英语论文网

because of the uniqueness of poetic genre. Form in sound and syntax are intertwined with each other and the two in combination bring out the aesthetics of the original in form. Contents contain imagery and artistic conception.          

The uniqueness of semantic features and figures of speech determines that fuzziness is inherent in poetry, in which fuzzy expressions produce aesthetics. In this part, analysis will be made on the manifestations of fuzzy aesthetics in classical Chinese poetry.
2.2.1 Fuzzy Aesthetics in Form
As far as form is concerned, fuzzy aesthetics finds expression in the sound and syntactic features of classical Chinese poetry.
2.2.1.1 Fuzzy Aesthetics in Syntax
Fuzziness is also reflected in the unique syntactic features of Chinese language. Firstly, compared with English, the syntactic function of subject is much weaker in classical Chinese poetry in which subject is often omitted. The omission of the subject allows the poet not to intrude his own personality upon the scene, for the missing subject can be readily identified with anyone, whether be it the reader or some imaginary person. Consequently, classical Chinese poetry often has an impersonal and universal quality, compared with which much western poetry appears egocentric and earth-bound. The classical Chinese poetry presents a state of being with universal application. When a Chinese poem without the subject is rendered into English, the subject will always be added. Only because of the presence of the subject which is required by English grammar, a Chinese poem can be changed to one which only expresses the poet's feeling. Thus much of aesthetics of fuzziness has lost in its English version since the imaginative sphere which the original poem has provided for readers has been narrowed. By way of omitting the subject, the poet artfully invites the reader into his emotional world so that the poet establishes an. intimate relationship with his reader.
Secondly, Chinese is a language not restricted by the agreement in number gender, tense or case, which gives great elasticity to classical Chinese poetry. For example:
月上柳稍头，人约黄昏后
                                        -欧阳修《生查子》
The moon climbed to willow tops,
I trysted her at yellow dusk.
(Translated by Wetter Bynner)
In the second line, on the one hand, both the number and the gender of “人” are not made certain. On the other hand, it is not made clear who is trysted either. Therefore it is subjected to different interpretations. In view of this, the classical Chinese poetry demonstrates a kind of fuzzy aesthetics.
Thirdly, another distinctive presentation of aesthetics of fuzziness resides in free juxtaposition of different isolated images shed of all connecting links such as conjunctions, verbs, or particles, regardless of the limitation of time and space. That freedom is made possible by the flexibility of syntax in the Chinese language. Classical Chinese poetry, unlike the prose, has rare adjective modifiers before nouns because poetry is not to convey information, but to touch our hearts, to stir our feelings. By the syntactic freedom, the Chinese poet is able to refrain from committing his images to the bounds of either time or space, or any arbitrary analogies.
In the 本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。