叶芝诗歌对象征主义创作手法的运用发展
摘要
叶芝(1865-1939)是享誉世界的爱尔兰诗人、剧作家、神秘主义者和社会活动家。他于1923年获得诺贝尔文学奖,并在象征主义、浪漫主义、唯美主义和现代主义等多种文学领域取得成就。本论文目的拟在分析叶芝诗歌作品中对象征主义的运用和发展,论文整体包括六个组成部分,包括引言和结语。
第一部分是引言,在这一部分主要介绍叶芝的创作背景、生平以及文学生涯中取得的成就,并陈述本文所应用到的研究理论及方法。
第一章主要介绍叶芝诗歌作品对象征主义的运用和发展。据诗人所言,象征主义所运用的意象主要分为两大类:情感意象和哲理意象。青年时代的叶芝想象力丰富,沉浸在对爱情的最求中,喜欢在诗歌中运用神话典故。因此诗人作品中的情感意象占了主导,所出现的哲理意象也大都与个人情感有关,比如玫瑰,白鸟等。随着年龄的增长,诗人更加关注哲理意象,在时间的历练之后,智慧也随之而来。
由于不再追求幻想和激情,诗人的意象变得越来越富有哲理。在老年时期,叶芝对智慧和哲理的追求达到顶峰,其中集大成的作品就包括《驶向拜占庭》。这部作品中的哲理意象排斥了情感表象的存在,做到了单线索唤起读者思维。拜占庭、巨轮、螺旋、月相,这些哲理意象背后的支撑是诗人对神秘主义、象征符号的追奉和研习。
第二章着重讨论了叶芝象征主义的理论来源。叶芝的象征主义颇具特色,其理论来源何在?我们立刻联想到一个人——亚瑟·西蒙斯。他于1899年在《文学》上撰文《象征主义运动》,向叶芝等英国读者介绍了法国象征主义运动。在那个世纪之交,这篇文章产生了重要影响。西蒙斯认为叶芝是英国象征主义文学运动的先驱,而法国象征主义给予叶芝的影响无疑是巨大的。
第三章探讨了叶芝作品中的象征意象和生活现实的结合与演变。在了解一位作家作品之前,我们需要先了解他生活的环境,环境对文学作品的影响无疑是巨大的,因此了解叶芝的生存环境尤为重要。由于叶芝的生活与作品都与哲学紧密相连,因此关于叶芝作品的心理批评一直为数颇丰。同样,由于女性意象一直是诗歌表现的主题之一,叶芝与女性的关系也有必要在此研读分析。
叶芝的创作环境处在国家动荡不安的时期,在其诗歌中对政治局势的表现也值得一提。或许在这段爱尔兰典型的历史背景下,叶芝的文化身份识别是既非爱尔兰又非英国的,他可以自由游离与政治文化运动之间。叶芝利用这一点,创作了大量作品,使全世界读者对爱尔兰有了全新的认识。
最后一章主要讨论了叶芝诗歌作品中象征主义和哲学理念的关系,这些这些概念包括神秘主义、凯尔特意识和特洛伊情节等。
在叶芝作品中,东方神秘主义占据着重要位置,成为一个源源不断的主题,对诗人的影响之深可见一斑;特洛伊神话传说在叶芝诗作中的反复出现,说明了希腊文明对诗人的影响;诗人的凯尔特意识的持续存在和变动,反映了诗人在文化身份构建中经历的思索。
事实上,也知道凯尔特意识已于1923年达到巅峰,诗人被授予诺贝尔文学奖,因其“充满灵感的诗句,以高度浓缩的艺术形式,展现了整个民族精神”。可以说,凯尔特情结使诗人将爱尔兰特性完美融合到了象征主义创作中,特洛伊情结使诗人的艺术高度达到了不朽的巅峰。在此,本文希望通过分析叶芝对象征主义的运用发展,使得关于叶芝及其诗作的分析研究更为整合、更具条理。
William Butler Yeats (1865-1939) is one of the most prominent Irish poet, a dramatist, mystic and public figure. He won Nobel Prize for literature in 1923 and accomplished great achievements in the fields like Symbolism, Romanticism, Aestheticism and Modernism. The purpose of this thesis is to analyze the application and development of Symbolism in Yeats’poetic works. The paper consists of six parts, including an introduction and a conclusion.
The first part is the introduction, in which the background of Yeats’creation, the overview of Yeats’life, his literary career and literary achievements are given, followed by the literature review at home and abroad. Finally, the application of the theory in the analysis is introduced.
The first chapter explores the exercise and innovation of symbolism in Yeats’poems. According to his creation, there are mainly two catalogues of image, that is, the emotional image and the intellectual image.
When he was young Yeats lived in dreams, starved for love, and expressed himself in a kind of mythology. So his early poetry is full of emotional images, and the philosophical images in his early poetry usually evoke ideas mingled with emotions, i.e. , the rose and the white birds. When he was older he had more interest in philosophical images and welcomed the coming of wisdom with time.
As Yeats longs for wisdom rather than youthful fancies and passions,his images became more and more intellectual. In old age his quest for wisdom and intellectual joy reached the climax, as is best shown in his immortal poem Sailing to Byzantium(1927). This intellectual image in his late poetry almost excludes emotions and evokes ideas only. Of these intellectual images in his late period, the most characteristic ones are the tower, the winding stair, Byzantium, the great wheel, the gyre, and the phases of the moon. Behind these intellectual images there is an occult, philosophical background, which we may call esoteric Yeatsism and which enriches the meanings of these symbols.
The second chapter mainly deals with the sources of Yeats’s Symbolist theory. Yeats’s symbolist theory has special characteristics. Where does his theory come from? We immediately think of one man . That man is Arthur Symons (1865-1945) who dedicated to Yeats The Symbolist Movement in Literature (1899), a book that introduced for the first time the French Symbolist movement to the English readers and was rather influential at the turn of the century; that school is the French Symbolists whose representatives included Villier de L’Isle Adam, Stephane Mallarme, Paul Verlaine, and so on. In that famous dedication To W. B. Yeats, Symons begins,
It is almost worth writing a book to have one perfectly sympathetic reader, who will understand everything that one has said, and more than one has said, who will think one’s own thought whenever one has said exactly the right thing, who will complete what is imperfect in reading it, and be too generous to think that it is imperfect. I feel that I shall have that reader in you; so here is my book in token of that assurance.
Most obviously Symons considers Yeats as the chief representative of the Symbolist movement in the United Kingdom and the perfectly sympathetic reader of his book. So Yeats’s contemporaries were easily given the impression that before the publication of Symons’s book the French Symbolist had influenced Yeats already.
Chapter Three analyses the combination of symbol and reality in Yeats’s Poetry. Before we begin to look at Yeats’work, we need to know something of the world and the circumstances which shaped it. This is particularly important since the events of Yeats’life, his friends, his lovers, his relations and the places in which he lived are so central to his writing.
William Butler Yeats was born in Dublin on 13 June 1865. His father, John Butler Yeats, was a barrister who had an additional income from inherited estates in County Kildare. Yeats’mother, Susan Pollexfen, came from Sligo in the west of Ireland where her family owned various companies. Yeats’sister Susan was born in 1866, and there were three more children to follow: two brothers and a sister. One of the brothers, however, died in 1873.
Because Yeats’s work and life were so entwined as a matter of philosophy, because Yeats wrote about his life in memoirs and autobiographies as well as poems and because so many of Yeats’s contemporaries wrote their own account of events, there is a wealth of material for the psychoanalytical critic to consider. Similarly, due to the fact that Yeats’s relationships with women were so central to his poetry, so rife with ambiguity and because part of Yeats’s relationships with women were so central to his poetry, so rife with ambiguity and because part of Yeats’s method of presentation was to mythologize, sot identify types, there is much for the feminist critic to consider as well.
Yeats wrote during one of the most volatile periods of his country’s history, and his poetry captures this. The defeat of the Irish Home Rule Bill, the fall of Parnell and the founding of the Fenian movement, in its various forms led to the uprising of 1916 and, eventually, to the Civil War which ended in partition. In the world beyond this struggle, Yeats saw the start and finish of the First World War, and the events in Europe, which culminated in the beginning of the Second World War. Yeats writes about historical events and personalities vividly. There are elegies to dead heroes and tributes to revolutionaries, tempered by misgivings about the nature of politics and the need for something more.
Perhaps in the typical historical discourse of Ireland, the greatest nationalist poet is neither Celtic nor English. As W. B. Yeats, he has an advantageous position where he can be in and out of the nationalist movement freely. Yeats makes full use of this advantage and jumps out of historical bond. He creates so many great works and makes all the people have a better understanding of Ireland– the lovely sister of England. Meanwhile, he has build a cultural identity for Ireland.
The last chapter mainly deals with Symbolism and Philosophical concepts in Yeats’s poetry, including mysticism, Celtic awareness, Troy complex, etc.
In Yeats’s works, oriental mysticism plays an important part and becomes a timeless theme. Its influence is extensive and profound. In the past, the western critics hasn’t paid enough attention in Yeats’s acceptance of mysticism. As to the source of it, most analyze are done in the cycle of western culture, chiefly neoplatonism, Christian Kabbalah, John Blake and Emannuel Swedenborg’s mysticism. The oriental sect is always neglected. In fact, according to the developing track of the poet’s mentality, it can be easily concluded that oriental mysticism is one of the main line in Yeats’s creation.
In reading the poetry of W. B. Yeats, inspired by its beauty and philosophical thoughts, we tend to trace all back to his legendary life. He is highly autobiographical poet and notes down his life in the form of a large amount of work. For an artist, what we should investigate the psychological structure itself. The strong autobiographical feature in his poetry provided the researchers with rich materials and evidence.
In 1904, H. J. Watt, the member of Würzburg School, discovers that people tend to give the same response to similar stimulations in the long-term practice and experience. This tendency differs a lot from those form in short-term doings. Once gets a fixation, it can influent one dramatically. This phenomenon is called the mental set. It can provide you with analyzing ways and method to solve problems. The unique life experience of Yeats enables him to have a prominent mental set, that is the Celtic awareness.
Besides, the powerful influence of Greek culture is an objective factor for Yeats’s Troy complex. Ever since the renaissance,“back to ancient Greece”has been the uniform claim in each enlightenment in human history. The outstanding cultural personages in the west keep promoting the slogan that Greece is the spiritual garden for their mental arms, which can be seen as a cultural Oedipus complex. Yeats is no exception. He used to compose poetry under the radiance of ancient Greek culture, to express his irreconcilable mental world. Therefore, emotional factor also plays an important role in the formation of Troy complex.
As a matter of fact, Yeats’s Celtic awareness has reached its harvest time since 1923. Academic Institute of Sweden, Nobel Prize committee gives remarks on him, because of his inspiring poetry, in a highly artistic way, shows the spirit of the whole nation. Therefore, he realized the dream of many years, that is, he retains good relationship with his nation and receives recognize of the world. The Celtic awareness promotes his poetry to take on a radiance of Irish nature while the Troy complex enhances his poetic level to eternity and immortality. Both of the two mental set give an everlasting power to Yeats’s poetry. Through the analyses of the paper, I wish to give researchers a better understanding of W. B. Yeats and his poems.
第一部分是引言,在这一部分主要介绍叶芝的创作背景、生平以及文学生涯中取得的成就,并陈述本文所应用到的研究理论及方法。
第一章主要介绍叶芝诗歌作品对象征主义的运用和发展。据诗人所言,象征主义所运用的意象主要分为两大类:情感意象和哲理意象。青年时代的叶芝想象力丰富,沉浸在对爱情的最求中,喜欢在诗歌中运用神话典故。因此诗人作品中的情感意象占了主导,所出现的哲理意象也大都与个人情感有关,比如玫瑰,白鸟等。随着年龄的增长,诗人更加关注哲理意象,在时间的历练之后,智慧也随之而来。
由于不再追求幻想和激情,诗人的意象变得越来越富有哲理。在老年时期,叶芝对智慧和哲理的追求达到顶峰,其中集大成的作品就包括《驶向拜占庭》。这部作品中的哲理意象排斥了情感表象的存在,做到了单线索唤起读者思维。拜占庭、巨轮、螺旋、月相,这些哲理意象背后的支撑是诗人对神秘主义、象征符号的追奉和研习。
第二章着重讨论了叶芝象征主义的理论来源。叶芝的象征主义颇具特色,其理论来源何在?我们立刻联想到一个人——亚瑟·西蒙斯。他于1899年在《文学》上撰文《象征主义运动》,向叶芝等英国读者介绍了法国象征主义运动。在那个世纪之交,这篇文章产生了重要影响。西蒙斯认为叶芝是英国象征主义文学运动的先驱,而法国象征主义给予叶芝的影响无疑是巨大的。
第三章探讨了叶芝作品中的象征意象和生活现实的结合与演变。在了解一位作家作品之前,我们需要先了解他生活的环境,环境对文学作品的影响无疑是巨大的,因此了解叶芝的生存环境尤为重要。由于叶芝的生活与作品都与哲学紧密相连,因此关于叶芝作品的心理批评一直为数颇丰。同样,由于女性意象一直是诗歌表现的主题之一,叶芝与女性的关系也有必要在此研读分析。
叶芝的创作环境处在国家动荡不安的时期,在其诗歌中对政治局势的表现也值得一提。或许在这段爱尔兰典型的历史背景下,叶芝的文化身份识别是既非爱尔兰又非英国的,他可以自由游离与政治文化运动之间。叶芝利用这一点,创作了大量作品,使全世界读者对爱尔兰有了全新的认识。
最后一章主要讨论了叶芝诗歌作品中象征主义和哲学理念的关系,这些这些概念包括神秘主义、凯尔特意识和特洛伊情节等。
在叶芝作品中,东方神秘主义占据着重要位置,成为一个源源不断的主题,对诗人的影响之深可见一斑;特洛伊神话传说在叶芝诗作中的反复出现,说明了希腊文明对诗人的影响;诗人的凯尔特意识的持续存在和变动,反映了诗人在文化身份构建中经历的思索。
事实上,也知道凯尔特意识已于1923年达到巅峰,诗人被授予诺贝尔文学奖,因其“充满灵感的诗句,以高度浓缩的艺术形式,展现了整个民族精神”。可以说,凯尔特情结使诗人将爱尔兰特性完美融合到了象征主义创作中,特洛伊情结使诗人的艺术高度达到了不朽的巅峰。在此,本文希望通过分析叶芝对象征主义的运用发展,使得关于叶芝及其诗作的分析研究更为整合、更具条理。
William Butler Yeats (1865-1939) is one of the most prominent Irish poet, a dramatist, mystic and public figure. He won Nobel Prize for literature in 1923 and accomplished great achievements in the fields like Symbolism, Romanticism, Aestheticism and Modernism. The purpose of this thesis is to analyze the application and development of Symbolism in Yeats’poetic works. The paper consists of six parts, including an introduction and a conclusion.
The first part is the introduction, in which the background of Yeats’creation, the overview of Yeats’life, his literary career and literary achievements are given, followed by the literature review at home and abroad. Finally, the application of the theory in the analysis is introduced.
The first chapter explores the exercise and innovation of symbolism in Yeats’poems. According to his creation, there are mainly two catalogues of image, that is, the emotional image and the intellectual image.
When he was young Yeats lived in dreams, starved for love, and expressed himself in a kind of mythology. So his early poetry is full of emotional images, and the philosophical images in his early poetry usually evoke ideas mingled with emotions, i.e. , the rose and the white birds. When he was older he had more interest in philosophical images and welcomed the coming of wisdom with time.
As Yeats longs for wisdom rather than youthful fancies and passions,his images became more and more intellectual. In old age his quest for wisdom and intellectual joy reached the climax, as is best shown in his immortal poem Sailing to Byzantium(1927). This intellectual image in his late poetry almost excludes emotions and evokes ideas only. Of these intellectual images in his late period, the most characteristic ones are the tower, the winding stair, Byzantium, the great wheel, the gyre, and the phases of the moon. Behind these intellectual images there is an occult, philosophical background, which we may call esoteric Yeatsism and which enriches the meanings of these symbols.
The second chapter mainly deals with the sources of Yeats’s Symbolist theory. Yeats’s symbolist theory has special characteristics. Where does his theory come from? We immediately think of one man . That man is Arthur Symons (1865-1945) who dedicated to Yeats The Symbolist Movement in Literature (1899), a book that introduced for the first time the French Symbolist movement to the English readers and was rather influential at the turn of the century; that school is the French Symbolists whose representatives included Villier de L’Isle Adam, Stephane Mallarme, Paul Verlaine, and so on. In that famous dedication To W. B. Yeats, Symons begins,
It is almost worth writing a book to have one perfectly sympathetic reader, who will understand everything that one has said, and more than one has said, who will think one’s own thought whenever one has said exactly the right thing, who will complete what is imperfect in reading it, and be too generous to think that it is imperfect. I feel that I shall have that reader in you; so here is my book in token of that assurance.
Most obviously Symons considers Yeats as the chief representative of the Symbolist movement in the United Kingdom and the perfectly sympathetic reader of his book. So Yeats’s contemporaries were easily given the impression that before the publication of Symons’s book the French Symbolist had influenced Yeats already.
Chapter Three analyses the combination of symbol and reality in Yeats’s Poetry. Before we begin to look at Yeats’work, we need to know something of the world and the circumstances which shaped it. This is particularly important since the events of Yeats’life, his friends, his lovers, his relations and the places in which he lived are so central to his writing.
William Butler Yeats was born in Dublin on 13 June 1865. His father, John Butler Yeats, was a barrister who had an additional income from inherited estates in County Kildare. Yeats’mother, Susan Pollexfen, came from Sligo in the west of Ireland where her family owned various companies. Yeats’sister Susan was born in 1866, and there were three more children to follow: two brothers and a sister. One of the brothers, however, died in 1873.
Because Yeats’s work and life were so entwined as a matter of philosophy, because Yeats wrote about his life in memoirs and autobiographies as well as poems and because so many of Yeats’s contemporaries wrote their own account of events, there is a wealth of material for the psychoanalytical critic to consider. Similarly, due to the fact that Yeats’s relationships with women were so central to his poetry, so rife with ambiguity and because part of Yeats’s relationships with women were so central to his poetry, so rife with ambiguity and because part of Yeats’s method of presentation was to mythologize, sot identify types, there is much for the feminist critic to consider as well.
Yeats wrote during one of the most volatile periods of his country’s history, and his poetry captures this. The defeat of the Irish Home Rule Bill, the fall of Parnell and the founding of the Fenian movement, in its various forms led to the uprising of 1916 and, eventually, to the Civil War which ended in partition. In the world beyond this struggle, Yeats saw the start and finish of the First World War, and the events in Europe, which culminated in the beginning of the Second World War. Yeats writes about historical events and personalities vividly. There are elegies to dead heroes and tributes to revolutionaries, tempered by misgivings about the nature of politics and the need for something more.
Perhaps in the typical historical discourse of Ireland, the greatest nationalist poet is neither Celtic nor English. As W. B. Yeats, he has an advantageous position where he can be in and out of the nationalist movement freely. Yeats makes full use of this advantage and jumps out of historical bond. He creates so many great works and makes all the people have a better understanding of Ireland– the lovely sister of England. Meanwhile, he has build a cultural identity for Ireland.
The last chapter mainly deals with Symbolism and Philosophical concepts in Yeats’s poetry, including mysticism, Celtic awareness, Troy complex, etc.
In Yeats’s works, oriental mysticism plays an important part and becomes a timeless theme. Its influence is extensive and profound. In the past, the western critics hasn’t paid enough attention in Yeats’s acceptance of mysticism. As to the source of it, most analyze are done in the cycle of western culture, chiefly neoplatonism, Christian Kabbalah, John Blake and Emannuel Swedenborg’s mysticism. The oriental sect is always neglected. In fact, according to the developing track of the poet’s mentality, it can be easily concluded that oriental mysticism is one of the main line in Yeats’s creation.
In reading the poetry of W. B. Yeats, inspired by its beauty and philosophical thoughts, we tend to trace all back to his legendary life. He is highly autobiographical poet and notes down his life in the form of a large amount of work. For an artist, what we should investigate the psychological structure itself. The strong autobiographical feature in his poetry provided the researchers with rich materials and evidence.
In 1904, H. J. Watt, the member of Würzburg School, discovers that people tend to give the same response to similar stimulations in the long-term practice and experience. This tendency differs a lot from those form in short-term doings. Once gets a fixation, it can influent one dramatically. This phenomenon is called the mental set. It can provide you with analyzing ways and method to solve problems. The unique life experience of Yeats enables him to have a prominent mental set, that is the Celtic awareness.
Besides, the powerful influence of Greek culture is an objective factor for Yeats’s Troy complex. Ever since the renaissance,“back to ancient Greece”has been the uniform claim in each enlightenment in human history. The outstanding cultural personages in the west keep promoting the slogan that Greece is the spiritual garden for their mental arms, which can be seen as a cultural Oedipus complex. Yeats is no exception. He used to compose poetry under the radiance of ancient Greek culture, to express his irreconcilable mental world. Therefore, emotional factor also plays an important role in the formation of Troy complex.
As a matter of fact, Yeats’s Celtic awareness has reached its harvest time since 1923. Academic Institute of Sweden, Nobel Prize committee gives remarks on him, because of his inspiring poetry, in a highly artistic way, shows the spirit of the whole nation. Therefore, he realized the dream of many years, that is, he retains good relationship with his nation and receives recognize of the world. The Celtic awareness promotes his poetry to take on a radiance of Irish nature while the Troy complex enhances his poetic level to eternity and immortality. Both of the two mental set give an everlasting power to Yeats’s poetry. Through the analyses of the paper, I wish to give researchers a better understanding of W. B. Yeats and his poems.
引文
[1] William Butler Yeats. Essays and Introductons. London: The Macmillan Press Limited, 1980.116.
[2] J. A. Cuddon (ed.) The Penguin Dictionary of Literary Terms and Literary Theory (Fourth Edition). London: Penguin Group, 1999. 884-885.
[3] William Butler Yeats. Essays and Introductons. London: The Macmillan Press Limited, 1980.154.
[4] Richard Ellmann. Yeats: The Man and the Masks. London: Penguin Books, 1987. 242.
[6] Nicholas Drake. The Poetry of W. B. Yeats. London: Penguin Group, 1991. 127.
[7] Edmund Wilson. Axel’s Castle: A Study of W. B. Yeats, VolumeIII: autobiographies. (eds.) New York: Charles Scribner’s Sons, 1999. 261-262.
[8] Dr. B. N. Prasad. The Literary Criticism of W. B. Yeats. New Delhi: Classical Publishing Company, 1985. 57.
[9] William Butler Yeats. The Collected Works of W. B. Yeats, Volume VI: Prefaces and Introductions. (ed.) New York: Macmillan Publishing Company, 1989. 156.
[10] R. F. Foster. W. B. Yeats: A Life, I: The Apprentice Mage 1865-1941. Oxford: Oxford University Press, 1997.465.
[11] Vinod Sena. W. B. Yeats: The Poet as Critic. London: The Macmillan Press Limited, 1981.vii.
[12] Susan Johnston Graf. W. B. Yeats—Twentieth-Century Magus. York Beach, Maine: Samuel Weiser, Inc., 2000.16-17.
[13] William Butler Yeats. W. B., Yeats: The Poems. (ed.) Daniel Albright. London: The Everyman Library, 2001. 287.
[14] Dr. B. N. Prasad. The Literary Criticism of W. B. Yeats. New Delhi: Classical Publishing Company, 1985. 41.
[15] William Butler Yeats. Essays and Introductons. London: The Macmillan Press Limited, 1980.119.
[16] Edmund Wilson. Axel’s Castle: A Study of W. B. Yeats, VolumeIII: autobiographies. (eds.). New York: Charles Scribner’s Sons, 1999. 243-244.
[17] R. F. Foster. W. B. Yeats: A Life, I: The Apprentice Mage 1865-1941. Oxford: Oxford University Press, 1997.451.
[18]
[19] William Butler Yeats. Writings on Irish Folklore, Legend and Myth. (ed.) Robert Welch. London: Penguin Books Ltd, 1993.xxxiii.
[20] M. H. Abrams. A Glossary of Literary Terms (Seventh Edition). Beijing: Foreign Language Teaching and Research Press, 2004.313.
[21] R. F. Foster. W. B. Yeats: A Life, I: The Apprentice Mage 1865-1941. Oxford: Oxford University Press, 1997.328.
[22] Richard Ellmann. Yeats: The Man and the Masks. London: Penguin Books, 1987. 192.
[23] William Butler Yeats. Writings on Irish Folklore, Legend and Myth. (ed.) Robert Welch. London: Penguin Books Ltd, 1993.xxxii.
[24] William Butler Yeats. Essays and Introductions. London: The Macmillan Press Limited, 1980. 185
[26] Dr. B. N. Prasad. The Literary Criticism of W. B. Yeats. New Delhi: Classical Publishing Company, 1985. 19.
[27] Sam McCready. A William Butler Yeats Encyclopedia. Westport, Connecticut: Greenwood Press, 1997. 339.
[28] William Butler Yeats. Essays and Introductons. London: The Macmillan Press Limited, 1980.102.
[29] Sam McCready. A William Butler Yeats Encyclopedia. Westport, Connecticut: Greenwood Press, 1997. 312.
[30] Richard Ellmann. Yeatss: The Man and the Mask. London: Penguin Books, 1987, 213.
[31] William Butler Yeats. Essays and Introductions. London: The Macmillan Press Limited, 1980. 273.
Bell,D.The Cultural Contradictions of Capitalism [M].Basic Book,1978.
Dr. B. N. Prasad. The Literary Criticism of W. B. Yeats. [M] New Delhi: Classical Publishing Company, 1985. 19.
Edmund Wilson. Axel’s Castle: A Study of W. B. Yeats, VolumeIII: autobiographies. (eds.) William H. O’Donnell and Douglas N. Archibald. [M]New York: Charles Scribner’s Sons, 1999.
MacDonagh,T.Literature in Ireland[M].Dublin,1916.
Maddox,B Dubliners[Z].New York:Bantam,1990.
Richard Ellmann. Yeats: The Man and the Masks. [M] London: Penguin Books, 1987.
R. F. Foster. W. B. Yeats: A Life, I: The Apprentice Mage 1865-1941. [M] Oxford: Oxford University Press,
Sam McCready. A William Butler Yeats Encyclopedia. [M]Westport, Connecticut: Greenwood Press, 1997.
W.B.Yeats,Essays and Introductions[M].London:1961.
W. B. Yeats. The Poems.. London: Macmillan.1983
William Butler Yeats. The Collected Works of W. B. Yeats, Volume VI: Prefaces and Introductions. (ed.). [M] New York: Macmillan Publishing Company, 1989.
爱德华.W.萨义德.叶芝与非殖民化[A].文化与帝国主义.[M].李琨译.北京:生活·读书·新知三联书店.2003.p313.
江弱水.中西同步与位移:现代诗人论丛[C].合肥:安徽教育出版社,2003.
黄晋凯.象征主义·意象派[C].北京:中国人民大学出版社.1989.
何仲生.欧美现代文学史[C].上海:复旦大学出版社.2002.
胡经之,张首映.西方二十世纪文论史[M].北京:中国社会科学出版社,1988
蒲度戎.生命树上凤凰巢:叶芝诗歌象征美学研究[M].成都:四川人比出版社,2006.
乔国强.二十世纪西方文论选读(上)[M].上海:复旦大学出版社,2006
叶芝.叶芝诗集(爱尔兰)[M].石家庄:河北教育出版社,2002
叶芝.丽达与天鹅·译本前言[C].裘小龙译,桂林:漓江出版社,2002,
叶芝.自传[A].叶芝文集.[M].王家新.北京:东方出版社.1996.p6.
王恩衷.艾略特诗学文集[M].北京:国际文化出版公司,1989.
王佐良.英国诗史[M].南京:译林出版社.1997
吴忠诚.现代派诗歌精神与方法[M].北京:东方出版社.1999.
吴晓东.象征主义与中国现代文学[M].合肥:安徽教育出版社.2000.
郑克鲁.法国诗歌史[M].上海:上海外语教育出版社,1996.
朱立元.当代西方文艺理论[C].上海:华东师大出版社.1997.
张隆溪.二十世纪西方文论评述[M].北京:三联书店,1984,54.
曹丽英.论诗歌隐喻的基本类型及特点[J].湖北经济学院报,2004(6).
杜平.超越自我的二元对立——评叶芝对东方神秘主义的接受与误读[J].中国比较文学,2003(2):148-158.
丁宏为.叶芝:“责任始于梦中”[J].外国文学评论.2005.4.
傅浩.叶芝的象征主义[J].国外文学,1999(3)41-49.
傅浩.创造自我神话:叶芝作品中的互文[J].外国文学,2005(3).
黄海容,方汉良:论叶芝的“现代浪漫主义”[J].天津:天津外国语学院学报,1999(4)
何宁.叶芝的现代性[J].外国文学评论,2000(3).
何树.叶芝与民族对立主义[J].外语研究,2002 (1).
许健.叶芝—魔法与象征[J],外国文学研究,2002(1).
吴三香.叶芝诗歌中的神秘主义和梦想[J].岱宗学刊.2005.6.
张思齐.论叶芝诗歌创作中的抒情性.[J].天津:天津外国语学院学报,2002(4).
[2] J. A. Cuddon (ed.) The Penguin Dictionary of Literary Terms and Literary Theory (Fourth Edition). London: Penguin Group, 1999. 884-885.
[3] William Butler Yeats. Essays and Introductons. London: The Macmillan Press Limited, 1980.154.
[4] Richard Ellmann. Yeats: The Man and the Masks. London: Penguin Books, 1987. 242.
[6] Nicholas Drake. The Poetry of W. B. Yeats. London: Penguin Group, 1991. 127.
[7] Edmund Wilson. Axel’s Castle: A Study of W. B. Yeats, VolumeIII: autobiographies. (eds.) New York: Charles Scribner’s Sons, 1999. 261-262.
[8] Dr. B. N. Prasad. The Literary Criticism of W. B. Yeats. New Delhi: Classical Publishing Company, 1985. 57.
[9] William Butler Yeats. The Collected Works of W. B. Yeats, Volume VI: Prefaces and Introductions. (ed.) New York: Macmillan Publishing Company, 1989. 156.
[10] R. F. Foster. W. B. Yeats: A Life, I: The Apprentice Mage 1865-1941. Oxford: Oxford University Press, 1997.465.
[11] Vinod Sena. W. B. Yeats: The Poet as Critic. London: The Macmillan Press Limited, 1981.vii.
[12] Susan Johnston Graf. W. B. Yeats—Twentieth-Century Magus. York Beach, Maine: Samuel Weiser, Inc., 2000.16-17.
[13] William Butler Yeats. W. B., Yeats: The Poems. (ed.) Daniel Albright. London: The Everyman Library, 2001. 287.
[14] Dr. B. N. Prasad. The Literary Criticism of W. B. Yeats. New Delhi: Classical Publishing Company, 1985. 41.
[15] William Butler Yeats. Essays and Introductons. London: The Macmillan Press Limited, 1980.119.
[16] Edmund Wilson. Axel’s Castle: A Study of W. B. Yeats, VolumeIII: autobiographies. (eds.). New York: Charles Scribner’s Sons, 1999. 243-244.
[17] R. F. Foster. W. B. Yeats: A Life, I: The Apprentice Mage 1865-1941. Oxford: Oxford University Press, 1997.451.
[18]
[19] William Butler Yeats. Writings on Irish Folklore, Legend and Myth. (ed.) Robert Welch. London: Penguin Books Ltd, 1993.xxxiii.
[20] M. H. Abrams. A Glossary of Literary Terms (Seventh Edition). Beijing: Foreign Language Teaching and Research Press, 2004.313.
[21] R. F. Foster. W. B. Yeats: A Life, I: The Apprentice Mage 1865-1941. Oxford: Oxford University Press, 1997.328.
[22] Richard Ellmann. Yeats: The Man and the Masks. London: Penguin Books, 1987. 192.
[23] William Butler Yeats. Writings on Irish Folklore, Legend and Myth. (ed.) Robert Welch. London: Penguin Books Ltd, 1993.xxxii.
[24] William Butler Yeats. Essays and Introductions. London: The Macmillan Press Limited, 1980. 185
[26] Dr. B. N. Prasad. The Literary Criticism of W. B. Yeats. New Delhi: Classical Publishing Company, 1985. 19.
[27] Sam McCready. A William Butler Yeats Encyclopedia. Westport, Connecticut: Greenwood Press, 1997. 339.
[28] William Butler Yeats. Essays and Introductons. London: The Macmillan Press Limited, 1980.102.
[29] Sam McCready. A William Butler Yeats Encyclopedia. Westport, Connecticut: Greenwood Press, 1997. 312.
[30] Richard Ellmann. Yeatss: The Man and the Mask. London: Penguin Books, 1987, 213.
[31] William Butler Yeats. Essays and Introductions. London: The Macmillan Press Limited, 1980. 273.
Bell,D.The Cultural Contradictions of Capitalism [M].Basic Book,1978.
Dr. B. N. Prasad. The Literary Criticism of W. B. Yeats. [M] New Delhi: Classical Publishing Company, 1985. 19.
Edmund Wilson. Axel’s Castle: A Study of W. B. Yeats, VolumeIII: autobiographies. (eds.) William H. O’Donnell and Douglas N. Archibald. [M]New York: Charles Scribner’s Sons, 1999.
MacDonagh,T.Literature in Ireland[M].Dublin,1916.
Maddox,B Dubliners[Z].New York:Bantam,1990.
Richard Ellmann. Yeats: The Man and the Masks. [M] London: Penguin Books, 1987.
R. F. Foster. W. B. Yeats: A Life, I: The Apprentice Mage 1865-1941. [M] Oxford: Oxford University Press,
Sam McCready. A William Butler Yeats Encyclopedia. [M]Westport, Connecticut: Greenwood Press, 1997.
W.B.Yeats,Essays and Introductions[M].London:1961.
W. B. Yeats. The Poems.. London: Macmillan.1983
William Butler Yeats. The Collected Works of W. B. Yeats, Volume VI: Prefaces and Introductions. (ed.). [M] New York: Macmillan Publishing Company, 1989.
爱德华.W.萨义德.叶芝与非殖民化[A].文化与帝国主义.[M].李琨译.北京:生活·读书·新知三联书店.2003.p313.
江弱水.中西同步与位移:现代诗人论丛[C].合肥:安徽教育出版社,2003.
黄晋凯.象征主义·意象派[C].北京:中国人民大学出版社.1989.
何仲生.欧美现代文学史[C].上海:复旦大学出版社.2002.
胡经之,张首映.西方二十世纪文论史[M].北京:中国社会科学出版社,1988
蒲度戎.生命树上凤凰巢:叶芝诗歌象征美学研究[M].成都:四川人比出版社,2006.
乔国强.二十世纪西方文论选读(上)[M].上海:复旦大学出版社,2006
叶芝.叶芝诗集(爱尔兰)[M].石家庄:河北教育出版社,2002
叶芝.丽达与天鹅·译本前言[C].裘小龙译,桂林:漓江出版社,2002,
叶芝.自传[A].叶芝文集.[M].王家新.北京:东方出版社.1996.p6.
王恩衷.艾略特诗学文集[M].北京:国际文化出版公司,1989.
王佐良.英国诗史[M].南京:译林出版社.1997
吴忠诚.现代派诗歌精神与方法[M].北京:东方出版社.1999.
吴晓东.象征主义与中国现代文学[M].合肥:安徽教育出版社.2000.
郑克鲁.法国诗歌史[M].上海:上海外语教育出版社,1996.
朱立元.当代西方文艺理论[C].上海:华东师大出版社.1997.
张隆溪.二十世纪西方文论评述[M].北京:三联书店,1984,54.
曹丽英.论诗歌隐喻的基本类型及特点[J].湖北经济学院报,2004(6).
杜平.超越自我的二元对立——评叶芝对东方神秘主义的接受与误读[J].中国比较文学,2003(2):148-158.
丁宏为.叶芝:“责任始于梦中”[J].外国文学评论.2005.4.
傅浩.叶芝的象征主义[J].国外文学,1999(3)41-49.
傅浩.创造自我神话:叶芝作品中的互文[J].外国文学,2005(3).
黄海容,方汉良:论叶芝的“现代浪漫主义”[J].天津:天津外国语学院学报,1999(4)
何宁.叶芝的现代性[J].外国文学评论,2000(3).
何树.叶芝与民族对立主义[J].外语研究,2002 (1).
许健.叶芝—魔法与象征[J],外国文学研究,2002(1).
吴三香.叶芝诗歌中的神秘主义和梦想[J].岱宗学刊.2005.6.
张思齐.论叶芝诗歌创作中的抒情性.[J].天津:天津外国语学院学报,2002(4).