the shackles of stale and vulgar thoughts and feelings. Shelley said, "The poet's words are always metaphorical". The whole poem depicts larks and their songs with a lot of similes and metaphors, and also shapes the symbol and image of an ideal artist. The metaphor here once again echoes the hint in the first section in the form of puns: this song should only exist in the sky.
Finally, the poet expressed his wishes and ambitions in a sigh tone. What larks are familiar with is the joy associated with beautiful ideals, noble sentiments and sincere and strong love for the same kind.
For the lark, there is no place not to write about the lark, and there is no place not to find Shelley's self, which is the poet's idealized self-portrayal. As brandeis said, Shelley's ego is big enough to contain the whole universe.
Shelley said, "All lofty poems are infinite. It is like the first acorn, hiding all the oak trees. Of course, we can lift the veil layer by layer, but the naked beauty hidden in the depths of meaning has never been fully displayed. " To the lark is such a lofty poem that understanding it can be a golden key to understanding Shelley's poems.
Each section in 2 1 section of Lark consists of four iambic three-step lines and one iambic six-step line, and the rhyme form is ababb. This four-short and one-long design is a simulation of a lark: every call is always followed by a long tail after several short calls. Although Shelley said, "Poetry is a flat sword with lightning, it will never have a scabbard, because lightning will burn hide the sword's scabbard." However, the sword and scabbard of Lark seem to match perfectly.
As a model of the perfect unity of content and form, To the Lark is fresh, elegant and extraordinary, even 22 years older than Shelley. William wordsworth, a great poet who also wrote The Lark, could not help sighing after reading it. (Jiang Feng)