布莱克和屈原诗歌中的神话原型意象比较研究 71页

学校代号：10536学号：10113010982密级：公开长沙理工大学硕士学位论文布莱克和屈原诗歌中的神话原型意象比较研究学位申请人姓名周融导师姓名及职称廑梅委副塾援所在学院窆I国适堂院专业名称墓适语言塞堂论文提交日期星Q!圣生垒月论文答辩日期圣Q!墨生墨旦答辩委员会主席夔坚松塾援 AComparativeStudyofMythicalArchetypalImageryinBlakeandQuYuan’SPoetrybyZHOURongB．A．(HunanAgricultureUniversity)2008thesissubmittedinpartialsatisfactionoftheRequirementsforthedegreeofMasterofArtsEnglishLanguageandLiteratureChangshaUniversityofScience&TechnologySupervisorAssociateProfessorTangMeixiuApril，2013 长沙理工大学学位论文原创性声明本人郑重声明：所呈交的论文是本人在导师的指导下独立进行研究所取得的研究成果。除了文中特别加以标注引用的内容外，本论文不包含任何其他个人或集体已经发表或撰写的成果作品。对本文的研究做出重要贡献的个人和集体，均已在文中以明确方式标明。本人完全意识到本声明的法律后果由本人承担。作者签名：阐融、1日期：o一侈年多月◇日学位论文版权使用授权书本学位论文作者完全了解学校有关保留、使用学位论文的规定，同意学校保留并向国家有关部门或机构送交论文的复印件和电子版，允许论文被查阅和借阅。本人授权长沙理工大学可以将本学位论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或扫描等复制手段保存和汇编本学位论文。本学位论文属于1、保密口，在年解密后适用本授权书。2、不保密团。(请在以上相应方框内打”4”)作者签名：／司融导师签名：多雹彩争乡日期：c)。彦年∥月p日日期：切肜年‘月严日 摘要威廉·布莱克(1757—1827)是英国文学史上第一位重要的浪漫主义诗人，开创了19世纪英国浪漫主义诗歌的先河。他集诗人、画家、雕刻家、神秘主义者、想象家于一体，其作品深受后世推崇。布莱克的诗歌富含神话意象，这些神话意象寓意深远，或明亮如金阳，或沉郁如黑夜，具有独特的魅力。屈原(公元前340年一前278年)，芈姓屈氏，名平，字原，又自名正则，字灵均，战国末期楚国人。屈原是中国古代文学史上最伟大的浪漫主义诗人之一，其文字华丽，想象奇特，比喻新奇，内涵深刻，同样富含多姿多彩的神话意象。迄今为止，中西学术界对两位诗人的神话意象虽然各有研究，但是尚未见学者对二者进行比较研究。在原型批评视域下对他们诗作中神话意象进行对比性探讨，对两位浪漫主义诗人的研究来说是一种新的理论尝试，有助于揭示他们诗歌中的神话意象所蕴含的丰富而深刻的内涵；同时，也为当代的诗歌创作提供启示和灵感。因此，本文将采用原型批评相关理论，从宏观上分析两位诗人作品中的神话原型意象，并在微观上对他们诗歌中的神话原型意象进行比较。宏观上，布莱克和屈原诗歌中的神话意象根据属性可分为神、人、自然三大类。布莱克系统地创造了四个神话式的意象：由理生、罗斯、奥克、大马斯。“四天神”把布莱克的预言诗连成一个整体，构成了其独特的神话体系。屈原同样在作品中大量使用“四方之神”的意象：句芒、蓐收、祝融、玄武等。两位诗人作品中的四种神话意象与地理方位和自然元素一一对应，并可以延伸到相应的人类神话意象和自然神话意象，布莱克的作品中不乏孩童、游吟诗人等人类意象，屈原则在作品在使用了诸多禹、羿、尧、舜等意象。自然神话意象包括动物意象和植物意象，布莱克的作品中有老虎、羔羊、古树等，屈原的作品则遍及玉树琼枝和香草佩饰。通过探寻典型的神话意象在作品中的体现以及神话原型和意义，可以揭示两位诗人各自的宗教理想和政治理想：布莱克希望重建一个“耶路撒冷”式的宗教神话国度，屈原渴求一个三皇五帝时群贤聚集的美好政治国度。诗歌中种类繁多的神话意象的使用体现了布莱克和屈原对现 实世界的失望和批判，对完美神话世界的憧憬。微观上，文学作品中的神话意象都有其文化成因，布莱克和屈原对神话意象的运用体现了诗人的心灵构造和诗歌境界。布莱克借鉴西方神学框架，创造了自己的想象世界，其神话意象的原型大都源自于《圣经》和古希腊神话。而楚地巫风盛行，屈原所使用的神话意象则弥漫着浓厚的南方巫文化和上古神话的色彩。两位诗人均具有“神话想象”的心灵构造和“重写神话”的诗歌境界。布莱克运用其独特的文学认识，重建了一个庞大且复杂的神话世界，即一套想象力的神话体系。屈原运用其奇特的想象力，重塑了一系列绚丽多彩的上古神话，传达回归芝兰美好的期望。通过对布莱克和屈原诗歌中的神话原型意象比较分析，本文得出结论：作为中西方浪漫主义文学的滥觞，屈原和布莱克均驰骋想象，勇于超越自我，超越现实社会的苦难与黑暗，摄取了绚丽深蕴的神话意象，建构了符合自己情感经验与心灵理想的神话国度。但是，由于时代、民族、地域文化的影响，同时由于生活境遇、个性气质及思维方式的不同，两位诗人又呈现出大相迥异的异质性特色。布莱克侧重于创造神话意象，其神话色彩是鲜明的火红，屈原倾向于借用神话意象，其神话色彩是悲剧性的黯淡。关键词：布莱克：屈原；神话；原型；意象 AbstractWilliamBlake(1757-1827)wasthefirstimportantRomanticpoetinEnglishliterature，markingthebeginningofEnglishRomanticPoetryinthenineteenthcentury．Asapoet，apainter,anengraver,amystic，aswellasavisionaryfulloffancies，Blakeisgreatlyrespectedbylatergenerations．Hispoemsarefullofmythicalimagery,brightasgoldensun，orprofoundasdarknight，manifestinguniquecharm．QuYuan(340BC一278BC)，withancestralnameMi，clannameQu，givennanlePing，courtesynameYuan，aliasgivennameZheng-ze，aliascourtesynanleLing-jun，wasoneofthegreatestRomanticpoetslivingintheStateofChuofWarringStatesPeriodinancientChina．QuYuan’Spoetryisfilledwithgorgeousdescription，noveltymetaphor,strangeimagination，profoundmeaningandmythicalimagery．AlthoughmanyscholarshavedoneresearchesaboutBlakeandQuYuan’Spoetryrespectively,nocomparativestudyhasbeenmadeyetathomeandabroad．Acomparativeanalysisofmythicalimageryintheirpoemsfromtheperspectiveofarchetypalliterarycriticismwillnotonlybeconducivetothediscoveryofrichconnotationsintheirpoems，butalsomayprovidepoeticrevelationsandinspirationsforcontemporarypoetry．Therefore，thisthesiswillmacroscopicallyanalyzethemythicalarchetypalimageryinBlakeandQuYuan’Spoetry,andthenmakeamicroscopiccomparisonofthemythicalarchetypalimageryintermsoftherelativetheoriesofarchetypalliterarycriticism．Atthemacroscopiclevel，themythicalimageryinBlakeandQuYuan’Spoetryfallintothreecategories：imageryofgods，imageryofhumansandimageryofnature．Blakecreatesfourmythicalimages：Urizen，Los，OrcandTharmas．The“fourZoas’’linkhispropheticpoemsintoauniquemythologicalsystem．QuYuanemploys“theGodsofFourOrientations’’：GouMang，RuShou，ZhuRongandXuanWu．ThesemythicalimagesintheworksofBlakeandQuYuanarecorrespondentwithgeographicaldirectionsandnaturalelements，andCanbeextendedtothemythicalimageryofhumansandnature．BlakerepresentsimageryofhumanssuchasChildandBard．QuYuanportraysYu，Yi，Xiao，Shunandotherimages．Theirmythical imageryofnatureincludesanimalandplantimagery．Thereareimagesoftiger,lambandancienttreeinBlake，andjadetreesandvanillainQuYuan．Theembodimentandarchetypalmeaningofmythicalintheirpoemsshowtheidealsofreligionandpoliticsrespectivelyrepresentedbythetwopoets．Blakehopestorebuildhisspiritual“Jerusalem”，areligiousmythologicalkingdom；whileQuYuandesiresabetterpoliticalkingdomgatheredwithwisepeopleasintheancientmythologicaltimes．Theemploymentofawiderangeofmythicalreflectsthetwopoets’disappointmentandcriticismfortherealworldandpersonalexpectationfortheperfectmythologicalworld．Atthemicroscopiclevel．mythicalinthepoetryofBlakeandQuYuanwiththeirrespectiveculturalsourceswillbecomparedwiththeapplicationofrelatedtheoriesofarchetypalliterarycriticism．BlakecreatesaworldofhisownimaginationdrawnfromWestemtheologicalframework．MythicalimagesinBlake’SpoetryaremainlyderivedfromtheHolyBibleandancientGreekmythology．QuYuanisdeeplyinfluencedbyshamanismintheregionofChu，SOthemythicalinQuYuan’SpoetryisfilledwiththeflavorofcultureofChuandancientChinesemythology．Bothpoetsreflecttheirspiritualvisionandpoeticcreativity：“mythologicalimagination’’and“rewritingmythology”．Withtheuniqueliterarycognition，Blakerebuildsalargeandcomplexmythologicalworld，namelyamythologicalsystemofpoeticimagination．QuYuanreshapesaseriesofancientmythologywithhispeculiarimagination，expectingaretumtoancientmythologicalandpurefairyland．ThroughcomparativeanalysisofthemythicalarchetypalinBlakeandQuYuan’Spoetry,thisthesisconcludesasfollows：withboldimagination，QuYuanandBlakerespectivelyrepresenttheinitialsourcesofChineseandBritishRomanticPoetry．Theytranscendtheself,sufferinganddarknessofreality．Withgorgeousanddelicatemythicalimagery,BlakeandQuYuancommittotheconstructionofmythologicalkingdomsinaccordancewiththeiremotionalexperiencesandspiritualideals．However,duetodifferentinfluencesofthetimes，ethnics，andgeographicalandculturalbackground，aswellastheirownlivingexperience，individualtemperamentandwayofthinking，thetwopoetsalsodisplaystrikinglyheterogeneousfeaturesintheirliteraryworks．Blaketendstocreatemythicalwithamythologicalcolorofbrightfire，whileQuYuanisinclinedtoborrowmythicalwithamythologicalcoloroftragicgloom．IV KeyWords：Blake；QuYuan；mythology；archetype；imageryV Contents摘j要⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．IAbstract⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯IIIIntroduction⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．1ChapterOne：WiIliamBlakeandQuYuan⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯。41．1BriefAccountofBlakeandHisLiteraryWorks⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．41．2LiteratureReviewofBlake．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．61．2．1LiteratureReviewofBlakeAbroad⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．61．2．2LiteratureReviewofBlakeAtHome⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．71．3BriefAccountofQuYuanandHisLiteraryWorks．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．81．4LiteratureReviewofQuYuan．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．101．4．1LiteratureReviewofQuYuanAbroad⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯101．4．2LiteratureReviewofQuYuanAtHome⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．11ChapterTwo：ArchetypalLiteraryCriticism⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯132．1TheoriesofArchetypalLiteraryCriticism⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．132．1．1Jungand“CollectiveUnconscious”⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．142．1．2Fryeand“Displacement"’⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯152．2LiteratureReviewofArchetypalLiteraryCriticism⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．172．2．1LiteratureReviewofArchetypalLiteraryCriticismAbroad⋯⋯⋯⋯⋯⋯⋯172．2．2LiteratureReviewofArchetypalLiteraryCriticismAtHome⋯⋯⋯⋯⋯⋯18ChapterThree：ClassificationofMythicalArchetypalImageryinBlakeandQuYuan’SPoetry⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．203．1OverviewofBlakeandQuYuan’SPoeticMythicalImagery⋯⋯⋯⋯⋯⋯⋯⋯⋯．．203．1．1SimilaritiesofMythicalImagery⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯213．1．2DissimilaritiesofMythicalImagery⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．223．2MythicalArchetypalImageryinBlake’SPoetry⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．233．2．1ImageryofGods⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．233．2．2ImageryofHumans⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯273．2．3ImageryofNature⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．283．3MythicalArchetypalImageryinQuYuan’SPoetry⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯303．3．1ImageryofGods⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．30 ：；．3．2ImageryofHumans．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．333．3．3ImageryofNature．⋯．⋯．⋯．⋯⋯．．⋯⋯⋯⋯⋯．⋯⋯⋯⋯⋯⋯⋯⋯⋯．⋯．．⋯．⋯．．⋯．⋯34ChapterFour：FeaturesofMythicalArchetypalImageryinBlakeandQuYuan’SPoetryinComparison⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．374．1CulturalSources．．．．．．．．．．．．．．．．．．．．．．．．．．．．⋯．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．374．1．1TheHolyBibleandAncientGreekMythology⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．374．1．2CultureofChuandAncientChineseMythology⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯404．2SpiritualVisionandPoeticCreativity⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯424．2．1MythologicalImagination．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．．434．2．2RewritingMythology⋯．．．．⋯⋯．⋯．．⋯⋯⋯⋯⋯．．⋯．⋯⋯⋯⋯⋯⋯．⋯⋯．．．⋯．．．．⋯．．．46Conclusion⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．50Bibliography⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．53Acknowledgments⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．56AppendixA(攻读学位期间发表论文目录)⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯．．57AppendixB(中文长摘要)⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯。582 IntroductionWilliamBlake(1757-1827)andQuYuan(340BC一278BC)aregreatpoets，andbothofthemhaveexertedprofoundinfluencesonWesternandEasternliterature．Theirliteraryworksarerespectedbyscholarsandreaders．Generallyspeaking，BlakeandQuYuancreatefabulouspoeticworldsintheirpoetry．Theaestheticimaginationandbeautifulwritingarepleasantlybalancedbythefertilityofmythicalimageryintheirpoems．SotheimplicationofmythicalimageryisthekeytoexplorethecharmofBlakeandQuYuan’Sliteraryworksindepth．ScopeofResearchTheword“mythology”("sheng-hua”)，derivedfromtheGreek“mythos”，meansasacredstory,narrativeorplot．Asmythologyhassomeuniquefeatures(WangZeng—yong，2007：1)，thetermof“mythology”inthisthesisreferstothebodyorcollectionofmythsinaverybroadsense，or,incasualuse，referstoanytraditionalstoryorimaginaryentity(Merriam—WebsterjCollegiateDictionary，1993"770)．“Imagery”(“yi—xiang”)isageneralliterarytermappliedtotheentiretyofimagesinpoems．Asubstantialnumberofscholarshavedefinedtheirownconceptsfor“imagery”inacademiccircles．Hence，bycomparisonandanalysistobringfeasibilitytotheresearchbetweenBlakeandQuYuan，thetermof“imagery’’inthisthesisimpreciselyreferstotheaestheticculturalsymbolthatcanstimulatetheimaginationandemotioninapoem(ChouBei-ling，2006：23)．Thedefinitionof“mythicalimagery”ismoreblurry．Here，itshouldcontainalltheelementsdiscussedinthepreviousdefinitionsof“mythology”and“imagery”．Byandlarge，themythicalimageryinarchetypalliterarycriticismreferstooriginalculturalsymbolwiththedistinguishingfeaturesofprimitivenessandsymbolism．Thesesymbolsaresymbolicnarration，presentingtheoriginalunderstandingofthenatureandsocietyinancienttimes．Consequentlythesesymbolsbecomecertainmythicalimagery,possessingspecificconnotations．Readerscanfindtheoriginalmythicalelementsintheirreadingprocessthroughimagination，associationandanalogy,bywhichtogetabetterunderstandingandmythologicalrevelationforthe M．A．ThesisofChangshaUniversityofScience&Technologyliterarywork．Naturally,mythicalimageryshouldhavefourcharacteristics：fantasy,culturalheritage，ambiguityandcomplexity．AsitisimpossibletocoveralltypesofimageryinBlakeandQuYuan’Spoetrywithinthelimitedspaceofthisthesis，itdealswiththescopeofmythicalimageryinordertoexplorethearchetypesfromancientmythologyandreligion．Therefore，mythicalarchetypalimagerywillbethefocusofdiscussions．StructureofResearchThisthesisattemptstodemystifythemythicalimagery,aimingtoexploreitsarchetypeorarchetypalmeaning，andtocomparethemythicalarchetypalimageryinacross—culturalaspect．Itconsistsoffourchapters：ChapterOneservesasasimpleintroductiononthebackgroundofBlakeandQuYuan，includingtheirlives，literaryoverviewsandliteraturereviewsathomeandabroad．ChapterTwointroducestherelatedtheoriesof‘‘archetypalliterarycriticism’’appliedinthisthesis，includingthebasicconceptof“archetype”，Jungiantheoryof“collectiveunconscious’’andFrye’Stheoryof“displacement”．Italsogivesbriefaccountsofdomesticandoverseasliteraturereviewsofarchetypalliterarycriticism．ChapterThreefirstlypinsdownanoverviewofBlakeandQuYuan’Spoeticmythicalimageryinatable，andthendividestheirmythicalarchetypalimageryintothreecategories：imageryofgods，imageryofhumansandimageryofnature．ChapterFourattendstoanalyzeandcomparethemythicalarchetypalimageryinBlakeandQuYuan’Spoetryfromthearchetypalliterarycriticismperspective，pavingthewayforthefurtherstudiesofthetwopoets．SignificanceofResearchofmythicalarchetypalimageryinpositiveinfluenceandsignificanceonthestudymainlyincludedinthefollowingaspects：BlakeandQuYuan’SpoetryhasofBlakeandQuYuan，whichareFirstly,itcanpromotethedevelopmentofmythology．ThereisabundantmythicalimageryinBlakeandQuYuan’Sliteraryworks．Thelargequantitiesandspeciesalmostextendthroughouttheeverycategoryofmythicalimagery．Iftheresearchofsinglemythicalimageryisputtoeffectindepthandinsystem，itwill2 Introductionfurtherhaveacertainpositiveimpactonthestudyofancientfolkloreandreligion．Secondly,itcanpromotethedevelopmentofcomparativestudybetweenBlakeandQuYuan．Asamatteroffact，thereisablankexistinginthecomparativefieldbetweenChineseandWesternRomanticpoets．Thisspecializedsortofresearchwillbecomeanewacademicgrowthforthecross-culturalstudyofRomanticpoetry．Thirdly,itwillofferapracticalapplicationforarchetypalliterarycriticism，testifyingthefeasibilityandapplicabilityofarchetypaltheoryincomparativestudiesofliterarytexts．Analysisbasedonthetheoryofarchetypalliterarycriticismalsoservesasatooltoobtainamorein-depthandexpansiveunderstandingofliteraryworks．Fourthly,itwillcontributetotherevivaloftraditionalcultures．Traditionalcultureissleepingatthebottomofourmind，waitingforourcall．Anditrepresentsthewisdomofhumanraces．Thisresearchwillrevealthespiritualbondwiththeancestors，learningmoreaboutancientmythologyandreligion，andcarryingforwardthevarioustraditionalculturesintheWestandtheEast． ChapterOne：WilliamBlakeandQuYuanAmongtheearliestandmostinfluentialgiantsinliteraturearoundtheworld，WilliamBlakeandQuYuanaregreatpoets，representingtheRomanticLiteratureinBritainandChinarespectively．Permeatedwithintenseromanticflavorinliterarycreation，bothBlakeandQuYuanhaveexertedimmeasurableimpactonlatergenerations．1．1BriefAccountofBlakeandHisLiteraryWorksEarlyintheyearof1933，R．D．JamesononcesaidinhisAShortHistoryofEuropeanLiteratureasfollows：FewpoetshavebeenSOmuchapartoftheirperiodandyetSOfarfromtheirperiodasWilliamBlake，whosePoeticalSketches(1783)，勋馏ofInnocence(1789)，and肋馏ofExperience(1794)containpoetrywhichsomemodemcriticsstillregardasthegreatestthatEnglandhasproducedandthatothersregardastheworst．Blakewas[．．．】arevolutionistinthatheremainedallhislifecompletelyindifferenttoliterarytheoryandalmostdifferenttoliteratureitself[．．．]HereturnednaturallytOasimplerformofpoetryandaquieterandmorecertaininaspirationthantheinspirationandpoetryofhistime．(Jameson，1933：877)WilliamBlake(1757．1827)，thesecondoffivechildrenbomtoLondonhosierJamesBlakeandhiswifeCatherine，isapoet，apainter,anengraver,avisionaryfulloffanciesandamysticwhoseviewsbecamerecognizableinhispoetry．Blakeattendedartschoolswhenhewasachild，includingtheRoyalAcademySchool，andattheageoffourteenhewasapprenticedtoanengraver,perhapsthatisthereasonhepublishesnumerouscollectionsofpoetryillustratedwithhisownfantasticetchingsinhisliterarycreation．Intheyearof1782，BlakemarriedCatherineBoucher,whoWasdevotedtohimspiritually．AllthroughhislifeBlakecreatesalargenumberofdiversepoetrywithcharacteristicsofmysteryandreligion．ThepoeticworksofBlakegenerallyfallintotwomaingroups：illuminatedbooksandnon．illuminatedbooks．Theilluminatedbooksinclude：AllReligionsAreOne(1788)，There括NoNaturalRel喀ion(1788)，4 ChapterOne：WilliamBlakeandQuYuan——————————————————————————————————————————————————————一一SongsofInnocence(1789)，TheBookofThel(1789)，TheMarriageofHeave，2口胛dHell(1790_1793)，ContinentalProphecies(1793-1795)。VisionsoftheDaughtersofAlbion(1793)，America,AProphecy(1793)，Europe，AProphecy(1794)，TheBookofUrfzen(1794)，SongsofExperience(1794)，TheBookofLos(1795)，TheSongofLos(1795)，TheBookofAhania(1795)，Milton,APoem(1804．1811)andde，．“s口lemjTheEmanationoftheGiantAlbionf1804．1820)．Non—illuminatedbooksonlyincludePoeticalSketches(1783)，AnIslandintheMoon(1784-1785)，西riel(1789)，TheFrenchRevolution(1791)、ASongofLiberty(1792)andVala,orTheFourZoas(1797)．ChildishsimplicityisastrikingfeatureinBlake’Searlypoems．IntheSongsofInnocenceparticularly,thereaderisstruckoverandoveragainbythefactthatBlakeislookingattheworldthroughthecleareyesofachild．Hispoeticlanguageissimple，direct，pure，andplain，usuallycarryinglyricbeautywithimmensecompressionofmeaning．Blakesimplyacceptsthebeautyoftheuniverseandnatureinhisearlypoems．Atthelatterperiodofhisliterarycreation，Blakeelaboratesapersonalinventedsystemofmythologyinhispoeticworks．ThesepoemsconstitutehisPropheticBooks，includingTiriel，TheBookofThel，America,AProphecy，Europe,AProphecy，VisionsQ厂theDaughtersofAlbion，TheBookofUr&en，TheBookofAhania，TheBookofLos，TheSongofLos，Vala,ortheFourZoas，Miltion．APoem、andJerusalem：TheEmanationoftheGiantAlbion．Inhiscomplexmythologicalsystem，Blakeattemptstoexplainthehistoryandsufferingofhuman，revealingthefateofmankind．Withthemostingeniouscreativity,Blake’Spropheticpoemsarefilledwithmythicalimagery．AcontemporaryartcriticJonesonceproclaimedhisartistryas‘‘farandawaythegreatestartistBritainhaseverproduced”(Jones，TheGuardian，2005：para4)．Andregardingas“themostmysteriouspoetinthehistoryofallEnglishliterature”(SunXi·zhen，1932：160)，Blakeishighlythoughtofbycritics．WangZuo．1iang，afamousscholarinChina，deemsthat：Blake’Spoetryisbeautifulandprofound，thelanguageinhispoetryissimpleandfresh，therhythmisstrongandpowerfulinmusicality,therevolutionaryzealofEnglishRomanticismisfullyadvocatedonhim，whileintheaspectofimagination，heistheheroofpoets．Withal，hismysteriousanduniquereligionincreasesthecomplexityofhim，attractingandconfusingmanythoughtfulscholars．Hisyearningforthemagic 堕A．ThesisofChangshaUniversityofScience&Technologyvisionsmakinghimtoberegardedasaspiritualancestorbysurrealists，marginalizedandevenundergroundschoolofpoetry．(WangZuo-liang，1997：232)Therefore，BlakeshowshimselfworthyofthehonorasoneofthemostanthologizedandstudiedwritersinEnglishandAmericanLiterature．1．2LiteratureReviewofBlakeRegardingas“thegreatestpoet”(Bentley,1975：7)，Blakehasleftlatergenerationswitharichculturalheritageforthebenefitofunderstandinganddigging．Inbrief,researchesonBlakeabroadandathomehaveabroadperspective，andthestudyisstillexpandinganddeepeningconstantly．1．2．1LiteratureReviewofBlakeAbroadThecurrentsituationofBlake’Sresearchabroadhasyieldedfruitfulresults．andtheresearchofBlakehasformedadistinguishedschoolatthepresenttime．Intheyearof1863，AlexanderGilchristpublishedL／feofWilliamBlakewithsomepoemsselectedbyRossetti．Fromthenon，theresearchofBlakebegantorisetillnow．Taketheyearof1956forexample，thewritingsonBlakepublishedinbothEnglandandAmericahaveexceeded30sorts，whichoutnumberedthoseonShellyandByron．Obviously,theheritageleftbyBlakeiscatchingmoreandmoreattention．ManypeoplehavetriedtheirhandsateditingthecompletecollectionofpoetryandproseofBlake．Therearesomemainsuccessfulandpopularresults，suchas：WilliamButlerYeats’SBlake：CollectedPoems(1905)，GeoffreyKeynes，SABibliographyofWilliamBlake(1921)，MurryJohnMiddleton’SWilliamBlake(1933)，W．H．Stevenson’SThePoemsofWilliamBlake(1971)，MichaelMason，SWilliamBlake．"SelectedPoetry(1988)，JamesKing’SWilliamBlake：HisLife(1991)，SOonandSOforth．Besides，anamountofscholarshavestudiedthephilosophy,symbols，rhetoric，rhyme，artistryofpoemsandpaintingsofBlake．Amongthesesystemicallyresearchresults，thereareplentyofeminentbooks，forinstance：S．FosterDamon’S聊，，切垅Blake：HisPhilosophyandSymbols(1924)andABlakeDictionary(1979)，JacobBronowski’SWilliamBlake．"AManWithoutAMask(1944)，NorthropFrye’SFearfulSymmetry：A&甜咖ofWilliamBlake(1947)，HaroldBloom’SBlake§Apocalypse(1963)，DavidErdman’SBlake．"ProphetAgainstEmpire(1977)，EavesMorris’S6 ChapterOne：WilliamBlakeandQuYuanWilliamBlake§TheoryofArt(1982)，andSOon．AllofthemhavetremendouseffectsupontheresearchsituationofBlakeandhisworks．Meanwhile，theMuseumofBlakeintheUnitedKingdomandBlake’Swebsiteoninternet(www．blakearchive．org)providesrichresourcesfortheresearchofBlake．However，relatedworksfromthepointofviewofarchetypalliterarycriticismarerare，exceptNorthropFrye，aswhomweallknownthatFrye’StheoryofarchetypalcriticismisdevelopedformhisstudyofBlake．Inaddition，AmericantheoristFosterDamonalsoinvolvesalittle．Therefore，thisaspectofresearchneedstopaymoreattentionforscholars．1．2．2LiteratureReviewofBlakeAtHomeAsoneoftheseminalfigureintheBritishRomanticPeriod，BlakeisintroducedtoChinamuchlaterthanWordsworth，Byron，ShelleyandKeats．Infact，ZhouZuo-renisthefirstpersonwhointroducedBlaketoChinesereadersintheyearof1919．ZhoudescribedthecharacteristicsofBlake’SartsofpoetryandhisartisticcoreunderthetitleofTheIdeologyofaBritishPoet：Blake(1919)．However,domesticscholarswereinclinedtoexplorethepracticalandprogressivesignificancesinSongsofInnocenceandofExperienceatthattime，duetothelessamountoftranslatingversionsandintroductionsofBlakeintheearlyperiod．Andmostofthesestudiesconcentrateduponthepoliticalaspect．Consequently,theenthusiasmforthestudyofBlakeisgraduallyrisinginthe1980sinChina．GeGui-lupublishedajournalarticleofTheReceptionofWilliamBlakeinChinaintheyearof1998．Inthispaper,Mr．GehassummarizedthatthereceptionofBlakeinChinaregardedasagreatmysticpoetintheperiodoftheRepublicofChina，then，aftertheyearof1949，BlakeWasregardedasaprogressivepoetandbecamepopularintheliteraturecircleforhisharshcriticismtoboththereligionandthebourgeoissociety．GesaidthatthestudyofBlakehadreacheditsfirstclimaxinChinaafter1970s．Numerousscholarsbegantostudyhisimaginationandwildvisionsfromdifferentaspects(GeGui·lu，1998：47-52)．ThesecondclimaxofBlake’Sstudyisintheearlytwenty-firstcenturyaftertheestablishmentofEnglishPoetryStudiesInstituteinSunYat-senUniversity．Scholarshavedonemulti-dimensionalresearchesonBlake，suchashistheme，symbols，language，structureofpoemsundertheoriesofnewcriticism，structuralism，psychoanalysis，Marxism，feminism，post-modernism，ethics，religionandSOon．7 竺：垒：里!!!!竺!壁竺墨生兰坐!!!堡堕!!坠塑堡垒里!!旦!!!型Thereal"emanyoutstandingachievements，forinstance：LiuZhao-hui’SMysteryofShadow：AFeminismResearchonBlake(2000)，ZengFang-rong’SEthicsinBlake墨Poetry(2005)，OuHongandChenYao’SWilliamBlakeandPostmodernism(2008)，TangMie-xiu’SBlake奢AntinomianistReligiousEthics⋯一ABiblicalInterpretationofMHH(2008)，FangHan-quan’SWilliamBlake童DialecticsandItsExpressioninSomeofHisPoems(2008)andetc．．Ontheaspectofarchetypalliteraryresearch，Chineseresearchersneedtodomorework．Onlyonetranslatedversioncallbefound，namely,CreativeReadingofTheSickRosepublishedinMasterpieceAppreciationintheyearof1994．ThispaperhasillustratedBlake’SpoemTheSickRosefromthreeaspects：formalism，psychologyandarchetypalliterarycriticism．ThesamesituationalsoexistedinthecomparativefieldbetweenBlakeandChinesepoets．ThereisonlyonejoumalpapersearchedfromCNKI，AComparisonStudybetweenBlakeandGongZi-zhen分Poetry(2006)writtenbyXuZhen—zhong．Hence，itisworthyofabroadanddeepstudyforChineseresearchersinthefieldofcross．culture．1．3BriefAccountofQuYuanandHisLiteraryWorksQuYuan(340BC一278BC)，withancestralnameMi，clannameQu，givennamePing，courtesynalTleYuan，aliasgivennameZheng．ze，aliascourtesynameLing-jun，isoneofthegreatestpatrioticandRomanticpoetlivingintheStateofChuofWarringStatesPeriodinancientChina．QuYuanishonoredasoneoftheFourFamousMenofWorldCulture，forhisvirtueofholdingaspiritofnoblecharacter．politicalloyaltyandsterlingintegrityrespectedbylatergenerations．QuYuan，adescendantfromabranchoftheChuroyalclan，wasmadetheLeftMinisterofStateofChubyKingHuai．UndertheregimeofKingHuai，itisaperiodfrommightinesstodownfallforStateofChu，ahistoricalturningpoint．Slanderedbycorruptandtreacherouscourtofficials，QuYuanWasdismissedandbanishedthricebytheKingeventually．Duringhisexiledlife，QuYuanspentmuchofhistimetocollectlocallegendsandrearrangethefolkodes，thus，hisinnerworldtumedupaseriesoflifeexperience．Withthiskindofexperienceandthedeepestconcernforhisstate，QuYuankeptferventlovefortheStateofChuanditspeopleinhisliteraryworks．Nomatterhowhardtogothroughthevicissitudesoflife，nomatterhowhispoliticrecognitionWas ChapterOne：WilliamBlakeandQuYuandeniedbytheKingofChu，QuYuanheldaloyalanddevotedheartfromthebeginningtotheend．OnMay5，278BC，QuYuan’SpoliticalidealswereshatteredbythedestructionofStateofChu．Unwillingtoseehisfellowcountrymenencounteringthemisery,thethinandgauntpoeteventuallytookhisownlifebymeansofjumpingintotheMi-luoRiverwithextremedesperation．HefinallybecomesasymbolofthenobleandperseveringspiritforChinesepeople．InordertocommemorateQuYuan’Ssacrificeforthecountry,peoplemake“zong-zi’’andparticipateindragonboatracingontheanniversaryofhisdeatheveryyear,whichiscalledDuan-WUFestiveinChinesecalendar．QuYuan’SmasterpiecesincludeLiSao(EncounteringSorrow)，JiuGe(NineSongs)，砌门Wen(HeavenQuestion)，JiuZhang(NineCompositions)，YuanYou，Po如，YuFu，andSOon．Hispoetryhasitsindependentspringheadandcharacteristics．Inthemain，QuYuan’Spoetryisfilledwithgorgeousdescription，noveltymetaphor,strangeimagination，profoundmeaning，andmythicalimagery．QuYuanhasafollowernamedSongYu．Theirpoems，togetherwiththeworkswritinginthes2LIrne“SaoStyle”bylaterimitators，havebeencollectedinChuCianthology(alsoknownasTheSongsofSouth，orTheSongsofChu，orVersesofChu，orChuTzu)．ItisavolumeofpoemsdifferentincontentandstructurefromtheShi历增(TheBookofSongs)．Inthisthesis，however,ChuCimentionedhereinaftermainlyreferstoQuYuan’Spoems．ChuCiisregardsastherepresentativeofaSouthernTemperament，permeatingwithancienttradition，fantasticimaginationandintenseemotions．ScholarssharedwithHuangBo—si，aSongcritic，intheopinionthat“ChuCiismadeuseofthedialectsofChu，followedthetonalpatternofChu，recordedthelocalitiesofChu，anddescribedthefloralworldofChu”(TseYiu-man，2006：363)．Becauseofthesefactors，alongwiththeinvolvementofbothreligiousandmusicalcharacteristicsofChu，ChuCiisremarkableforitslocalcolorandflavor．ThesepopularculturalelementsstemmingfromthemannersandcustomsintheregionofChuarerefinedbyacolossalpoeticgenius，passingonfromgenerationtogeneration．Ithasformagenre、vithitsdazzlingaestheticpeculiarities，attestingtoaChineseromantictradition．WangYipraisedtheideasofQuYuan’SpoetryastheClassics(‘‘yi-jing-li-yi”以9 经立意)．Healsoglorifieditspreciousnessinboththeformandsubstance(‘"jin—xiang-yu—zhi”金相玉质)(TseYiu-man，2006：360)．Inthesameway,LiuXieutteredhisadmirationforC锄“C7Iikethis：TheLiSaoandJiuZhang,brilliantandbeautiful，communicatefrustrateddesires；theJ／uGe，delicateandlyrical，expressgrief；theYuanYouandTianWen，oddandeccentric，exhibitgreatartfulness；PoJurevealsthetruemannerofoneinexile；andthe拖凡manifeststheuniquetalentofarecluse．Forthesereasons．theirspiritisinharmonywithspiritoftheancients．Withtheirstartlinggraceanduniquebeauty,theverseindeediSincomparable．(TseYiu．man，2006：360．3611．4LiteratureReviewofQuYuanResearchesonQuYuanabroadandathomehavealonghistory．Throughoutthecurrentsituation，theresultsareremarkable，andtheresearchlevelishigh．Ofcoursethisisnottosaythatthisresearchisinanexhaustedcondition．Onthecontrary,theresearchspaceisstillquitelarge．1．4·1LiteratureReviewofQuYuanAbroadQuYuanisnotonlybelongstoChina，butalsobelongstotheworld．IntheWest，QuYuan’SworkshasgraduallytranslatedintoGerman，French，English，Italian，Japanese，Russianandotherlanguages，creatingagreatimpactonscholarsaroundtheworld．Intheyearof1852，theappearanceofaGermantranslatedversionofQuYuan’SpoetryhasmotivatedthetranslationworkofthegreatChinesepoet．ItiswrittenbyAustrianscholarAugustPfizmaierandentitledLiSaoandJltlGe：TwoChinesePoetryoftheThirdCenturyB．CLaterintheyearof1870，ascholarfromFrenchInstitute，LeMarquisd’HerveySaint．Denys，translatedLiSaointoFrench．Intheyearof1879，anofficerofBritishEmbassyLegation，EdwardParker,translatedLiSaointoEnglish．Othertranslatedworkshasbeenpublishedgraduallv．Butthelargest—scaleandmostauthoritativetranslatedversionisChuTzu,TheSongsofTheSouth：AnAncientChineseAnthology,publishingintheyearof1959byBritishsinologistDavidHawkes．Byt11etwentiethcentury,thefrequentcultureexchangesaroundtheworldhavestimulatedtheresearchofQuYuan+Andtheangleofresearchhastransformed舶m ChapterOne：WilliamBlakeandQuYuantranslationtoacademicresearch．Variousaspectshavebeenappliedinthefieldofcriticism，suchasculture，religion，sociologyandSOon．TheprominentachievementsareAugustConrady’STianWen：AnOldestChineseBookofArt(1931)andArthurWaley’STheNineSongs．"AStudyofShamanisminAncientChina(1955)andTheProblemofDateandAuthorshipinChuTzu(1955)．Inshort，theseresearchesaboutQuYuanarecharacterizedbydiversity,providingnewmethodsandideasforresearchwork．OntheaspectofarchetypalliterarycriticismforQuYuan’Sworks，DavidHawkeshaspublishedanotherresearchresultofTheQuestoftheGoddessonAsiaMajorintheyearof1967．Inthispaper,byapplyingthearchetypaltheoriestoanalyzepoemsofQuYuan，HawkesbelievedthatChuCiisinfluencedbythecultureofChu，aswellastheancientspiritofofferingsacrificetoHeaven．Subsequently,ChanPing—leung’SdoctoraldissertationofOhioStateUniversity,ChuTzuandShamanisminAncientChina(1972)，holdsanopinionthatlocaltraditionofshamanismisthemacrobackgroundtounderstandQuYuanandhispoetry．OtherfamedscholarswhoselecttheSalTleperspectivetostudyQuYuanandhispoemsareethnicChinesescholarChengDavidTze—yun’STheNineSongs：TheReexaminationofShamanisminAncientChina(1987)andZengZhen—zhen’SHistoricalMythopoesis：AStudyofOuYuan叠Poetry(1992)．1．4．2LiteratureReviewofQUYuanAtHomeResearchonQuYuaniSthemostessentialpartinChineseclassicalliterature．Withtheuniquevitalityinhispoems．numerousscholarsfromancienttimestomodemtimeshavecontributedthemselvestothisfield．Onthewhole，QuYuanhasbeenstudiedformorethantwothousandyearssinceHanDynastyinancientChina．Distinguishedscholarshaveprovidedpreciousresearchresultsforthelatter,suchasWangYi，HongXing-ZU，ZhuXi，WangYuan，JiangJi，LiuMeng-peng，LiuAn，SimaQian，LiuXieandSOon．Thesescholarsengagedintextualresearch，notes，reviewsofChuCiandQuYuan．Theirworksarevaluableevidencesforthelaterresearchers．AfterQingDynasty,theresearchonQuYuanhasenteredaprosperousphase．Massesofpapersandworksarepublishedeveryyear．Scholarsalsohavegainedconsiderableresults．SincetheRepublicofChina，thenumberofmonographofQuYuanisnearlyfourhundred，andthepaperismorethanthousands．WenYi-duo，You M．A．ThesisofChangshaUniversityofScience&TechnologyGuo—en，JiangLiang-fu，HuShi，LuKan-ruandotherscholarsstudiedthepoetryofQuYuanfromdifferentangles，suchasculturebackgroundandfolkcustom．TakeWenYi-duoforexample，inhisresearchofQuYuan’SpoemJ／uGe，heemphasizedthatthecultureandthefolkofChuregionarethereligiousbackgroundofJ／uGe(WenYi—dou，1982：107)，andhisexplorationofarchetypalimageryandesotericsymbolsinQuYuan’Spoetryisrefreshingandastoundinginliteraryfieldatthattime．AnotherprominentscholarwhodidresearchonmythologyandimageryinQuYuan’SpoetryisMaoDun．Inthelater1920s，MaoDunpointedoutthatancientChinesemythologyisthesourceofChinaSouthernliteratureinhisChuCiandChineseMythology(MaoDun，1999：82)．Fromthenon，thestudyofmythicalimageryinQuYuan’Spoemsbegantoriseindomesticacademiccircles．Besides，otherpopularresearchresultsincludeMaoDun’SResearchofChineseMythologyABC(1929)，WenYi—duo’SMythologyandPoetry(1956)，JiangLiang-fu’SInterpretationofChuCi(1985)，XiaoBing’SChuCiandMythology(1986)，SOonandSOforth．Allinall，thedetailedandcomprehensiveresultsofallfamedscholarsbringceaselessvitalitytothefieldofQuYuan’Sresearch． ChapterTwo：ArchetypalLiteraryCriticismTwo：ArchetypalLiteraryCriticismArchetypalliterarycriticism，orarchetypalcriticismforshort，isatypeofliterarycriticismthatinterpretsliterarytextsbyfocusingontherecurrentimages，symbols，characters，plotstructuresandtheirmeanings．ItisaveryimportantgenregreatlyinfluencedtheWestandtheEast．Fryeisthefounderofarchetypalliterarycriticism，yetJung’Scontributionstothetheoryarealsoextremelygreatandindelible．2．1TheoriesofArchetypalLiteraryCriticismThewordof“archetype’’isderivedfromtheGreek“archetypos”，meaning“theprimevalororiginalpattern”．Fromancientcriticstomodemscholars，theyhavedefinedtheconceptof“archetype”invariousways．Inthetwentiethcentury，thepsychoanalystCarlJungreintroducedtheconceptof‘‘archetype’’fromapsychologicalperspective．InJung’Sview，“archetype’’istheoriginalimageinthedepthsofhumanpsyche，andiseventuallyrevealsthroughancientmythology，religion，totemandincomprehensibledreams．Then，NorthropFryecreatedthetheoryofarchetypalliterarycriticismonthebasisofFrazer’SanthropologicaltheoryandJungianpsychology．Fryealsodefinedthe‘‘archetype’’fromaliterarypointofview．Inhistheory，themeaningof“archetype”includesfouraspects：firstly，“archetype”istheindependentcommunicativeunitsintheliterature，likethecommunicativeunitsinlanguage；secondly，“archetype’’istherecurringimageinliteraryworkswiththenatureofagreedsemanticassociation；thirdly，“archetype’’linksisolatedliteraryworkasaspecialformofsocialcommunication，showingthepowerofliterarytradition；fourthly，withthedeeprootsinsocialpsychology，historyandculture，“archetype’’isthemediumofinteractionbetweenliteratureandlife(Frye，1951：17—19)．Asusedinliterature，anarchetypegenerallyisarecurringanduniversalpattemthatevokesadeepandemotionalresponseintheunconsciousmemoryofreaders(YeShu-xian，1986：112)．Theobjectiveofarchetypalliterarycriticismistolookforsuchpatternsinliteraryworks．Relayingonmythology,religion，archaeology,anthropology,psychologyandhistory,thiscriticismidentifiesandexplainsthe 塑AThesisofChangshaUniversityofScience&Technologyhumanexperience．Archetypalliterarycriticismisconcernedwiththereiteratingpatternswhicharerevealedintradition，culture，religion，mythology,andfolklore，operatingtheideathatcertainimages，symbols，themes，plotsorcharactersrepresentthesameideasnomatterthetimeorplace．Almostalltypesofliteraturearewrittentoconveyeventswhichmeansomething．Authorsemploytheimages，charactersorsymbolsintheirliteraryworksinordertostriketheunconsciousofvariousreaders．Asawhole，archetypalliterarycriticismexaminesthoserelatedelementsinliteraryworks，lookingforthemeaningsofmythicalarchetypes，seekingtheinnerspiritandmythicalresonanceinthepsychesofallreaders，consequentlygivingtheliteraryworkitsvitalityandenduringappeal(YeShu—xian，1986：113．116)．Throughtheapproachofarchetypalliterarycriticism，themeaningsofcertainimages，symbols，orcharactersinthetextwillbediscovered．Andineffect，itexplainswhyliteraturetouchesdeepinsidetheheartofthereader,andthencultivatesacross—culturalappreciationforacommonmythologicalheritage．Itisthereforeactsasapowerfultoolinteachingandexpressinguniversalfeelings，beliefsandideas2．1·1Jungand“CollectiveUnconscious’’SwisspsychologistandpsychiatristCarlGustavJung(1875-1961)isthefounderofanalyticpsychologywhotheorizesaboutmythologyandarchetypesinrelationtotheunconsciousness．UnconsciousnessiSaninaccessiblepartofthepsyche．FromJungianperspective，“mythologyistheculturallyelaboratedrepresentationsofthecontentsofthedeepestracesofthehumanpsyche：theworldofthearchetypes”(Walker,1995：4)．Healsodevelopsanunderstandingofarchetypesasbeing‘‘ancientorarchaicimagesthatderivefromthecollectiveunconscious”(Fiest，2012：65)．HismajorbookTheArchetypesandtheCollectiveUnconscious(1959)isanextraordinarymasterpieceinpsychology,spawningnumerousstudiesonthesamesubject．Inhisbook，Jungarguesthattherearetwolevelsofthehumanunconsciousness：thepersonalandthearchetypal．Thepersonalunconsciousnesscomprisesrepressedmemoriesthatarepartofanindividual’Spsyche．Thearchetypalunconsciousnesscomprisestheracialmemoryofa“collectiveunconscious”．“Collectiveunconscious”isastorehouseofimageryandpatterns，containing ChapterTwo：ArchetypalLiteraryCriticismsymbolicexpressionsandvestigialtracesofallhumanart(Jung，1981：137)．InJung’Swords：Thecollectiveunconscious··-··-·-SOfaraswecansayanythingaboutitatall—·······appearstoconsistofmythologicalmotifsorprimordialimages，forwhichreasonthemythsofallnationsareitsrealexponents．Infact，thewholeofmythologycouldbetakenasasortofprojectionofthecollectiveunconscious[．．．】Wecanthereforestudythecollectiveunconsciousintwoways，eitherinmythologyorintheanalysisoftheindividual．(Jung，1981：325)Byandlarge，“collectiveunconscious”，particularlyrelevanttoarchetypalliterarycriticism，isanumberofinnatethoughts，feelings，instinctsandmemoriesthatresideintheunconsciousnessofallpeople．Thatis，everyhumanbeingisendowedwiththisracialandculturalpsychiclayersincehisorherbirth．The“collectiveunconscious’isuniversal；allhumanbeingshavemoreorlessthesalne‘‘collectiveunconscious”inheritedfromancestry．ToJung，archetypeconstitutesthestructureof“collectiveunconscious’’andmanifestsitselfthrougharchetypalimagery．Moreover,archetypeinthe‘‘collectiveunconscious’’is“irrepresentable，buthaseffectswhichmakevisualizationsofitpossible，namely,thearchetypalimagesandideas”(Leitch，2010：988)．Thearchetypeisrepresentedthroughprimordialimage，whichoriginatefromtheinitialstagesofhumanityandhasbeenapartofthe“collectiveunconscious”eversince．Oncethe‘‘collectiveunconscious”isevoking，archetypeisfinallyactivated．Itisthroughprimordialimagerythatuniversalarchetypesareexperienced，andmoreimportantly,thattheunconsciousnessisrevealed(Jung，1981：43)．Therefore，thereligiousexperienceislinkedwiththeexperienceofthearchetypein“collectiveunconscious”．Byitself,Jungianarchetypalapproachtreatsliterarytextasanavenueinwhichprimordialimageisrepresented．AndJungiantheoryof“collectiveunconscious’’accountsforaconsiderableshareinthewritingsofarchetypalliterarycriticism，whichpredatetheheightofarchetypalliterarycriticismbyoveradecade．2．1．2Fryeand‘‘Displacement’’CanadianliterarytheoristandculturalcriticHermanNorthropFrye(1912-1991) M．A．ThesisofChangshaUniversityofScience&TechnologyhasstrengthenedthearchetypalliterarycriticismasapurelyliterarytermandatheorytothestatusofliterarycriticismbasedonthetheoriesofFrazerandJung．Asthefirstcritictopostulateasystematictheoryofarchetypalliterarycriticism，Frye’Scontributiontoculturalandsocialcriticism，aswellastothedevelopmentofliteraryandaesthetictheoryspanalongcareerduringwhichheearnedwidespreadrecognitionandreceivedmanyhonors．ThemostimportantwritingofFrye’Sliterarytheory,AnatomyofCriticbJm(1957)，attemptstoformulatea“synopticviewofthescope，theory,principlesandtechniquesofliterarycriticism”(Frye，2000：3)derivedexclusivelyfromliterature．Inthismajorbook，Fryeconcentrateshiseffortsontheoriginalmeaningsofanumberofarchetypesrecurringindifferentliterarytextsandtheroleoftheirexperiences，establishingthiscriticismas“coherentfieldofstudywhichtrainstheimaginationquiteassystematicallyandefficientlyasthesciencestrainthereason’’(Hamilton，1991：34)．Fryedefinedthatanarchetypeis“asymbol，usuallyanimage，whichrecursoftenenoughinliteraturetoberecognizableasanelementofone’Sliteraryexperience”(Frye，2000：27)．Forhim，literaryarchetypes“playanessentialroleinrefashioningthematerialuniverseintoanaltemativeverbaluniversethatishumanlyintelligibleandviable，becauseitisadaptedtoessentialhumanneedsandconcerns’’(Abrams，2004：224-225)．Fryeproposesatheoryof“displacement”inhisworks．InFrye’Sview,mythologyisastructuralprincipleinliterarytexts，thatis，mythologyisthemostbasicarchetypeinliterature．Variouskindsofliterarystyleorformareextensionsofmythology,evolvingwithdifferenttimesandsocieties．Inthispoint，literatureis“displaced”mythology,orothertypesofliteraturearejustthe“displacement”ofmythology．Fryecalledthekindofindirectmythologizingas“displacement”．Inthecreativeprocess，writersorauthorsusuallyadaptormodifytheirworksSOastoexpresstheiruniqueemotionsandintensions．Fryesaidthatliterature“continuallytendstOrightitsownbalance，toretumtothepaRemofdesireandawayfromtheconventional”(Frye，2000：156)．Thus，theseliteraryworksappeartoreadersasplausibleformsofmythology．Asaresult，themovementawayfrommythologyisamovementof“displacement”．Fryealsostressedthatsometimestheimageoftenfindsitsrightfulexpression“onlythroughingenioustechniquesofdisplacement”(Frye，2000：156)．Soan ChapterTwo：ArchetypalLiteraryCriticismarchetypewithtypicalconnotationcanbedeliberatelyreversedbythewriterthroughthetechniqueof“displacement”．Becauseof“displacement"’，themeaningofimageryinliteraryworksisflexible．Ontheonehand，Frye’Stheoryof‘‘displacement’’ishelpfulinexploringthemeaningofarchetypeinliterarytexts，especiallywhentherelationtosomeancientmythologyisunconventional．Ontheotherhand，itishelpfulinreturningitsoriginalformofmythicalimageryinentireworks．2．2LiteratureReviewofArchetypalLiteraryCriticismAsoneofthemostinfluentialgenreamongWesterncriticisminthetwentiethcentury,archetypalliterarycriticismhasdistinctivetheoreticalandpracticalcharacteristics．Theresearchresultsaresignalizedbyscholar’Smodification，transformation，integrationandlocalization．2．2．1LiteratureReviewofArchetypalLiteraryCriticismAbroadAlthoughmanydifficultiesandobstaclesarestillaheadofthedevelopingroadofarchetypalliterarycriticism，scholarsstillhasmadegreaterachievementsintheW色st．AfterthepublicationofFrye’SAnatomyofCriticismintheyearof1957，archetypalliterarycriticismiswidelyknownbyscholarsintheacademiccircles．Butwiththefuzzinessandnon-determinacyofarchetypalconcepts，researchersconstantlycommitthemselvestoreplenishandcompleteit．Amongtherest，AmericanscholarL．Fiedleristheuppermost．HoweveLmoreworksandcontinueeffortsareneededinthisaspectinthefuture．ThesecondaspectoftheresearchonarchetypalliterarycriticismintheWestistherevieworcommentaryofFryeandJung．ResearchforFryeandhistheoryismorethanJungian．Takesomeprominentresultsforinstance：JonathanHart’SNorthropFrye．"TheTheoreticalImagination(1994)，JeferyDonaldsonandAlanMendelson’SFryeandtheWord：ReligiousContextsintheWritingsofNorthropFrye(2000)．Theseworksprovidealotofhelpforamorecomprehensiveandin—depthunderstandingofthearchetypalliterarycriticism．Thethirdaspectoftheresearchonarchetypalliterarycriticismisconcerningtherelationshipwithcultureandreligion．Somescholarshaveexploredthe M．A．ThesisofChangshaUniversitvofScience&TechnologyrelationshipbetweenFrye’Stheoryandculturalstudy,contemporarycriticaltheoryandespeciallypost-modemtheory．TherepresentativeisCanadianscholarA．C．Hamilton．HisNorthropFrye：AnatomyofHisCriticism(1991)isacomprehensivewritingforthestudyofFrye’Stheoryfromtheperspectiveofculturalcriticism．Besides，LindaHutcheonhasexploredthepost—modemfeaturesofFrye’StheoryinFryeRecoded：TheoryandtheConclusions(1995)．Allofthesescholarshaveachievedrevolutionaryachievements．Moreover,considerablecriticstriedtodecodeandinterpretarchetypalliterarycriticism．Combiningwiththereceptiontheory,stmcturalism，post．structuralismandothertheories，theyhopetoremoldandreconstructthearchetypalliterarycriticism．Therearemanyrepresentativeresearchworksinthisaspect，suchasJohnWhite’SMythologyintheModernNovels．"AStudyofPrefigurativeTechniques(1971)andMythologicalFictionandtheReadingProcess(1973)，FrankLentricchia’SAftertheNewCriticism(1980)，EricGould’SMythicalIntentionsinModernLiterature(1981)．Tosumup，westernresearchesonarchetypalliterarycriticismconcemmoreinmacrofield，whiletheconcreteissues，suchastheapplicationofarchetypaltheoryintheliterarytextiSrelativelyfewinnumber．2．2．2LiteratureReviewofArchetypalLiteraryCriticismAtHomeAfterarchetypalliterarycriticismhasbeenintroducedtoChinaintheearly1980s，itbecameoneofthemostpopulartheoriesinChina．Generally,ithasexertedagreatimpactonthepracticalandtheoreticalstudyforChineseliterarycriticism．Intheyearof1986，YeShu-xianfirstlyintroducedthe“myth．archetypalcriticism”inChina．InhistwojoumalpapersTheoryandPracticeofMyth-ArchetypalCriticismIandII．Mr．Yesystematicallytranslatedseveralrelatedarticlesandpresentedthetheoryfromtwoaspects：literarytheoryandtheorypractice(reShu-xian，1986I：112-121；II：43．53)．Then，domesticscholarsbegantotakeagreatinterestinitsmethodsandpractice．Afterthat，Mr．Yecontinuedhisresearchandpublishedotherworks．includingReportofChineseAncientHeroicEpic(1988)，ChineseMythicalPhilosophy(1992)，MythicalImagesandArchetypeandCross．CulturalInterpretation(2002)．YeShu-xian!SReportofChineseAncientHeroic印icdemonstratedthesimilaritiesanddifferencesofarchetypesbetweenChinaandothercountries，obtainingawider ChapterTwo：ArchetypalLiteraryCriticismscopeoftransplantationofarchetypalliterarycriticisminChinaonthebasisofcross—culturalinterpretation．Moreover,FangKe—qiangisanotherrepresentativescholar．HisLiteratureAnthropologyCriticism(1992)appliedtheconceptofarchetypeintovariousareasofculture，tryingtofinditsintrinsicmeaning．Inaddition，manyexpertsandscholarshavedonepracticalapplicationsfromtheaspectofarchetypalliterarycriticism，includingDuZhi-qing，WangQiao-feng，WangLi，LiuYan—ping，andSOon．Onthewhole，theresearchesinChinaonarchetypalliterarycriticismalemainlyfocusondiscoveringtherecurringimagery，symbols，narrativestructureandcharacters，ulteriorlyfindingoutthebasicformbehindthem，thusopeningupanewperspectiveandspaceforliterarystudies． ChapterThree：ClassificationofMythicalArchetypalImageryinBlakeandQuYuan’sPoetryBlake’Spropheticpoemsarecharacterizedbyobscurity,whileQuYuan，sliteraryworksarehardtounderstandinitscontext．TheemploymentofalargenumberofmythicalimageryisthekeyfactorfortheprofoundmeaningsinthepoetryofBlakeandQuYuan．Atthemacroscopiclevel，thischapterwillfirstlygetanoverviewoftheirpoeticmythicalimageryinatable，andthendividethemythicalarchetypalimageryinBlakeandQuYuan’spoetryintothreecategories：imageryofgods，imageryofhumansandimageryofnature．Duringtheprocessofanalysis，thearchetypeanditsmeaningofmythicalimageryinthepoemsoftwopoetswillberevealed3·1OverviewofBlakeandQuYuan’sPoeticMythicalImageryBeforetheanalysisofmythicalarchetypalimageryinBlakeandQuY．uan，spoetry,thepriorityIStogetanoverviewoftheirpoeticmythicalimageryonthewhole，becausemythicalimageryisactuallyacontainerofallthepossibilitiesimplicitinthetotality．OrientationisacommonclassificationmethodbothintheEastandtheWest．Inordertogetanintuitiveoverview,fourorientationsofEast，West，SouthandNorthofferasthebreakthroughpointtopresenttheimageryindifferentworks、砌ttenbvdifferentpoets．ThenaturalelementscorrespondingwiththefourorientaftonsproviderelationshipsformythicalimageryinBlakeandQuYuan，spoetry．Withthat．thefourmythologicalcharacterscreatedbyBlakeinhisPropheticBDDksandtheGodsofFourOrientationsfrequentlyappearedinQuYuan，spoemsarethemainmythicalimagery,andtheircorrespondingmythicalimageryinnaturearesubordinateThus，typicalselectionsofmythicalimageryinBlakeandQuYuan’spoetryaredisplayedinatableasshownbelow：20 ChapterThree：ClassificationofMythicalArchetypalImageryinBlakeandQuYuan’SPoetryMythicalBlake’SPoetryQuYuan’SPoetryImagery0rientationEastW色stSouthNorthEastWbstSouthNorthElementFireWaterWindEarth肋odGoldFireWraterColorRedWhiteBlackGoldenCyan助7iteRedBlackGodsandLuvahTharmasUrizenLosGOHRuYanDi／XuanHumansOrcUrthonaMang／Shou／ZhuⅥWDongXiRongXuanHuangMing／1’aiYi／ZhuanDongXⅣJun／H2LiTaiRu0HaoAnimalsinSnakeHorseTigerLionDragonTigerPhoenixSnakeNatureTortoiseLambDragonOxTortoisePlantsinLeafⅥ，aterFieldShellFuRouWuLotusNatureBudGrassLawnSang／HuaTongFuQuRouMuAsshownintheabovetable，wecanseethatmythicalimagesinBlakeandQuYuan’Spoetryhavesimilaritiesbetweenthem，yettherealsoexistdissimilarities．3．1．1SimilaritiesofMythicalImageryBothBlakeandQuYuan’Spoeticmythicalimageryspanalargespace．Onthelongitudinalspace，theirmythicalimagesinvolvegods，humans，animalsandplants，presentingexpansivelyartisticeffects．Romanticpoetshavestronglyricalartistryandself-awareness．BlakeandQuYuan’Sliterarycreationsshareacommonkeyword：“Romanticism”．RegardlessofmeasurementunderthevaluesoftheEastoroftheWest，theirmythicalimagesaregoodandbeautifulatthesamedegree．Onthehorizontalspace，eachofthefourorientationsrepresentsoneelementandcolor．Itshowspeople’SunderstandingoftheirworldanduniverseinEasternandWestern M．A．ThesisofChangshaUniversityofScience＆Technologysocieties．ThesemythicalimagesreflectthedeepculturalimprintsinBlakeandQuYuan’Sworks，revealingtheircommonfaithandhabitofinheritingnationalheritageandlocalculture．Asforthecertainmythicalimagery,bothBlakeandQuYuanemploydragon，snakeandtigerimagery．Thesethreeimagescanbetracedbacktoancientworshipofanimals．Theprimitiveresidentsthoughtthereisacertainbloodrelationshipbetweentheanimalandmankind．Sotribestendtochooseakindoffierceorbiganimalastheirtribaltotem．Withthedevelopmentoftimes，writersareaccustomedtodescribeparticularorrepresentativeanimalintheirliterarywork．Moreover,BlakeandQuYuandepictplentyofimagesfromnatureintheirpoems，showingthemind，byapowerofwriter’Sown，contemplatestheuniversalsinallthings．FromthesimilarityofmythicalimageryinBlakeandQuYuan’Spoetry,itisclearthatWesternandEasterntraditionsandcultureshavesomethingsignificantofoverlapandintersection．3．1．2DissimilaritiesofMythicalImageryThecertainelementandcolorwhichrepresentfourorientationsaredifferentfromtheEastandtheWest．InWesternsociety,theybelieveinFour．ElementTheory(ZhangYong-wei&ZhenShu—ping，1996：19)．Therefore，inBlack’Spoems，fireandredarecorrespondwitheast，waterandwhitewithwest，windandblackwithsouth，earthandgoldenwithnorth．InEasternsociety,however,thereisabackgroundofTheoryofFiveElements(ZhangYong—wei&ZhenShu-ping，1996：18)．AndChinesepeoplebelievedthatwoodandcyanarecorrespondwitheast，goldandwhitewithwest，fireandredwithsouth，waterandblackwithnorth．DifferentmodelsofthinkingembodydifferentfeaturesofChineseandWesternliterature．Ontheaspectofmythicalimageryofgodsandhumans，Blakeisgoodatcreatingnewmythologicalfigures，whileQuYuanistendtoborrowancientmythologicalfigures．ItCanclearlybeseenfromthisdifferencethatBlakepursuesindividualfreedom，butQuYuanappearstobemoretraditional．Onthewhole，themythicalimageryinBlake’SpoetrydemonstratesatranscendingspiritofmiraclesandwondersinWesternsociety,embodyingapositivesenseofunfetteredhumanmind．QuYuan’Spoeticmythicalimageryconveysdeepemotionswithamixofclassics，mirroringthefar-reachingandconvolutespiritinChinesesociety．Consequently,differentimageshavedifferentcultures，andthesecultureshave22 ChapterThree：ClassificationofMythicalArchetypalImageryinBlakeandQuYuan’SPoetrysimilaritiesanddissimilarities．Suchheterogeneityisdeeplyrootedinsocialandculturalvariety．3．2MythicalArchetypalImageryinBlake’SPoetryAlthoughFryehasdemonstratedhismethodofclassificationforBlake’SimageryinhistheoreticalbookBlake§TreatmentofArchetype，andevenotherWesterntheoristsdidthesameresearchessuchasGeorgeWingfieldDigby(1911—1989)inhisSymbolandImageinWilliamBlake(1957)．Theirclassificationsofmythicalimageryareapplicabletoonepoetratherthanacross·culturalresearchinvolvingtwopoets．Therefore，thisthesiswilldividethemythicalarchetypalimageryintothreeidenticalcategories：imageryofgods，imageryofhumansandimageryofnature．3．2．1ImageryofGodsThemythicalimageryofgodsismainlyappearedinBlake’SPropheticBooks．ThefourgodsandtheirrelativelyformsextractedfromBlake’Slongpoem玩la,orTheFourZoas：TheDeathandJudgmentofAlbionTheAncientManarethemajorimageryofgods，runningthroughBlake’Spoeticsystem．Theword“zoa"’isGreek，means“livingone”．InBlake’Spoem，the“fourZoas”arefourgods．AstheoldestmythologicalnameoftheislandofGreatBritain，“Albion’’poeticallyrepresentstheprimordialman，whosefallanddivisionresultsinthefourZoasinBlake’Spoetry．ThepoetgiveseachdividedprimalpartsofAlbionanetemalnameandafallenname．TheireternalnamesareknownasUrizen，Luvah，Urthona，andTharmas．InthecomplexmythologyofBlake，themythicalimageryofAlbionmeanstheuniversalhumanity‘‘whoserealhumanityWasslainonthestemsofvegetation”．Albion，Blakesays，‘‘wasoriginallyfourfoldbutwasselfdivided’’and“howhebecameselfdividedisasubjectofgreatsublimityandpathos”(Blake，1988：126)．Besides，BlakealsousestheimageryofAlbionasanancientsynonymforBritaininitstraditionalmeaning．Inthepoem“ALittleBoyLost”inSongsofExperience，theyoungboyasksthepriest：AndFather,howcanIloveyou，Oranyofmybrothersmore?Iloveyoulikethelittlebird， ThatpicksupcrumbsaroundthedoOr．(Blake，1988：46)Thepriestaccusestheboy,concludingavisionofAlbion’Sdivinity,Andbum’dhiminaholyplace，Wheremanyhadbeenbum’dbefore：Theweepingparentsweptinvain，AresuchthingsdoneonAlbion’Sshore?(Blake，1988：46)Withthat，thearchetypeofAlbionistheGodintheGenesis．ItisobviousthatthenalrleofUrizenisapunontwowords："reason"and“horizon”，whichembodiestheconventionalreasonandlaw．UrizensymbolizesthesouthandisfeaturedwithblackamongthefourZoas．Inthedisputewith0rcinASongofLiberty，theimageryofUrizenisdirectlydescribedasa“starryking，，forthefirsttime．TheninToNobodaddy，Urizenisanenslaver,namely“FatherofJealousv”．InAmerica,AProphecy，UrizenistheevilGodwhocreatesandrulestheworld．However,inBlake。poetryanthologySongsofExperience，Urizenappearsascreatoroftheworldinmanypoems，suchasTheTyger，Earth§Answer，ADivf胛Plmage，andTheHumanAbstract．UrizenisfreedfromhisboundsinthepoemofEurope,AProphecy．LaterinTheBookofUr&en，heisdepictedasanetemalseIfandanabstractionofthehumanself．Urizencreatestherestofcreation．butisopposedbyLoseventually．InBlake’SillustrationsofJob，thearchetypeofUrizenisApollo．InBlake’SlongpoemMiltonwhichillustratesthesatanicfallofUrizen．themythicalimageryrepresentstheformofreason．InVala,orThe凡计ZrD鲫．UrizenistheleaderofHeaven．ThefallofUrizenappearsagaininthepoem，forinstance：Wefell．Iseiz’dthee，darkUnhona．Inmylefthandfalling．Iseiz’dthee，beauteousLuvah，thouarefadedlikeaflower．ThenthoudidstkeepwithstrongUnhonathelivinggatesofheavenbutnowthouartbow’ddownwithhim，eventothegatesofhell．(Blake，1988：127)24 ChapterThree：ClassificationofMythicalArchetypalImageryinBlakeandQuYuan’SPoetryInJerusalem，Urizencreatesnaturalreligion．Definitelyheistheorganizeroftheuniverseaspreviouspoems．Allinall，inmostofBlake’Spoems，Urizenisacreatorfigurewithfallenandsatanicaspect．ThearchetypeofUrizenisthedemiurgederivedfromtheOldTestament．ThroughpoeticcreationofBlake，UrizenisaGodofthenewage，theGodofreason．LuvahhasademonnameOrc，orOrcishisfallenform．ThemythicalimageryofLuvahfirstappearsinTheBookofThel，andtheninthepoemofVala,ortheFourZoas．InMiltion，BlakedescribesvariousaspectsofLuvahandhislife．InJerusa彪m，LuvahistheGodofLove．ThroughoutthemythologicalsystemofBlake，Luvahrepresentsemotionandpassion，andthearchetypeofLuvahisJesus．Infact，OrcappearsmorefrequentlythanLuvahinBlake’Spoems．ThenameofOrcisprobablyananagramoftheword“cor”，means“heart”，thesamelocationofEnitharmon’SheartheWasborninFala,orTheFourZoas．Orcholdsanapocalypticvision．InAmerica,AProphecyandEurope,AProphecyOrcalwaysconnectswithrevolution．InsongofLos，Orcdescribesanapocalypseoffreedom．InTheBookofAhania，Orcisapillaroffire．LaterinTheBookofUrizen，OrcisthecursedserpentintheGardenofEden．FinallyinVala,orTheFourZoas，Orcisrestrictedinacaveorisboundtoastone．AndOrcwasbomatthewintersolstice．BlakeportraysOrc1ikethis·UrizensilentdescendedtotheCavesofOreandsawACavemdUniverseofflamingfire，thehorsesofUrizenHereboundtofierymangersfuriousdashtheirgoldenhoofsStrikingfiercesparklesfromtheirbrazenfetters．FiercehislionsHowlinthebumingdenshistygersroamilltheredoundingsmoke(Blake，1988：127)UrizensawOrcinacave，roundingwithfireandfierceanimals．“RoundhowlingOrcwhoseawfullimbscastfonllredsmokeandfire”(Blake，1988：127)，themythicalimageryofOrcembodiesthespiritsofrebellion，freedom，revolutionandrepresseddesire．Hehasabiblicalarchetype：aserpent，Satan’SanotherformasarebelliousLuciferian．OrcfurtherremindsthearchetypeofJesusandPrometheusassacrifices．JesusWasbornaroundthewintersolsticeandsacrificedhimself．AndPrometheusisboundtoarockandstealsfireforhumaninGreekmythology．25 M．A．ThesisofChangshaUniversityofScience&TechnologyUrthona,“theetemalprophet”withimagination，inspirationandwisdom，hasafallenformnamedLosinthepropheticpoemsofBlake．UrthonafirstappearsinASongofLibertwhenUrizenisburied．TheninAmerica,aProphecy，UrthonawrapsthefigureofShadownFemale．ThebackgroundandoriginsofUrthonaaredescribeddetailedin玩肠．orTheFourZoas．BlakealsodepictsotheraspectsofUrthonainMiltionandJerusalem．UrthonarepresentsthePoetryandlocatedintheNorth．ThearchetypeofUrthonaistheprophet．AsSOcommoninBlake’SPropheticBooks，themythicalimageryofLosprobablyisananagramofthetermfortheSun，“Sol”．LikeUrthona，LosalsoisaneternalprophetinTheBookofUrizen，ThesongofLos，America，AProphecy，Europe，AProphecy．Blakewrites：“ThustheterribleraceofLosandEnitharmongave／LawsandReligionstothesonsofHarbindingthemmore／AndmoretoEarth：closingandrestraining”(Bentley,2003：154—155)．InTheBookofLos，BlakeelaboratesthefallofLos．ItisofinteresttonotethatLosistheprogenitorofAdam，Noah，Moses，Abrahma，andotherbiblicalspiritualleadersinJerusalem．InMilton，Losisaflamingsun．InVala,orTheFourZoas，LosshowagreatpowerlikeChrist：Loshisvegetablehands，Outstretch’d；hisrighthand，branchingoutinfibrousstrength，Siez"dtheSun；Hislefthand，likedarkroots，cover’dtheMoon，Andtorethemdown，crackingtheheavensacrossfromimmensetoimmense．(Bentley,2003：310)Losseizesthesunandthemoon；moreover,hebreaksapantheheavens．Intheendofthepoem，Urthona，Los’Sun—fallenformrisesupandleadsinscienceandremovesthedarkreligion．HeisthekeytothereunionofthefourZoasandtotherecoveryofAlbion’Shumanity．LaterinJerusalem，Losloudlydeclaims：Imustcreateasystemorbeenslavedbyanotherman’s，1willnotreasonandcompare：mybusinessistocreate．(Blake：1988：203)Losintendstocreatehisownsystemwhichisbasedoncreationinsteadofreason．Actuallyitisthemanifestoofthepoethimself．Blakewantstocreatehisownpersonalmythologicalsystem．Andhisdeepvisionisanewreligion，likeaNew26 ChapterThree：ClassificationofMythicalArchetypalImageryinBlakeandQuYuan’SPoetryJerusalem．Therefore，thearchetypeofLosisChristormessiahtoremovedarkreligion．Tharmas，whoispeacefulandidyllicinthedivinestate，holdsthepowerofreproductionintheworldoftimeandgeneration．InVala,ortheFourZoas，Tharmasisthelaborer,whoisinstinctandpower．OtheraspectsofTharmasaredefinedinJerusalem．InMilton，BlakedescribesthecreationofTharmas．Inbrief,representingwithsensation，thearchetypeofTharmasisGodtheFatherinChristianTrinity．InBlake’SvisionofApocalypse，thefourZoasarethemembersofthebodyof‘‘humanformdivine”，whereChrististhehead，humanitythebody,Tharmasthehands，Urizenthemind，LuvahtheheartandLosthespirit．“FourMightyOnesareineveryman”(Blake：1988：125)，saysBlake．Hence，Blakecreatesacosmoswithhisrevolutionaryspiritandreligiousideas．3．2．2ImageryofHumansThe‘‘Child’’istheobviousmythicalimageryofhumansthatappearsfrequentlyinBlake’Spoetry,suchasInfantSorrow，HolyThursday，TheBlackBoy，TheChimneySweeper，TheLittleVagabond,TheLittleBoyLost，TheLittleBoyFound,TheLittleGirlLost，TheLittleGirlFound,SOonandSOforth．Theimagesofthechildincludelittlegirl，littleboy,infant，sweeper,vagabond，baby,andetc．．IntheHolyBible，thekingdomofGodbelongstothosewhobecomelikechildrenintheirinnocenceandhumility．Therefore，Blakereflectstheplayfulness，freshnessandgentlenessofchildreninhispoems，presentingthemasthesymbolsofcreativityandgoodnessofGod．However,thevulnerablechildwillpotentiallysufferviolenceandharmfromtheworldofadults，justliketheparentsofchildrenfleeingtoEgyptunderthereignofJewishKingHerod，whowantedtokillthenewbornchildintheBible(Matthew2：16-18)．Andlater,ProphetSimeonacclaimsthebirthofJesus，whowillbringthefallandriseofhuman(Luke2：34-35)．SothearchetypalmeaningofchildillustratedbyBlakeistheenergeticandinstinctiveimaginationandartisticcreativity．Then，the“Bard”isanothertypicalmythicalimageryofhumans．InTheVoiceoftheAncientBard,BlakeannouncesloudlythroughthevoiceofBard：Youthofdelight，comehither,Andseetheopeningmom，27 Imageoftrothnew—born．Doubtisfled，andcloudsofreason，Darkdisputesandartfulteasing．Follyisanendlessmaze，Tangledrootsperplexherways．Howmanyhavefallenthere!Theystumbleallnightoverbonesofthedead，Andfeeltheyknownotwhatbutcare，Andwishtoleadothers，whentheyshouldbeled．’’(Blake，1988：81)Brieflythe“Bard”isthepoet．AndthearchetypalmeaningofBardisthefallenandsinfulEarth，aspiringtoreturntoGod．Blakealsocreatesothermythicalimageryofhumans，suchasfather,mother,soldier,maiden，priest，andSOon．Taketheimageryoffatherandmotherforinstance，BIakewrites：Mymothergroan’d!Myfatherwept．IntothedangerousworldIleapt：Helpless，naked，pipingloud；Likeafiendhidinacloud．(Blake，1988：47)SuchimageryofhumansinBlake’Spoetryisusuallydarkorpathetic，revealingthegrimreality．Onthewhole，themythicalimageryofhumanshassignificancewiththedivine，speakingthefallandredemptionofhumanity,andrepresentingaguideforajoumeyofself-understanding．3．2．3ImageryofNatureAmongthemythicalimageryofnatureinBlake’Spoems，the“lamb’’andthe“tiger”aretwoprominentexamplesinacertaindegree．InthecollectionofSongsofInnocenceandofExperienceShewingtheTwoContraryStatesoftheHumanSoul,Blake“contrastshowthehumanspiritbloomswhenalloweditsownfreemovement．whichheclassastateof‘innocence’，andhowitturnsinonitselfafterithasbeensuppressedandforcedtoconformtorules，systems，anddoctrines，whichhecallsa28 ChapterThree：ClassificationofMythicalArchetypalImageryinBlakeandQuYuan’SPoetrystateof‘experience”’(Blake，1988：11)．Sofarasthatisconcemed，thetwostatesrecalloneofthemythicaleventsinbiblicalstory,thefallfrominnocencecausedbyAdamandEveintheGardenofEden．TheLambandTheTygerarethemostwell-knownpoemsinthispoetryanthology．Thepictureofthelamb’Sfeeding“bythestreamando’erthemeadow"’suggeststhekindnessofGodincreation．andhasanechoofsimilardescriptionintheOldTestamentbookofPsalms：‘‘TheLordismyshepherd，Ishallnotwant”(Psalm23)．AndintheBible，JesusChristiscalled‘"theLambofGod”．Jesustakesthesinsawayoftheworld(John1：29-36)andisidentifiedasasacrificiallamb(Corinthians5：7)．Then，the“buming”tigermeansthemajestyandpowerofGod’Screationinthenaturalworld．Blakeaskstheoriginofthefireintheeyesoftiger．Someutterlyfearlesspersonhasseizedthisfireandgivenittothetiger．ThisrecallsastoryofPrometheusfromtheGreekmythology．Prometheusstolefirefromthegodandgaveittomen．Moreover,bothofthetwopoemsalsotakereadersbacktothebiblicalbookofGenesis，whereGodcreatethewonderfulnaturebyhisdivineartistry．Anothertypicalimageryis“theCityofLondon”．Thepoem“London’’ofSongsofInnocenceandofExperienceappearstobe“concentratedwrathdirectedagainstthecorruptionofcivilizationbythepowerorReason，whose‘mind—forgedmanacles’haverestrictedeverynaturaljoyintoaterribleagony”(Damon，1988：238)．InLondon，BlakedescribesLondonoftheeighteenthcenturyasacityfilledwithmiserable，hopelessanddepressingpeople．Blakewrites：IneverycryofeveryMan，IneveryInfant’Scryoffear,Ineveryvoice，ineveryban，Themind—fb唱’dmanaclesIhear．(Blake，1988：48)ManinLondoniSinlackoffreedom．ThecityiSfullof“chimney．sweeper’Scry”．“haplesssoldier’Ssigh"’，and‘"youthfulHarlot’SCurse”．“Harlot’’isabiblicalwordhere，strongerthan“prostitute”．InthelastlineofLondon，Blakeimpliesthedeathof“Marriage”．InHaroldBloom’Sview,LondonistheresponseofBlaketothetraditionofbiblicalprophecy．BloombelievesthatLondoniS“arevisionisttextwithregardtothebookoftheprophetEzekiel”(Bloom，1993：5-13)．InJerusalem，the M．A．ThesisofChangshaUniversityofScience&TechnologycityofLondonappearsagainas“blindandage·bent，begging[⋯】ledbyachild”(Blake，1988：201)．Blakedepictsthereducedandcaptivecityasanoldmanwhowalkswearilyoncrutches．Therefore，theimageryofLondonrevealsthedarknessofsociety．Furthermore，inTheHumanAbstract，ancienttreesproducefruitsandhavetangledroots．TheimageryoftreeevokesthearchetypeoftheGardenofEdeninGenesis．Otherimagessuchaslion，OX，grapes，apple，raven，nest，caterpillars，SOonandSOforth；allareillustratedbyBlakewithamythicalvisionforreligiouspurpose．Inaword，throughthemythicalimagery,Blakemanifeststhespiritualstatebetweenhumanandnature．BasicallythemythicalarchetypalimageryasawholeinBlake’Spoetryreflectsthereligiousideasofthepoet．Disappointedbythecurrentrealityandrottenchurch，Blakewantstocreateasystem．ThissystemisareligiousmythicalkingdomlikeJerusaleminChristianity．However,withtheimpactofGreekmythologyandotherfolkculture，hissystemisnotanorthodoxChristiantheologicalframework．3．3MythicalArchetypalImageryinQuYuan’SPoetryTheamazingandabundantmythicalimagesarefilledinthesorrowful，aesthetic，intenseandpoignantChuCi，leadingaviewofChinesetraditionalscene．Similarlyinthissection，mythicalarchetypalimageryinQuYuan’Scollectionofpoetrywilldivideintothreecategories：imageryofgods，imageryofhumansandimageryofnature，revealingaromantictraditionof“poetictristesseanddivinetrysts”．3．3．1ImageryofGodsThemythicalimageryofgodsinChuCiincludesEmperorofHeaven(‘‘tian．di’’)，GodsofFourOrientations(‘‘si—fang-zhi-shen’’)，andotherdeities．EmperorofHeavenisdivineinQuYuan’Smind．Thepoetcalledhimselfas“adescendantofGaoYang”(LiSao：3)．Andheisproudofhisnobilityfromhislyricverses．GaoYang，alsonamedZhuanXu，isalegendaryrulerintheancienttimes．HisarchetypeistheEmperorofHeaven．EmperorofHeavendeterminesthewell-beingofpeople，forinstance：“TheEmperorofHeavensentYidown，／ToclearofftheevilsofXiaDynasty(TianWen：87)”．Astothevirtuouspeople，suchasYinYi，“sacrificeincauldrondeckedwithSWanofjade，／YinYigainrecognitionfrom30 ChapterThree：ClassificationofMythicalArchetypalImageryinBlakeandQuYuan’SPoetrytheEmperorofHeaven”(TianWen：88)．QuYuandescribesthesacredandtallimageryoftheEmperorofHeaveninhispoems，buttherearealsoalotofdoubts．Forexample：“Gunisgoingtobesuccess，／whytheEmperorofHeavenpunishhim’’(TianWen：83)．9Eventotheson，thepoetasksmanyquestions：JiwasEmperorofHeaven’Sfirst-bornson，WhytheEmperorofHeavendislikehim?WhyleftJiontheice?Andwhybirdswarmedhimbyitswings?Jiisgoodatfarming，Andhowdidhisspecialtalentsshow?HesurprisedtheEmperorofHeaven，Whyhisoffspringattainsprosperity?(TianWen：97)Butinanycase，theimageryoftheEmperorofHeavenisvividandlivelyinQuYuan’Spoetry．GodsofFourOrientationsisalargegroupamongtheimageryofgods．InancientChina，theGodsofFourOrientationsarederivedfromtheastronomicalphenomenaaboutBigDipperinthesky．Factuallythesefourgodsareancienttotemsymbols．Moreover,Chineseancientshavetheideaof“harmonybetweennatureandman”．Somanybuildingsareorganicarrangedandisomorphicwiththesky．Buildingsusuallysitthenorthandfacedthesouth，andtheirsidesaretowardtofourdirections：eastwithbluedragon，westwithwhitetiger,southwithredphoenix，andnorthwithblacktortoise．ThesefourorientationsfinallybecameapartofancientChineseculture．Eachofthemhasaformofgodrespectively．GenerallytheGodsofFourOrientationsreflectstheconceptoftime—spacecosmologyinancientChina．InQuYuan’Spoetry,therearerelatedversesasfollow：Iholdmyreinsandflipmywhip，／1willpassbyGouManginmytrip．IcrossTaiHaoandturnright，／TheWindGodofFeiLianleadsthewayinflight．Phoenixesspreadtheirwingslikeflagsunrolled，／AndinthewestImeetRuShouandXiHuang．Obscuredanddimmedthestarsappear,／ImadetheXuanWutobringuptherear．ToYanDiIgallopstraight，／ThentoMountJiuYiofSouth．ZhuRongwarnsmenottogo，／IsendfortheGoddessofFuFei． M．A．ThesisofChangshaUniversityofScience&TechnologyThefairiesofXiangplayonzither,／HaiRuoandRiverGoddanceinspray．IovertaketheswiftwindatClearSpring，／OverpilediceIfollowZhuanXu．ImeettheXuanMingonruggedways，／Ilookbackasnightyearnsforday．(YuanYou：175-178)TheapplicationoftheGodsofFourOrientationstosomeextentinQuYuan’SpoemsalsoincludesDongHuangTaiYiandDongJuninJ／uGe．Allinall，DongHuangTaiYi，DongJun，GouMangandTaiHaoaretheGodsofEast；YanDiandZhuRongaretheGodsofSouth；RuShouandXiHuangaretheGodsofWest；andHaiRuo，XuanWu，ZhuanXuandXuanMingaretheGodsofNorth．ThemythicalimageryoftheGodsofFourOrientationsconstitutesalargecross，symbolizingaspiritualdiagrammaticpresentationof“mandala”．ThearchetypalmeaningsoftheGodsofFourOrientationsarethereflectionofpoet’Sstrugglingwithconflicts，hopingtogetreliefandretumtohishomeland．QuYuanalsousesgodsofwind，rain，thunder,sun，moonandstarsaccompaniedbywhenevertheherotravelstheheaveninhispoems．Forinstance：IdrivetheSunGodofXiHe，／SlowlygototheHolyMountainsTheMoonGodofWangShugoesbefore，／TheWindGodofFeiLianrunsafter．Toclearthewaythephoenixessoar,／TheGodofThunderburstsinlaughter．ImadetheCloudGodofFengLongabove，／TofindthelocationofGoddessofFuFei．(LiSao：19—22)WhereistheWindGodofBoQiang，／Whofreesthefresheningwarmbreeze?HowdidtheRainGodofPingHaorain，／Andshowersfallallabout?(TianWen：80—87)Worriesthechangeoftheseasons，／IfeartheSunGodofYaoLinggowest．TheWindGodofFengBoleadstheway,／Dustclearedaway,cleanandcoldinthesky．ImadetheStarGodofWenChangleadsmyjoumey,／Arrangeallgodsgoforward．TheRainGodofYuShiontheleft，／AndThunderGodofLeiShiserveasmyguardontheright．ImadetheCreatorGodofQinYingtoappear，／Andpavethewayaspioneer．32(YuanYou：170—178) ChapterThree：ClassificationofMythicalArchetypalImageryinBlakeandQuYuan’SPoetryImadetheMassacreGodofLiShengtodivine，Hesaid：“Nonewouldhelpyoutoachieveyourhighandfaraspiration”．(“XiSong”ofJiuZhang：111)Here，XiHe，DongJunandYaoLingaretheGodofSun；WangShuistheGodofMoon；YunZhong-junandFengLongaretheGodofCloud；FengBo，FeiLianandBoQiangaretheGodofWind；PingHaoandYuShiaretheGodofRain；LeiShiistheGodofThunder；QianYingistheGodofCreator；WenChangistheGodofStar；andLiShengistheGodofMassacre．ThiskindofmythicalimageryembodiesthecognizanceofnaturalmeteorologyinancientSouth．AsillustratedbyQuYuan，mostofsuchkindsofimagesarebodyguardsorpioneersfortheheroinpoems．Thesegodsaredictatedbythehero．Thepowerandforceoftheheroinamythologicalworldreflectsthemisunderstandingandrejectionofthepoetinrealsituation．Thebeautifulfantasyremindsreadersofthecruelreality．Moreover，mythicalimagesofXiangJun，XiangFu—ten，HeBo，ShanGui，GoddessofLuoRiverdepictin坍“GealsocreateavibrantworldinQuYuan’Spoems．Suchimageryalludetothepoliticalidealsofthepoet：afantasticworldfilledwithHolySpiritandpoliticsbefellonthelandofStateofChu．3．3．2ImageryofHumansInancientmythology,therearemanygodsgodowntoman’Sworldashumanbeingstocompletetheirhistoricalmissions．QuYuan，theadmireofhumanancestorGod，portraysXuanYuan，YanDi，GaoYang，Xiao，Shun，Gun，Yu，Yi，Ji，Tang，KingofWen，andotherhumanimageryinmanyofhispoems．Therearesomelinesquotedfromhispoetry：ThevirtuesofYu，Tang，KingofWenarepureandtrue，／Aroundthemflockedrealtalentandsages．XiaoandShunaresobright，／Theyfollowedtherightway．TangandYuarerespectedbypeople，／AndKingofZhouwenttherightway．TangandYuseektalentsandcraveforvirtues，／TheyfinallygetsagesofYinYiandGaoYao．(LiSao：6-25)33 HowdidtheGunachievehisworkonwater-control，／AndwhathavetheYudone?WhydidtheYishootdownthesun?／Andwhereisthefeatherofraven?Yumadehisbestontheflood-waterproject，／Healsomadeanumberofinspectionsaroundtheland．(TianWen：83．87)Fromaboveverses，QuYuan’Sgreatadmirationofthevirtuesholdbyancientwisekingsisrevealed．ThearchetypesofthiskindofmythicalimagerycantracebacktotheirformsofGodinmythology．Moreover,QuYuanalsodescribesimagesofJanDi，TuShan—nvandMoMu．Theextractedlinesareasfollows：didYumeetTuShan—nv,／AndfellinlovewithherinTaiSang?JanDilivesinthehightower,／WhydidKuoffersacrificeandprayforblessings?(TianWen：87-94)Envybeauty’Sflagranceandexcellence，／MoMuseductivelydressedherself．∽“Zhang：151)TuShah’nvandJianDiappearwithgraceful，elegant，gorgeouscharacteristics．ButMoMuisanexception．QuYuandepictsMoMuasanuglyimagerytorepresenttreacherousandevilpersonintherealsociety．Byandlarge，QuYuanshowsthesad，angryanddarksocietythroughtheimageryofancientsagesandfigures．Nevertheless，thepoetinsistshisidealforpursuingabetterpoliticalenvironmentinthestateofChu，regardlessofwhathehadSU仟ered3．3．3ImageryofNatureMythicalimageryofnatureincludesplantimageryandanimalimagery．FuSang，RuoMu，RuoHua，andotherjadetreesandrareflowersaretypicallyportrayedtodescribetheresidentplaceofdeitiesornoblecharactersofhero．Forinstance：IputvanillaofJiangLiandwhiteZhi，／AndweaveautumnorchidsintOabelt．Idrinkdewofmagnoliainthemorning，／Andfeedonflailasterpetalsinthe34 ChapterThree：ClassificationofMythicalArchetypalImageryinBlakeandQuYu锄’sPoe仃yevening．IvisittheTempleHallofSpringGod，／Adornmybeltwithjadetrees·WipingtearsawaywithsoftgrassofHuiCao，／Mysleevesarewet．Withmagicherbsandthinbamboo，／IaskLingFentomakeadivinationforme·(LiSao：3-25)Accordingtostatistics，theimageryofsacredtreeforsunappearsfivetimesmCh甜Ci，accountinghalfofthetotalnumberforallmythicalimageryofplants·ItshowstheworshipoftheStillinChuarea．Theimagervofplantisusedtodecoratetheworldoffantasybypoet，then，theimagervofanimaldisplaysasurrealandwonderfulheaven．ThequantityandspeclesofmythicalbeastinQuYuan’spoetryisnotjustafew．Butphoenixanddragonarethemostfrequentlymythicalimagery．Forexample：Whitedragonandphoenixstartmyrace，／Iriseonwindintotheblue·Iorderthephoenixtofly,／Alldaylong，bynightasbyday．Theflyingdragonsdrawmycart，／Brightwithivoryondisplay．Idriveeightdragonsamain，／Cloudflagstreamedinthewind-(LiSao：19—31)InthebookDragonandPhoenix，WenYi—doubelievedthatdragonISthetotemformeDrimordialpeopleinXiaPeriod，whilephoenixisthetotemfortheprimordlalpeopleinYinPeriod．ZhuRong，theancestorofChu，isacandledragonfeaturedwithtthumaJlfacedragonbodyandnofoot"’．WenYi-duoinfersthattheprimordlalpeoplelivingintheregionofChuaretheethnicgroupwithadragontotem(WenYi．duo，1982：69．72)．Therefore，itgivesanexplanationtothewidelyVarietyofdragonimageryinQuYuan’Spoems·Besides．theimageryof“KunLunMountain"’isadistinctivemythlcalimageryinQuY．uaJl，spoems．TheheroinLiSaoattemptstoreachthePalaceofHeaVenwlthmearchvforthreetimes，“IturntoKunLunMountain，／Thewindingway1swideand10ng”(LiSao：26)．KunLunisaholymountaininChinesemythology·lhehero，swiShevokesChinesefolkloreof“immortalityfaith"’．ThereisalegendthatPengZuandhisdaughterbecameimmortals．QuYuanwanttofollowPengZu·It1sinlinewithChinesespiritofunificationofnatureandhuman·ButQuYuaIldescribesKunLunMountainmanytimesinhispoetrytorepresentthebnghtness35 M．A．ThesisofChangshaUniversityofScience&Technologyandhope．“IlookaroundonKunLunMountain，／Feelingexcitedbythesurgingwater”(HeBo：68)．ActuallyKunLunMountainmeansasplitbetweenrealworldandmythologicalworld．Therealworldisfullofdarkness，filthanddespair,whileKunLunMountainpointsoutthedirectionofidealforthepoet．Romanticliteraturefrequentlyaccustomstocarrydreamsandemotionsthroughtraditionalimageryderivedfromnationalculture．Onthewhole，thethreetypesofimageryinQuYuan’Spoemsconstituteacompletemythicalspacespanningthethreerealmsofheaven，earthandhumansinancientChinesetradition．ThesemythicalimagesinQuYuan’Spoemselaboratehisfirmpoliticalideal，thatis，returningtoabetterpoliticalkingdomgatheredwithwisepeopleintheancientmythicaltimes．TherealworldiscruelforQuYuan．Allofthebeautifulmythicalimagesinhispoemsconcealpoet’Stenderloveforhisstate，andhopefulaspirationofaperfectmythologicalworld．36 ChapterFour：FeaturesofMythicalArchetypalImageryinBlakeandQuYuan’SPoetryinComparisonFour：FeaturesofMythicalArchetypalImageryinBlakeandQuYuan’SPoetryinComparisonAtthemicroscopiclevel，thischapterwillfirstlytracetheculturalsourcesofmythicalimageryinBlakeandQuYuan’Spoetry．Then，itwillcomparetheirtypicalmythicalarchetypalimagerywiththeapplicationofrelatedtheoriesofarchetypalliterarycriticism．BothBlakeandQuYuanreflecttheirspiritualvisionandpoeticcreativity：“mythologicalimagination’’and“rewritingmythology”．4．1CulturalSourcesMythicalimagerybelongstotheprimordialimage，foritspropertyofculturalheritage．Culturalsourcesarethecornerstoneofpoet’Sartistry,deeplyrootedinhismind，playingasubtleroleinhisliterarycreation．BlakecreatesaworldofhisownimaginationdrawnfromWesterntheologicalframework．MostofthemythicalimageryinBlake’SpoetryisderivedfromtheBibleandancientGreekmythology．QuYuanisdeeplyinfluencedbyshamanismintheareaofChu，SOthemythicalimageryinQuYuan’SpoetryisfilledwiththeflavorofcultureofChuandancientChinesemythology．4．1．1TheHolyBibleandAncientGreekMythologyItiswellknownthattheWesternculturehastwoorigins：theancientHebrewcultureandtheancientGreekculture．ThebiblicalcultureiSthecenterofancientHebrewculture，whiletheGreekmythologyisthecoreofancientGreekculture．ThesetwoancientculturesconstantlynurtureoffspringofWesternliterature．InMarx’Swords，thetwotraditionsarearsenalandsoilforliteraryandartisticcreativityoftheaflerworld．‘‘ThebasickemelofhumanisticideasandartisticspiritofmodemEuropeanliteratureisderivedfromtwoancienttraditions”(Rix，2007：45)．AstheseminalpoetintheBritishRomanticPeriod，BlakehasastrongbackgroundofWesternreligiousmythology．InFrye’Sview,theHolyBibleistherootofhumanimagination，existingasamythologicalliterarytext．Meanwhile，theBibleisthecarrierofFrye’Scoreconcepts37 M．A．ThesisofChangshaUniversityofScience&Technology“myths’’and“archetype’’inhistheory．Fryesaid：BiblicalimagesandthenarrativeelementsoftheBiblehadsetupanimaginativeframework⋯一amythicaluniverse．asIcallit⋯-withinwhichWesternliteraturehadoperateddowntotheeighteenthcenturyanditisalargerextentstilloperating．(Frye，1990：11)InFrye’SautobiographicalarticleentitledLookingfo，．DesirableSentence，heoncedescribedtheentirecourseinhislifeisfocusedfromthestudyofBlaketomovetowardmythology,archetypalliterarycriticismandthestudyofbiblicalliterature．HesaidthathehadfoundanintuitionintheperiodofwritingcommentsforBlake’SpoemMilton；andhealwaysfeltthatthereisamythologicalframeworkthroughoutBlake，MiltonandotherWesternliteraryfigures．ThecoreofthisframeworkistheHo&Bible．FryebelievedthathisacademiclifeisrevolvedaroundtheChristianBible．Hesaid：“inacertainsense，allmyworksofliterarycriticismbeganfromthestudyofBlakepublishedin1947toAnatomyofCriticismcompletedadecadelater,allarerevolvesaroundtheBible”(Frye，1990：4)．Frye’SresearchshowstherelationshipbetweenBlakeandtheChristianBible，Blakehimselfisapoetwithstrongreligiousflavorofcourse．Blakeoncesaidthat“aUheknewwasintheBible”(Hazard，1991：6)．TherelationshipbetweenBlakeandtheChristianBibleisdirectlyreflectedinhisPropheticBooks．ItisneedlesstosaythattheBiblepenetratesintoeverywriter’Ssoulwithareligiouspower．DefinitelytheBiblehasaprofoundeffectonBlake’Sliterarycreation．IthasbeenprovedinthepreviouschapterthatalotofarchetypesofmythicalimageryinhispoetryarefoundintheBible．ButBlakeisnotquitewillingtoaccepttheBible．JustlikeFryesaid：“Blake’SinterestintheBibleiscritical”(Frye，2006：53)．Blakehasacceptedthestory,charactersoftheBible，butatthesametimeherecreatesconsiderableexpressionsfromhisownneedtoconstructauniquemythologicalframeworkwhichisdifferentfromthesystemoftheBible．TakeTheMarriageofHeavenandHellasanexample，Blake’Swritingisfilledwitharomanticatmospherewhenhecriticizedthetotalitarianism．38 ChapterFour：FeaturesofMythicalArchetypalImageryinBlakeandQuYuan’SPoetryinComparisonWiththeinstinctsofapoetandartisticgiftofapainter,BlaketreatstheBibleaspicturesratherthanstories．Hispoetryhasasufficientlycharacteristicofdense“illusion”．InBlake’Sopinion，theauthoritativestatusoftheBibleisnotduetotherecordsofGod’Swords，butbecauseitisthesourcesofhumanimagination．InhispoemAllReligionAreOne，Blakeexpressesthesanlemeaning．“Allreligionsofpeoplesarederivingfromthedifferentacceptancesforpropheticspiritofitspoeticnature”(Blake，1988：41)．This“propheticspiritofitspoeticnature”isthesourceofallhumanimagination．ThisissimilarlyinFrye’Sdescriptionofhisownworkas“givefreedomtoliteraryfromaseriesofbeliefscompletely”(Frye，1990：36)．BlakeorientateshisworksasabsorbingandrewritingtheBible．HeextractsplentyofdebrisfromtheBibletoreorganizetheminaccordancewiththeorderofhisownimagination．Blakeisenamoredofconveyingthelanguageofhellthroughtheroleofdemon，attackingtheorthodoxChristianconservativenessandself-righteousmoralconsciousness．Blakemadecertainsubversionsinhisrecreationoftraditionalmythology；however,afterthesearchingworkofitssources，wecanseethatBlakeisstandingonthecomerstoneoftheBible．HeconstantlygainsthenutritionfromtheBibletoservehisownpoetryandpaintings．Therefore，theHolyBibleisanimportantculturalsourceforBlake’Sliterarycreation．AlthoughtheBiblehaspenetratedintothewholeWesternculturewithapowerfulreligiousinfluence，theGreekculturealsohasahugeimpactonWestemliterature，sculpture，paintingsandotherartisticforms．Withrichthemesandplots，theancientGreekculturegivesinnumerableinspirationtowritersandartists，creatingceaselessandimmortalliteraryvalues．TheGreekmythologyisacollectionoflegendsandstoriesoftheAegeanregionanditssurroundingareas．Itmainlyconsistsofgods’storiesandheroiclegends，includingtheopeningoftheHeavenandtheEarth，theoriginofhumanbeings，thegenerationofGod，naturalphenomena，localcustoms，andSOon．TheancientGreekmythologyisareflectionofthoughtsandlivesofancientGreeks，embodyingthemarinecivilizationandhumanism．Itspreadsthroughtheworldfromgenerationtogenerationforalongtime．InaboutthetenthcenturyBC，theGreekmythologyhasformedacompletesystemandrecordedbylaterwriters．Withcontinuousartisticprocessing，GreekmythologyprovidesplentifulsourcesofsubjectmatterforWesternartists．Alargenumberofliteraryworksabsorbcharactersandthemesasarchetypesfromit．39 InMarx’Sview,ancientGreekmythologyistheproductof“usingimaginationand诚mimaginationtoconquerthenature，dominatetheforcesofnature．visualizethenature”byancientGreeks(Rix，2007：39)．AsoneofthesourcesoftheEnglishandAmericanLiterature，GreekmythologyhasaprofoundandlastinginfluenceontheformationandcreationofBlake’Spoetry．Imageryofgods，heroes，aswellasallusionsimplicatedinancientGreekmythologycanbefoundinBlake’Spoetry．BlakeelaboratesaseriesofcosmicmythologyandepicstoreflecthisintricateandcomplicatedphilosophicalschemeinhisPropheticBooks．Forinstance：thefightbetweenfourZoasinVala,orTheFourZoasiSsimilartothebaRleofthegodsontheMountofOlympus；firedOrcmanifeststhespiritofrebellion；UrizenrepresentsZeusruledtheOlympus．Inshort，justlikeBlakesaidinhispoem：“TheHebrewBibleandtheGreekGospelare／Genuine”(Blake，1957：132)．4．1．2CultureofChuandAncientChineseMythologyReligiouscustomsandbeliefsintheregionofChuaddbeautytotheromanticstyleinthepoemsofQuYuan．Inhisliteraryworks，thepoetpresentsabright，wonderfulandspectacularmythologicalworld．ThroughoutthewholeChuCi，thefirstandmostimpressiveaestheticappreciationisthegrandmythologicalbackground，whichisclearlyseeninLiSao，TianWenandJ／uGe．Asaconsequence，QuYuan’Spoetryhasimprintsofancientlocalcultureandmythology．thepoemsofQuYuan，cultureofChuisthekeyforunderstanding．Thepoetisrootedinfabulouslegends，ancienttraditionsandimmemorialmythologyinChuarea．CultureofChuisadistinctculturewithindigenouselementsofitsregion．ItisacomplexityoflocalcustomsandbeliefsthatfascinatedChineseliteraturesinceHanperiod．PeopleinChuareaareinthehabitofentertaininggodsbytheirsinginganddancing．Theyhavepreservedlargequantitiesofmythology,religiousstoriesandlegendsintheirpoeticmusic．Tosomeextent，thecultureofChuisknownforitstraitofemployingshamanisticrituals．BanGu，authoroftheHanShu(BookofHan)，claimedthatthepeopleinChuareaemployedshamanintheworshipof‘‘ghostsandspirits”(“gui。shen”)andplacedgreatweighton“excessiverites”(‘"ji．si”)(Cook，1999：214)．Theseregionalpracticesinvolveanimalsacrifices，theuseofshamans，dancing，singing，exorcism，andprayerstolocalgods．ThecustomsandbeliefsofChuarearevealaculturepopulmedbyanimaginativepantheonofdemonsanddeitiesthatinspiredcomplexritualsandsacrifices．40 ChapterFour：FeaturesofMythicalArchetypalImageryinBlakeandQuYuan’sPoetryinComparison——————————————————————————————————————————————————一一一QuYuandevoteshimselfentirelytotheliterarycreationbyabsorbingthecultureinChuarea．Itisnotdifficulttofindthathispoemsarefullofshamanicimagery．Forinstance：LiSao，revealingtheinfluenceofnativeshalnallicbeliefs．describesthejoumeyofaman(actuallythepoethimself)totherealmofthespiritsinachariotdrawnbydragonsforthreetimes．TheheroasksLingFentomakeadivination，andpreparetheseanceofWuXian．FingFenandWuXianaren锄esofshamaninancienttimes．Infact，QuYuan’Spoemsareendowedwithintensiveflavorofregionalshamanicculture．Furthermore，thepoetrefinesandprocessestheuniqueballadsandlocalmusic，whichisknownasSouthWindandSouthTonesinancientChina，convertingthemintoartwithindividualexperiences．Heexclusivelvcombinestheseelementstogetherinhispoetry,reflectingaprofoundromanticismandintensiveshamanicculture．Therefore，readerscanappreciateromanticthemessuchaslovebetweenhumanandgod，hybridofpeopleandgodinhisextraordinarypoems．Meanwhile，ChineseheritageCanbetracedtoitsbifurcatedfountainhead：theYellowRiver(North)civilizationandYangtze(South)civilization．WhereastheformerhasarepresentationinConfucianclassics，thelatterisbestknownf．ortheRomanticistspiritasexemplifiedbyChuCi．InLiuWu—chi，sconunents：Themountains，streams，andforestsoftheSouthwerefertilegroundforlegendsandmyths．WhereasChinesehistoryhaditsbeginningintheNorth，andthesage-emperorsanddynasticrulersofantiquityappearedfirstintheNorthernConfucianliterature．ChinesemythologyfoundafavorableclimatefordevelopmentintheSouth．Foronething，theYangtzepeopledidnothavetoekeoutameagerexistenceinharshsurrounding；theywereblessedbythebountiesofnature，whichenablethemtoleadalifeofcomparativeeaseandtoindulgeindreamsoftheromanticandsuDematural．ThesestraitsgivearisetothetypeofcivilizationwhichquitedifferentfromthatoftheNorth．(LiuWu．chi，1966：9)EvidenceshowsthatancientChinesemythologyisderivedfromtheSouth．AndtheancientChinesemythologyprovideslocalauthorswithrichsourcesandinspirations．ActuallymanyancientfairystoriesCanbefoundinthebookShanHai坍，z2(TheClassicofMountainsandSeas)．ShanHaiJingisacompilationofearlvgeographyandmythology,consideringasamythologicalclassic．Itisabookstoredmostoftheancientmyths．Anditalsoassimilatesextensiveinteractionsbetween Taoism，BuddhismandConfucianism，incorporatingintoChinesemythologicalsystem．QuYuan，thebestknownpoetoftheSouthamongChineselitterateur,hastheobsessionoftracingtheancestralandtribalrootsofancientmythology．Inhispoems，therearerepetitionsinthenameofpeoplebackingtoastraldeitiesandhighgods，associatingwiththesun，moon，fire，orwind．Forinstance：thegodsofGaoYang(HighSun-essence)，YanDi(FlameGod)，ZhuRong(InvokingMelter；alsoknownas“huo-zheng”，FireCorrector)，andothermysteriousgodstraditionallybelievedtobeanearlytriballeaderoftheancientpeople．Inaddition，thetitleofQuYuan’SpoemJ／uGeisderivedfrommythologyinShanHaiJing．In臃膨WestofShangHaiJing，“Qi，thesonofYuinXiaDynasty,wenttoheaventhreetimestostealthemusicoftheEmperorofHeaven．FinallyQigotJ／uBianandJ／uGe，andhepassedthemtoman’sworld”(ZhuBin-jie，2002：236)．Obviouslythetitleof“JiuGe”isderivedfromthislegend．QuYuanalsomentionsthenameof“JiuGe”twiceinhisLiSaoandTianWen．Fromthecontent，mostchaptersofJiuGearebasedonancientmythology．TengodsinsacrificefromJ／uGeconstituteacollectedstoryofdeities．SoJ／uGeisanimportantresearchliteratureforthestudyofancientChinesemythology．Fromtheabovepointsofview,withoutshamanismandancientmythology,someimportantartfeaturesofhispoetrywillnolongexist．However,QuYuanhimselfisnotthebelieverofshamanismorreligion(ZhuBin-jie，2002：163)．Henarratesaseriesoffantasticmythicalimageryofgodsinhispoems，butthetoneofnarrationisfrustratingandsorrowful．Hejustemploysmythicalimageryfromhiscultureandmythology,creatinganewkindofpoetrystylewithstrongpersonalityandthespiritofromanticism．Thus，cultureofChuandancientChinesemythologytumablindinglightonthegreatpoetryofQuYuan．4．2SpiritualVisionandPoeticCreativityToalargeextent，withthehugelycomplexpoemsderivedfromtraditionalcultureandancientmythology,BlakeandQuYuanclearlyshowtheirspiritualvisionandpoeticcreativity．Byemployingalargenumberofmythicalarchetypalimageryintheirpoems，QuYuanandBlakecreateavisionaryanddivineworldforaliterarydesignCO-extensivewithmythologyandimagination．Itisnotthepoetsrevealthemythology；actuallyitisthemythologytheyrewrotewithinafabulousimagination．42 ChapterFour：FeaturesofMythicalArchetypalImageryinBlakeandQuYuan’SPoetryinComparison4．2．1MythologicalImaginationJungclaimsthatthemaintaskofarchetypalpsychologyis“re—mythologizeconsciousness”．Throughsuchmethodsof“de-literalizingconsciousnessandrestoringitsconnectiontomythicalandmetaphoricalpaRems”(Jung，1981：73)，writerstransmogrifymythologyintoanewversioninnaturewith“mysticparticipation”．Theconversionofliteratureisrooteddeeplyinthemythologicalawarenessofpeople．BlakeandQuYuanabsorbmythologyinordertointerpretlifeandideals．Intheirpoems，themythicalarchetypalimagerythatreflectman’sreligious，social，political，culturalandpsychologicalrealitiesareconsiderable．GodandtheEmperorofHeavenrepresentthesupremepoliticalpower，idealartisticcreativityandtheapexofpsychologicalintegration．BlakeandQuYuanprovidenewpoeticinsightsintheirpoems．GodandtheEmperorofHeavenarenotjustsacredimagery；theiractivitiesreflectmanyaspectsoflife．Thetwopoetsoffermysteriesintheirworksbyamythicalmind．Actuallythereisasubstratumofmythicalmentalityineveryperson．BlakeandQuYuanemploymythicalarchetypalimageryintheirpoemswithchild—likeinnocence．Inasense，suchchild·likeinnocenceisagroupconsciousness．Poetsmaybeunconsciousofthetendencytoemploythemythicalimagery．InBlake’Spoems，imageryofAlbionunderscoresBritishnationalism；whileinQuYuan’Spoems，theGodsofFourOrientationsprovidesacommonviewoftime—spacecosmologyinChina．ItrelatestoJungiantheoryof“collectiveunconscious”，aracialmemorythatresidedinman’sunderlyinglayer．Thereligiousandmysticexperiencesaregovemedby“collectiveunconscious”．SoBlakeandQuYuancreatefabulousworldsfromancientmythologyintheirpoems．Andasapossibleliteraryform，mythologycanbetransferredintoartisticstructures．Thisphraseneedsimaginationtoproject．AstheRomanticpoetsintheWestandtheEast，bothBlakeandQuYuanshowagreatpowerofimagination．Blakepoeticallyplacesimageryoflambandtiger,fatherandsonattheimaginativelevel；QuYuanemploysasizablenumberofimageryofbeautifulflowersandgrasseswithromanticimagination．InJungiantheory,the‘‘collectiveunconscious’’doesnotdevelopindividuallybutisinherited，innateandaboriginalsincehumanbirth．Toalargeextent，themythicalarchetypalimageryinthehugelycomplexpoemsofBlakeandQuYuanareasrealastheyareimaginative．ThenatureofBlake’Spoetryisvisionary—imagination，43 whichmeansanimaginativevisionthatsurpassesallhisexperiences．Itishisinheritedpower．Beerobservesthat“oneforceonlycouldredeemmankind：theindwellinglightofimaginativepower’’(Beer,1969：296)．Withthepowerofimagination，Blakeconsequentlycreateshisownpersonalmythologicalsystem．QuYuan’Sgrandimaginationgivesreadersakindofuniqueaestheticappreciation．HisboldvisionandremarkabledesignarerareinChineseliteraryhistory．Itisaninheritedtalent．Thus，thefabulousimaginationisthecentraltenetoftheRomanticpoets．InthepoemsofBlakeandQuYuan，cultureandreligionaremanifestedthroughmythicalarchetypalimageryinvision．ThetalesofbeginningorcreationareinseparablepartInmythology．Hence，BlakeplacesOrcinapivotalpositioninJertlSnleEn．Furthermore，BlakepoignantlyproposesanaestheticoriginofthecreativemythologyinhisPropheticBooks：Choosingformsofworshipfrompoetictales，Andatlengththeypronouncedthatthegodshadorderedsuchthings，Thusmanforgotthatalldeitiesresideinthehumanbreast．(Blake，1988：37)Ontheotherhand，QuYuanrevealsanillustrationofcommonly．heardlegendsofNvWainhisTianWen．Moreover,thepoetraisesquestionsaboutthisgoddess，seekingmoreexplanationsforvalidation：WhenNvWamountedthethrone，Whosaiditwaswelldone?WhomadeherbodychangeIntoseventyshapesstrange?(QuYuan，2010：88)Inthismarvelouslongpoem，QuYuanaskshundredsofquestionsaboutdeitiesandgods，presentinganunusualimaginativethought．Man’Spoetic“collectiveunconscious”givesrisetotheimaginationofcosmiccreation·Blakeenfoldsaconceptofsupremeimagination：“ThisworldofimaginationistheworldofEternity／Itisthedivinebossom’’(Blake，1957：34)．Asaconsequence，Blake’Spassionfororiginalityandimaginationinformshiscreationofacosm0109yin ChapterFour：FeaturesofMythicalArchetypalImageryinBlakeandQuYuan’SPoetryinComparisonPropheticBooks，amythologicalsystemconsistsofAlbion，Urizen，Luvah，UrthonaandTharmas．IntheproseTheLaocoon，Blakeasserts：TheEternalBodyofManisTheImagination，ThatiS．GodHimselfTheDivineBodyJesus：WearehisMembersItManifestsitselfintheWbrksofArt．InEternityalliSvision．(Blake，1957：27)Blakealsomaintainsthatexerciseoftheimaginationcouldlcadtothewisdomandinsight，namely,“PoeticGenius”．AndBlakebelievesthathispersonalmissionistoexpressandembodythis‘‘DivineArtsofImagination”inhisworksofart，givingapropheticqualitytohisliterarypursuitsandpoeticcreativity．Withemotionalneeds，QuYuanemploysanunusualaudacityofimagination．InJ／uGe，QuYuanbringsmankindsidebysidewithgods，suchasDongHuangTaiYiandShanGui．TheloveaffairebetweenShanGuiandmankindreflectsaharmonyconceptinnature．ShanGuiisaGoddess；herloverisahumanbeing．ShanGuiisimmortalandhumanbeingismortal．ShanGuimakesanappointmentwithherloveronthemountain．Shewaitsforalongtimewithfluctuatingmood．ThereisnodistinctionbetweenShanGuiandherloverinthepoem．Actuallyman’srelationshipwithsupernaturalforcesinthemythicalimaginationisakindofpoeticinstinct，justlike‘‘collectiveunconscious”．InBlake’STheMarriageofHeavenandHell，theherointeractswiththeDevil，anoldprophetslikeEzekielorIsaiah．TheherowalksalonghellwiththeDevil，communicatingwithothermythicalfigures．Suchunusualsituationsareconsonantwiththemythicalconsciousnessoftheancientmythology．Infact，themythologicalimaginationisdescribedas“PoeticGenius’’or“SpiritofProphecy”byBlake．LikeJungsaid：‘‘thewholeofmythologycouldbetakeasasortofprojectionofthecollectiveunconscious”(Jung，1981：325)．Jungiananalysisisessentiallyaimedatrelatingmythologytotheindividualpsyche，whereasimaginationuponmythologyisareflectionof“collectiveunconscious”．Meanwhile，poetsemploymythicalarchetypalimageryinliteraryworksinordertostriketheunconsciousnessofreaders．Theoperationofimaginationintheirpoeticcreativityisareflectionofman45 projectinghisownideasofsoul，visionsandancestralspirits．BlakeandQuYuanembraceapowerofspirittobuildavisionaryordivineworldintheirpoetry．InBlake’Spropheticpoems，thepoetiscommittedtobuildingalargeandcomplexworldofmythology．TheimaginationusedbyBlakealmostreachedtheextreme，andhispurposeistoestablishasetofmythologicalsystemofimagination．QuYuanalsocreatesagrandandvast，mistyandcolorfulartisticscenewithhisboldimagination．Hisexpectationsofreturningtoancientmythologicalandpurefairylandremindsthepowerfulemotionalforcedeepeninthesoul．4．2．2RewritingMythologyAccordingtoFrye’Stheoryofmythology,archetypalimageryisthemostclearlydiscernibleelementsinliterarytext，resemblinghumanexperiencetomovetowardarealoridealormythicalworld(Frye，2000：140)．InthepoemsofBlakeandQuYuan，thepoetsextractmythologyfromChristianandChinesetraditions，providingvisionsoftheorigin，courseandpossibleendofmythicalfiguresinvariousways．Forexample：themythicalimagesofUrizenandLosinBlake’Spoems，aswellasEmperorofHeavenandYiinQuYuan’Spoems．Thesekindsofmythicalarchetypalimagerydrawuponbypoetsasameansofreflectingthecruellyrealworld，understandingthehumanbeings，andexpressinggoodwishesforthefuture．Insomedegree，suchmythicalarchetypalimageryauthenticatesHook’Sobservationthat“mythsofferexplanations[⋯]astowhytheworldisthewayitis”(Hook，1982：191)，becausethevividandepiclifeinpoemsleadreaderstoregardthesemythicalfiguresastrue．ThepowerofUrizen，hiscreationtotheworld，hisfall，hisstrugglestoregainpowerintheuniverseandhisrescuebyLosareastruetothebiblicalstorylikeGodandSataninBlake’Spoems．Similarly,thepowerofYi，hisgreatfeatofshootingdownninesuns，hisfall，hislusttoplunderwifefromHeBo．hispunishmentbytheEmperorofHeavenaretruetotheChinesemythologyinQuYuan’Spoems．BlakeandQuYuanusepoeticcreativitytocapturereader’Sperceptionofreality．Thetalesofmythicalfiguresarebelievedtobetrue．Readersacceptthemasliterarytruths．Althoughmythologyisfixedinreader’Snormalexperienceofhisuniverse，societyandculture，BlakeandQuYuanprovidenewpoeticinsightsintotraditional ChapterFour：FeaturesofMythicalArchetypalImageryinBlakeandQuYuan’SPoetryinComparisonmythology．SoreaderscallseetheGodmaynolongerbethesupremeinfallibleGodofcreationorcontrolleroftheuniverse，butagiantwhosetsthepaceforhumanityinpoemsofBlakeandQuYuan．BlakepoeticallyplacestheimageryofAlbionatthesamelevelastheAlmightyGodandQuYuan，inthesamevein，questionedtheEmperorofHeaveninanewromanticscheme．JustasFryesays：‘‘Mostimageryinpoetryhasofcoursetodealwithmuchlessextremeworldsthanthetwowhichareusuallyprojectedastheeternalunchangingworldsofheavenandhell”(Frye，2000：151)．Andeitherinadesirableworldoranundesirableone，thecontentofartis“moreconventional，havingbeenanalogizedtotheidealandmythologicalworld’’(Frye，2000：158)．Readersmustusethetechniqueof“displacement”togetabetterunderstandingofsuchmythicalarchetypalimagery．Infact，itisnottherealtruthsofthesemythicalfiguresorstoriesinBlakeandQuYuan’Spoems；itisanevolutionofancientmythology．UrizenCannotreplacetheGodinHolyBible，andimageryofYialsohasbeenprocessedbyQuYuan．Thisnewtrendshowsrewritingorrecreatingofmythologybythepoets，intendingtothrowmorelightonhumanexistence．ThepoeticambitionofBlakeandQuYuanistogobeyondamerepassiveunderstandingofbeingandtheworld，theyactuallywanttoactivatepoetrywiththeirownpurposes．Inordertoreachthisaim，poetsutilizetheupgradedtechnologyofrewritingmythology．Tothispoint，rewritingmythologyisthesameasFrye’Sindirectmythologizingcloselyassociatedwithreligion，orwhathecalls“displacement”．Poetsadaptormodifytheirstories，SOastomakethemcarryouttheirdeepintentions．TherearrangementofthepoeticmythologyinBlake’SpoetryCanbeseenmostclearlyinthevariouspersonalitieshecreatedtorepresentthedifferentaspectsofbeinginVala,orTheFourZoas．Infact，thispoemisasymbolicre—creationoftheepicstoryofRevelationinChristianity,andthemythicalimageryoffourZoaswhichspeaksofthefallandredemptionofhumanityarethemythologicalembodimentofliterature．Similarly,QuYuanquestionedalltheancientmythologysuchasthebirthofgods，theirpowersandcontributionsinTianWen．Furthermore，thesacrificestotengodsinJ／uGearenotrealgodshonoredbyancientpeopleinChuarea(JiangLiang-fu，2002：36)．Tothispoint，BlakeandQuYuanforcethereadertocontinuallyre-ascribetheirattributionsofspecificmeaningto47 differentpersonasandsub—personas，andtocontinuallyreshapetheirattitudetowardsthetraditionalmythology．Readersbelievethesemythologiesaretrue；however,theyareactuallyrewritingmythologiescreatedbypoets．InTianWen，QuYuandescribesmissionandcontributionofYu：“accomplishinghisfather’Sdeed”．Yu“bornoutofhisfather’Sbellytom”．and‘‘adoptmethod’’fromhisfather,andfinally“wellsucceedinKun，smiscarrieddeed”．ButQuYuandoubtshisaccomplishmentsandasksquestionsaboutit，attemptingtorevealamythologyindeep．seatedculture．Thiscreativeprocess，beingdivineinChineseoriginalmythology,compelsman’simaginationtoacceptthemasliteraryeventsinthesupematuralrealm．InFrye’stheory,itisthemovementawayfrommythologytowardverisimilitude．Blake，operatingwithintheChristianandancientEnglishmythicalschemes．buildsasystemofcreation．AlbionliterallymeansthefatheroftheEnglishraceorofallhumanity．InTheBookofUr&en，themythicalimageryofAlbionisthecreatorrecognizedasthe“PrimevalPriest”，whoseplaceisthehighestofallplaces．InassessingBlake’StreatmentofsupremeGodandchaoticuniverse，FryenotesthatBlakere。orderedtheuniversebyrecognizingtheeternalAlbion，who“includespresumablyallthehumanityweknowintheuniverse’’(Frye，1951：125)．TheninVala,DrTheFourZoas，Blake’slongestpoems．thepoetcreateshisownmythicaluniverse，inventingbythefourfallenpartsofAlbion：Urizen，Luvah，UrthonaandTharmas．ThefourZoasrepresentreason，love，imaginationandsense．Inrelatingtothecreationofauniverse，Blaketransformstraditionalreligiousmythologyintohisownmythologicalsystem．QuYuanalsobuildsamythologicalworld．InhispoemLiSao，thepoetportraysgodsofsun，moon，wind，thunder,andmythicalanimalsofphoenix，dragon，aSwellasmanymythicalplacesofFuSang，XianChi，XianPu，BuZhouandsoon．Thepoetadoptsalotofancientlegends，butunbindstheoriginalstories．Theherotriesthreetimestogototheheaven，witheffortsofgettingadvicefromNvXu，makingpresentationtoChongHua，askingdivinationfromLingFenandpreparingseanceforWuXian．QuYuanreorderstheseancienttalesandlegendstoformanewstoryinhispoem，openingupagrandmythologicalworldtohisreaders．48 ChapterFour：FeaturesofMythicalArchetypalImageryinBlakeandQuYuan’SPoetryinComparisonFryesaidthatliterature“continuallytendstorightitsownbalance，toreturntothepattemofdesireandawayfromtheconventional”(Frye，2000：156)．Asthemythologyisthemostbasicarchetypeinliterature，the‘‘displacement’’ofmythologyinBlakeandQuYuan’SpoetrymovestothedirectionofUtopianacceptability．BothBlakeandQuYuanreshapetheirancientmythologybyre-contextualizingmythicalarchetypalimageryand“throughingenioustechniquesofdisplacement”(Frye，2000：156)．IndoingSO，desirableimageryoftenappearsasplausibleformasaresult．Therefore，withafunctionof“displacement”，BlakeandQuYuanrewriterespectivemythologyintheirpoems，presentingas“apermanenteternalformwillappearintime”(Frye，1990：323)．49 M．A．ThesisofChangshaUniversityofScience&TechnologyConclusionAsaforerunnerofRomanticisminEnglishliterature，Blakecreatesalargenumberofpoemswithgreatpassionandrichimagination．Hispoetryisobscuredandaboundsinmythicalimagery．QuYuanisanoutstandingrepresentativeofChineseRomanticism．Similarly,themeaningishiddeninQuYuan’Spoetry．Hispoemsarefilledwithmysticalimagery．Originallyrootedintwootheracademicdisciplinesofsocialanthropologyandpsychoanalysis，archetypalliterarycriticismfocusesoncertainimageryandtheirarchetypalmeanings，providingamethodtoexploretheconnotationandrelationshipbetweenvariousliteraryworks．FindingsMythicalarchetypalimagesinBlakeandQuYuan’Spoetryarebroadlydividedintogods，humansandnatureinaccordancewiththeircontents．ThefourZoascreatedbyBlakeandtheGodsofFourOrientationsdepictedbyQuYuanarethemainmythicalimageryofgods，andtheircorrespondingmythicalimagesofhumansandnaturearesubordinate．Blakecreatesafabulouskingdomwithhisrevolutionaryspiritandreligiousideas．QuYuanshowsthesad，angryanddarksocietythroughvariousmythicalimages．Blakewantstorebuildanew“Jerusalem”，QuYuanhopestoreturntomythologicaltimesgatheredwithancientsages．Romanticpoetsemploymythicalimagerytoreflecttheculturalsources，theirspiritualvisionandpoeticcreativity．DrawingfromtheWesterntheologicalframework，Blakecreatesacosmosofhisownimaginationinhispoetry．ThemythicalimagesinBlake’SpoemsarederivedfromtheHolyBibleandancientGreekmythology．Whileunderthegreatimpactofshamanism，QuYuan’SpoetryisfilledwiththeflavorofcultureofChuregionandancientChinesemythology．Poetsindulgeinmythologytoaddasenseofwondertorealityforreaders．AccordingtoJungiantheoryof“collectiveunconscious”，thespiritualvisionofBlakeandQuYuanismythologicalimagination．Jungbelievesthatthefoundationofmythicalimageryispositiveandcreative．SimilarimagesOCCurinmythology,fairytales，anddreamsbecausethehumanpsychehasaninbuilttendencytodwelloncertaininheritedarchetype．Broadlythereisasubstratumofmythicalmentalityin50 Conelusioneveryperson．AndthefabulousimaginationisthecentraltenetoftheRomanticpoets．InBlake’Spropheticpoems，theimaginationusedbyBlakealmostreachedtheextreme，andthepurposeofpoetistoestablishasetofmythologicalsystemofimagination；whileinQuYuan’Spoems，thepoetcreatesagrandandvast，mistyandcolorfulartisticscenewithhisboldimagination，expectingaretumtoancientmythologicaltimesthroughpurebeliefsandremarkableimagination．AccordingtoFrye’Stheoryof“displacement”，thepoeticcreativityofBlakeandQuYuanisrewritingmythology．Fryeexplicatedthestructuresofarchetypalimageryfromtheperspectiveofmythology．HeattributedRomanticism“intheexpandedsenseofgivingaprimaryplacetoimagination”(Frye，2000：2)．Hebelievedthatliteratureisthe‘‘centralandmostimportantextension’’ofmythology；therefore，literatureasawholeis“displacedmythology”．Mythologyandliteraturethusinhabitwithinthesameimaginativeworld．Sotheconversionofliteratureisrooteddeeplyinthemythologicalawarenessofpeople’Sunderlyingconsciousness．Withtheuniqueliterarycognition，BlaketransformstraditionalreligiousmythologyintohisownmythologicalsystemonthebasisofEnglishprophecyepictradition．QuYuanremodelsaseriesofancientmythologywithhisstrangewayofthinkingonthebasisoftraditionalChineseculture．Inviewoftheoverallsituation，bothBlakeandQuYuanareRomanticpoetbutareinconflictwiththereligiousdoctrinesandharshrealitythattheycomeupagainstintheirlives；bothtaketheirliteraryworksastasksofafatefulcompulsion；bothareheartedvisionaries；bothrecognizetheinherentlyspiritofhumannature；bothsetthehumanimaginationaboveallelse；andbothreshapetheaestheticcreativityandrewritethemythology．However,obviouslyduetodifferentinfluencesofthetimes，ethnics，andgeographicalandculturalbackground，aswellastheirownlivingexperience，individualtemperamentandwayofthinking，thetwopoetsalsodisplaystrikinglyheterogeneousfeaturesintheirliteraryworks．Blake，beingbrightwithflamingfire，tendstocreatemythicalimagery,whileQuYuan，beingtragicallygloomy,isapttoborrowmythicalimagery．TheanalysisandcomparisonofmythicalarchetypalimageryinBlakeandQuYuan’SpoetryundertherelatedtheoriesofJungandFryeprovideabetterunderstandingandfurtherreadingtotheirpoems，achievingamorethoroughandcross—culturalapprehensionofthemythologyandreligiontosimilarpoets’literarycreationtakingplacebetweendifferentnationsanddifferenttimes． LimitationsThisthesismacroscopicallyanalyzesmythicalarchetypalimageryinBlakeandQuYuan’Spoetryfromthreecategoriesofgods，humansandnature．Therelatedimagesjustaccountasmallpartofthetotalquantityofmythicalimageryintheirpoems．Duetothelimitedlengthofthesis，thelackofcomprehensivereferences，aswellastheshortagesofresearcher’Sknowledge，thisthesisdoesnotinvolvealltypesofmythicalarchetypalimageryinBlakeandQuYuan’Spoetry．Besides，themicroscopicallyanalysisundercertainarchetypaltheoriesmayreachdifferentconclusions．ComparativeresearchonmythicalarchetypalimageryinBlakeandQuYuan’Spoetryisanewperspectiveforcross．culturalstudy．Itneedsmoreeffortsintheftature52 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M．A．ThesisofChangshaUniversityofScience&TechnologyAcknowledgmentsDuetotheenthusiasmofEnglishandChinesepoetry,especiallytheloveofreligiousandtraditionalculturesundertheinfluenceofmysupervisor,IpaymoreattentiontoBlake，QuYuanandtheirpoems．ThehugeimpactsofthetwopoetsonWesternandEasternliteratureareobvious．Sincethegraduatethesisisanacademicsummaryofmythreeyears’study,Ichoseacross—culturalaspectofcomparativeanalysisbetweenBlakeandQuYuan．Fromtheselectionofsubjecttothefinishofwriting，thisthesisowesmanypeopleandfriendscreditfortheirhelpandinspiration．FirstlyIammostgratefultomyesteemedsupervisor,AssociateProfessorTangMei—xiu，underwhomIengagedmyselfinaseriesofliteraturestudyforseveralyearsofpreciousadviceandamiableencouragement，andfromwhosevaluablesuggestionsandconstantguidanceIhavebenefitedgreatly．Thanksshouldalsogotoalltheteachersandstaffinmyuniversityandschoolfortheirmeticulousteachingsandgenerouslyinstructions．AlthoughfortheobviousreasonsICanonlypickupafewnameshere，Prof．CheKe·pei，ShenLian—yun，YangJie，BianLi—hong，LuoChun-xia，HuangJian，LiuGeng—xiangoftheForeignLanguageSchool，Prof．XiaXian—peioftheLiteratureandLawSchool，SOonandSOforth．Imustsaythankstomyfriendsandclassmatesfortheirsustainedfriendshipandmutualsupport．Ilearntalotfromourdiscussionsandcompanionshipintheseyears．Myheartfeltgratitudealsoowestomyfamily,especiallymyparentsandmygrandfather．Withouttheireverlastingpatientandunendinglove，Icouldhardlygofurtheronmyroadoflife．Hereon，Iexpressmysincereappreciationtoallthepeoplewhohelpedme．56 AppendixA(攻读学位期间发表论文目录)1．周融．惠特曼《自我之歌》的未来主义棱光[J】．贵阳学院学报(社会科学版)，2012(3)：52—54．2．唐梅秀，周融．或绮谲深沉，或奇妙逍遥——布莱克与屈原的浪漫主义之同中之异[J]．西南科技大学学报(哲学社会科学版)，2013(4)．57 M．A．ThesisofChangshaUniversityofScience&TechnologyAppendixB(中文长摘要)威廉·布莱克(1757—1827)是英国文学史上第一位重要的浪漫主义诗人，开创了19世纪英国浪漫主义诗歌的先河。他集诗人、画家、雕刻家、神秘主义者、想象家于一体，其作品深受后世推崇。布莱克的诗歌以神秘性和宗教性为主要特征，富含神话意象。这些神话意象寓意深远，或明亮如金阳，或沉郁如黑夜，具有独特的魅力。屈原(公元前340年一前278年)，芈姓屈氏，名平，字原，又自名正则，字灵均，战国末期楚国人。屈原是中国古代文学史上最伟大的浪漫主义诗人之一，其文字华丽，想象奇特，比喻新奇，内涵深刻，同样富含多姿多彩的神话意象。迄今为止，中西学术界对两位诗人的神话意象虽然各有研究，但是尚未见学者对二者进行比较研究。在原型批评视域下对他们诗作中神话意象进行对比性探讨，对两位浪漫主义诗人的研究来说是一种新的理论尝试，有助于揭示他们诗歌中的神话意象所蕴含的丰富而深刻的内涵；同时，也为当代的诗歌创作提供启示和灵感。因此，本文将采用原型批评相关理论，从宏观上分析两位诗人作品中的神话原型意象，并在微观上对他们诗歌中的神话原型意象进行比较。本文共六个部分，导言主要对论文的研究范围和框架结构做了说明，并阐述论文的研究目的和意义。本文旨在丰富布莱克和屈原的研究视角，也希望在一定程度上为两位诗人的研究带来一定启示。因此，具有一定的学术理论价值和现实意义。第一章主要介绍布莱克和屈原的生平、文学概况以及国内外研究现状。布莱克以高昂的激情和丰富的想象创作了大量诗篇，如《诗歌素描》、《天真与经验之歌》、《天堂与地狱的婚姻》、《四天神》、《弥尔顿》、《耶路撒冷》等。屈原则开创了中国浪漫主义文学的创作方法，其作品《离骚》、《九歌》、《天问》、《九章》、《远游》等形成了《诗经》所开创的现实主义传统之后又一崭新的文学艺术形式“楚辞”。两位诗人均取得了举世瞩目的文学成就，对后世文学产生了极其深远的影响。国内外对两位诗人的研究成果颇丰，研究水平均达到了一定的 AppendixB(中文长摘要)高度，同时新的研究角度也不断地被发掘。第二章主要介绍本文所采用的相关原型批评理论及其国内外研究现状。原型批评作为一种文学研究途径或文学批评方法兴盛于二十世纪，代表人物是卡尔·荣格(1875—1961)和诺思洛普·弗莱(1912—1991)。原型批评理论认为文学作品中反复出现的意象，或贯穿于整部作品中的人物、情节甚至背景，都可以通过探寻其原型而连接起来。根据荣格的理论，神话或宗教的意象是一种“集体无意识”，潜藏于人们心灵深处，并超越了所有的文化和种族；“集体无意识”一旦被唤醒，原型就被激活。在弗莱的理论中，文学作品中最基本的原型模式是神话，即神话是其他所有文学形式的原型，其它文学形式只不过是经过“移位”的神话；各种各样的文学形式是神话的延续，以及由于时代的不同所发生的“演变”。国内外对原型批评理论的研究测重点不同，国外学者注重理论的完善，国内学者则关注理论的实践。第三章为宏观分析。布莱克和屈原诗歌中的神话意象根据属性可分为神、人、自然三大类。布莱克系统地创造了四个神话式的意象：由理生、罗斯、奥克、大马斯。四天神分居四个方向，由四大元素构成，具有四种能力。“四天神”把布莱克的预言诗连成一个整体，构成了其独特的神话体系。屈原同样在作品中大量使用“四方之神”的意象：句芒、蓐收、祝融、玄武等。两位诗人作品中的四种神话意象与地理方位和自然元素一一对应，并可以延伸到相应的人类神话意象和自然神话意象，布莱克的作品中不乏孩童、游吟诗人等人类意象，屈原则在作品在使用了诸多禹、羿、尧、舜等意象。自然神话意象包括动物意象和植物意象，布莱克的作品中有老虎、羔羊、古树等，屈原的作品则遍及玉树琼枝和香草佩饰。浪漫主义文学惯于借民族文化中的传统神话意象来寄托理想和情感，若要把握布莱克和屈原诗歌中的深刻内涵，需要探寻他们作品中的神话意象所蕴含的原型意义。而浪漫主义诗人从想象力之处获得能量，致力于建构符合自己情感理想的新的神话国度。通过探寻典型的神话意象在作品中的体现以及神话原型和意义，可以揭示两位诗人各自的宗教理想和政治理想：布莱克希望重建一个“耶路撒冷"式的宗教神话国度，屈原渴求一个三皇五帝时群贤聚集的美好政治国度。诗歌中种类繁多的神话意象的使用体现了布莱克和屈原对现实世界的失望和批判，对完美神话世界的憧憬。第四章为微观分析。神话意象属于原始意象，具有文化积淀性，文学作品59 M．A．ThesisofChangshaUniversityofScience&Technology中的神话意象都有其文化成因，布莱克和屈原对神话意象的运用体现了诗人的心灵构造和诗歌境界。布莱克借鉴西方神学框架，创造了自己的想象世界，其神话意象的原型大都源自于《圣经》和古希腊神话。而楚地巫风盛行，屈原所使用的神话意象则弥漫着浓厚的南方巫文化和上古神话的色彩。神话意象是作品艺术性的重要载体，运用相关原型批评理论，提炼出典型的神话意象进行比较，可揭示出两位诗人均具有“神话想象”的心灵构造和“重写神话”的诗歌境界。“神话想象”是荣格理论“集体无意识”的折射，即神话般的想象力是浪漫主义诗人的中一t3信条。布莱克在其预言诗中致力于构建一个庞大且复杂的神话世界，诗人对想象力的运用几乎达到了极致，其目的就是建立一套想象力的神话体系。而屈原善于运用大胆的想象力，在诗歌中创造了恢弘辽阔、缥缈绚丽的意境，传达回归上古神话、重归芝兰美好的期望，以此渲染深含在诗人心灵深处的强大感情力量。“重写神话”是弗莱理论“神话移位”的体现，即文学的“转换变形”之根源于深藏于人们意识底层的神话意识。布莱克在英国预言史诗的传统上，以独特的文学认知，将传统宗教神话转化成为自己的神话系统。屈原则在中国传统文化的基础上，运用奇特的思维方式，在作品中重塑了一系列绚丽多彩的上古神话。布莱克和屈原以浓厚深蕴的心灵体验，在绮靡优美的浪漫主义气息中创造了富含神话想象的艺术境界。通过对布莱克和屈原诗歌中的神话原型意象比较分析，本文最终得出结论：作为中西方浪漫主义文学的滥觞，屈原和布莱克均驰骋想象，勇于超越自我，超越现实社会的苦难与黑暗，摄取了绚丽深蕴的神话意象，建构了符合自己情感经验与心灵理想的神话国度。但是，由于时代、民族、地域文化的影响，同时由于生活境遇、个性气质及思维方式的不同，两位诗人又呈现出大相迥异的异质性特色。布莱克侧重于创造神话意象，其神话色彩是鲜明的火红，屈原倾向于借用神话意象，其神话色彩是悲剧性的黯淡。同时，在结论部分也对本文的局限性和未来的努力方向做了说明。在原型批评视域下对布莱克和屈原诗歌中神话意象进行比较研究，无论是对布莱克研究还是对屈原研究都有着积极的影响和重要的意义。本文不但为进一步研究两位诗人作品中的文化成因、艺术特色以及深刻内涵探明了根源，同时也为布莱克和屈原的研究提供了新的解读视角。布莱克的比较研究时间不长，范围也还很小，因此，今后的研究空间是巨大的。 AppendixB(中文长摘要)关键词：布莱克；屈原；神话；原型；意象