认知诗学视域下雪莱《西风颂》的研究

认知诗学视域下雪莱《西风颂》的研究研究生姓名：陈晓兰导师姓名：姚本标学科专业：英语语言文学研究方向：英美文学年级：2010级摘要珀西·比西·雪莱是十九世纪英国浪漫主义诗坛中一颗璀璨的明星，他在短暂的生命历程中创作了大量的诗歌、散文和戏剧，对后世产生了深远的影响。他语言功底卓越，思想深邃，感情炽烈，想象丰富，表现力强，以生花之笔创作了《西风颂》。该诗比喻奇特，音韵节奏匠心独运，诗歌中所传达出来的意象和音韵之美广为传颂，同时也成为众多诗歌研究者孜孜探究的目标。国内外学者纷纷结合各种批评理论对雪莱的《西风颂》进行诠释，在文体学、语言学、美学、翻译学等领域取得的成就可谓是硕果累累，但是从认知的角度去研究《西风颂》却鲜有涉及。因此，本文试图从认知的角度对该诗进行研究。认知诗学是将认知语言学及认知科学的理念运用来解读文学作品阅读过程的新兴学科，它认为文学是人类日常生活经验的一种特殊表达方式，也是人类认知世界的一种特殊体现方式。作为一种新的文学批评方法，它不仅为该诗的研究提供了一个新的视角，同时也拓宽了分析雪莱诗作方法。本文以雪莱的《西风颂》为文本，从认知诗学的两个角度：图形与背景和概念整合，对诗人创作《西风颂》时的心智过程以及读者阅读过程中的心智体验过程进行研究，以期解读诗歌的主题意义，并深度挖掘隐藏在诗歌中的思想内涵。第一章首先介绍认知诗学的起源和发展，特别是相关的两个概念：图形与背景以及概念整合，为后面的分析提供了认知理据。接着对国内外《西风颂》的研究做了简要回顾，归纳总结了主要研究成果。最后提出了认知诗学对解读《西风颂》这首诗歌的创新意义。第二章运用认知诗学中图形与背景这一认知方式来解读《西风颂》，通过分析文本中图形与背景的建立及它们之间的动态变化和反复转换来探讨诗中“西风”的威力在读者的认知域中是如何突显的，并结合时代背景来思考诗人当时的心境，探索i 诗人是如何表达自身内在的情感，从而使革命主题得以突显。第三章从概念整合的角度对诗歌中的意象进行分析，通过意象意义的建构挖掘隐含在诗歌中的思想内涵。人们对《西风颂》的解读更多的是定义在革命诗歌的范畴内，分析其中表现出来的诗人反传统和对现实社会批判与讽刺的思想。事实上，雪莱是一位革命家，同时也是一位哲学家。其在中学时期就醉心于哲学，人们往往不了解这一层面而忽视了他哲理诗人的一面。且该诗意象丰富，比喻奇特，它们的意义是怎样被读者认知的，概念整合这一认知原理提供了一个很好的解读方式。在解读过程中，挖掘出了诗人浓郁的生命哲理意蕴。第四章为论文的结论部分。认知诗学是一门对文学阅读有着独特解释力的学科，对本文有强大的可行的阐释力。认知诗学在诗歌解读中的运用，不仅让读者在理解诗歌的同时提供了可靠的认知理据，而且还能够在欣赏诗歌的同时挖掘其中隐含的思想内涵。关键词：《西风颂》；认知诗学；主题；意象ii AbstractPercyByssheShelly,shinninglikeastar,isoutstandinginEnglishromanticlyricsofththe19century.Hehascreatedmanypoems,essays,novelsanddramasduringhisshortlife,whichhaveagreatinfluenceonthelatergenerations.BecauseofShelly‟sexcellentlanguage,fieryemotion,profoundthoughtsandsincereexpression,mostofhisworksarewellaccepted.OdetotheWestWindisoneofhispopularpoems,famousforthepeculiarmetaphors，distinctiveimageryandglamorousrhythms.Thestudyonthebeautyofimageryandrhythmsinthepoemisagoalforagreatnumberofpoeticresearchers.ScholarsbothathomeandabroadtrytoexplainOdetotheWestWindwithkindsofcritictheories.Theyhavegotalotofachievementsfromtheperceptionsofstylistics,linguistics,aestheticsandtranslatology.Itseemsthattherearefewstudiesonthispoemconductedfromtheperspectiveofcognitivepoetics.Sointhelightofthecognitivepoeticsbasedonthetheoryofcognitivelinguistics,cognitivescienceandcognitivepsychology,thispaperattemptstoanalyzeandstudythispoemonreaders‟mentalprocesswhentheyaredoingtheirreading.Theaimistointerprethowthethemeandartisticcharacteristicsofthepoemarerepresentedandtoexcavateotherconnotationshiddeninthepoem.Cognitivepoeticsisanew-risingtheorythatappliestheconceptionsofcognitivelinguisticsandcognitivescienceintotheprocessofliteraturereading.Itisthoughtthatliteratureisaspecialwaynotonlytoexpresshuman‟sexperienceindailylife,butalsoembodyhuman‟scognitionoftheworld.Asanewmethodofliterarycriticism,itprovidesanewperspectiveforstudyingthispoem,thusbroadeningthescopeofthestudyonShelley‟spoems.ThisthesisanalysesOdetotheWestWindfromtwoperspectives:figureandgroundandconceptualblending.Chapteronebrieflyintroducestheoriginandthedevelopmentofcognitivepoetics,andelaboratestwokeyperspectivesofthecognitivepoeticsrespectively,namely,figureandgroundandtheconceptualblending.ThenaliteraturereviewforthepoemOdetotheWestWindandaconclusionfortheachievementsbothathomeandabroadarebrieflyiii presented.Finally,thecreativemeaningonthestudyofthispoemthroughtheperspectiveofcognitivepoeticsisputforward.ChapterTwomainlyexploreshowthepowerofthewestwindcanbemadeprominentundertheperspectiveoffigureandgroundsoastobringouttherevolutionarythemeofthispoem.Combiningwithsocialbackgroundtoexplorehowthepoetexpresseshisinnerfeelingsatthattime.ChapterThreeanalyzestheimageryofthepoembasedontheperspectiveofconceptualblending,andthendigsuptheconnotationshiddeninthepoemthroughthereconstructedmeaningsoftheimagery.Aseveryoneknows,Shelleywasdeeplyaffectedbythethoughtsoftheenlightenmentinhisage,sotheideasoffightingagainstthetraditionandthecriticismandironytothesocietythroughouthispoemsarewellrepresented.Becauseofthis,Shelly‟sphilosophicideaonlifeisoverlook.Andasinthispoem,imagesareabundantandmetaphorsarepeculiar,howtheirmeaningscanbewellcognized?Thecognitiveapproachofconceptualblendingoffersagoodwaytoexplore.Duringtheprocessofexploring,thepoet‟slifephilosophicalideacanbedugout.Thelastchapterisaconclusion.Cognitivepoeticsisatheorywithspecialexplanationforliteraturereading.Thispaperattemptstoconfirmthefeasibilityofthistheorywhichprovidesscientificandreliablecognitivemotivationsforreaderswhentheyareanalyzingapieceofliteraryworkaswellasdiggingoutitsconnotations.Keywords:OdetotheWestWind;cognitivepoetics;theme;imageryiv ContentsAbstractinChinese..........................................................................................................iAbstractinEnglish.........................................................................................................iiiChapterOneIntroduction..............................................................................................11.1CognitivePoetics...............................................................................................11.1.1ABriefIntroductionofCognitivePoetics..................................................11.1.2CognitiveApproachesofCognitivePoetics...............................................21.1.2.1CognitiveApproachofFigureandGround..........................................................................................21.1.2.2CognitiveApproachofConceptualBlending.......................................................................................51.2LiteratureReviewonOdetotheWestWind........................................................71.2.1StudiesAbroad..........................................................................................81.2.1.1ResearchesfromthePerspectiveofRomanticism................................................................................81.2.1.2ResearchesfromthePerspectiveoftheThemes...................................................................................91.2.2StudiesatHome......................................................................................101.3TheInterpretationonOdetotheWestWindfromCognitivePoetics.................14ChapterTwoOntheProminenceoftheThemeinPerceptualField..........................162.1AnalysisinTermsofCognitiveApproachofFigureandGround......................162.1.1KeyTermsinCognitiveApproachofFigureandGround..............................172.1.2TheWestWindAsaFigureinthePoem........................................................192.1.3TheProminenceofthePoweroftheWestWind............................................212.2OntheProminenceofRevolutionaryTheme....................................................242.2.1TheBackgroundofthePoem..................................................................242.2.2TheSublimationoftheTheme................................................................25ChapterThreeNewConnotationConstructedintheBlendingSpace........................273.1AnalysisinTermsofCognitiveApproachofConceptualBlending...................273.2TheConstructedConnotationofLifePhilosophyinthePoem..........................28i 3.2.1ViewofDeathandRebirthConstructedfromtheLand...........................293.2.2ViewofDeathandRebirthConstructedfromtheSky.............................313.2.3ViewofDeathandRebirthConstructedfromtheSea..............................343.3Shelley‟sAttitudetoLife..................................................................................36ChapterFourConclusion..............................................................................................38Bibliography..................................................................................................................40PapersPublishedDuringtheStudyforM.A.Degree..................................................44Acknowledgements........................................................................................................45ii 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究ChapterOneIntroduction1.1CognitivePoetics1.1.1ABriefIntroductionofCognitivePoeticsthCognitivepoeticsisaninterdisciplinewhichdevelopsfastintheendofthe20century.Thehistoryofcognitivepoeticsisonlyover20years.In1983,theIsraelscholarReuvenTsurofTelAvivUniversityfirstusedsuchterm“CognitivePoetics”coveringtheachievementsinthefieldsofpsychology,neuroanatomyandliterarycriticismtoexplainthetheoriesandmethodologiesofpoeticstudies.Hethinksthatcognitivepoeticsisaliterarycriticism,whichappliescognitivescienceasatooltoexplorehowpeopledealwiththeinformationandeffectofthelanguageandformsofpoemsandhowitalsomakesasystematicinterpretationtotherelationshipbetweenthestructureofliterarytextandtheeffectthatreaderscanfeel(Tsur,1983:125).ThepublicationofTsur‟sbookTowardaTheoryofCognitivePoetics(1992)canbethefirststageofresearchingoncognitivepoetics.Itwasabouttenyearslaterthatthecognitivepoeticsbegantobeknowntomorepeoplethroughthehardworkofmanyscholars.ScholarTabakowska(1993),whocomesfromFirmAuspiciousRonnieUniversityofPoland,carriedtheresearchonpoetictranslationbyLangacher‟sachievementsofcognitivegrammar;scholarsEmmot(1997)andFludemik(1993)bothexploredcognitivenarratologytogether;andscholarsWerth(1999)andGavins(2005)putforwardDiscoursetheoryoftheworldandSemino&Culpeper(2002)composedcognitivestylistics.Thescholarsmentionedabovemakecognitivepoeticscoveralltheliterarytextsbyblendinganglesofviewsfromotherrelatedtheories.LatercognitivepoeticsstepsintothesecondstagealongwiththepublicationofCognitiveStylistics:LanguagecadCognitioninTextAnalysis(Semino&Culpeper,2002).Thisstageisthecontinueddevelopmentoffirststage,applyingthetheoryofcognitivelinguisticsandintegratingtheliterarycharactersintothetext.WiththepublicationofcompanionvolumeCognitivePoetics:AnIntroduction(Stockwell,2002a)andCognitive1 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究PoeticsinPractice(Gavins&Steen,2003),thestudyofcognitivepoeticscomesintothethirdstage,aimingtoresearchhowtounderstandliterarytextaccuratelysoastoachieveanaccurateunderstandingtothetext.Itcouldevenbeseensimplyasacloserepetition,sincecognitionistodowiththementalprocessesinvolvedinreading,andpoeticsconcernsthecraftofliterature.(PeterStockwell,2002:1)JoannaGavins&GerardSteendefinedcognitivepoeticsas:Cognitivepoetics,seesliteraturenotjustasamatterforthehappyfew,butasaspecificformofeverydayhumanexperienceandespeciallycognitionthatisgroundedinourgeneralcognitivecapacitiesformakingsenseoftheworld(JoannaGavins&GerardSteen,2003:1).Allinall,cognitivepoeticsisakindofcognitivemechanisminliteraryreading,concernstextreadings,andemphasizestheproductionofconceptsandmeaning.Itopensupanewpathtoexplainliterarytexts.1.1.2CognitiveApproachesofCognitivePoeticsWiththedevelopmentofcognitivescience,thefruitofthisfieldisborrowedanditsrelevanttheoriesareappliedbyscholarstointerpretliterarytexts.Thecognitiveapproachesmainlyusedinrecentstudiesare:figureandground,scriptandschema,textsworld,prototype,conceptualmetaphor,conceptualblending,iconicity,discourseworldandothers.Amongthem,OdetotheWestWindwillbeinterpretedbyapplyingtwocognitiveapproaches(figureandgroundandconceptualblending)inthisthesis.Sothefollowingintroductionisaboutthemainideasandtargetsofthesetwocognitiveapproaches,whichwilllaythecognitivefoundationfortheanalysis.1.1.2.1CognitiveApproachofFigureandGroundThetheoryofFigureandGroundwasproposedbyaDanishpsychologistcalledRubinin1915,whichisimportantasfundamentalpsychologicalpatternsandformsthebasisofagreatdealofworkincognitivescience,basedontheprincipleofprominence.“If2 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究wedidnothavethefacilityforcreatingadifferencebetweenfigureandground,thenwewouldonlybeabletoperceivea„flat‟fieldofinterlockingshapesandcolorsinourenvironment”(Stockwell,2002:15).Whenobservinganobjectinsurroundingenvironment,weusuallytreatthisobjectastheprominentfigureinourperceptionalfieldwhiletreatingthesurroundingenvironmentasground.Suchphenomenonistheso-calledprominentprinciple.Rubin‟sfamousillusionoffaceandvase(SeeFigure1)confirmstheexistenceofperceptualprominence.Nobodycanperceivefaceandvaseatthesametime.Theimagecanbeseeneitherasablackvaseonawhitebackground,orastwohumanprofilesfacingeachotheragainstadarkbackground.Inthiscase,youcanflipyourperceptionfromoneviewtotheother,reversingthefigurethatyouseewitheverythingelsethatisinthebackground,butitisverydifficultnottoseeoneasfigureandtherestasground(Stockwell,2002:2).Gestaltpsychologiststhinkthatperceptualfieldisdepartedintofigureandgroundingeneral.“Figure”referstotheprominentpartofcognitiveconceptionandperceptionwhichisnotedbypeople,while“ground”referstothevagueorimmaterialpart,whichhasthefunctionofmakingthefigureprominent.Thereasonwhytheperceptionoffigureandgroundisadirectedresultofhumanexperienceisthatpeoplealwaystreatanobjectorconceptasacognitivereferencepointtoexplainanotherobjectorconcept.Here,the“figure”isthereferencepointfor“ground”.Figure1Face/vaseIllusion(Ungerer&Schmid1996:157)图1-1Thepartofavisualfieldortextualfieldthatismostlikelytobeseenasthefigure3 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究willhaveoneormoreofthefollowingfeaturesthatmakeitprominent:1)itwillberegardedasaself-containedobjectorfeatureinitsownright,withwell-definededgesseparatingitfromtheground;2)Itwillbemovinginrelationtothestaticground;3)Itwillprecedethegroundintimeorspace;4)Itwillbeapartofthegroundthathasbrokenaway,oremergestobecomethefigure;5)Itwillbemoredetailed,betterfocused,brighter,ormoreattractivethantherestofthefield;6)Itwillbeontopof,orinfrontof,orabove,orlargerthantherestofthefieldthatisthentheground.(Stockwell,2002:15)PeterStockwellclearlyexplainsthecharacteristicsoffigureandground,soastoofferatheoryfoundationforelaboratingtextsandbecomethecriterionfordistinguishingfigureandgroundwhenweareanalyzingatext.Broadlyspeaking,thefigureisperceivedasbeingshownthatitismorelikelytobeindentifiedandremembered,sothe“figure”and“ground”canbeexactlytracedbyreaderswhiletheyarereadingatext.Thisisadynamicprocesswherethecontentsofthetextcanbeshown.Thisisalsoadynamicprocessforsettingupfigureandground,soastoproducebreathtakingpicturesandeverlastingcommonsenseinreaders‟mind.ItisconfirmedbyGavins&Steen(2003)whosaythattheformingoffigureandgroundinliteraryworksmostlyliesinthedynamicmovementofreading,whichwillproducestrikingimagesandpersistentresonancesinthemindofareader.Theconstructions,connotationandassociationofliteraryworkscanbeestablishedduringthisprocess.Asbeingmentionedabove,“figure”referstothefocusingpartnotedbypeoplewhilethe“ground”istheparttofoil“figure”.Andtheface/vaseillusiondescribestherelationsbetweenfigureandgroundvisually.Peoplewillhavetworesultsintheirmindwhentheyobservethispicture,becausehumanbeings‟brainwillobeyaprincipleoftheseparationoffocuspointandground,thatis,theprincipleoffigureandground.Asoneoftheprinciple4 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究ofGestaltpsychology,figure-groundsegregationisapplicabletofindoutwhichpartsofnaturestandoutinthisrelation.Figureandgroundreversalisanothercommonandpopularmethodwhencreatingaliterarywork.Itbreaksawayfromtraditionalwayoflogicalthinking.Thefigureshouldbefuzzifiedsoastohighlighttheground.Ingeneral,thecognitiveapproachoffigureandgroundisagoodwaytoexplainawork‟screatingmethods.Also,itoffersanewviewpointforscholarstoexploretheworkthroughhumancognitivemechanism.1.1.2.2CognitiveApproachofConceptualBlendingThecognitiveapproachofconceptualblending,alsocalledthecognitiveapproachofconceptualintegration,isanewapproachprevailinginthefieldofthewestlinguisticsin1990s.ItdevelopedonbaseofthetheoryofmetalspaceandisoriginallyproposedbyFauconnier(1997)inhisbooknamedMappinginThoughtandLanguage.OthermainrepresentativesareTurner,GradyandCoulson.Thekeypointoftheconceptualblendingtheoryistreatedasakindofcognitiveprocessforhumanbeingstothink,especiallyovercreativethinkingwhichisakindofbasicandcommoncognitivewayofhumanbeings.Howhumanbeingsusetheinformationoflanguageandbackgroundknowledgeintheprocessofconstructingactualmeaningsisaproblemthatmanyscholarssticktosolveconstantly.Intradition,cognitivescientistsuse“frame”tosolvethisproblem.Unfortunately,theframesystemisstaticwhiletheusagesoflanguageareflexible.Theconceptualblendingtheoryprovidesagoodwaytodealwithnaturelanguagebecauseitisaseriesofcognitiveactivitiesthatcombinetheframeswithdifferentcognitivefields.InthebookMappinginThoughtandLanguage,Fauconniermentionedamodeloffourspaces,inwhichtheconceptualblendingapproachinvolvesfourmentalspaces:twoinputspaces(InputSpaceI1andInputSpaceI2),onegenericspaceandablendingspace.Thismodelformsaspacebywhichtheon-linemeaningofthenaturallanguagescanbeconstructedandthefourspacesconnectwitheachotherincludingtheelementscontained5 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究inthem.ThemodelisshowninFigure2:Figure2(FauconnierandTurner2002:46)图1-2ThecognitivesubjectselectssomepartsofinformationwhichcanmatchwitheachotherfromtheInputSpaceIandInputSpaceIIandthenmapintotheblendingspace;thefunctionofthegenericspacewhichcontainsthemutualelementsofbothinputspacesistoguaranteethemappingtobecarriedonsuccessfully;intheblendingspace,thecorrespondingpartsofthetwoinputspaceswillbeusedorexploitedtoblendsothatacomplexoranewthingwillbeformed.Infact,theblendingspaceisastagetobeprovidedfororganizinganddevelopingthesespaces.Theprocessofblendingincludesaconstructionwithcreativityandimagination,thatis,anemergentstructurewhichwillcreatenewinformationbeyondtheoriginalinputspaces.Readersthereforecanachievenewknowledgethroughthisproducedmeaning.Thesefourspacesconnectwitheachotherbyaseriesofmappingmechanismandformaconceptualintegrationnetwork.Thisisacognitivewaythatpeoplecanknowtheworld,formtheirthinkingandlanguageanddeveloptheirtechnology.Itisalsoawayforexplainingwhypeoplecanowncreativethinking,whytheyhavesoprofoundimaginationandwhytheycangetconceptsand6 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究comprehension.Thereasonwhytheblendingspacecanexplaintheemergentstructureisthatthisspaceemphasizesthedynamicandcreativefeaturesintheprocessofblending.Itisthefoundationforpeopletoformtheirimagination.Fauconnier&Turner(2002:389-396)pointoutthattheconceptualblendingtheoryisawayforustostudyandtounderstandandanecessarywayforustosurvive.Itissodifferentfromthetraditionaltheorythattheconceptualblendingtheorycantakethecontextknowledgeandbackgroundinformationintoconsideration.Soduringtheprocessofintegratingtheinputinformation,amassofnewmeaningswillcomeintobeing.1.2LiteratureReviewonOdetotheWestWindOdetotheWestWindisanoutstandinglyricpoem,inwhichthepoetappliedkindsofrhetoricaldevices.Shelleynotonlydescribesthenaturalscenes,butalsointegrateshisideasandemotionsinthepoem.Thenaturalscenescreatedwithhisabundantimaginationsarethedistinguishedfeaturesofthispoem.What‟smore,therhythminthewholepoemislively;theemotioniseffusive;andtheconnotationisprofound.Inaword,thepoemnotonlyexpressesShelley‟sdeeplovefornature,butalsoeulogizesthespiritofbreedingnewthingsandpowerofcrushingdriedweedsandsmashingrottenwoodbythewestwind.Meanwhile,theoptimisticspiritofthemust-bevictoriousrevolutionisshowninthepoem.Andthelastlineofthepoem,“IfWintercomes,canSpringbefarbehind?”hasbecomeawell-knownsayingquotedallovertheworld.Asafantasticarttreasurethroughouttheromanticlyricpoetry,itiswellacceptedbyscholarsandgeneralreadersbothathomeandabroad.Andasaworld‟sclassic,thispoemhasbeenresearchedfromvariouspointsofviewsandhasgotteninnumerableachievements.Generally,thepreviousstudiesonthispoemhavebeenconductedfromtheperspectivesofromanticism,theme,translation,andsoon.7 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究1.2.1StudiesAbroad1.2.1.1ResearchesfromthePerspectiveofRomanticismthRomanticismwasaprevailingliterarymovementinthemiddle18centuryEuropethuptotheearly19century,withthemajoremphasesofabundantimagination,uniqueindividualism,emotionalintuition,richinspiration,andloftyidealisminitsliterature.Itcannotonlydepictthethingsofnaturevividly,butalsodescribethehistoricaleventsconcretely.Inthisage,writersalwaysputtheirownemotionsandimaginationinthefirstplaceandcriticizetheinjusticeofthatsociety.OdetotheWestWindhasattractedagreatnumberofscholars‟attentionbecauseofitsspecialtechniqueofexpressionandprofoundmeanings.Mostofthemconducttheresearchonthispoemfromtheviewpointofromanticismandhighlyregardthispoemasaclassicworkofromanticism.Accordingly,romanticliteraturebelongstoanewideologicaltrend,makingthespiritofhumanisminrenaissancereappear.Foreignscholarsalwaysanalyzethispoemfromtheperspectivesofnature,imaginationandShelley‟swills.BasedonShelley‟ssocialbackgroundandpoliticalassertion,hewasregardedasapositiveromanticpoet,arevolutionistandanidealist.SoscholarsalsofocusonhisdemocraticideasandcomparehimwithnegativeromanticpoetssuchasWilliamWordsworth.ADefenceofPoetry(1821)composedbyShelleyisaimedtofightfortherightofromanticpoetsandtheirpoems,whichhasbeenafamousworkinEnglishliterarycriticism.Inthisbook,Shelleyregardedpoetsasthe“unacknowledgedlegislatorsoftheworld”andadvocatedthecreatingprinciplesofromanticpoemsandemphasizedpoems‟creationrelyingonpoets‟inspiration,imaginationandfeelings(Norton2006,vol.2:850).Healsoemphasizedtheactivenatureoftheimagination,describingpoetryas“vitallymetaphorical”.Hemadeadistinctionbetweentwodifferentoperationsofthemind,twodifferentprocessesofthought:reasonandtheimagination(SharonRuston,2009:105).8 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究AccordingtoShelley‟sattitudetopoetsandpoems,scholarstrytoanalyzetherelationbetweenreasonandtheimagination.The“ode”wasaclassicalformmadepopularbytheancientpoetsPindarandHorace,buttheRomanticschangedandadapteditfortheirownuses.Anodeisusuallyaddressedtosomethingspecificbutthepoetusesthisoccasiontoexpresshisorherfeelings,thoughtsandmood.Romanticodesareoftenself-reflexive,musingonpoetrythoughexplicitlycontemplatingonaworkofart,suchasShelley‟sOdetotheWestWind(SharonRuston,2009:67).WilliamKeachoffersareadingofthelastsonnetthataccepts“deathandchange”.Incomprehendingharmony,heseestheprocessinthedualtermsoftriumphandloss,“thefiercetriumphoftemporallifetowhichimaginationanddesireandwillthemselvesbelong;thatiswhatShelley‟sstyleworkspersistentlyandbrilliantlytorealize”(Keach,1990:40).Blank(1988)analysessomeofShelley‟simportantpoems,includingOdetotheWestwind.HethinksthatsomeofShelley‟sbestknownpoetryisaboutinfluence,anddirectlyrelatedtotheproblemsofcreativityandinspiration.1.2.1.2ResearchesfromthePerspectiveoftheThemesInthelightofthetitle,itisapoemtoeulogizethewest.Associatedwiththesocialbackgroundwherethepoetlivedin,thepoemiscrowdedbydeepermeaningandthewestwindrepresentsapowerfulforceratherthanakindofnaturalphenomenon.Becausethispoemwascreatedwithrevolutionaryspirits,itisalwaystreatedasapoemforinspiringpeopletofightagainstbourgeoisdictatorship.Sothethemeofrevolutionhasbeendiscussedsofar.LikeByron,Shelleywasarebelagainstthecommonconventionsofsociety.HewasborninawealthyandaristocraticSussexfamily,butbythetimehehadcometoearlyyouthhehaddevelopedthemostadvancedviewsuponmostofthequestionsthattroublethemindofman.Hisrebelliousnesswasbasedupongeneralhumanitariangrounds,and9 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究uponhisdesiretoregeneratemankind.Somanyscholarstrytoexplorethethemeofhisrebelliousness.Shelleywasananarchistinthestrictsenseoftheword,becausehewasopposedtoallgovernmentforms,yethehadnoviolence,andrelieduponpurereasontoconvertmentohisviews.Scholarstrytolinkhisnonviolencewiththepointthatromanticpoetsthinktherelationofhumanandnatureisharmoniousforevertoexploretheharmoniousthemeinthispoem.EdwardDuffy(1984)regardsOdetotheWestWindasapoemaboutverbalpower,andthewindasaGod-figurenarrowedintothepolitical,socialandculturalsphere.InJohnson‟soverviewofOdetotheWestWind,headvisesusnotonlytofocusonthesurfaceofthispoemwhichseemstodescribenature,inessenceithascertainlevelofpoliticalsignificance.Thepoetindirectlycompareshisvoicetothatofthespringwind‟s“clarion.”Aclarionreferstowartrumpetwhichwasdescribedtosoundinthespring.Thismaypointtoabeneficialpoliticalrevolutionoccurringafterawintryperiodofthedeteriorationofsociety.“Ifalluponthethornsoflife!Ibleed!”Thisdemonstratesthathehasfullypreparedtosacrificehislifeforrevolutionatanytime.1.2.2StudiesatHomethEarlyinthe20century,Shelley‟spoemshadcomeintoChineseeyesight,whichhaveagreateffectonChinesepoemsin1930s.ThefamousscholarssuchasLuXun,GuoMoruo,XuZhimo,SuManshuandWuMiweredeeplyinfluencedbyShelley‟sthoughts.Amongthem,XuZhimowascalled“ChineseShelley”becausemostofhispoemsuchasTianGouandthePraisetotheSunaresimilarwithShelley‟sOdetotheWestWind.Itoffersastudypointforthelatergenerationtocomparethesetwopoets.XuZhimo(1931)oncesaidthatinShelley‟spoems,thereisasoulineveryword;itislikeabigconcertifmostofthewordsarecombined,playinguponreader‟sheartwithtunefulmusic(cf.ZhangJian,2011:2).Itseemsthatscholarshavebeguntostudythebeautyinwordsandrhymeof10 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究OdetotheWestWind.Becauseofthesocialbackgroundatthattime,Chinesescholarspaidmoreattentiontotherevolutionaryconnotationofthispoem.Eveninthefirst30yearsaftertheestablishmentofNewChina,Shelley‟srevolutionarypoeticsarealsowellaccepted.MarxoncejudgedShelleyasarevolutionistinessence,andheisamemberofthesocialistpioneersforever.“Shelleydiedwhenhewas29yearsold.Weshouldbesadforhisdeath,becauseifheisalive,hewillbearevolutionistforever”(ChenJia,1982:118).Inthistime,therewereseveralcharacteristicsoncommentingShelley:firstofall,theattitudesofthepoettorevolutionbecomeacriterionforweighinghisartisticvalue.ThescholarsFanCunzhongandYangZhouhanemphasizedtoexploreShelley‟srevolutionandrebelliousness.“InOdetotheWestWind,thepoeteulogizesbothsides(destroyerandprotector)ofthewestwindwhichburiesthedeadthingswhilesowingforthenewworld.Shelley‟sheroicandunrestrainedrevolutionaryemotionisfullyexpressedinthispoem”(YangZhouhan,WuYuanda&ZhaoLuorui,1979:66).InthetranslationofWangZuoliang,hesaid,“ThereasonwhyOdetotheWestWindispopularisthatthispoemisfulloftherevolutionaryidealismandoptimism,especiallythelastline:IfWintercomes,canSpringbefarbehind?”TotheChineseandtheSovietUnionscholars,thewestwindwascomparedtotheseaswallowdescribedbyGorky.Atthebeginning,thispoemhasbeenasoul-stirringpoemforChineserevolutionarytofightagainsttheimperialismandoppressionwhentherevolutionandrebellingbecamethevitalthemeonpeople‟slips.Aftertheeraofreformingandopeningtotheoutsideworld,namely,inthelast30yearsofnewChina,thepoemsofShelley,whichhavenotbeenstudiedforseveraldecades,arepopularagain.However,atpresent,theunderstandingonthispoemisnolongeronitsrevolutionaryspiritonly.Duetotheintroductionofthewesternliterarycriticism,theacademicfieldachievesmuchfreedomaspossibleasitcan,whichreleaseshugeenergyofscholars‟thoughtslater.Thestudyisbroadenedinmanyfields,suchasShelley‟spoeticidea,moralideaandaestheticidea,etc.Atthistime,criticsturntothepoeticforms,exploringShelley‟saestheticidea,thebeautyofrhymeandformsinthepoemratherthantostudytherevolutionaryorpoliticaltheme.InthepaperofWang11 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究Jiangzhong(1982:74),hetriestoanalyzeShelley‟spoeticideasfromfiveaspects,namely,excitingemotion,abundantimagination,beautifullanguage,vividmetaphorandskillfulcontrast.OdetotheWestWindistreatedasanexampletobeanalyzedinthispoem.Thepaper“Shelley‟sMovingCloudsandDeadLeaves”publishedbyLuJiande(1993:27),offersusaliteraturereviewofmorethanhalfcenturyonthesecondstanzaofOdetotheWestWindintheliteraturefieldofEnglishandAmerica.Besides,ZhuPing(2007)andWangHonghui&ShenHongmei(2012)alsopublishedthepapersaboutpoet‟spoeticideasoftheseaspects.Inthepaperbyscholar,ZhengMin(1993),Shelley‟scriticismtoutilitarianismandscientismwasmentioned.HehasanalyzedthesocialbackgroundsuchasmoneyworshipandmaterialismwhenShelleystayedin,andthenemphasizedShelley‟spoeticidea,whichisbeneficialformodernsociety.Accordingtothis,somescholarstrytoexplorethispoemformtheperspectiveofecologism,aimingtoexploretheharmoniousideaofthepoetonmanandnature.ScholarsalsoexploreitsrelationswithPlato,RousseauandPaineintheperspectiveofjusticeandfreedom.ThestudytendstodigoutShelley‟spoliticalphilosophy,hisreligiousthoughtsandmoraloutlook.WangLiping‟sOnShelley’sMoralOutlook&ItsArtisticManifestationwaswrittenin2005,attemptingtohighlightShelley‟smoraloutlookwithhiscontemporarypoetssoastoletreadersdeeplyunderstandShelley.Inotherwords,readerscanlearnShelley‟sdualidentity—idealistandpoet.ZhaoJuntaowroteAResearchontheRelationshipbetweenShelleyandtheBiblein2007,explainingtheembodimentofChristinhispoemsandShelley‟sattitudetoChrist.ItchangedShelley‟simageofirreligionandskepticismwhichusedtobethoughtinreaders‟mind.Suchachievementshavebroadenedanewpathfordomesticstudy.LongRuiying&LiZeng(2009:72-73)saidinTheChristianComplexofPercyShelley,“ThereisstrongChristiancomplexunderShelley‟smaskofskepticism,whatheopposesistheSecularChristianchurchratherthantheoriginalmeaningofChristianity.”ZhaoJuntao‟s(2010:47-49)anotherpaper“Shelley‟sViewonChristianityfromthePerspectiveofHermeneutics”also12 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究gotsuchsimilarconclusion.TheimageoftheJesuscreatedbyShelleyiskind,denyingtheinfernoandstickingtoequality.AlthoughmostofShelley‟spoemsareresearchedfromthesepoints,OdetotheWestWindisseldomtobeinvolved.Inaddition,Shelley‟spantheismisgraduallycomingintothefieldofstudy.ZhangDeming‟s(1993)WitchcraftMotivationofOdetotheWestWindtriedtolinkthispoem‟sstructurewiththeancientwitchcraftceremony,thinkingthatthereiscertaintelepathybetweenShelleyandstormwhichisnodifferencetothetelepathyreflectedbythewizardwhentheyareengagedinwitchcraftactivities.Exceptfortheaspectsofpoetics,politicsandreligiousthought,therehavebeenalotofachievementsinthefieldofartisticcharacteristics.ZengLingfusaysinhisanalysisofOdetotheWestWind,“Theformofthispoemisverycomplex,thestructureexquisiteandthecontentplentiful.Inparticular,theimagerywhichcanenlightenpeople‟smindismeaningfulandthought-provoking.ThethemeofthispoemcannotbeclarifiedataglanceorexplainedinonesentencebecauseofShelley‟swritingskill—symbolism.Zengconsidersthecentralimage,thewestwindasasymbolwithgreataestheticvalue(ZengLingfu,1990:30).InoneofJinDonglei‟sbooks,whentalkingaboutShelley‟spoeticstyle,hesaysasfollowings:“Thestrongpointofthistalentandromanticpoetisthathispoemsaredreamyandimaginative.Ifwedonotknowthemeaningsofthepoem,wecanalsofeelthespiritofthepoemimmediatelyonlyifwereadShelley‟spoem(JinDonglei,1937:274).”InOdetotheWestWind,therearesomanyrhetoricdevicesbeingapplied.Shelleyexpertlyusedtherhetoricdevicessuchassymbolism,alliteration,personification,paradox,metaphor,etc.Thelanguageofthewholepoemisgraceful,theimaginationmagnificent,thethoughtprofoundandtheemotionintensive.Amongtheserhetoricdevices,personificationandsymbolismarecontinuouslyinvestigated.Also,theimagesofthispoemarewellstudied.Besidestheabundantimageryandingeniousrhetoricdevices,therhymeeffectisanotherpointofthispoem‟sartisticcharacteristic.Poemisakindofmusichiddeninwordagewhilethemusicisthepoeminwordage.Oneoftheaestheticvaluesofpoetryis13 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究showninmusicality.LuoTingtriestoanalyzetherhythmicelementssuchasmasculinerhymeandalliterationtoexplaintheartisticconceptionofthispoemsothatreaderscanenjoythemelodyofthispoem.TheclangingsyllablesandgracefulrhythmsshowtheloftyidealanduntremmelledemotionofShelley.(LuoTing,1994:25)LiSujuan&ZhouSupingattempttorepresentthepoet‟screatingskillofparadoxfromtheperceptionsofimproperrhetoriccollocationsandcontroversialstructures.(LiSujuan&ZhouSuping,2012:137)Asanobjectivetostudy,Shelleyisrepresentedindifferentimagesalongwiththedevelopmentofthehistory.OnOdetotheWestWind,theproblemswhichwouldnotbeinvolvedbeforecomeintoscholars‟eyesightnowbecauseofthediversifiedviewpoints.ItcanbesaidthatthestudyofShelleyinChinaexperiencesaprogressfromarevolutionisttoapoet.ScholarsprefertofocusonShelley‟scharacteristicasapoetwhichisalsoworthofstudying.Thescopeofvisionsbroadenedmakesthestudyachievementsincreasesharply,formingaboomperiodofShelley‟sstudy.1.3TheInterpretationonOdetotheWestWindfromCognitivePoeticsFromthegeneralsurveyofthetraditionalstudyofShelley‟sOdetotheWestWind,somanyachievementsinthestylistics,linguistics,poeticsandtranslationhavebeenachievedathomeandabroad.Inrecentdecades,thetheoryofecologybecomesahottopic,sothetheoryiscarriedoutonthestudyofthispoemgradually.Asitisexpoundedabove,thispoemhasbeenappreciatedbythestylisticfeaturesofrhythm,metrics,languagestyle,andrhetoricdevices.Accordingly,anewstudyonthetextualcohesionofthispoemfromtheperspectiveoffunctionalstylisticshasbeencarriedouttoprobeintothenewinterpretationsofthepoemfromtheouterandinnertextofthepoem.ChinesescholarsalwayscarrytheresearchesonthispoemfromthosetranslatedrepresentativesofGuoMoruo,WangZuoliang,JiangFeng,BianZhilinandShiYinzhou.Theyattempttofindouthowthewesternpoeticsaffectthetranslatorslivingindifferentperiodsandcountries.14 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究SomestudiesalsouseOdetotheWestWindasthetexttoanalyzethetranslators‟autonomyinsystems.Apartfromtheseachievements,eitherinthefieldoffunctionallinguisticsorinthefieldofhermeneutics,thispoemiswellacceptedtobeanalyzed.AlthoughtherearesomanyresearchesonOdetotheWestWindandhavegotalotofachievementsinvariousfields,thestudyonthispoemfromtheperspectiveofcognitivepoeticshasnotattractedmuchattentionfromdomesticscholars.Thispapertriestoprobeintothispoembyapplyingthistheory,hopingthatitnotonlyprovidesanexampletoanalyzethetextbythecognitivepoetics,butalsoopensupanewwayforthestudyofthispoem.Asanewmethodofliterarycriticism,Cognitivepoeticsappliestheconceptionsofcognitivelinguisticsandcognitivescienceintothestudyofreadingliterature.Itthinksthatliteratureisaspecialwaynotonlytoexpresshuman‟sexperienceindailylife,butalsoembodyhuman‟scognitiontotheworld.Thispaperattemptstoexplainthethemeandthelanguageofthispoemfromtwomajorcognitiveapproachesofcognitivepoetics,thatis,figureandgroundandtheconceptualblending.Sincethesetwomethodsareallconcernedwithhowreaders‟mindrunwhentheyarereadingthepoem,thecognitivepoeticscanprovidesomekindofreliablecognitivefoundationforreaderstoexplainliterature.Moreover,theconceptualblendingcanhelpreadersresearchtheheartofShelley‟spoemmoredeeply,digouttheconnotationsmoreprofoundlyandappreciatethetruemeaningandbeautyofhispoemmorewidely.15 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究ChapterTwoOntheProminenceoftheThemeinPerceptualField2.1AnalysisinTermsofCognitiveApproachofFigureandGroundWhenreadersarereadingatext,theyareoftenattractedbysomeobjectsthusspeciallyremembertheminmind.Forexample,supposetheyarereadingafiction,theprotagonistwouldalwaysleaveadeepimpressiononthem.AccordingtoStockwell(2002:15),inmostnarrativefiction,forexample,charactersarefiguresagainstthegroundoftheirsettings.Theyhaveboundariessummarizedbytheirpropernames(„Beowulf‟,„Hamlet‟),andtheycarryalongorevolvespecificpsychologicalandpersonaltraits.Noexceptioninpoems,readers‟attentioneasilyfocusesonspecialimages.Thephenomenonthatreaders‟attentioniscaughtsuitsforthecognitiveprincipleoffigureandgroundtheory.Therearetwocognitivefieldsinhumanmind,namely,figureandground.Figureisthesalientpartandthefocusofattentionwhilegroundistherelativelysilentandstaticpart.What‟smore,figureandgroundwillnotbeperceivedatthesametimeandonlyfigurecanbecognitivefocus.Iftheimagesoftheobjectsorprotagonistsinpomesorfictionsaresuccessfullycreated,itmeansthatthefiguresaresetupintexts.InbookCognitivePoeticsinPractice(2003:13),Stockwell(2002)developsthecognitiveunderstandingoffigureandgroundinordertoexaminestylisticforegroundingandhowaliteraryworktakesareader‟sattention.Hethinksthatreadingisadynamicprocessof“figuring”and“grounding”whichcanproducestrikingimagesandpersistentresonancesinreaders‟mind.Andinthisdynamicprocess,literarytexture,connotationsandassociationscanbebuiltup.Thedevelopmentofafictionalwaysfollowsthedevelopmentofaprotagonist,becausehe/sheislikelytobethefocusofthenarrative,movingthroughdifferentsettings.Soisinreadingapoem.Readers‟attentionwillmovealongwithprominentimages.Occasionally,thesettingcanthematicallybecomethefigure,emergingoutofthebackgroundtoassumeafigurestatusinthetext.Thereversaloffigureandgroundisawaytopromotethe16 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究progressofreading.Allinall,readingatextisadynamicprocessof“figuring”and“grounding”.So,itisfeasibleandreasonabletoanalyzeOdetotheWestWindthroughthecognitiveapproachoffigureandground.Inthischapter,thefigureandgroundwillbeanalyzedbythewayofclose-reading,andthereversalanddynamicmovementsbetweenthemwillberepresented.Basedonthiscognitiveapproach,notonlytheperceptualmeaningaboutthethemecanbeperceived,butalsothefocuspointscanberecognizedreasonablybyreaders.Duringtheprocessofanalyzing,thecreatingbackgroundandtheinfluenceofFrenchrevolutiononthepoetwillbecombinedtomeditatetheinnerheartofShelley‟satthattime.Thecreationandinterpretationofpoemsusuallyinvolvecomplicatedmentalityandcognitiveelements.Figureandgrounddevelopasacognitivepatternbasedonpsychology,soitcanofferastronginterpretationforatextandofferakindofreliablecognitivemotivationforreaderswhentheyarereadingatext.2.1.1KeyTermsinCognitiveApproachofFigureandGroundBeforeanalyzingthepoem,threekeytermsshouldbementioned,becausetheyarebasiccognitivemotivationtodistinguishfiguresandgroundsintextualreading.Oneis,foregrounding,themostobviouscorrespondenceofthephenomenonoffigureandground.Stockwell(2002)describesforegroundinginsuchway:Certainaspectsofliterarytextsarecommonlyseenasbeingmoreimportantorsalientthanothers.Itcandefamiliarisethesubject-matterofliterature,estrangingreadersfromaspectsoftheworldinordertopresenttheworldinacreativeandnewlyfiguredaway.Foregroundingwithinthetextcanbeachievedbyavarietyofdevices,suchasrepetition,unusualnaming,innovativedescriptions,creativesyntacticordering,puns,rhyme,alliteration,theuseofcreativemetaphorandsoon.Thesettingof“figure”and“ground”isjusttomakefigureprominentagainstthebackground.Theeffectofforegroundingwillbeproducedifthebackgroundissalientbyneglect.Anotherkeytermisimageschemas.Innarrativefictions,charactersarecommonly17 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究treatedasfigureswhiletheirsurroundingasbackground.Eitherinspaceortime,theymoveacrossthebackgroundalongwithafiction‟sprogresseswhichisusuallyrepresentedbytheverbsofmotionandthelocativeexpressionswithprepositions.Incognitivescience,locativeexpressionsofplaceandtimeareunderstoodasimageschemas.Stockwell(2002:16)definesitas:Imageschemasarementalpicturesthatweuseasbasictemplatesforunderstandingsituationsthatoccurcommonly.Andhealsosaysthatwebuildupimageschemasinourminds,andwetendtoshareparticularimageschemaswiththecommunityinwhichwelive,onthebasisofourlocalbodilyinteractionwiththeworld.Inimageschemas,theelementasthefigureiscalledthetrajectorwhiletheotherelementlinkingagroundedrelationwithitiscalledthelandmark.Trajectorsonpathsinrelationtolandmarksarethegeneralelementsinimageschemas.Thelastoneshouldbementionedisattention.Readingaliterarytextisdynamicexperience,involvingaprocessofrenewingattentiontocreateandfollowtherelationsbetweenfigureandground(Stockwell,2002:18).Attentionisselectiveratherthananundiscriminatingblanketphenomenon.Inavisualfield,certainelementsareselectedforattention,andwillberegardedasfigurestypically.Itmeansthatthebackgroundinavisualfieldisdeselectedorneglected.Inthefieldofcognitivepsychology,themetaphorof“spotlight”isusedasamethodtounderstandthefocusofattention,soisinthefieldofstylistics.Themovementofspotlightdependsonwhichobjectisthemostinteresting.Whatreadersfocusonisinfact,elementsinviewthatremainstaticareswiftlylosttoattentionbecauseattentionistypicallycaughtbymovement.Thatistosay,thekeyofattentionrelieson“newness”:literatureisactuallyadistractionthatpullsattentionawayfromoneelementtoanothernewlyrepresentedelement.Intheprocessofthisdistraction,thepulledobjectsordevicesarecalledattractors.Ifone‟sattentionisfocusedonanobject,hewillfollowtheobjectasitmoves.Attractorsmoreoftenwillbeplacedatthebeginningofthesentencewithinatext.Allinall,thetraitofthesethreekeytermsistoconferprominenceonthefigurethatdifferentiatesitfromtheground.18 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究2.1.2TheWestWindAsaFigureinthePoemInthelightofthepictureofface/vaseillusiondescribedinthepreviouschapter,itisobviousthatfigureandgroundinvisualfieldcannotbeperceivedatthesametime.Thatistosay,ifapersonseestheimageoffaceinthispicture,hemeanwhilecannotseetheimageofvase.Suchphenomenonisproducedbytheprincipleoffigureandgroundsegregation.Intheperceptualfield,gestaltpsychologiststhinkthatsomeobjectsarefigurebemadeoutwhileotherobjectsasgroundbyneglect.Thereasonwhysuchphenomenonisproducedisthatthereisselectivityintheperceptualfieldofhuman,whofirstpullssomerelatedcontentsoutofthecomplicatedenvironmenttoorganizetheperceptualobjectsandtherestofthecontentswillbecometheground.SotheselectionandsegregationoffigureandgroundisnotarbitrarybutshouldobeythePragnazlawinGestaltpsychology:theobjectswithmoving,smallandintactcharacteristicsareeasytobeperceivedwhiletheobjectswithnoboundaryandstaticcharacteristicsareeasytobeneglected.Theformer,asthefigure,isthefocuspartofattention;andthelater,astheground,isthefoilparttomakethefigureout.Infact,thisprinciplereflectsaconceptofprominenceinvisualfield.Commonly,humanattentioniseasilytobeattractedbytheprominentobjects,astheprominentfeatureofthefigureismuchmoreobvious,soinourdailylife,whatmostpeoplenoticeonthefigureandthegroundisignoredintheircognitiveperception.However,poetsareusuallysensitiveinexperiences.Theycanalwaysperceivetheforgottenthingsindailylifeandendowthesethingswithmeanings.Asfarasitisconcerned,thelanguageinpoetryisalwaysrefinedandconciseincommon.Comparedwithfiction,howtoexpressemotionsaccuratelyisratherdifficultforthepoetsthemselves.Thequintessenceofcreatingapoemistochoosethesubjectstodescribecarefully.Therefore,thedescribedobjectsarenotarbitrarybutselective.Inthevisualfield,bothfigureandgroundareentities.However,inliterarylanguageit‟snotsurewhethertheyareentitiesornot,becauseagreatnumberofthemwillbeconceptualized.Thus,thepoeticlanguagecanbetreatedasakindofvisualfieldinabstraction.Aspoetsalwaysexpress19 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究theirfeelingsandthoughtsbythesechosenobjects,theprocessofreadingthetextsissuitablefortheprocessofdistinguishingfiguresfromgroundsinessence.Poemsarekindofliterarygenreswithcreativityinwhichsomanyamazedimageswillbecreatedorchosenbypoets.ImagesaboundlargelyinShelley‟sfamouspoemOdetotheWestWind.However,inthispoem,itisanamazingthingtofindthatShelleydestroyedthisprinciplethatwouldbeachallengetotraditionalviewpoint.Asforthetitle,itisobviousthatitisanodetopraisethewestwind.Asfarasitisconcerned,thewestwindisacommonnaturalphenomenoninautumn,noexceptionintheWesternEurope.Andthewestwindcannotbeseeninreaders‟visualfield,soitisimpossibletodescribeitsshape.Withtheintangibleandcommoncharacters,thewestwindisnotsuitableforthecharactersasafigure,therefore,itisnotprominentenoughforpeopletorememberornoticebutcanalwaysbeviewedasgroundindailylife.However,inthispoem,Shelleychoosesitasanobjecttoeulogize.Atthebeginningofthepoem,Shelleystraightlywrotethewestwindas:“OwildWestWind,thoubreathofAutumn‟sbeing”.Firstofall,Shelleyusestheconsonant/w/threetimesandthefirstletterofthewords“west”and“wind”arecapitalized.“wildWestWind”isputintheplaceofforegroundingattractedreaders‟sightsimmediately.Therelationoffigureandgroundisembodiedinlocativerelationandtimerelationduringthelanguagespace.Asithasbeenmentionedbefore,imageschemasarementalpicturesthatweuseasbasictemplatesforunderstandingsituationsthatoccurcommonly.LanChun(2006:58)makesaconclusionofimageschemas:theyareakindofdynamicmodelappearedrepeatedlyduringourperceptionandtheprocedureofbodyworks,soastomakehumanbodyexperiencehaveconstructionandcontinuity.Withinimageschemas,oneoftheschemas----containerschema,isproducedinpeople‟sdailylife.Apersonwillconstantlyundergotheexperienceofbeingcontainedbydifferent“containers”amonghisenvironmentsuchaspassinginandoutdifferentroomsandbuildingandsoon.Becauseofthisexperience,itmakesreaderseasilyunderstandthatthissentencehasakindofrelationofcontaining,namely,autumncontainsthewestwind.Autumnisaseasonwhilethewestwindisoneofthenaturalphenomenaproducedinthis20 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究season.Intherangeoftimespace,thetimeof“autumn”sustainsmuchlongerthan“thewestwind”,sothewestwindiseasilytobeafigurerelativetoautumn.Inaddition,Shelleydescribesthatthewestwindisthebreathofautumn.When“thewestwind”iscomparedtobreath,itisthusclearthat“thewestwind”isveryimportantinautumnjustlikesthebreathofhuman.Thestatusofthewestwindinautumnisraisedtoahigherdegreeatonce.Throughtheanalysisoffigureandground,Shelleysuccessfullycreatestheimageofthewestwindasafigurebeingnoticedbyreadersatthebeginning.Inthispoem,Shelleysetsobjectwithnoboundaryfeatureasafigure.Suchcreatingmethodproducesauniqueartisticcharacteristicinthispoeminwhichpeoplefindthemselvesinanentirelynewworld.Itnotonlyhighlightsthe“ground”whichiseasytobeforgottenindailylife,butalsocreatesakindofshockedliteraryeffect.Sotospeak,theideasofShelleyarefantastic.2.1.3TheProminenceofthePoweroftheWestWindAliterarytextusesstylisticpatternstofocusattentiononaparticularfeature,withinthetextualspace.Theprecisenatureofthesepatternswillvaryaccordingtocircumstances,butattentionwillonlybemaintainedbyaconstantrenewalofthestylisticinterest,byaconstantprocessofrenewingthefigureandgroundrelationship(Stockwell,2002:18).Duringthisprocess,attentionisselectiveandtransferred,representedbythewayofreversalsoffigureandgroundincommon.Itcanalsobeunderstoodthatwhethertheprogressofreadingcanbecontinuedreliesonthecontinuedreversalsoffigureandground.Althoughthereversaloffigureandgroundisawaytopromotetheprogressofreading,itcanstrengththeimagesoffiguresfadedintothebackground,because“figureswhichfadeintothebackgroundbyneglectcanstillberemembered,eitherunilaterallybythereaderorwiththeactiveassistanceofcertaintextualfeatures.”(JoannaGavins&GerardSteen,2003:20)Thispoemexercisesaseriesoffigureandgroundreversalsatavarietyoflevels.Withthepreviousanalysis,thewestwindissuccessfullycreatedasafigurecomes21 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究intoreaders‟sight.Atthebeginningofthispoem,thepoetsetsoutthefigurewithimpliedgrounds:thenaturalthingsofautumn.Inreaders‟cognitivefield,westwindalwaysgivesthemafearfulimpressionbecauseofitscoldness.AndShelleycreates“wild”and“unseenpresence”imagesforthewestwindthatarousesreaders‟commonsenseintheirmindtosomeextent.Therefore,thewestwindisprominentlynoticedfromnowon.However,thewestwindcannotbeseenbutbefeltinreaders‟cognitivefield,sotheimagesofwildnessandunseenpresencemustberepresentedbyotherobjects.Asitisanaturallyric,theobjectsrefertonaturalthings.Readerscanjudgethewildimageofthewestwindthroughthephenomenaofnaturalthingsinautumn.Whilethesenaturalthingsareblendedinthebigbackgroundtomakethecharacteristicofthewestwindstandout,theybecomeimpliedgroundsatthebeginning.Inthefollowingdescription,“dead,yellow,andblack,andpale,andhecticred”leaveshavebecomeattractorscomingintoreaderssights.Here,Shelleymanagestotransferreaders‟attentionbyusingspecialadjectivestodescribeleaves.Thewestwindseemstobeblendedinthebackgroundatthismoment.Butitisnotthematteroffactbecausethepoetusesseveralverbssuchas“bedriven”,“fleeing”,“chariotest”tointensifytheunbodiedimageofthewestwind.Actually,suchdescriptionsaimtohighlightthedynamicstateofthewestwind.Inthelightoftheprincipleofprominence,comparingwithmotionlessobjects,themovingobjectsareeasiertocatchpeople‟seyesight.Inthispoem,trees,leavesandseedsaremotionlessinorigination.Theyaremovedtoeverywherebythewestwind.Sothewestwindisstillthefigurethatattractspeople‟seyesclosely.Shelleytriestohighlightthepowerofthewestwindthroughputtingtheformed,smallandmotionlessobjectsintheplaceofground,whichisnodoubtasuccessfulmethod.Anditisabreakouttochangereaders‟traditionalcognitivethinking.Bythisway,theimagesofthewestwindareshownsovisuallythatthereaders‟commonsenseisstrengthenedfurther.Mostofthereadersmaythinkthattherewouldbelotsofnaturalphenomenatobedescribedinthesubsequentsectionstohighlightthepowerofthewestwindfollowingthewritingatthebeginning.However,outofreaders‟expectation,spring,flocks,sweetbuds,andplainandhillaretreatedasfigureswithvividimageswhichattractreaders‟eyesight22 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究immediately.Meanwhile,thewestwindisignoredandbecomestheground.Readingliteraryworksisadynamicprocesswhichwillchangereaders‟attentioninthelightoftherelationoffigureandgroundbyreconfirmingthefigureandgroundonthebasisoftheinterchangeofattention.Indiscourse,ifatextwantstoattractreaders‟attention,itmustrelyontheliteraryformssoastoletreadersfocusonacertainpointofthetext.Onlyifthefeaturesofatextandtherelationofthefigureandgroundchangecontinuouslycanitkeepattractingreaders‟attention.ItisnodoubtthatsuchreversalsrepresentedalloverthepoemcanproveShelley‟samazingcreatingmethods.Inthelasttwolines,thewestwindasfigurecomesintoreaders‟eyesagain.Thetwopicturesshownatthebeginningaimtosoiltheinfinitepowerofthewestwind.Thewestwindandotherobjectsasfiguretaketurnstoappearinreaders‟eyessuccessfully.ThusitcanbeseenthatShelley‟screatingmethodiswonderful.Generallyspeaking,theimageofthewestwindisshownincisivelyandvividly.Thevitalpointofattentionliesonthenewness.Infact,readingliteratureisaprocessofmentaltransferinwhichreaders‟attentionwillbetransferredfromoneobjecttoanothernewpresentedobject.Infiction,afigurethathasnoplotstosupportortodevelopisactuallyamotionlessobject.Ifso,wewillloseourinterestsinthefigure.However,thewaytosolvethisproblemistoaddsomenewplotsforthefigure.Poetsaregoodatexpressingtheirfeelingsbyusingimages,sotherewillbeagreatnumberofimagescreatedinapoem.Theconstantpresentationofimagesisthekeyelementstoattractreaders‟attentionsoastopromotethereadingprogress.Inthesecondandthirdstanzasofthepoem,thepoetproficientlyusessomenon-normalwordstodescribethemethodoftheinterchangeofthefigureandground.Forexample,inthesecondstanza,Shelleybringsreaderstothehighsky,andtheretheyareattractedbythedarkclouds,rainandlightning.Nextthepoetonlyusesonesentence“LikethebrighthairupliftedfromtheheadofsomefierceMaenad”totransferours‟eyesightontothewestwindsuccessfully.InthissentenceShelleyusesnon-normalwordstodescribethewestwind.Indailylife,thebrighthairandthewestwindcannotbelinkedtogether,butShelleydiditperfectlyinthispoem.Sothesenewelementsinthepoemmakethewestwindvividandcontinuetodevelop.Andthen23 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究Shelleydepictsapictureofthewritheofimpendingstorm.Butatlast,thewestwindispresentedwithastrikingspectacle:Blackrain,fire,andhailwillburstout.Theinterchangeoffigureandgroundinreaders‟mindchangesatanytimeaccordingtothepoet‟sleapingmind,fromwhichthepowerofthewestwindcanalsobehighlightedtobringouttherainandthunderimmediately.Inthethirdstanzaofthepoem,thepoetdescribestheformidableforceofthewestwindwhichsweepsovertheoceaninthesameway.Readersfollowthefigure“thewestwind”totraveloverthelandeverandagah,toflytotheskyeverandagahandtosailacrossthedeepoceaneverandagah.Nomatterwherereadersarrive,theymustbebroughtintoamagnificentandgrandworldandexperiencetheinfinitepowerofthewestwind.2.2OntheProminenceofRevolutionaryTheme2.2.1TheBackgroundofthePoemOdetotheWestWindwascreatedin1819.Atthattime,thelabormovementsandrevolutionarymovementsraisedineverycountryofEurope.Sincetheendoftheeighteenthcentury,therehadbeenlotsofcontradictoriesamongtheBritishsocialclasses.Thefiercesocialconflictsroseconstantly,suchasthelandstruggleofScotland,nationalstruggleofIrelandandtheIndependenceWarinNorthAmericacolony,etc.Atthethbeginningofthe19century,inordertostrivefortheirsurvivalrights,theworkingclassofEnglandfoughtagainstthecapitalistsvaliantly.Theydestroyedmachinesandwentonstrikes.TheupperrulersoftheBritishbourgeoisieattemptedtomaintaintheirrulebysuppressingthepeople‟srevolutionarystruggleandkillingsomanypeopletopreventthedemocraticmovement.AlthoughShelleywasamanofnoblebirth,hehadastrongsenseofrebellionagainsttyrannyandanunyieldingstrugglespiritfordemocracy.BeingdeeplyinfluencedbythethoughtofenlightenmentandtheUtopiansocialisminhisearlyage,helovedfreedom,24 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究hatedoppression,hadadeepsympathyformiserablelaboringpeopleandlongedforsocialchange.BecauseShelleycondemnedtyrannyandexploitationatthattime,hemadethegovernmentangrysoastobeforcedtoleavehisnativelandandneverreturned.Duringthetimeofexile,hisvolitionwasnotkilledbutbecamefirmerandfirmer.2.2.2TheSublimationoftheThemeLiteraryworksarereflectionsofauthors‟lifeandlivingages.AccordingtotheatmosphereofrevolutionaryageandShelley‟srevolutionarythought,thethemeofthispoemisnaturallylinkedwithsocialenvironment.Asthedescriptionbefore,theimageofthewestwindissuccessfullysetupasafigurestandingout,andthepowerofitisprominentinthewholepoem.Sothewestwindmustbetheobjectbearingthepoet‟sthinkingconnotation.Seemingly,thispoemisakindofpoemtodescribenature;infact,itcanbeunderstoodasarevolutionarypoem.ThroughCognitiveapproachoffigureandground,thesublimatedthemefromnaturetorevolutioncanbeexplained,andthepoet‟sattitudetorevolutioncanberepresentedaswell.Theviewofprominenceinthefigureandgroundtheoryisactuallytheviewofforegrounding,whichincludesthreeelements:foreground,backgroundandthesecondbackground.Ashavingbeenanalyzedbefore,thewestwindisattheprominentstageintheplaceofforegrounding.Thebackgroundsarethenaturalthingsthatareservedasafoiltohighlightthepowerofthewestwind,whilethesecondbackgroundreferstothepoet‟screatingenvironmentwhichcontainsthenaturalenvironmentandsocialenvironment.Bycombiningtheknowledgeofthesecondbackground,backgroundandforeground,Shelleyendowsthewestwindwiththecharacteristicsofrevolution.ThefirstpartofthisChapterhasanalyzedthatthewestwindisthecentralobjectinthispoem,andthepoettriestohighlightitallthetime.Butthroughthesecondbackground,itcanbeclearlyseenthatthewestwindreferstorevolutionunderthesurface.Shelleysupportstherevolutionarymovement,sothepowerofthewestwindreferstothepowerofrevolution.Inthelasttwo25 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究stanzas,thepoetusesthefirstpersonification“I”,whichismoreprominentlycomparingwiththeboundlesswestwind.Accordingtothefigureandgroundtheory,“I”herereferstofigurewhilethewestwindreferstoground.Apersonhereissoconspicuousthatitcanbeeasilynoticed.Itisbecauseofthisdistinctcontrastthattheinfinitepowerofthewestwindcanbeshownobviously.Thereforetheimpetusofbeingthewestwindwillbestrengtheneddeeplybythepoet.Andthelastline“IfWintercomes,canSpringbefarbehind?”showshishopeofsuccessfulrevolutionobviously.Onlythroughthiswaycantheemotionofthepoetbecomprehended.Whenunderstoodwhatkindofsituationthepoetstayed,theimplicationofthewestwindcanbeclearlydugout.BecauseoftheforegroundingstageatwhichthewestwindstaysandthewindwhichistheobjectShelleywantstoemphasize,sothethemeofrevolutionisappearedobviously.Theforegroundingofthefigureandgroundtheorysupportsagoodcognitivefoundationtohighlighttherevolutionarythemeofthispoem.Thus,thistheoryisfeasibletoanalyzeShelley‟spoemsandopensupanewtrainofthoughttoanalyzehispoematthesametime.OdetotheWestWindisalyrictodescribethenatureinessence.Butthroughthecognitiveapproachoffigureandground,readerscanunderstandShelley‟screatingmechanismatthattime.Itoffersareliablecognitivemotivationtoresearchthestateofauthors‟mindandhowreaders‟mentalmechanismworkwhentheyaredoingreading.26 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究ChapterThreeNewConnotationConstructedintheBlendingSpace3.1AnalysisinTermsofCognitiveApproachofConceptualBlendingOdetotheWestWindisapoemwithcomplicatedforms,exquisiteconstructionsandprofoundcontents.Amongit,luxuriantimagesthatcanenlightenreadersareworththinking.Thepoem‟srevolutionhasbeenfocusedforalongtime,butasthedevelopmentofliterarytheories,moreconnotationswillbedugout.“Nopoetryisabsolutelyobjective,becauseartsmustbeinfluencedbycreators‟emotion”(ZhuGuangqian,2010:48).IntheprocessofShelley‟sgrowingup,notonlythethoughtofenlightenmentbutalsotheUtopiansocialismhasadeepinfluenceonhim.Becauseofthissocialbackground,heisalwaystreatedasarevolutionarypioneeroravisionary.However,hecanalsoberegardedasaphilosopherbecausehisphilosophicalideasarealwaysrepresentedinhispoems.Itisduetohisaddictiontonaturalscienceandphilosophyinhissecondaryschool.Asliteraryworksarereflectionsofauthors‟lifeandlivingages,otherconnotationsthathiddeninthispoemareworthofourattentionexceptforrevolutionaryconnotation.Thecognitiveapproachofconceptualblendingisproposedattherighttime,whichoffersamethodtodigupthedeepconnotationsofatextandcanexplainhowreaderscangetnewinformationintheirmentalspace.Accordingtothepreviousanalysis,withintheblendingspace,thereisanemergentstructurethatiscreativeandfullofimagination.Itcancreatenewinformationormeaningsthatnotexistintheinputspaces.Thereasonwhythecognitiveapproachofconceptualblendingcanexplaintheemergentstructureisthatitemphasizesthedynamicandcreativecharacteristicsinblendingprocess,soitcanbesaidthatemergentstructureisthebasetoformhumanimagination.Somecognitivelinguiststhinkthatevennewermeaningscanbeproducedbyconceptualblendingspace.Asfarasitisconcerned,imageisthesoulofpoetry,andthecombinationofdifferentimagesisthefoundationforgeneratingnewimages.Fromthecognitiveperspective,the27 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究productionofnewimagesisaprocessthatthemeaningconstructionofdifferentimagestoberealizedgraduallythroughprojectingwitheachotherandprocessingcomplicatedcognitioninmentalspace.Theemergentstructureisaplaceforimagesynthesis,andthenewimagesfromthisplacewillbeinnovative,dynamicandintegrated.Creatingapoemisaprocessofseekingandgroupingimageryrelyingonapoet‟simagination.Apoemcarriesapoet‟sstrongemotion.However,intheprocessofappreciatingapoem,readersarefirststimulatedbytheimagery,thenformnewimagesaccordingtotheirunderstandingthroughrestoringorsupplementingtheseimagesonebyone,andfinallycreatetheimageorartisticconceptionofthepoembycombiningtheseimages.OdetotheWestWindismoredefinedasarevolutionaryandpropheticpoemintraditionalanalysis.Theconnotationaboutlifeimpliedinthepoemisoftenoverlooked.Shelley‟spoemsalwayscontainrichphilosophicalconnotationwhichcanbeconfirmedfromthecognitiveapproachofconceptualblending.Tointegrateandperfecttheimagesagaincanfullyillustratethereconstructionofthemeaningoftheseimages,anditprovesthatcognitiveapproachofconceptualblendingoffersafeasiblewaytodigupdeepconnotationsofthispoem.3.2TheConstructedConnotationofLifePhilosophyinthePoemAlthoughthescenestransformonetoanotherconstantly,readersmaybedazzledbytheserriedimagesinthispoem.Butfromthewholecanto,thepowerofthewestwindisrevealedallthetime.Thereisnodoubtthatthewestwindisthecentralimageofthepoem.Fauconnier(1994:35)oncesaidthat“Languageitselfisnotthestructureofcognition,butprovidesusminimumbutenoughcluessothatwecanfindoutacognitivedomainandacognitiveprincipleinacertaincontextusedtoconstruct.Oncecluesprovidedfromthelanguageandtheexistingstructure,thecognitiveprincipleandbackgroundframearecombined,theconstructionofmeaningwillbeproduced.Atlast,theinformationfromtheconstructionisconsiderablyrichermorethantheinformationexpressedbylanguageitself”.28 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究Theinterpretationofapoemstartswithimagery,becausetheartisticconceptionreliesonit.TheimageryinShelley‟spoemisfullofenlightenment,becausehehasbeenpursuingtheintegrityandconsistencyofliferatherthansavinghisownsoulonly.Hethinksthatlifeshouldbefullofvigorlikethenature,andthegreatestvictoryforlifeistobecomethemostenergeticandperfectsoul.Inthispoem,Shelleyinvolveshimselfinthecreativeanddevastatingstormtocompletetheremodelingoflifeandadmireit.Asfarasitisconcerned,poetryisalwayscreatedbyconcisewordstoexpressrichconnotation,andthecharmofpoetryistocontaintherichphilosophyamongthewordsandbetweenthelines.3.2.1ViewofDeathandRebirthConstructedfromtheLandInthefirststanza,itisclearlyseenthatthepoetmainlydepictsthenaturallivingbeingsgrownontheland.However,hedescribestwodifferentpicturesbyshowingtwogroupsofoppositeimages.Onegroupofimagesisdesolatewhiletheotheroneisflourishing.Beingthecognitivesubjectaccordingtothecognitiveapproachofconceptualblending,readerswillinputthefollowingelementsintotwoinputspaces.“Cognitivesubjectsselectivelychoosepartsoftheinformationfrombothinputspacestomapintotheblendingspace.”(WangYin,2006:215)Withtheobviousfeaturesofthesetwopictures,readerscandividetheimagesintotwoinputspacesclearly.ThedesolateimageswillcomeintotheinputspaceI,theyare:thedeadleaves,enchanter,fleeingleaves,thewintryseedsandcorpse;andtheflourishingimageswillcomeintotheinputspaceII,theyare:azuresister,flocks,sweetbuds,theplainandhillwithlivinghuesandodours,andwildspirit.Amongtheseimages,byusingpersonification,Shelleycomparesthewestwindtoenchanterandwildspirit,springwindtoazuresisterofthewestwind.Heendowstheseimageswithlifeeventhoughtheyhavenolivesthemselves.Althoughtheotherimagesinthisstanzaformtwokindsofpictureswhichbringusentirelydifferentvisualeffects,inessence,theyarethelivingthingsoftheearth.Asbeingmentionedabove,thegeneric29 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究spaceisaplaceformappingthesetwoinputspaces,andthegenericspacedecidesthekeycontentsofcross-spacesmapping,thatistosay,mutualelementsorabstractcompositionsmustbeexistinbothinputspaces.Sointhelightofthisprinciple,themutualelementofthesetwoinputspacesislife.Ingeneral,lifereferstotwostatus,eitherlivingordeath,sothereisasimilarabstractstructureexistingingenericspace:therelationoflivinganddeath.Astheabstractstructureofthegenericspacedecidesthecorrespondenceofimagesfromthesetwoinputspace,readerscanfindoutaninterestingrelationbetweentheoppositeimagesfromeachinputspaceaccordingtotheiroriginalcognitionaboutlife.Theone-to-onecorrespondenceoftheseimageswillbeshowninthefollowingcounterparts:azuresister,wildspirit—enchanter;wingedseeds—buds;deadanddrivenleaves—livinghuesandodoursplainandhill;corpse—flocks.Theformerreferstolivingwhilethelaterreferstodead.ThentheelementsofbothinputspaceIandspaceIImapintotheblendingspacetogethersoastoformanewemergentstructure:azuresisterorwildspiritisenchanter;wingedseedsarebuds;deadanddrivenleavesarelivinghuesandodoursplainandhill;corpseisflocks.Nowthefirststep—compositionhasbeencompletedinblendingoperation,forminganewrelationthatisnotrepresentedinthetwoinputspace:deathisliving.However,suchrelationisdifficultforustounderstand.Livinganddeathareabsolutelyopposite,whycantheybecomeanequivalentrelation?Thisproblemwillbesolvedinthesecondstepofblendingoperation—completion.Withintheprocessofthisstep,completionreliesonthematchingbetweentherelatedthingspickedupfromreaders‟conceptualconstructionofbackground,knowledgeandtheinformationintheirlong-termmemoryandtheconstructionfromtheinputspaces.Therelativethingswillbepickedupfromthebackgroundknowledgeandtheinformationinlong-termmemorytomatchtheconstructionfrominputspaces.Itmeansthattheperfectcompletionwillbeachievedifthesubconsciousinformationandtheconstructionofinputspacesarecombined.Theimagesofthesetwoinputspacesactivateaphenomenonofnaturallaw,thatis,whentheautumncomes,plantsandflowerswillwitherordieinwinter,buttheywillbealiveagainwhilethespringcomes.Sointhesecondstep,combiningwithreaders‟subconsciousknowledge,30 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究thenewrelation—deathisliving,iseasilytounderstandandwillbefurthersublimatedasarelation:deathrepresentsrebirth.Becausefourseasonswillchangeinturnsforever,plantswitherinautumnwhilegetrebirthinspring,thisphenomenonissuitablefortheregularlawofalternatingseasons.Throughthecompletion,readerscanknowthatthispoemtriestodeliveraviewthatdeathisrebirth.Inanotherwords,naturestatesinanupdatemoveforeverwiththeabilityofrevivingitself.Allinall,itisclearlyseenthatitisapoemtoeulogizenaturalvitality.Thepoetendowsthelifewithanewphilosophicalconcept:underthepowerofnature,everythingwillgetachanceofrebirth.Itmeansthatlifeisupdatingandeternalinthelightofthelawofnature.3.2.2ViewofDeathandRebirthConstructedfromtheSkyAstherearesomanypeculiarmetaphorsinOdetotheWestWind,itisdifficulttounderstandthelogicalrelationsamongtheimagesatthefirstreading.Forinstance,inthesecondstanzaofthepoem,thepoetdescribesasceneinthesky.Becauseofthepeculiarmetaphorsinthisstanza,readerscannotconnecttherelationswiththeimagesimmediately.AccordingtoWangYin(2006:215),conceptualblendingisakindofcommoncognitiveapproachforhumantoknowtheworld,toformtheirthinkingandlanguageandtodevelopscienceandtechnology.Anditisawaytoexplainwhypeopleowncreativethinkingandabundantimagination.Howtheseirrelativeimagescanbeconnected?Howthepeculiarmetaphorsformedbytheseimagescanbeinterpretedreasonably?Theproblemsshouldbesolvedbyhuman‟srichimagination,andthecognitiveapproachofconceptualblendingplaysanimportantroleinthisaspect.Asfarasitisconcerned,ametaphorconsistsoftwoelements,namely,noumenonandmetaphoricalobject.Sointhelightofthecognitiveapproachofconceptualblending,theimagesasnoumenonswillcomeintotheinputspaceI:rain,thetangledheavenandocean,bluesurfaceofaerysurge,dirgeofthedyingyear,closingnight；andtheimagesasmetaphoricalobjectswhichwillcomeintotheinputspaceIIare:decayingleaves,boughs,31 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究brighthairofMaenad,sepulchre,andvault.Onthesurface,therearenomatchingrelationsamongtheimagesfromtheinputspaceIandspaceII.However,accordingtocross-spacemapping,itcanbefoundthattherearesomesimilarfeaturesexistingintheimagesofinputspaceIandspaceIIrespectively.Intheculturalcognitivemodelofreaders,theprocessofformingrainisoriginatedtothevapourwhichwillbetransformedintocloudsandthencomeintoraindroppingdownthelandinturns.Asrainingisacommonsceneinreaders‟dailylife,itisnothardtoassociatethepicturewhenraindropsaredroppingfromthesky.Andthescenethatthedecayingleavesaredriftingdownthelandalsoletreadersassociatewiththepictureoffallingraindrops;Ifthedayisasunshiningday,theblueskyandtheboundlessseawillunitetogethersothatpeoplewillnotdistinguishtheskyfromtheoceanbecauseofthesamecolorbetweenthewaterandthesky.Thisphenomenoncanalsobeseeninreaders‟dailylife.Inthispoem,thetangledboughscancreatesuchfuzzedvisualeffect,becauseit‟salwayshardtodistinguishwhichtreetheboughsbelongto.Sothefuzzedvisionthatthesetwokindsofimagescreatedachievesthesameeffect;inthefifthlineofthesecondstanza,“Onthebluesurfaceofthineaerysurge”,theaerysurgeiscomparedasthebillowedclouds.Similarly,thepictureshownbycloudysurgesandthebillowedcloudscanbeconnectedbythecognitivebackground.Cloudspilinguponebyonegivereadersanimpressionthatthecloudsaredenseandbillowed.Meanwhileinthepoem,ShelleyhasmentionedaladynamedMaenadwhoisamaidofDionysusinGreekmythology.Whentheyareholdingtheceremonyofworshippingthegod,themaidsalwaysdancecrazilysothattheirlonghairwouldbeflyingupward.TheupwardflyinghairalsogivesreadersanimpressionthatMaenad‟shairisdense;incommonknowledge,dirgereferstothepoemwrittenforthedeadorthesongsungforthedeadwhenoldfriendsattendtothefuneralwhilesepulchrereferstotheplaceforburyingthedead.Bothwordsrelatedwiththedeadhavethesamepurposeforthedead,sothesetwowordsletreadersassociatewiththepicturewhensomeonedied;andintheclosingnight,readerscanseethesurroundingthingsifthereisnolight.Sotheclosingnightlookslikeablackcurtaincoveringreaders‟32 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究eyes.Alsothetopofthevaultingsepulcherlikesablackcurtaintocovereverythingofthesepulcher.Thesimilarandcorrespondingelementsoftheoriginalspaceandthetargetspacewhichmapeachotherareemphasizedinthecognitiveapproachofconceptualblending.Althoughtheimageslistedabovecontainalotofconnotationsinourdailylife,themeaningsoftheimagesinbothinputspacesarelimitedtoalargeextent.Throughtheprocessofcross-spacemapping,themutualconstructioninthegenericspaceistheseimages‟physicalshape.Thisphysicalshapeconnectingwiththeelementsofbothinputspacescomeintotheblendingspacetogether,whichwillcomesacrosstheprocessofbeingperfectedandextendedsoastoformitsemergentstructure.Suchemergentstructuresareshownasfollowings:“rain”is“decayingleaves”;“tangledskyandocean”is“tangledboughs”;“aerysurge”is“thebrighthairofsomefierceMaenad”;“dirge”is“sepulcher”;“theclosingnight”is“thetopofthevaultingsepulcher”.Shelleymergeshispeculiarimaginationwiththeimagestogethersothatthereaders‟habitualaestheticperspectivehasbeenchanged.Withcompletion,therelationamongtheseirrelativeimagescanbeinterpretedreasonably.Asthedescriptioninthisstanza,readerscangettheinformationthattheimageslistedaboveaimtorepresentthephenomenonbeforethestormcomes,whilethelastlines“fromwhosesolidatmosphere/Blackrain,andfire,andhailwillburst:ohhear!”trytorepresentthephenomenonwhenthestormiscoming.Sotwoinputspacescanbesetup,andmutualelementinthegenericspaceisthephenomenonofstorm.Connectingwithreaders‟cognitiveculturalbackground,therelationbetweencloudsandraindropsis:raindrop—vapour—cloud—raindrop.Italsoshowsanaturallawforreaders.Thepreludeofthehazedstormindicatesthedeath,butitwillgetrebirthattheturnofbreakingout,andtheskywillbecomeclearagainafterthestorm.Intermsofcognitiveapproachofblendingspace,anewemergentstructurewhichissimilartothefirststanzaisthatdeathisrebirth.HereShelleytriestoeulogizethenaturalvitality.Accordingtothiscognitiveapproach,itisnolongerdifficulttounderstandthemeaninginthepoemthatShelleycomparesrainasdecayingleaves;describestheinterlacedskyandseaasthetangledboughs;cloudsasthickhairwhichismagnifiedinthe33 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究surface;aerysurgeasthebrighthairofsomefierceMaenad;dirgeasepulcheandtheclosingnighasthetopofthevaultingsepulcher.Thepowerofhumans‟imaginationissostrongthatnewconnotationwillbedugoutduringtheprocessofcompletionandclaboration.Inthelastline,therainisdescribedasimprisonedsoulwhichbreaksoutbybreakingthecage.Asthesameinthefirststanza,thephilosophicalideaaboutlifeisprofoundandoptimistic.Thisstanzaalsodeliveredsuchkindofidea:naturestatesinanupdatemoveforeverwiththeabilityofrevivingitself.Itshowsthatthelifeisendowedwithanewphilosophicalconcept.3.2.3ViewofDeathandRebirthConstructedfromtheSeaSimilarly,inthethirdstanzaofthepoem,theviewofdeathandrebirthcanalsobedugoutbythecognitiveapproachofconceptualblending.Thefirsttwolines:“Thouwhodidstwakenfromhissummerdreams/TheblueMediterranean,wherehelay”.ShelleycreatestwokindsofimagesofMediterraneanSeawhichwillformtwoinputspaces,oneistheMediterraneanindreamandanotheroneisawakeningMediterranean.AndthegenericspaceisthestatusofMediterranean.Inblendingspace,thesetwoimagesareunitedasaoneelement.NomatterwhichstatustheMediterraneanstaysat,theyallbelongtoonething.Sothenewemergentstructureappears:dreamisawakening;awakeningisdreaming.Inthestepsofcompletionandelaboration,combiningwithreaders‟knowledgeaboutnaturallaw,thisemergentstructurecanbesublimatedas:deathisrebirth.Dreamreferstothenaturalthingsatthestateofnomovingwhileawakeningreferstothepalinesthesiaofnextyear.AccordingtoWangYin(2006:215),thefourmentalspaceswillbelinkedwitheachotherthroughaseriesofmappingoperation,andthenbuildupaconceptualintegrationnetwork.Two-sidednetworkisoneofit.Ithastwoinputspaces,butwithdifferentframework.Theframeworkfrombothinputspaceswillmapintotheblendingspacetosetupanewemergentstructure.Thelines“Andsawinsleepoldpalacesandtowers/34 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究Quiveringwithinthewave‟sintenserday,/Allovergrownwithazuremossandflowers/Sosweet,thesensefaintspicturingthem”.Herethepoettriestodescribeapicturethatazuremossandflowersgrowflourishinginoldpalacesandtowers.Therefore,itsetsuptwoinputspaces.TheinputspaceIistheframeworkaboutconstruction,andtheinputspaceIIistheframeworkaboutnaturalgrowing.Throughthecross-spacemapping,thecorrespondingwillbebuiltupamongtheimagesasfollowings:oldpalaceandtowers—azuremossandflowers;sleep—flourishingstatus.Inreaders‟mind,oldpalaceandtowersinsleepmeanstagnancythatisfullofdeadatmosphere.However,theazuremossandsweetflowersstandforvigorousvitality.Similarly,undergoingtheprocessofcomposition,completionandelaboration,itcanbeconcludedthatwiththepowerofthewestwind,thedeadatmospherewillbeblownaway.Thewestwindrepresentsthepowerofthenature.Inthefollowinglines:“Thesea-bloomsandtheoozywoodswhichwear/Thesaplessfoliageoftheocean,know/Thyvoice,andsuddenlygrowgraywithfear,/Andtrembleanddespoilthemselves:ohhear!”Inreaders‟culturalcognitivebackground,theycanobviouslyknowthatthepoethereadoptspersonificationtechnique,imaginingthatthesea-boomsandthewoodsbecameapersonwithconsciousness.Theyhavethefeelingsoffearortremblelikeahumanbeing.Thepoettreatsthenaturalbiologyasanentityoflife.Accordingtotwo-sidednetwork,theimagescomeintotheinputspaceIaresea-bloomsandtheoozywoodswiththeframeworkaboutplants‟growingstate.AndtheimagescomeintotheinputspaceII“growgraywithfear”and“trembleanddespoil”withtheframeworkaboutaperson‟smentalstate.Similarly,inblendingspace,thenewstructure—deathisrebirth,isconstructed.Thesaplessfoliagestandsfordeathwhilethedescriptionoffearandtrembleisakindofironytodescribelifelessflowers‟rebirthwithselfconsciousness.Theabilityofnaturethatupdatesconstantlyandcanrecoveritselfispraisedonceagain.35 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究3.3Shelley’sAttitudetoLifeWiththeanalysisintheformerthreestanzas,thenewrelation,deathisrebirth,aimstoeulogizethelifeinfact.ItissaidthatShelleywaskeenonnaturalscienceandphilosophyinhismiddleschoolperiod.AsShelley‟slearningisprofoundandimmense,hecanbecalledascholarlypoetintheEnglishromanticwritersoftheyoungergeneration.ThefamousAmericanliterarycriticofthecontemporaryera,CarlosBalceloncesaidthat,“ShelleybelongstothekindofphilosophicalpoetwhohasbeendescribedintheendingofthebookADefenceofPoetrywrittenbyhimself”(RenYishu,1983).JustasShelley‟ssuchphilosophicalthinkingcanhebridgestheboundsbetweenlivinganddeath.Hisphilosophicalviewaboutlifeisalsoreflectedinhislatercreatedpoems.SuchasAdonais,whichwascreatedin1821,aimingtolamentthedeathofKeats,afamouspoetwhodiedatanearlyage.Inthispoem,Shelleyexpresseshisviewofdeathandlivingclearly.InShelley‟smind,thewonderfulspiritwillexistforevercomparingtothisdirtyworld:deathisagoodwaytorebirth.AlthoughinOdetoWestWind,thisoptimisticviewisnotrepresenteddirectly,readerscantraceitbythepoet‟sfeelingtonature.ThelasttwostanzasaremainlytoexpressShelley‟ssubjectiveemotion,sothecontentofthepoemtransfersfromthenaturetosocialperson.Intheforthstanza,thepoethasathoroughunderstandingtoahumanlife.Hecanfacethedeathcalmly,sohecompareshimselftoadeadleaf,aswiftcloudandawave.Aswhathethinksthatdeathisagoodwaytorebirth,hisattitudetolifeisoptimistic.Aleafwillgrowinnextyear,acloudandawavecanbeformedagaineventhoughtheyarenottheoriginalone.Anyway,theystandfornewlives.ThisconceptisnotexpresseddirectlyinOdetotheWestWindlikeinAdonais.Butwiththepreviousanalysisintheformerstanzas,readerscannoticehisphilosophicalthinkinginhisearlyworks.Inthispoem,natureisacarrierofthepoet‟semotion.Heisnotonlyarevolutionaryromanticismpoet,butaphilosopheraswell.Withtheanalysisofthepreviousstanzas,readerscanknowthatShelleyexpresseshisadmirationtothelawofnature.Accordingtohisviewpoint,natureandsocietystandinthe36 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究updatedcampaignperpetually.ThisphilosophicalviewpointwasembodiedtothefullnessinOdetotheWestWindnotonlybecausethispoemisfullofvividimageswhichrefertoallkindsofthingsupdatingconstantlyintheuniverse,butalsorevealsmuchoptimisticphilosophicalthinkingfromthispoem.Deeperunderstandingofsuchphilosophicalviewcanbecontinuedtodigoutinthefollowingdescriptions.Inthetwelfthlineoftheforthstanza:“Ifalluponthethornsoflife!Ibleed!”Thewords“fall”and“bleed”representone‟sblooddriedanddeath.AlthoughShelleyisawarethatapersonwillbediedintheend,buthedoesn‟tthinkdeathmeansanendingbutanewstarting.Inthefifthstanza,thepoetcriestothewestwind,callingitaswildspirit,soheiswillingtobecomethewestwind,“Beyou,Spiritfierce,/Myspirit!Bethoume,impetuousone!”Actually,thisstrongandexuberantnaturalpowerisakindoflifeformtocarryShelley‟shope.Ifapersonandnatureisconnectedasaunit,hehastheabilityofupdatingandrecoveringitselfasnature.Thatistosay,onlywhenasoulisremodeled,therebirthcanbeachieved.Andafterundergoingtheexperienceofrebirth,“I”canhaveathoroughunderstandingaboutthemeaningofrebirth.“Drivemydeadthoughtsovertheuniverse/Likewither‟dleavestoquickenanewbirth!”“Bethroughmylipstounawaken‟dearth/Thetrumpetofaprophecy!”Themissionof“I”istoquickenanewbirthandtodeliverthemeaningoftherebirth.Inthepoet‟smind,humans‟liveslikethelawofnature,standinginaneternalstate.AndjustasShelleyeulogizesandyearnsforthiseternalstate,hecanfacethedeathcalmlyandoptimistically.Humanbeingscanseethehopefromtherollingseasons,becauseayear‟sdeathindicatesitsrebirth.Shelley,asaharbingerandrevealer,triestoconveyhispositiveandoptimisticphilosophythroughouttheworld.“Ifwintercomes,canspringbefarbehind?”Thisendingwithstrongpowerandphilosophymakesthenaturalthemeofthepoemcoverakindofphilosophicalmeaning:asthedevelopmentandalternateofthenaturalseason,allthethingsintheuniversearechanging.Itisnotintheleastthattheorderoftheexistingthingsiseternalandthefutureisalwaysbright.Fromthis,OdetotheWestWindisapoemtoglorifythemajesticalspiritofnaturewhichalsoexpressShelley‟srealizationaboutthemysteryandpoweroftheuniverse.37 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究ChapterFourConclusionOdetotheWestWindisarepresentativeofShelley‟slyricpoems.Itisgenerallydefinedasapoemofsocialrevolutionandvictoriousprediction.Comparingwiththetraditionalanalysis,cognitivepoeticsmainlyfocusonthereadingprocessofliterarytextandprobeintothementalfunctionorcognitivemechanismofreaders.Ifwereadthispoemfromtheperspectiveofcognitivepoetics,notonlycanweappreciateShelley‟sfantasticwritingskillsandthebeautyofhispoem‟slanguage,butalsofindoutthelatentconnotationsofthispoem.Amongthetheoriesofcognitivepoetics,thecognitivepatterns(figureandgroundandtheconceptualblending)whicharechoseninthisthesisprovidenovelanddifferentfeasibilitiestoexplainShelley‟sOdetotheWestWind.Sothecognitivepoeticsopensupanewresearchpath.Furthermore,withthehelpofthistheory,wecanfindoutmorewaysthanpreviousinterpretationssothatwecanmakeupthesedeficienciesinpresentstudy.Intheprocessofstudyingthispoem,inthelightofcognitivepoetics,wecanunderstandhowthepoet‟smindworksinhiswritingandhowreaders‟cognitivemechanismoperatesintheirprocessofreadingandhowtheirpersonalexperienceandcognitiveculturalknowledgeaffecttheircognitivemechanism.Wealsofindthattherearesomemutualpointsamongthesetwocognitivepatterns.Firstly,themutualbasisofthesethreecognitivepatternsishuman‟scognitivemechanism,sotheyconcernhowreaders‟mindworkswhentheyarereadingatext.Asfarasitisconcerned,languagedoesnotrefertoanobjectoranentitydirectly.Inthefieldofreaders‟cognitiveknowledge,itcanevoketheirresonancewiththewriterwhentheymeetthislanguage.Inotherwords,languagecanevokethementalimagesorconceptsatthebottomofreaders‟heartorinthemindofhearer.Thispoemisatentativestudyforapplyingcognitivepoeticsinliterarytext.Throughthecognitiveapproachoffigureandground,thepoetusesthemethodsofreversal,movingandprominenceofthefigureandgroundtoattractpeople‟sattentiononthewest38 广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究wind,whichthenmakestherevolutionarythemeprominentbypeople‟sknowledgebackground.Shelleycouldbecalledthemostknowledgeablemaninthatperiod,forhealwaysendowshispoemwithprofoundthought.Thatiswhyweapplytheconceptualblendingtheoryintothispoem.Intheblendingspace,wecangetnewmeaningsthroughthereconstructionofthemeaningsassociatedwithourculturalbackground.Theemergentstructureinblendingspacehasthefunctiontocreatenewmeaningsandachievenewknowledge.Anditcanexplainwhypeoplehavecreativethinkingandrichimagination.Soitcanhelpanalyzetheprofoundimagesandpeculiarmetaphorsinthispoem,andthenewmeaningconstructedduringtheprocessofanalysiswillletreadersunderstandthepoet‟sphilosophicalconnotation.WithFigureandgroundapproach,readerscaneasilyunderstandthepoet‟screatingmentalmechanismatthattime;whilewithconceptualblendingapproach,readerscandigupthepoem‟sdeepmeaningsexceptfortherevolutionarytheme.Itmeansthatthelaterapproachhasanauxiliaryfunctiontotheformerone.Socombiningwiththesetwocognitiveapproaches,readerscanmakearatherthoroughinterpretationwhentheyarereadingatext.However,therearelimitationsanddisadvantagesofthisresearchbecauseofthelimitationofreferentialmaterials.Firstly,asthedevelopmentofcognitivepoeticsisstillintheprocess,thereisnothesisandarticlesrelatedtothispoematpresent,itiseasytoarousedispute.Secondly,human‟scognitionisgreatlyaffectedbyexperience,sodifferentpeoplewillmakedifferentinterpretationaccordingtotheirstateofmind.Thetextisanalyzedbasedontheindividualcognitionoftheauthorofthisthesiswhenstudyingreaders‟cognitivemechanism.Theseproblemsshouldbesolvedinthefollowingstudy.Allinall,thedevelopmentofcognitivepoeticshasabroadprospect,becauseitspurposeistoexploretherelationbetweenliteratureandhuman‟sthinking.Sincehuman‟sthinkinghasinfinitecreativity,cognitivepoeticsisjustthetheorytoexplainthiscreativity.Thestudytrendofcognitivepoeticsfocusesonnotonlythestronginterpretationforatext,butalsothewaytofindoutnewconnationofatextfromotherperspectives.39 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广西师范学院硕士学位论文认知诗学视域下雪莱《西风颂》的研究AcknowledgementsIwouldliketotakethisopportunitytoexpressmyheartfeltthankstoallthosewhohaveofferedmehelpandsupportduringmythesiswriting.Mygratitudefirstgoestomysupervisor,ProfessorYaoBenbiao,whoencouragedmetostudyinterpretingfromtheperspectiveofbrainscience.Herinvaluablesuggestionshaveguidedmethroughthesiswritingandwillenlightenmeinmyfuturestudies.IamalsoindebtedtoallteachersintheCollegeofForeignStudiesofGuangxiTeachersEducationUniversity,whoseinstructionshavebenefitedmealotinmyresearch.Iwouldalsoliketothankmyroommatesandfriends，LiLing,LinZuoyun,HeHaixia,LiYuxue,YuYang,SuXiaoyunandFanJiaqing,forconsideratecareformeandtheirencouragementandsupportduringthisthesiswriting.Atlast,Iwouldgivethesincerethankstomyfamily.Withouttheirloveandsupport,Icouldneverovercomedifficultiesandfinishmystudy.45