2024年2月26日发(作者：)

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the Poem Comparison

《渔家傲》【宋】范仲淹

塞下秋来风景异，衡阳雁去无留意。四面边声连角起。千嶂里，长烟落日孤城闭。

浊酒一杯家万里，燕然未勒归无计。羌管悠悠霜满地。人不寐，将军白发征夫泪。

As an outstanding politician and litterateur of the Northern

Song Dynasty, the works of the author Fan Zhongyan are of

uniqueness with exquisite insight from the politician’s point of

view. We can feel it by reading his poems and learning the

history at his age. The poem actually represents patriotism of

the general and soldiers for their country and determination that

sacrificed themselves at any time in order to protect their

motherland. Meanwhile, it also represents the emotion of

soldiers’ miss to their families when they were in the army far

away from the country. The first part of the poem depicted a

gloomy picture by the descriptions of views they camped

where land was wild and dreary. However, soldiers within deep

love for the country and their families defensed enemies at any

time. It also implied emotion of soldiers’ love for the home.

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The second part depicted the different life in the army and

resolution to protect the country. Meanwhile, it reflected

soldiers’ wish to come home earlier after the defense war.

Viewing from the whole poem, bleak prospects and vivid

images reflected the situation what the author saw and heard,

even experienced, and expressed inner emotion in soldiers and

himself.

Keats’ famous poem To Autumn is often considered to be one

of the greatest in the English language. As with all great poems,

its greatness can only really be justified by one’s experience of

the poem; but by looking at details of the way the poem is

composed and structured, and the important themes the poem

addresses, one can come to understand why one has, or ought

to have, certain experiences in reading it. "To Autumn" is one

of the last poems written by Keats. His method of developing

the poem is to heap up imagery typical of autumn. His autumn

is early autumn, when all the products of nature have reached a

state of perfect maturity.

Keats opens his first stanza by addressing autumn, descriping

its abundance and its intimacy with the sun, with whom

autumn ripens fruits and causes the late flowers to bloom. In

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the second stanza, the speaker describes the figure of autumn as

a female goddess, often seen sitting on the granary floor, her

hair “soft-lifted” by the wind, and often seen sleeping in the

fields or watching a cider-press squeezing the juice from apples.

In the third stanza, the speaker tells autumn not to wonder

where the songs of spring have gone, but instead to listen to her

own music. At twilight, the “small gnats” hum among the "the

river sallows," or willow trees, lifted and dropped by the wind,

and “full-grown lambs” bleat from the hills, crickets sing,

robins whistle from the garden, and swallows, gathering for

their coming migration, sing from the skies.

Firstly, they are different in theme. The poem politely reflected

the contradictory emotion between soldiers’ patriotism and

strong wish to come home by depicting the bleak views of the

battlefield, thus it gave expression to the author’s taciturn

patriotism. n both its form and descriptive surface, To Autumn s

one of the simplest of Keats’s odes. There is nothing confusing

or complex in Keats’s paean to the season of autumn, with its

fruitfulness, its flowers, and the song of its swallows gathering

for migration. The extraordinary achievement of this poem lies

in its ability to suggest, explore, and develop a rich abundance

of themes without ever ruffling its calm, gentle, and lovely

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description of autumn. “To Autumn” is concerned with the

much quieter activity of daily observation and appreciation. In

this quietude, the gathered themes of the preceding odes find

their fullest and most beautiful expression.

Secondly, they express different feeling about autumn. The

Chinese poem created a scene which was stagnant and stagnant.

Wild goose flied away, sunset came, frost covered the ground,

solders’ eyes full of tears. All of the articles here are lifeless.

Autumn in Keats’s ode is a time of warmth and plenty, but it is

perched on the brink of winter’s desolation, as the bees enjoy

“later flowers,” the harvest is gathered from the fields, the

lambs of spring are now “full grown,” and, in the final line of

the poem, the swallows gather for their winter migration. The

understated sense of inevitable loss in that final line makes it

one of the most moving moments in all of poetry; it can be read

as a simple, uncomplaining summation of the entire human

condition. Despite the coming chill of winter, the late warmth

of autumn provides us with ample beauty to celebrate: the

cottage and its surroundings in the first stanza, the agrarian

haunts of the goddess in the second, and the locales of natural

creatures in the third. We are able to experience these beauties

in a sincere and meaningful way.

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Thirdly, they have different structure. The Chinese poem

include two parts in which the exact number of words is the

same according to the position of the exact sentence in the

poem. The first part emphsised on depicting the scene while the

second part payed attention to express emotion. The whole

poem touches by its realness. To Autumn is written in a

three-stanza structure with a variable rhyme scheme. Each

stanza is eleven lines long and each is metered in a relatively

precise iambic pentameter. In terms of both thematic

organization and rhyme scheme, each stanza is divided roughly

into two parts. In each stanza, the first part is made up of the

first four lines of the stanza, and the second part is made up of

the last seven lines. The first part of each stanza follows an

ABAB rhyme scheme, the first line rhyming with the third, and

the second line rhyming with the fourth. The second part of

each stanza is longer and varies in rhyme scheme: The first

stanza is arranged CDEDCCE, and the second and third

stanzas are arranged CDECDDE.

Lastly, they used different rhetoric. The Chinese poem mainly

used two kinds of rhetoric. “Wild goose flied away and didn’t

want to come back”. This sentence used personification to

reflect depressing scene surrounded the camp and implied

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soldiers’ eagerness to come home after battle. The second

sentence “We can not come home before we complete our

assignment” used a story to express their inner patriotism for

the country and that they had no choice but to fight with the

enemy. In to Autumn, autumn is personified and is perceived in

a state of activity. In the first stanza, autumn is a friendly

conspirator working with the sun to bring fruits to a state of

perfect fullness and ripeness. In the second stanza, autumn is a

thresher sitting on a granary floor, a reaper asleep in a grain

field, a gleaner crossing a brook, and, lastly, a cider maker. In

the final stanza, autumn is seen as a musician, and the music

which autumn produces is as pleasant as the music of spring —

the sounds of gnats, lambs, crickets, robins and swallows. In to

Autumn, the metaphor is developed; the sense of coming loss

that permeates the poem confronts the sorrow underlying the

season’s creativity. When autumn’s harvest is over, the fields

will be bare, the swaths with their “twined flowers” cut down,

the cider-press dry, the skies empty. But the connection of this

harvesting to the seasonal cycle softens the edge of the tragedy.

In time, spring will come again, the fields will grow again, and

the birdsong will return.

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