《克丽斯特贝尔》中柯勒律治的诗歌想象的心理分析.pdf 44页

学校代码：10036硕士学位论文《克丽斯特贝尔》中柯勒律治的诗歌想象的心理分析学位类型：学术型论文作者：杜小玉学号：20141411130培养单位：英语学院专业名称：英语语言文学指导教师：刘炅副教授2016年5月万方数据 MAThesisThePsychoanalysisofColeridge’sPoeticImaginationinChristabelByDuXiaoyuAdvisor:AssociateProfessorLiuJiongSchoolofInternationalStudiesUniversityofInternationalBusinessandEconomicsMay2016万方数据 学位论文原创性声明本人郑重声明：所呈交的学位论文，是本人在导师的指导下，独立进行研究工作所取得的成果。除文中已经注明引用的内容外，本论文不含任何其他个人或集体已经发表或撰写过的作品成果。对本文所涉及的研究工作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责任由本人承担。特此声明学位论文作者签名：年月日万方数据 学位论文版权使用授权书本人完全了解对外经济贸易大学关于收集、保存、使用学位论文的规定，同意如下各项内容：按照学校要求提交学位论文的印刷本和电子版本；学校有权保存学位论文的印刷本和电子版，并采用影印、缩印、扫描、数字化或其它手段保存论文；学校有权提供目录检索以及提供本学位论文全文或部分的阅览服务；学校有权按照有关规定向国家有关部门或者机构送交论文；在以不以赢利为目的的前提下，学校可以适当复制论文的部分或全部内容用于学术活动。保密的学位论文在解密后遵守此规定。学位论文作者签名：年月日导师签名：年月日万方数据 ACKNOWLEDGEMENTSAtthecompletionofthisthesis,Iwouldliketofirstextendmygratefulthankstomysupervisor,AssociateProf.LiuJiong,forshehasbeenatpainstogivemesupportandencouragementandexplanationoftheconfusingtopicsthatonceinatimehinderedmyresearch.Second,Iwouldliketoexpressmysinceregratefulnesstomydearteacher,Prof.JiangXianjing,whospecializesinEnglishLinguisticLiteratureandhasbeenteachinginthisfieldfordecades.ItisProf.JiangwholedmetothewonderfulworldofEnglishliteratureandstimulatedmyinterestintheromanticismpoetries.Prof.Jiang’srigorousacademicattitudeandwealthofknowledgegavemedeepimpressionanddrivesmeforwardtotheresearchofromanticismpoems.FinallyIshouldalsoshowmygratitudetomyroommateXuShuweiwhosethesiswasalsosetonthetopicofJung’spsychoanalysistheory.WhenIwasconfusedandcouldnotunderstandtheobscuretheoryofJungIwouldsometimeshaveaconversationwithher,whichhelpedmealotinmyresearch.DXYMay2016i万方数据 摘要对英美文学有所涉猎的人肯定会对英国浪漫主义诗歌和其时代的代表诗人有所了解，柯勒律治最出名的诗作应该算是《古舟子咏》和《忽必烈汗》，然而《克丽斯特贝尔》作为一首未完之作，诗里行间又充满了诡异而神秘的故事情节，也让许多文学之士想一窥究竟。不少文学爱好者和评论家都对该诗的神秘性，超自然性，宗教性以及该诗与诗人的人生做了详尽的研究。笔者试图从卡尔•荣格的集体无意识和原型理论入手对该诗中的神秘的想象加以分析。本文共分为五个部分，第一章和第二章则简要介绍了本文的研究必要、研究理论以及文学界对于该诗的主要研究。目前对于该诗的研究主要着眼于该诗中体现的基督教思想，女主人公克丽斯特贝尔与吉拉尔丁的关系，该诗中的神秘超自然情节的含义以及该诗中体现的诗人的人生经历与思想。本文以个人无意识、集体无意识和原型理论，以及其中涉及到的原型意象，阿尼玛，自化为理论依托对文本进行解读。第三章和第四章则对该诗中的三个角色以及神秘情节进行了心理分析，认为吉拉尔丁身上所具有荣格提出的阿尼玛的一系列特点，吉拉尔丁可以视为克丽斯特贝尔的无意识的具象化，也就是克丽斯特贝尔心中的阿尼玛。而克丽斯特贝尔的意识则在与其无意识化身克丽斯特贝尔的较量中不断成长完成其自化这一过程。在这过程中还出现了智慧老人这一原型意象，智慧老人巴雷西在克丽斯特贝尔的意识与无意识进行斗争中发挥着重要的作用，对克丽斯特贝尔的自化必不可少。本人认为这首诗如同诗人的一个梦文本，是柯勒律治意识与无意识共同的结晶，梦中克里斯特尔一直受到吉拉尔丁的操控与压迫，这也许反映了柯勒律治自己的意识。关键词：集体无意识，原型理论，阿尼玛，自化，智慧老人ii万方数据 ABSTRACTThepeoplewhowidelyreadinEnglishandAmericanliteraturemustknowColeridge’sfamouspoemsshouldbeTheRimeoftheAncientMarinerandKublaKhan,Christabelreceivesincreasinglyattentionfromcriticsbecauseofitsgrotesqueandmysteriousimagination.Someliteratureloversandcriticsstudythepoem’smystery,supernaturalreligiousinfluenceandtherelationbetweenthepoemandthepoet.histhesistriestoapproachthepoemfromtheperspectiveofCarlJung"stheoryofcollectiveunconsciousandthetheoryofarchetypetoexplainmysteriousimaginationofthepoem.Thisthesisisdividedintofiveparts,thefirstchapterandthesecondchapterbrieflyintroducetheneedtostudy,theoreticalresearchandthemainliterarystudyofthepoem.AtpresentthestudyofthepoemmainlyfocusesonChristianthoughtsreflectedinthepoem,therelationshipbetweenChristabelandGeraldine,theimplicationofthepoembehindthemysteriousandsupernaturalplotandreflectionofthepoet"slifeandthought.Thetheoreticalbasisofthisstudyisthepersonalunconsciousandcollectiveunconscioustheory.Themoreimportantconceptsarethearchetypalimage,animaandindividuation.Thethirdchapterandthefourthchapterestablishtheauthor’sanalysisoftheimaginedcharactersandmysteriousplots.Jungacclaimsthatanimaisendowedwithaseriesofcharacteristics,fromwhichtheauthorwouldliketoverifythatthesecharacteristicsfallpreciselyuponGeraldine.Geraldine,whoexhibitsthedefiningfeaturesofJung’sanima,canbeseenasthevisualizedunconsciousofChristabelandtheanimainChristabel’smind.Christabel,inturn,managestofinishherprocessofindividuationtobecomeawholepsychologicalunityduringherstruggleandfightwiththeembodimentofhervisualizedunconscious.Inthisprocessthereisalsothearchetypalimageofthewiseoldman.DuringthestrugglebetweenChristabel’sconsciousnessandunconsciousthewiseoldmanBracyplaysquiteasignificantroleandisindispensableforChristabel’sindividuation.Inconclusion,thispoemcouldbeinterpretedasColeridge’sdreamtext,theresultofthecombinationiii万方数据 ofColeridge’sconsciousnessandunconscious.WithinthatmysteriousandsupernaturalandfragmentaldreamChristabelisinthemostoftimesubjecttothemanipulationofGeraldineandisoppressedbythepowerfulandmagicGeraldine.ThismayreflectthementalsituationofColeridgeandhisinabilitytofinishthepoem,ispartlytheresultofhispoorhealth,andpartlytheresultofthepoet"sownchaoticmind.Keywords:collectiveunconscious,archetype,anima,thewiseoldman,individuation.iv万方数据 ContentsACKNOWLEDGEMENTS.............................................................................................i摘要..............................................................................................................................iiABSTRACT..................................................................................................................iiiContents.........................................................................................................................vChapterOneINTRODUCTION.................................................................................11.1NeedsfortheStudy..................................................................................................11.2SignificanceoftheStudy...........................................................................................21.3StructureoftheThesis...............................................................................................3ChapterTwoLITERATUREREVIEW........................................................................52.1TheoreticalBasesoftheStudy...................................................................................52.1.1Coleridge’simaginationtheory.........................................................................52.1.2CarlJung’stheoryofCollectiveUnconsciousandArchetype................................62.2ResearchDevelopmentsinChina...............................................................................82.3ResearchDevelopmentsAbroad...............................................................................10ChapterThreePSYCHOANALYSISOFIMAGINEDCHARACTERS...............153.1PsychoanalysisofGeraldine....................................................................................153.2PsychoanalysisofChristabel....................................................................................193.3PsychoanalysisofBracytheBard.............................................................................22ChapterFourPSYCHOANALYSISOFIMAGINEDPLOTS...............................254.1PsychoanalysisoftheMeetingbetweenChristabelandGeraldine.................................254.2PsychoanalysisofTheirWaytotheProtectedCastle...................................................264.3PsychoanalysisofBracy’sDream.............................................................................28v万方数据 ChapterFiveCONCLUSION....................................................................................305.1MajorFindings.......................................................................................................305.2LimitationsandSuggestionsforFurtherResearch......................................................31REFERENCES.............................................................................................................33vi万方数据 ChapterOneINTRODUCTION1.1NeedsfortheStudySamuelTaylorColeridgeisoneofthemostinfluentialromanticismpoetsandwell-knownforhismasterpiecesTheRimeoftheAncientMarinerandKublaKhan.HeisoneoftheLakePoetsalongwithWilliamWordsworth,RobertSoutheyandwroteLyricalBalladsincollaborationwithWilliamWordsworth.ItcannotbedeniedthatColeridgehasasignificantimpactonBritishRomanticismMovement.Coleridgecreatedhisownpoeticaltheoryandalmostallofhispoemsintroducedsupernaturalelements.ThemostfamousofhispoemsisTheRimeoftheAncientMarinerandthispoemwaspublishedintheLyricalBallads.KublaKhanalsoreceivedmuchattentionfromliteraturecritics.However,hisotherpoemChristabelwaspaidlessattentioncomparedwiththeabovetwopoems.ChristabelisthelongestpoemofColeridgewhichisnotcomplete.Coleridgeintendedatfirsttowritefiveparts,however,heneverfinishedtheotherthreepartswithonlytwopartspublishedrespectivelyin1797and1800.ComparedwithTheRimeoftheAncientMarinerandKublaKhan,Christabelismostcohesivewhoseplotiswelldesignedandmoreexplicit.Criticaftercriticwereamazedatitscomplexreligiousimplements,psychologicalsymbolism,mysteriousandsupernaturalphenomenon,thetensionbetweengoodandevil,etc.LewisM.Schwartz(1970)saidChristabelislikeadreamoflovelyforms,mixedwithstrangeandindescribableterrors.ItisnotreasonablethatthebeautyandmeaningofChristabelshouldbeignoredforitsfragmentalplotsorperplexingresults.Justlikeourclassicalnovel,ADreaminRedMansions,thisisstillexcellentalthoughitisincompleteorfragmental.RecentlyIfoundthatChristabelwasseriouslyneglectedbyscholarsespeciallyin1万方数据 domesticliteraturefield.IsearchedthroughBaiduScholar,CNKI.net,andResourceSharingPlatformofBeijingCollegesofFinanceandEconomicsbythekeywordsChristabel,Coleridge’sChristabelandChristabelbyColeridgeonlytofindseveralpapersofhighrelevance,letalonebythekeywordcollectiveunconsciousnessandChristabelorelse.FurthermoreIcouldnotfindanappropriatetranslationofthelady’snameChristabelandthepoemleadingtoalowrelevancetoChristabelwhenIsearchedthroughtheabovewebsites.Althoughthissituationisbetterinforeignliteraturefield,Icouldfindanumberofpapersbythekeyword,stillIcouldnotfindagoodnumberofthepapersofhighrelevance.Andthoughtherearedozensofpapersofhighrelevance,mostofthemfocusonitslinguisticstructure,itsreflectionofthepoet’slife,itssexualandsupernaturalelements,etc.MostofthescholarsandcriticsareconcernedabouttherelationshipbetweenChristabelandGeraldine,whatwouldbetheresultofthecompletepoem,howwasthepoemrelatedtoColeridge.However,fewofthemfocusonthepsychoanalyticalperspectiveofthepoem.1.2SignificanceoftheStudySinceColeridgemadegreatcontributionsnotonlytoBritishliteraturebutalsotoBritishphilosophyandpolitics,hisworksshouldreceivescholars’attentionandbestudiedwidelyinorderthatpeopleshouldknowtheimportanceofColeridge’sworksandhavetheopportunitytogetadeeperunderstandingofthosemarvelouspoemsandproses.TakingintoconsiderationtheinadequatestudyofColeridge’sChristabel,thisthesiswillstudyColeridge’simaginationtheoryfromthepsychologicalperspective,whichmainlysetsuponthelessknownsupernaturalpoemChristabel.Althoughsomestudieshavebeenmadeeitherabouttheimaginationtheoryoraboutthesupernaturalaspectsofthesplendidpoem(Jiang,SpatzandSun),fewscholarsstudytherelationshipbetweenthissupernaturalimaginationandthepsychoanalysistheoryofCarlJung.EventhoughsomescholarsstudiedtheresourcesofColeridge’simagination(JiangandSun),however,theystudiedthroughreligiousinfluencesandColeridge’slifeexperience.ThisthesisaimstoanalyzeCarlJung’stheoryofpsychoanalysisanditsreflectioninthepoemChristabel.Theimaginationof2万方数据 thosesupernaturalcharactersandaccidentsinthepoem,accordingtomyhumbleconsideration,hasitsrootsinthecollectiveunconscious.Andthecollectiveunconsciousisshownthroughthearchetypesofanima,thewiseoldmanandothersymbolsorimages.ThecombinationofColeridge’simaginationwiththecollectiveunconsciouswillpreparethereaderstohaveafullunderstandingofthosemysteriousanduncannyanecdotesinChristabelandtheireffects;fortoChinesereaders,theimpliedmeaningofthosesymbolsorimagesthatwereborrowedmostlyfromthestoriesofBibleandWesternfairytalesareprobablynoteasytofigureoutwithouttheknowledgeoftheliteraryconventionsandcommonallusionsinwesternliterature.ThisthesisisnotlimitedtohelpreaderslearnmoreaboutColeridge’sideologyandphilosophicalandpsychologicalconsiderations,butalsoaimstoanalyzeatfulllengththeimpliedmeaningoftheuncannyandsophisticatedsymbolsandimagessoastopavethewayformanyEnglishliteratureenthusiasts.1.3StructureoftheThesisWhatisgoingtobediscussedinthisthesisisthepsychologicalanalysisofthosepoeticimaginationsinChristabelthispoem.ThispaperwillbemainlyaimedattheanalysisoftheimaginationofGeraldine,ChristabelandBracytheBard,andtheimaginationofmysteriousplots.FirstlyIamgoingtointroducebrieflyCarlJung’stheoryofpsychoanalysis,whichismainlyconcentratedonthetheoryofpersonalunconscious,collectiveunconsciousandthetheoryofarchetype.Andwhenreferringtothetheoryofarchetype,Iwillalsoinvolvethetwoconceptsanimaandthewiseoldman.AccordingtoCarlJung(1997),thecollectiveunconsciousisnotapersonalpossessionwhichisdistinguishedfrompersonalunconscious,ratherithaveneverbeeninone’smindandneverbeenacquiredanditmainlyconsistsofarchetypes(citedinShen,2012),whilearchetypespresentthemselvestoconsciousnessthrougharchetypalimageswhichareessentiallymadeupofanima,animus,shadow,persona,theself.Secondlythepsychoanalysisofthethreeprincipalcharacterswillfollowtheintroductionofthetheory.InChristabel,Coleridgecreatedtwodominantfemalefigures,ChristabelandGeraldine.Christabelisinnocentandofsimplegoodnesswho3万方数据 savedGeraldine,onebeautifulandcharminglady,fromfivewarriors.ButlatelyChristabelwasinvadedbyGeraldineandlostherchastityandthussunkintounknownsin.Inthispaper,IwilltaketheperspectivethatGeraldineistheanimainChristabel’smindandChristabelistheprojectionofColeridge’smindandtrytoanalyzethesimilaritiesbetweenthecharactersandJung’sarchetypes.GeraldinepreciselyfallsuponJung’sdescriptionofanima,oneofthearchetypalimageswhichhavepeculiarcharmsandusuallyhideevilintentionsundertheinnocentappearanceandplaystricksonus.Geraldinecanchangeappearancesandsuckthelifeenergyoutofyoungmenorwomen.ChristabelcanbeseenastheprojectionofColeridge’smindandwhatChristabelexperiencesisprobablyalsoColeridge’sexperience.Bracythebard,toagreatextent,playstheroleofawiseoldmanthatisalsooneofthearchetypalimages.HeappearswhentheconsciousishopelessanddesperateandisindispensableforChristabel’sindividuation.Thirdlythemysteriousplots,themidnightencounterbetweentwoladiesinachillyandcloudywood,themoaningoftheoldbitchandthesuddenlybrightflame,thesinkingofGeraldinewhencrossingthegateandherrecoveringfromtheflowerwine,Christabel’sstrangefearfuldream,thebard’sdream,theuncannyendingofGeraldineandotheruncannyandunsearchablearrangementsinthepoem,allofwhichwillbestudiedandexplainedinthispart.WhatimpliedmeaningmayhideintheseriesofmysteriousplotsandhowdothesemysteriesrelatewithChristabelandGeraldine?IntheconclusionchaptertheauthorwillsumupthepreviousanalysisandtrytoreadthispoemasColeridge’sdreamtext.GiventheanalysisofChristabelandGeraldine,andtheautobiographicaldetailsofColeridge’slife,hisinabilitytofinishthisgrotesquepoemcanbeprobablyattributedtohischaoticmindandunreconciledconsciousness.4万方数据 ChapterTwoLITERATUREREVIEW2.1TheoreticalBasesoftheStudyWhatisgoingtobediscussedinthisthesisisthepsychologicalanalysisofColeridge’simaginationinhismysteriousandsupernaturalpoemChristabel.Thusweneedtofirsthaveageneralknowledgeofthepoet’simaginationtheoryandthengetaglimpseofCarlJung’stheoryofcollectiveunconsciousandarchetype.2.1.1Coleridge’simaginationtheoryProbablyinordertofightagainsttheReasonthatwasattachedmuchimportancebyEnlightenmentMovement,theromanticistsspokehighlyofimagination.HaroldBloom,anAmericanliterarycritic,namedhisbookaboutEnglishromanticpoetryTheVisionaryCompany.Hewrotethatthesubjectofhisbookwasthedialecticofnatureandtheimaginationinromanticpoetry(5).WilliamBlakeonceadvocated,“Tomethisworldisallonecontinuedvisionoffancyandimagination”“Thenatureofmyworkisvisionaryandimaginary”(Bloom6).JohnKeatsalsoputitthathewascertainofnothingbuttheholinessoftheheart’saffections,andthetruthofimagination(Bloom6).Coleridge,undoubtedly,wasoneoftheromanticistswhoplacedimaginationinasupremepositionwhereheconsidersimaginationeitherasprimaryorassecondary,“TheprimaryImaginationIholdtobethelivingpowerandprimeagentofallhumanperception,andasarepetitioninthefinitemindoftheeternalactofcreationintheinfiniteIAM.ThesecondaryImaginationIconsiderasanechooftheformer,co-existingwiththeconsciouswill,yetstillasidenticalwiththeprimaryinthekindofitsagency,anddifferingonlyindegree,andinthemodeofitsoperation”(BiographiaLiterariaChapter13).Itistheimagination,eitherprimaryorsecondary,thattellsthe5万方数据 storyoftheconsciousandunconsciousmind.AndhealsomentionedthattheoriginalplanoftheLyricalBalladswasagreedthathisendeavorsshouldbedirectedtopersonsandcharacterssupernatural,oratleastromanticinChapterfourteenofBiographiaLiteraria,andMr.WilliamWordsworthwastoawakenthemind’sattentiontothelovelinessandwondersoftheworldthroughgivingthecharmofnoveltytothingsofeverydayandexcitingafeelinganalogoustothesupernatural(BiographiaLiterariaChapter13).WiththisviewColeridgewrotehisfamousthreeworksincludingChristabel.WecanseeinhismostworksthatthisImaginationwasoneoftheelementsthatprovokereadersconstantlytostudytheimpliedmeaningbehindthemysteriousanduncannyimages.Thisthesis,nottofollowthebeatentrack,studiesthepsychologicalresourcesofthisimaginationinChristabel.2.1.2CarlJung’stheoryofCollectiveUnconsciousandArchetypeCarlJung,aSwisspsychiatristandpsychotherapist,whofoundedanalyticalpsychology,andputforwardasetofhisowntheorythatisdistinguishedfromFreud’sanalyticalpsychology.HeintroducedinfulllengththetheoryofcollectiveunconsciousandarchetypeinArchetypesandtheCollectiveUnconscious.ThisessaywillbegroundedonthesetwotheoriesandessentiallyanalyzeChristabelfromtheperspectiveofCollectiveUnconsciousandArchetype.Thesuperficiallayeroftheunconscious,accordingtoCarlJung,iscalledthepersonalunconsciousthat,however,restsuponadeeperlayerwhichiscalledthecollectiveunconscious.Collectiveunconsciousisnotapersonalpossession,ratherithaveneverbeeninone’smindandneverbeenacquiredandthusitisnotexistencetoone’sownexperience,whichisdistinguishedfrompersonalunconscious.Collectedunconsciousisinbornandexclusivelyhereditaryfromourancestorsinthewholeevolutionaryprocess;anditwasdeeplyhiddeninthebottomofpeople’sheartandisnotconsciousbypeople(Jung36).Whereasthepersonalunconsciousconsistsforthemostpartofcomplexesthathaveoncebeenconsciousbuteventuallywasforgottenorrepressedfromconsciousness,thecontentofthecollectiveunconsciousismadeupessentiallyofarchetypesthathaveneverbeeninconsciousness(Jung42).Jungtakesthepointofviewthatliterarycreationisspontaneousandtheauthoris6万方数据 therepresentativeofcollectiveunconscious,andthecontentofthecollectiveunconsciousisarchetype(Shen).Thusfromthisperspective,Coleridge’screationofChristabelisspontaneousanddeeplyrootedincollectiveunconscious.Whilethisunconsciousismainlymadeupofarchetypes,thereforewestillneedtoknowtheconceptofarchetype.Therearetwoexpressionsofarchetypes,esotericteachingandmythandfairytale(Jung5).Throughthistraditionalesotericteachingandtheimpliedmeaningofmythandfairytale,theconsciouswaschangedintounconsciousoverthelongdevelopmenthistoryofhumanbeing.Archetypalimagesisthesymbolofarchetype,throughwhichwecanunderstandtheexistenceandmeaningofarchetype,asarchetypeisunconsciousandcannotbediscoveredandrecognized(Shen,2012).Thecommonarchetypeswemeetinliteraturearetheshadow,theanima,andthewiseoldman(Jung37).Theshadowisalivingpartofthepersonality.Whoeverisabletoreachandunderstandhisownpersonalunconsciouswillseehisownshadowandknowabouthispersonality(Jung20).Animaisalifebehindconsciousnessandanaturalarchetypethatsumsupallthestatementsoftheunconscious,fromwhichconsciousnessarises(Jung27).Andthewiseoldmanisthearchetypeofthespiritwhoisthesymbolofthepreexistentmeaningthatishiddeninthechaosoflifeandalwaysappearsasthesuperiormasterandteacher(Jung35).Jung’stheoryofindividuationpresentssuchaprocessbywhichapersonbecomesapsychologicalindividualthatisaseparateandindivisibleunity(275).Onlythewholeincludesnotonlyconsciousnessbutalsocontainsthestrangeandgrotesquefieldunconsciousoccurrencescantheprocessiscomplete.Normallytheunconsciousandtheconsciousnesscollaborateharmoniouslywithoutanydisturbance,sothatpeoplearenotevenawareoftheexistenceofunconscious,however,anindividualsometimesmaydeviatehisinstinctualfoundationandthenexposetothefullimpactofunconsciousforces(Jung282).Soitisobviousandunderstandablethatconsciousnessandunconsciousdonotmakeawholewhenoneofthemissuppressedandinjuredbytheotherside.ThuswhatJungmeansbytheindividuationisaprocessorcourseoftheindividual’sdevelopmentarisingoutoftheconflictbetweentheconsciousnessandtheunconscious.7万方数据 2.2ResearchDevelopmentsinChinaTheliterarystudiesconcerningwithChristabeldomesticallyarethinontheground,andalmostallofthemfocusonthemysteriousandsupernaturalimaginationanditsphilosophicalandreligiousimplications.Amongthem,Hong,JiangandGuostudiedtheimaginationtheoryitselfandtheimpliedmeaningbehindthoseuncannyandsupernaturalimaginations,whileontheotherhand,Niu,Chen,andSunlaidmuchmoreimportancetothephilosophicalandreligiousresourcesoftheimagination,aswellasitsemploymentofbiblicalimagesandsymbols.HongFang’sthesisattemptstotaketheperspectivefrommaterialismandhistoricalcomparativestudyforthepurposeofanalyzingtheimaginationtheorysystematicallyandonthewhole.Hemainlysettlestointroducetheimaginationtheoryanddatebacktoitsbackgroundandphilosophicalrootssoastostudyitscharacters,valuesanditshistoricallimitations(Hong).JiangXianjingholdsthatColeridge’spoetrytheoryisrelatedcloselywithhisphilosophicalandreligiousideology,firstofwhichishisthreactionagainsttheMechanicalMaterialismofthe18Britishphilosophyandsecondisconcernedwithhisreligiousbeliefs.Coleridge’stheoryoforganiclifeincludesfromonelifeintheuniverseandalienationthatmeanshuman’sdeviationfromnaturetotheharmonybetweenhumanbeingandnaturearguestheunitynaturallyofhumanandnatureandlaysthefoundationfortheemancipationofhuman’ssoulandliberationofartisticimagination(Jiang66).Coleridge’semploymentofsupernaturalcharactersandplotswassubjecttohissupremethought,fortheemotionalexpressionsismoreappliedtoreaders’feelingsandthuswouldmoreefficientlyconveyhisthoughts.SimilarlyGuoandLualsoputitthatthethreeworksofColeridgeweretorecallpeople’signoranceofnatureandinspirepeople’ssoulandmindtocareaboutnaturethroughshowingwithcolorfulimaginationshisconsiderationsoverhuman’salienationandthestrainedrelationsbetweenhumanandnature(61).TheyheldtheviewthattheRimeoftheAncientMarinersandKublaKhanplacemuchmoreimportancetowarningandcriticismagainsttheconflictbetweenhumanandthenature,whileChristabelputsemphasisontherebuildingandrestoringofhuman’sharmoniousrelationshipwith8万方数据 nature(GuoandLu61).NiuXiaowu,similartoJiang,attributestoColeridge’simaginationtoitsphilosophicalandreligiousbackground.ThelifeexperienceofColeridge,however,isalsotakenintoconsiderationtogetherwiththesocialandculturalinfluencestoaccountfortheformationoftheimaginationtheory.Whatisquitedifferentishiscombinationoftheanalysiswiththethreeworksspecifically.Headdressesthesupernaturalanduncannyimaginationsofhuman,animals,andplotsasmysteriouselementsandclaimsthatthesemysteriouselementsimplyabundantculturalimagesandinformation,suchastheChristianculture,Gothicnovel,FrenchRevolution,theChristianAlbatross,thewatersnakesymbolizingluckandothermysteriousimages(Niu).SunBeibei’sthesis,differentinapproachbutequallysatisfactoryinresult,alsostudiesthemysterioussourceandapplicationofColeridge’spoeticimagination.Similarly,shegavethecreditofthismysterioussourcetofouraspects:hisextensivereadingthroughhiswholelife,hisstudyofdaydreamandmeditation,hisaddictiontoopiumandtheresultedfancyanddaydream,andhiscontemplationoverhuman’scivilization(Sun).WhileNiuconcludesthereasonsformysteriouselementsasColeridge’ssensitivenesstoart,escapefromreality,opiumconsumption,religiousandphilosophicalbackground,andtheinfluenceofFrenchRevolutionandtheGothicRevival,whichisnotdifferentwiththoseconsiderationsbyJiang,Guo,HongandSun.Yetstill,NiudifferentiateshimselfwithotherscholarsbyhisexhaustiveanalysisofthemysteriouselementsinthethreeworksbyColeridge.AmongtheseresearchesthedistinctivenessofChenQingfangisthatshenarrowsdownthetopictooneaspectwhichistheChristianityinColeridge’sthreeworks.ThestudiesaboveareallaboutthevariousreasonsandresourcesoftheformationofColeridge’sImaginationtheory,whilequitedifferently,thisthesissettlesonlyononeoftheseaspects,theChristianity.ItdiscussesrespectivelytheChristianthemeofsin-confession-salvationintheRimeofAncientMariners,thestrugglebetweengoodandevilinChristabelandtheresearchforhuman"sspiritualhomelandinKublaKhan(Chen).Inaddition,ChenalsogeneralizesthethreedimensionsbywhichColeridgespreadsthethemeofChristianity:thenarrativetechniquesanalogoustothenarrationof9万方数据 Bible,adoptionandtransformationofsymbolizingimagesinBible,andthemetaphorofChristiansufferinglife.WhatIamgoingtoexploreinthisthesisisalittlesimilartoChen’sconsiderations.ChendiscussestheChristianityinthethreeworksbyColeridgeandgeneralizesitsadoptionofBiblicalnarrationsandsymbols.Withthesimilarconsideration,IwillalsoattempttodiscussthesymbolsandimagesinChristabel.Whatmakesmythesisdistinct,however,isthatIwillattributethisadoptionofBiblicalelementstothearchetypalimagesandlaunchapsychologicalanalysistowardtheimaginationinChristabelatfulllength.2.3ResearchDevelopmentsAbroadInaccordancewithexpectations,therearemuchmoreresearchesconcerningwithChristabelabroadthatthosedomestically.Furthermore,foreignstudiesmoredeeplyanalyzethepoem’simpliedmeaningbehindthoseobscureculturalimaginationsanditscultural,literaryandreligiousconsiderations.Butwecanstilldrawasummarythatthesestudiesmainlysettleonthesequestions:WhoorwhatisGeraldineandherrelationshipwithChristabel?HowwouldColeridgeplansaboutthecompletionofthepoem?Whatisthemeaningofthosesexualimplications?Andwhatdoesthepoemexpressaboutthepoet’sintention?Amongthesestudies,B.R.McElderryandJ.A.Nelsonbothstudythemysteryofthefragmentalpoem.McElderrydidalotofresearchonthelettersandworksofColeridgeandthosefromColeridge’sfriendsandrelatives,intheendfindingthatthefailuretocompletethepoemliesnotinhischooseofmaterial,norinhisplanofthepoem,butinthepoethimself.Thetragedyofthepoemwastheresultofthepoet’sfailuretofinishthepoemasheplannedit,forMcElderryfoundColeridge’splanandintentionofthefragmentalpoemthroughthoseresearches.Whilequiteonthecontrary,NelsondoesnotthinkChristabelisfragmentalratheritiscompleteandholdsthatitisnotnecessarytocontinuethepoemtothecompletion.Theappearanceofthehalf-humanchildimage,thefunctionofwhichistoachieveclosure,wheretheoppositesuniteistheresolutionofthepuzzleandtheconclusiontothepoem(Nelson).Theoppositionsamongthe10万方数据 characterization,thesettingandotherspatialrepresentations,theactionsandthearrangementofpartsshouldbethefocusofanalysisthatmanifeststheimpliedendingofthispoem.ItisalsoagreedbyCassagnerethatreadingChristabelwillmeettwomysteries.Thefirstmysteryisthepoem’ssignificancethatcentersonthefascinatingfigureofGeraldinewhoeludesusandchangesandreverseshersignificancedependingonourreadingperspective,andfurtherthismysteryleadstothesecondmysterythatistheproductionofthepoem(Cassagnere84).Thelovelyladyappearsinasolitarynightworld,whichitselfisstrangeforahumanpresencecouldnotbeexpectedagainstthatbackground.AndthefollowingoccurrenceofGeraldinerepeatsthesametypeofeffect,whichisacluetothemyth.ThechoricdiscourseoftheduplicationofthesameoccurrencemakestheentranceofGeraldinelooklikeadoubleofChristabel.Intheopeningofthepoem,ChristabelprayedundertheoakandGeraldinewastiedundertheothersideofthesameoaktree.Ifyoumayimaginethatsituationyoucanseetheoaktreeislikeamirrorandonbothsideofthemirroryouseetwoladieswhohadthesamecharms.ThustheauthorspeculatedthatGeraldineislikeashadowcastfromChristabelandtheduplicationofthetwofiguressuggeststhattheyarethetwoseparatefragmentsofoneexplodedunit(Cassagnere86).ThedoubleisspeculatedbyCassagnerethestrangerwithintheegoratherthanthecopyoftheego(86).ThisfallspreciselyupontheargumentsinthisthesiswhicharguesthatGeraldineistheobjectivizedunconsciousofChristabelandtheconfrontationbetweenthetwofiguresisthetheprocessofindividuationoftherealdreamer,Coleridgethepoet.K.Swannarguesinhisessaythat“Christabel”bothdramatizesandprovokeshysteria,andthepoeminvitesthereadertolinkthedisplacingmovementofculturalformsthroughsubjectstothefemininemaladyofhysteriaandthefeminineliteraryconvention.Forexample,thesymptomsofhysteriaincludethefancyofsupernaturalvisions,theinabilitytouttertheirtroubles,thefigureofdesireanditsrepressions(Swann535-539).Geraldineisthevision,afantasyofChristabelwhohashysteriaandthussheisthedesirefiguredbyChristabelandChristabel’sromanceplotsarenoneotherthanourculture’shystericalrelationstofeminineformswhichColeridgecapitalizesontoeroticizemasculinediscourseandcountertheconventionalliterary11万方数据 genre(Swann).JonasSpatzmainlyfocusesonthesexualinitiationinChristabel.ThisscholarholdsthatColeridge’sintentioninthispoemistoshowhisschemeofsex,marriageandlove.AsfarasSpatzisconcerned,Coleridge’sschemeofsex,marriageandloveislikeapyramidwhereman’sanimalsexualityformsthebaseforthespiritualfeeling,lovethatisuniquelyownedbyhumanbeing,andinturnlovesupportstheapexcalledmarriage(107).Inthatschemesexisanaturalandnecessaryhumanfunction,fromconsumingwhichinthepurityofourpassionlovecomesandlovenotonlymakesallthingspureandheavenlybutalsocouldleadtomoralimprovement(Spatz107-108).Therefore,Christabel,theadolescentgirl,isthreatenbyherdevelopingsexualityandcomestotermswithsexthroughtheprojectionofGeraldinesoastorecognizeherroleintheapproachingmarriagewithherbelovedknightandfinishherwayfromadolescencetowomanhood,formaturelovecanemergeonlywhensexisacceptedfreelyandwithoutremorse(Spatz110-111).CamillePaglia’sinterpretationfellpreciselytogetherwithSpatz.Shedidnotignoretheblatantlesbianpornography,whichmeansshedevotedanumberofpagestodiscussindetailthesexualpersonaeofthelostgirlandthelesbianvampireandtherolesexplaysindemonstratingthevisionanddreamofColeridge.Sexualjoyandraptureseenbymanycriticsinthepoem,nevertheless,isdisdainedbyAnyaTaylor.ChristabelisthoughtbyTaylorasafemaleversionoftheAncientMarinersandoneofthethoughtexperimentsbyColeridgeinthecontextofhiswiderphilosophicalandpsychologicalinvestigationstoexplorethedevelopmentofthehumanperson.ItispartofColeridge’smeditationonthevulnerabilitiesofwillandagencyandhiscontinuingexperimentindistinguishingbetweenpersonsandsouls,inunderstandingthefluctuatingselvesbetweenstrengthandweaknessandmenandwomen,andinshowingthedevelopmentofidentity(Taylor708-711).Elizabeth.M.LigginsinFolkloreandtheSupernaturalinChristabelwrotethattherearemanyplacesofsupernaturalphenomenoninthepoemandthesemysteriousthingsaretheconventionsandcommonplacesinfolklore.Helistedthesupernaturalplots,liketheoaktreeinthewood,thehowlingofdogandcrowingofcock,thesilk12万方数据 robeGeraldinewearsandherappearance,andmanyothersimilarmysteriesinordertoprovetheemploymentofthosecommoncharactersinfolklore.Thisadoptionofsimilarplotsoffolkloreisapartofthesymbolsandimagesofarchetypesthatarethecontentsofthecollectiveunconsciousthatisnoneotherthanthetopicofthisthesis.Thisstudyis,tosomeextent,relativewithStrickland’sstudythatfocusesonthepsychologicalanalysisofthosesupernaturalcharactersandplots.Stricklandstudiesthepsychologicalimplicationsbehindthepoem.HeattributesColeridge’sfailuretocompletethepoemtohisconflictingdemandsofthematicandunconscioussymbolism(Strickland646).ThisisapparentinthecreationofGeraldine,forevenColeridgehimselfwasnotsurewhethershewasadaemonoranangelresultingfromhisinabilitytoseparatehimselffromtheambivalenceofMuse(Strickland649).Thepoem,heldbyStrickland,isbornofthevisionaryunionpatentandlatentitselfwhereGeraldineappearsasJung’sangeloflightwithstronganimaltraits.SinceGeraldinewasregardedastheanima,thereisnotenoughanalysistodemonstratethereasonanditseffect,which,however,willbediscussedatfulllengthlaterinthisthesis.FulfordspendsalargepartinhisessaydemonstratingtheimportanceofdreaminginColeridge’spoemsandhiseffortstodistinguishhisworkwiththoseofWordsworth.ThescholarstatesthatColeridgelosthisconfidenceafterWordsworthrejectedtheunfinishedChristabeltobeincludedinthesecondeditionofLyricalBalladsandthusbecameanxiousanddepressedathisinabilitytofinishChristabelandthisanxietywasintensifiedbyhisunhappymarriagewithhiswife.AndColeridgehadasenseofinferioritybeforeWordsworth,forheoncesaidofallthemenheeverknewWordsworthisallmanwiththeleastfemineity.HisadmirationofWordsworth’spoetrysenthimintochaoticmentalsituation.DuringhisprocessofdistancingfromWordsworthanddifferingfromByron,helaidpriorityonthesupernaturaltaleofsinandguilt,whichcouldbeseenintheRimeoftheAncientMarinersandChristabel(Fulford96).Hisconsumptionofdrugandaddictiontoopiumallowhimtoproducedreamswhererepresseddesireisconfiguredandtherationalselfremainsenthralled(Fulford95).ThisexplanationofthesupernaturalnarrationofChristabelbyColeridgereinforcestheargumentsinthisthesis.Coleridgetookgreatefforttofindhisunique13万方数据 depictionofhisimaginationinthepoetryandhisinspirationtoagreatextentcomesoutofhisdreams.14万方数据 ChapterThreePSYCHOANALYSISOFIMAGINEDCHARACTERS3.1PsychoanalysisofGeraldineManycriticsandscholarsspeculatethatGeraldineistheprojectionofChristabelherself.Forexample,TaylorwroteinColeridge’sChristabelandthephantomsoulthatthemysteriousandglitteringGeraldinemaybetheprojectionfromadreamandanaspectofChristabel’spersonality(712).SwannalsosaidGeraldine’staleinthebeginningoftheirencounterinthewoodechoesandanticipatesChristabel’sandthusGeraldine’stranslationappearstoestablishtheidentityofChristabel(533-534).This,intheauthor’sopinion,fallspreciselyuponthetheoryofarchetypes.Usuallyunconsciouscannotberecognizedbyconsciousness.Andonlywhenunconsciousappearsasthearchetypalimagesthatincludeanima,thewiseoldman,shadowandmanyotherimagescanitberecognizedbytheconsciousness.ZhongalsoarguesthatJungholdsthatliterarycreationisautonomous,whiletheauthoristhespokesmanofcollectiveunconsciousandthecontentofcollectiveunconsciousisarchetype(146).ThereforeGeraldinecanbeseenastheunconsciousofChristabelthatisvisualizedbyColeridge’simaginationinthepoem,fortherearemanysimilartraitsbetweenthetwofigures.InArchetypesandtheCollectiveUnconsciousJungdrawsapictureofanimawithseveralcommoncharacteristicswhichIthinkaretoalargeextentpresentinGeraldine.Firstofthecharacteristicsisthepeculiareroticcharmsoftheanima(Jung27).Whethersheappearsasanixieorasagoddess,sheisalwaysfullofcharmingbeauty.WhenGeraldinefirstappearsinthepoeminline58-68,sheisabrightdamselinawhitesilkenrobe.Thewhiteskinknownbyherstatelyneckandbarearmandgemsentangledinherhairmakeherglitterandshineinthemoonlight.WhatChristabelsees15万方数据 isaladyrichlycladandsheisbeautifulexceedingly.Alsoshewasmostbeautifultoseelikealadyofafarcountrée(line224-225).TheSecondcharacteristicisthatshecrossesourpathinnumeroustransformationsanddisguisesthatplaystricksonus,leadingustoproducehappyorunhappydelusions,depressionsorecstasies,etc.(Jung26).InthepoemGeraldineappearsunderthedisguiseofthedaughteroftheBaron’soldfriend.Shesaidshewasseizedbyfivewarriorsandwastiedunderneaththeoaktree,andthensheaskedChristabeltohelpher,awretchedmaid,tofleefromthemisery.InnocentChristabelcheerfullytookherhome,justasthepoemdescribesinline136andline144,“Theycrossedthecourt:rightgladtheywere.”LatershethenwearsagratefulmasksayingthatsinceChristabelsavedherfromthedevilandbefellherthegoodsheshouldtrytorequiteChristabelbysleepingwithher.InfactthistookawayChristabel’svirginityandsenthersadnessandunquietness,seeingHerlimbsrelax,hercountenanceGrowssadandsoft;thesmooththinlidsCloseo"erhereyes;andtearsshesheds---Largetearsthatleavethelashesbright!AndoftthewhilesheseemstosmileAsinfantsatasuddenlight!Yea,shedothsmile,andshedothweep,Likeayouthfulhermitess(line313-320).BesidesShecanalsobealamia(oneofaclassoffemalemonstersinGreekmythologydepictedwithasnake"sbodyandawoman"sheadandbreasts)orsuccubuswhoinfatuatesyoungmenandsucksthelifeoutofthem(Jung25).ThistraitcanbeseenonGeraldineinthepoem,too.AfterGeraldinesaidsheshouldrequiteChristabelandsheaskedhertolieinbed,thenunboundedthecinctureofhersilkenrobeandunrobedherself.AlthoughhereitdoesnottelluswhatChristabelsaw,itjustput,“Asighttodreamof,nottotell!Oshieldher!shieldsweetChristabel”(line253-254),stillwecanseeformthefollowinglinesthatwhatasightshesaw.Line457-458,“Againshesawthatbosomold,Againshefeltthatbosomcold”,clearlytellsusthatshesawanoldandcoldbosomthatsheevencouldnottell.WhilesurprisinglythenextdayChristabel16万方数据 wokeupandsawthat(soitseemed)hergirdedvestsgrewtightbeneathherheavingbreasts”(line379-380).DoesthismysteriouschangesuggestthatGeraldineislikethelamiainGreekMythologyandherbosombecameplumpaftershesuckedhelifeenergyfromChristabel?Thearchetypeofanimacanstillleadusintotherealmwhereeverythingtheanimatouchesbecomesnuminous-unconditional,dangerous,taboo,magical(Jung28).InthepoemGeraldinetoldwithlowvoiceanddolefullook,“Inthetouchofthisbosomthereworkethaspell,Whichislordofthyutterance,Christabel”(line265-268).TheharmsshebroughttobearChristabelcannotbetoldbyChristabelthevictim.ThethingshedidisjustbecomingthetaboothatChristabelhadtoobeynuminous-unconditionally.Inline469-474,thebaronaskedChristabelwhatiswrongwithheraftershewentpaleatseeingthevisionoffear,touchandpain,butshecouldnotsayanythingabouthersorrowandpainbecauseofhertriggeringofthatspell.AllthesetraitsthatappearonGeraldine,allwithoutexception,happentocoincidewiththosecharacteristicsoftheanimadescribedbyJunginhispsychologicalanalysis.AtthebeginningGeraldineappearsasabrightandcharmingladywhosuffersinthewoodinthemidnightandescapesfromhermiserywithChristabel’shelp.Sheappearsasavirtuousgirlthatcanbeseeninpartoneinthepoemthatwrites,Andthustheloftyladyspake---"Alltheywholiveintheuppersky,Doloveyou,holyChristabel!Andyoulovethem,andfortheirsakeAndforthegoodwhichmebefel,EvenIinmydegreewilltry,Fairmaiden,torequiteyouwellButnowunrobeyourself;forIMustpray,ereyetinbedIlie."(line226-234).HereGeraldinewantstoshowhergratefulnesstoChristabelandshedecidestogiveherselftoChristabelbecauseshewantstoexpresshergratitudebygivinghermostpreciouspresent,hervirginity.AlthoughshestrugglesandhesitatesbutsheeventuallyholdsChristabelinherarms.ThiscanbeseenthroughthoselinesthatyetGeraldine17万方数据 wearsastrickenanddolefullookandseeksdelayandsayswithlowvoicethatinthetouchofthisbosomChristabelwilltriggeraspellthatgovernstheutteranceofChristabel.Whileintheconclusiontopartonethepoemsuddenlychangesthenarrativestyle.Christabelfellintosleepwithopeneyesanddreamfearfully.Whatsheremembersinthedreamishersorrowandshame.AndGeraldineisthencalledtheworkerofthesearmsandherarmsarethelovelylady’sprison.ShemettheembraceofthebaronandthusleadingtoChristabel’sfearfulandpainfulvision.ButitissheagaincomfortedChristabelandprayedtobesenthomeasifshefearedshehadoffendedsweetChristabel.Doesthisgoodandbad,innocentandevilcharacteristicjustreinforcemypreviousspeculationthatGeraldineistheunconsciousofChristabel?Canthisbeseenasthechangeablecharacteristicoftheanima?InShen’sC.G.JungandAnalyticalPsychologyhemakesreferencetothefourphasesofanima’sdevelopmentandsheappearsasdifferentfiguresinthefourphase——Evewithman’smothercomplex,Helenasthelover,MariaasthedivinityinloveandSophiaasthesourceofcreation(61).EveinGenesisisthefirstwomancreatedbyGodfromthebonesofAdamwhoisthefirstmanonearth.TheyareancestorsofhumankindandEveisthemotherofhumankind.ThereforeEveisconceivedasthesymbolofmotherlylove.HelenisZeus’sdaughterandhermotherisseducedbyaswanthatischangedfromZeus.InthefamousTrojanWar,Helenisknownforhertriggeringofthewar.ItisbelievedthatHelenisthemostbeautifulwomenintheworldwhohasscoresofsuitors.InGreekMythology,TrojanWaroriginatedformthequarrelamongtheGoddessofAthena,HeraandAphrodite.TheyallwantedtogetthegoldenapplegivenbytheGoddessofstrifeanddiscord,buttheGodmadeParistojudgewhowasthefairest,thustheytemptedParis,princeofTroy.EventuallyParisgavethegoldenappletoAphroditewho,inexchange,madeHelenthemostbeautifulofallwomenandwifeofKingofSpartafallinlovewithParis.ParistookHelentoTroyandthuscausedtheTrojanWar.ThustraditionallyHelenisregardedasthesymboloflover.AndMaria,theBlessedVirginMary,isknownforthemotherofGodJesus.AccordingtoNewTestament,MaryisalsoknownasSaintMary,ourlady.ItisbelievedthatMaryisavirginwhilesheconceiveshersonandshebecomespregnantbytheHolySpirit.ThensheisengagedtoJosephandaftershe18万方数据 marriedJosephshefollowshimtoBethlehemwhereshegivesbirthtoJesus.SophiaisacentralideainHellenisticphilosophyandisregardedaswisdom.InProverbs,OldTestament,itisrevealedbyGodthatwisdomexistedbeforetheworldwasmadeandactedashisagentincreation.SheisabreathofthepowerofGod,andtheradianceofthegloryoftheAlmighty.Sheisareflectionofeternallight,aspotlessmirroroftheworkingofGod,andanimageofhisgoodness.Sheknowseverythingandactsuponeverythingandcreateseverythingthatisvirtuousandwise.Theholywisdomappearsonearthasafemalefigureandinvitestheunwisemantoherfeasttobringwisdomtothem.HavingtheknowledgeofthesemythsandfairytalesinBibleandGreekMythologywearelikelytounderstandwhyJungattributesthesetraitstothesefigures.Thistosomeextentisthefunctionofcollectiveunconscious.Thesefigurescomefromtheremotehistoryandlatelywereforgottenbyconsciousnessofhumankindafteralonghistoryandthustheyaresuppressedwithinhuman’sunconsciousandexpressthemselvesthroughthesearchetypalimages.ThisstatementbyJungprobablypreciselyexplainswhyGeraldinefirstappearsasavirtuousladywhodedicatesherselftoChristabelandthusthisresultsinChristabel’slosingofherchastity.AndsometimessheholdsChristabelinherarmsandcomfortsherwithmildvoiceandwarmwords,whichmakesChristabelsinksintohermotherlyandgentlelove.AboveallwemayslightlyconcludethatGeraldineisthevisualizedanimawhorepresentstheunconsciousofChristabel.WhensheisrecognizedsheappearsasaninnocentladyandmotivatesChristabel’sgrowth.YoucangetaglimpseofthismotivationinJonasSpatzandB.R.McElderry,Jr.Whensheisignoredbytheconsciousness,shewilltrytoinfluenceourmindandbehaviorbyappearingasthechangeableandevilwitchanddisguisesherselfunderdifferentfigures.3.2PsychoanalysisofChristabelTheunconsciouscannotbeseenandrecognizedbyconsciousnesswhentheconsciousnessissober-minded;however,onceitsinksintosleeptheunconsciousjumpsoutandpresentsitselftothemind.Theunconsciousiscommonlyregardedastheheartandconsideredasthesourceofallevilthoughts.Theunconsciouslooksfromthe19万方数据 consciousnessisthewickedblood-spirits,swiftangerandsensualweakness(Jung20).Therelationwiththeanimaisagainatestofcourage,anordealbyfireforthespiritualandmoralforcesofman(Jung29).Henceanyonewhodescendsintotheunconsciouswillgetthefeelingofbeingsuffocatedandbeingexposedtoattacksandotherdangers.Butweshouldknowthis,whoevergoestohimselfrisksaconfrontationwithhimselfandthisconfrontationisthefirsttestofcourageontheinnerwaythatisusuallysufficienttofrightenoffmostpeople,fortheconfrontationwithoneselfismostunpleasantbecauseoftheevillooksoftheunconscious(Jung20-31).Onlyif,unfortunately,wecometogripswiththeanimaandareabletoseeourownshadow,canwecompletethedevelopmentofourpersonality.ThusforusitisreasonabletospeculatethatChristabel’smeetingwithGeraldineisthevisualizedconfrontationoftheconsciousnesswiththeunconsciousofColeridge.SinceaccordingtotheanalysisintheprevioussectionthatGeraldineistheprojectionofChristabel’sunconscious，andwecouldthenlogicallyassumethatChristabelisthespokesmanoftheconsciousnessandthusshemaybetheprojectionofthepoet.AtthebeginningofthepoemitwritesthatthelovelyladyChristabelhadalldreamsyesternightandthuscametothewoodinthemidnight.Probablywemaypresumethisimpliedthedreamofthepoethimself.AtfirstChristabelislovelyandinnocentwhohasafather,arichbaron,wholoveshersowell,andheronlyconcernwassettledonherbetrothedknightthat’sfaraway.AndthenChristabelfoundGeraldineundertheoaktreeandasked,“whoartthou”(line70)?Geraldineansweredshewasofanoblesireandwasarrestedbyfivewarriors.ThisactuallyimpliedthatGeraldineisthereflectionofChristabel.ChristabelisofanoblesireandherfatherlovesherprettymuchandlatershewastemptedbyGeraldineandlosthervirginityandherfather’slove.WhatGeraldinetellsChristabelshesufferswillbewhatChristabelwillsuffer.AndjustasCLCassagnèrestatestheoaktreeamongthewoodinthemidnightislikeamirrorthatononesideitpresentsChristabelandontheothersideitcaststheshadowofChristabelthatisGeraldine(Cassagnère85).What’smore,Jungacclaimsthatwoodandwaterisfrequentlyappearingasthesymbolsoftheunconscious.ThusitissufficientlyreasonableforustosupposeGeraldineisthevisualizedunconsciousofChristabel.This20万方数据 isthefirsttimeChristabelmeetsGeraldine,themeetingbetweentheconsciousnessandtheunconscious.ChristabeldoesnotknowGeraldineandiscuriousabouther.ShemarveledatGeraldine’sexceedingbeautyandherextraordinaryexperience.Thentheywalkedbackherhomecheerfully.ShesharedherchamberwithGeraldinewhosefloorwascoveredbyrushes.Sheofferedherpreciouswild-flowerwinethatwasmadebyherdeadmother.Wecanguessthisyounginnocentladydidnotrealizeanyupcomingdangers.ShewasimmersedinthestrangemeetingwiththestrangeGeraldine.LaterdefenselesslysheacceptedGeraldine’sgratitudeandundressedherselfandlaydownonherwarmbed.Outofcuriositysheroseandreclinedonherelbowtolookatthelady.Dreadfullyshesawasightnototellandwastakeninherarms.Seeingthatawfulsightshesunkintodreadfuldreamsinwhichsheonlyremembersorrowandshame.Actuallythisdreamtellsuswhatshesufferedthatnightandbecauseofthatmagicspellshecouldnottellothershersufferings.ThisisliketheconfrontationbetweenconsciousnessandunconsciousdescribedbyJung.Whenunconsciousfirstisdiscoveredbyconsciousness,itisalwaysinprotectingandhealingimages.Andonceconsciousnesswantstodigunconsciousmuchmoredeeply,itwillhavetoexperiencemoredangersanddifficulties.Jungsaysthemeetingwithoneselfisfirstthemeetingwithone’sshadow.Theshadowisatightpassage,anarrowdoor,whosepainfulconstrictionnooneisspared;Onehastogodownthroughthattightpassagetothedeepwellandexperienceunprecedenteduncertainties(21).ThusinordertoknowherselfChristabelhastoenduremorehardship.Inparttwo,shewokethenextdaywithperplexityofmindandindulgedindeepsorrowsofhersins.HermemorieswereprobablysealedbyGeraldine’spowerfulspell.InnocentChristabelstillbroughtGeraldinetoherfatherleadingtothewitch’ssuccessfulleafblowingbetweenChristabelandherfather.Althoughhermemoriesweresealedandherutterancewasdeprived,Christabelstillsawthevisionoffear,thetouchandpainand“Againshesawthatbosomold,Againshesawthatbosomcold”(line457-458),butShestillhadnopowertotellherfatherwhatshewassuffering.WhileafterlisteningtoBracy’sdream,shemaybeworryingabouthertrickstobeuncovered,thusshelookedaskanceatChristabelwithhersnake’ssmalleye.WemayspeculatethepowerofGeraldine’sspelluponChristabelisbecomingweaker21万方数据 andGeraldinehastoreinforceherspell.SosheshowedtheclovenhoofandusedherserpenteyestoforceChristabeltoimitatethelookofdullandtreacheroushateinfrontofSirLeoline.However,shequicklyrecoveredfromthattranceandprayedherfathertosendawaytheevilwoman.Duringthiscontest,wecanseethatChristabelisobviouslyinthedrytree.Inspiteofthisunderdogsituation,wecanstillseeChristabel’sstrongwill-powerfromtimetotime.JustasJungsays,fallingdownthedeepwell,itistheworldofwater,wherealllifefloatsinsuspension;wherethesoulofeverythinglivingbegins;whereIexperiencetheotherinmyself(22).Inordertofindthetrueandintegratedpersonality,Christabelhastoexperiencethepainfulconfrontationwithherunconscious.3.3PsychoanalysisofBracytheBardAsfortheimageofthewiseoldman,togetherwiththeshadowandtheanimaarethethreearchetypesthataremostlydiscussed.Primordialimagesarethesymbolicformsofarchetypesinterpretedbysociety,cultureandindividuals;andJung’semphasisonthewiseoldman:youthasadoublefigureisJung’sinterpretationofanarchetypeanditsembodimentasimageandsymbolicform(Johnson374).Thewiseoldman,accordingtoJung,isthearchetypeofthespiritandusuallyappearsasthesuperiormasterandteacher(Jung35).Thewiseoldmanusuallyappearsindreamswherethedreamersareimmersedingreatsorrowandsufferingpainfulordeal.Hesometimestriestoshowhowgoodandevilfunctiontogetherandhesometimesencouragethelostdreamertoseekthetruemeaningoflifeandthoseordeals.Heis,liketheanima,usuallyappearswhentheunconsciousishopelessanddesperate.Jungdescribesthewiseoldmanasanimmortaldaemonthatpiercesthechaoticdarknessandunveilstheveilofmysterywiththelightofmeaning.Heisthemasterandteacher,theenlightenerandtutor,andthespokesmanofwisdom(Jung37).TheanalysisofsuchwiseoldmanbyYangRuiintheChinesemysteriousandbizarrestoriesLIAOZHAIZHIYIalsofallsuponthisview.WhenBracyfirstappearsinthepoem,part2,heissayingoutofthecustomandlaw,Soletitknell!22万方数据 „„InLangdalePikeandWitch"sLair,AndDungeon-ghyllsofoullyrent,WithropesofrockandbellsofairThreesinfulsextons"ghostsarepent,Whoallgiveback,oneaftert"other,Thedeath-notetotheirlivingbrother;Andofttoo,bytheknelloffended,Justastheirone!two!three!isended,ThedevilmocksthedolefultaleWithamerrypealfromBorodale(345-359).Theselinestellastory.Inthisstorythesinfulsextons’ghostsarepentinthewitch’slairandtheygivethedeath-notetotheirlivingbrother,atwhichthedevilmocks.ThisactuallytellsthereaderanimplicationthatGeraldineisthewitchwhopensthesinfulghostofChristabel.LangdaleisrightwhereChristabel’shousesettlesandthestorysaysthisplacenowisthewitch’slair.JustasthefollowinglineswriteChristabelrosequicklyandprayedthattheGodmightwashawayherunknownsin.Whileasshepraysdevoutly,shestillfallsintothesinfulnetthatGeraldineweavesforher.Sadlynonenotesthisprediction.AndlaterSirLeolinesendshimachargetogotoLordRoland’shouseandtellhimhisdaughterGeraldineissafeandfreeinLangdaleHall.ThenChristabelhadnotedGeraldine’sstrangeandevilpowerandwasguiltyofhersin.ThusshefellandclaspedBracy’skneeswithoverflowingeyesasifshewasbeggingBracytohelpherwalkoutofherdangeranddisaster.AndBracyrepliedSirLeolinewithflatteringvoicethathehasastrangedreamwherehehadvowedwithmusicloudtoclearLeoline’swoodfromunblestthings.Inthatdreamhesawabrightgreensnakecoiledaroundthewingsandneckofadove.Thedove,agentlebird,iscalledbythesamenameofSirLeoline’sdaughter.Sheisflutteringandutteringfearfulmoanaloneamongthegreenherbsinthemidnightforest.Thesnakeisgreenastheherbsonwhichhecouched.Heheavesandstirsthepoordoveandswelledhisnecks.BracytoldLeolinesuchastorywithan23万方数据 intentiontowarnhimthathisdaughterisindangerjustlikethepoorandgentledoveinthedream.AlthoughhesaidthedovehadthesamenameofChristabel,SirLepdinestillmissedhiswarningsandinsistedGeraldine,thesweetmaid,wasthebeauteousdove.ObviouslySirLeolinewastemptedbyGeraldine’sevilpower.WhatfollowedthoselinesisGeraldineshowedhertruecolorsandusedhersnakeeyestosendChristabelindizzytranceandpassivelyimitateadullandtreacherouslook.EverytimeBracyappears,whathesaysandpredictswillbeverifiedinthefollowinglines.Tosomeextentheistheprophetofthepoem.Jungcomparesthewiseoldmanwiththesunwhousesthefirebrandforroastingapumpkinandtakesthefireawayafterthepumpkinwaseaten,leadingtohumanstealthefirefromhim(224).Thewiseoldmanislikethegodwhobringslightandwarmnesstohumankindandthusherepresentsknowledge,reflection,wisdomandinsight.Hewarnsthedreameroftheupcomingdangersandsuppliesthemeansofescapingfromthedangers.Usuallyhecomesoutasanoldmanwithlongbeardandasksthedreamerwho,what,whyandwhenforthepurposeofinducingthedreamer’sself-reflectionandthinkingonhissituation.Sometimeshegivesamagicaltalismantothehopelessanddesperatedreamerandpointsoutthewaytoaccomplishthegoal.Sometimesheproducessomeordealstotestthemoralqualityoftheheroandiftheheropasseshistesthewillgivetheheroagiftthatispowerfulandmagicenoughtosavetheherooutofhisdesperatesituation.Jungexplainstheconsciouswillbescarcelycapablebyitselfofunitingthepersonalitytothepointwhereitisabletosucceed,thismakingtheinterventionofthewiseoldman,thespontaneousobjectificationofthearchetype,necessaryandindispensable(220).WecanseeinthispoemwithoutthehelpofBracytheBardChristabelbyherselfisunabletogetridofthepowerfulandmagicmanipulationofGeraldinewhoissaidtobetheevilwitch.AlthoughthereisnodirectconversationbetweenBracyandChristabel,wemaystillbecapableofdiscoveringtheilluminatingqualityofBracy.HeistheonlyonewhopenetratestheslyandcunningdisguiseofGeraldineanddepictsthepredictabledreamforthepurposeofwarningtheBaronofChristabel’sdangers.AfterhedepartedforsendingamessagetoGeraldine’sfatherhisjourneywasintervenedbyGeraldine’smagictricksbutintheenditwas24万方数据 BracywhounveiledthechangingappearanceofGeraldineandtookaheavytolluponGeraldine’smanipulationofChristabelandherfather.Thewiseoldmanplaysasignificantroleduringtheindividuationprocessofconsciousnessandunconscious.ChapterFourPSYCHOANALYSISOFIMAGINEDPLOTSJungputsinhisbookthatmythandfairytaleisoneoftheexpressionsofarchetype.Justlikethearchetypalimages,suchasanima,thewiseoldman,mythandfairytalealsopresentarchetypestoconsciousness.Asweknowunconsciouscannotberecognizedbyconsciousness,butitcanpresentitselftoconsciousnessthrougharchetypalimagesandmythandfairytale.Andthispartwillfocusonthemythandfairytaletoestablishpsychoanalysisoftheimaginedmysteriesinthispoem.4.1PsychoanalysisoftheMeetingbetweenChristabelandGeraldineAtthebeginningofthepoemthepoetpresentssuchscenerythatthegraycloudisspreadonhighandbehindthegrayclouditcoversthefullmooninachillynight.Asthetraditiongoes,whatyouexpecttohappeninsuchsurroundings?Inthedeadofnightpeoplearedrownedinsoundsleep,someofthemmustbeexperiencingkindsofadventuresintheirdreams.Itisthetimeforpeople’mindorconsciousnesstogetarestwhilefortheirsubconsciousorunconscioustocometolife.InsuchachillymidnightChristabelmetastrangeladyandstartedhertragiclife.Thepoetsrendersuchscenesprobablyintendstotellthereaderthestorynexthappensisofevilpowerandsupernaturalfactors.AndsincetheopeningofthepoemsettlesinawoodwhichisregardedbyJungasthefrequentsymbolofunconscious,alongwiththetimeforunconscioustogetalive,thepoettriestoleadhisreadertohavetheimpressionofillusionanduntruthfulness.Andfromhereontheonewhocomestolifeisthespokesmanoftheunconsciousandthusshemustbeintheplaceofcontrolling25万方数据 everythingforthisishertime.Firsttheymetunderanoaktree.InBibletheregrowplentytypesoftreeintheGardenofEden,amongwhichisthetreeofknowledgeofgoodandevil.GodcommandsAdamandEvenottoeatthefruitsofthetreeofknowledge.Whilebeingtemptedandinstigatedbytheevilandcannyserpent,EvetakesthefruitandeatsitwithAdam,andthentheyarepunishedbyGodandexpelledoutoftheGardenofEden.Inthispoem,ChristabelmeetsGeraldineunderatreeandGeraldineistheembodimentofasnake.ThisarrangementindirectlytellsthereaderChristabelwillbetemptedbyGeraldineandsinkintosins.FurthermorejustasCassagnereputsinhisessay,thereistheconceptofduplicationhere.TheoaktreeisjustlikeamirrorthatreflectsChristabel’sshadow,andthuswhenshewalkedovertheothersideofthetreetheladyshesawisactuallyherownreflection.Itissufficientlyreasonableforustoguesstheimpliedmeaningbehindthosedeeplylaidlines.TheninnocentChristabelaskedGeraldinehowshecamehere.Geraldinetoldherthatfiveunknownwarriorsyestermorningseizedherandtheychokedhercrieswithforceandfrightandtheyputheronthehorsetobringhertothiswoodandplaceherundertheoaktreeandleft.Thereareseveraldoubtfulpointshere.Thefirstquestioniswhythewarriorsseizedherwithoutbenefitingfromthisactionandwhytheysworetotheonetheyseized.AndthenextliesinthewhiterobeandGeraldine’swhiteneckandarms.Sincethefivewarriorsfrightenedherwithforceandtiedheronawhitepalfrey,whydidherhairstillstayneatandherclotheskeepwhiteassnow?Shouldn’therhairandclothesbedirtyandinamess?ThestoryofGeraldineitselfwouldnotholdwater.ButshemanagedtopersuadeChristabelintobringingherback.Alltheseflawedplotsdonotmakesenseindailylife.Butiftheyareappearinginadream,itmakessense.Usuallythingsinthedreamdonotgoreasonablyastheyhappeninconsciousnessworld.Andthereisstillanimplicationhere.Fivethisnumberhasmanymysteriesinwesternculture.TheTorahofBiblecontainsfivebooks—Genesis,Exodus,Leviticus,Numbers,andDeuteronomy—thatarecollectivelycalledtheFiveBooksofMoses.thispartlyreflectstheinfluenceofcollectiveunconsciousuponColeridge.4.2PsychoanalysisofTheirWaytotheProtectedCastle26万方数据 Whencrossingthemoat,Christabeltookthekeyandopenedalittledoor.Althoughthegatewasironedwithinandwithout,Geraldinesankwithpain,yetChristabelusedthekeytoletinthewitchandliftedherupthroughthethresholdoftheprotectivegate.IfwespeculatethatGeraldineisChristabel’sunconscious,herewemayconjectureChristabel’sconsciousactivelywantstoknowherunconscious,thusshepavedthewayforGeraldinetocomeintohermindandheart.Andafterthemcrossingthecourt,theoldmastiffmadeanangrymoanalthoughitdidnotawake.Whenpassingthehall,thebrandswereflatanddying,butwhenGeraldinecame,therecameatongueoflightandafitofflame.WhentheywerefinallyinChristabel’schamberGeraldinewasalreadyfaint,nonethelesssherecoveredassoonasshedrunkthewild-flowerwineofferedbyChristabel.Tillnow,ChristabelactivelyinvitedGeraldinetoherhouseandsweptthethingthatpreventedGeraldine’sinvade.Asweknowfromtraditionsandancientmyths,animalsespeciallythedogaresensitivetoouterworldandsupernaturalthings.Thedog’sangrymoaningisitsinstincttoreacttothedanger.Sheignoredthemastiff’smoaning,theflame’swarning.Andsheevendidnotknowherdeadmother’sfightingagainsttheinvaderforher.AfterChristabelofferedthewild-flowerwinemadebyherdeadmother,GeraldinesawtheghostofChristabel’smother.ThenGeraldinetriedtoexpelthewanderingmother’speakandpineghostthatwantedtoprotectherdeardaughterfromGeraldine’sdangers.Shedeclaredinaloudvoicetotheghostthatthishourishersandshehadpowertobidtheghostflee.NotsurprisinglyGeraldinesucceededinexpellingouttheghostofChristabel’sdeadmother,whilethisyounggirldidevenrecognizewhatGeraldinewasdoingtoherpoordeadmother.Aswesaybeforethismidnightisthetimeforthesupernaturalandunderworldthings.SinceGeraldinethewitchappearedfirstitisnowonderthatthedeadmothercametoearthtoprotectherdaughter.AlthoughChristabelwasundertheseriesofprotectioninthecastle,shestillcouldnotescapefromGeraldine’stemptationandseduction.ThisislikeChristabel’sinescapabledestiny.ThisisalsolikeColeridge’sinescapablechoice.AswesaidpreviouslyColeridgehimselfisdrownedindeepanxietyanddepress,forhethinkshispoetryisinferiortothatofWordsworthwhostrictlyadherestomattersoffactandnaturalthingsandattachesmuchimportancetoprosaicworld.Wordsworthspeaks27万方数据 highlyoftheselectionofthelanguagethatisspokenbymenandhechoosesthingsinordinarylife.WecanseethispoeticartofWordsworthisquitedifferentfromthatofColeridgewhoemploysextensiveuseofsupernaturalmaterials.ColeridgehimselfcannotwalkoutthisstruggleforgettingridofWordsworth’sinfluence.SoweseeafterthecompletionofthetwopartsofChristabel,ColeridgeneverstartedtowritethepoemagainleavingChristabelfragmental.ThisinabilityisthenreflectedonChristabel’sinabilitytospeakoutofhersufferings.4.3PsychoanalysisofBracy’sDreamTheothermysteriousimaginationistheBard’smysteriousandpropheticaldream.Inthatdreamhesawagentlewhitedovewascoiledonherneckandwingsbyagreensnake.Thedovewasmoaningfearfullyandflutteringherwings.TheDoveandsnakearebothbiblicalimages.InBible,theGenesis,Goddecidestofloodthesinfulworldtorecreateit.HeinstructsNoahtobuildahugeboatandbringallkindsofanimals.Afterthefloodrecedes,Noahsendsoutadovetocheckwhetherthefloodrecedesontheland,andthenthedovefliesbackwithanoliveleafinitsmouth,whichshowingthefloodrecedes.FinallyNoah’sarklandsonearthsafely.Thusinwesternculturedoveisthesymbolofpeaceandtametemper.Whilesnake,aswestatebefore,isthesymbolofsinanddisaster.InbibletheserpenttemptedEveandleadingtothefallingofmankindfromtheGardenofEdentoearth,thusitwaspunishedbyGod.InthisdreamBracysaidthedove’snameisChristabel,thuswemaysupposethesnakeisGeraldine.GeraldinetemptedChristabeltobringherhomeanddepriveherchastityandseducedherfather.IntheendingofthepoemwecanseethatGeraldineseemstosucceedinmanipulatingChristabelandtheBaronandcontrollingthecastle.Ifthisistherealending,thenwemayspeculateChristabel’sconsciousnessislostinherunconscious,fortunately,thisisnottherealending.WeallknowthatChristabelthepoemisfragmental,andthepoet’soriginalintentiontocompletethepoemwithaconclusionthatChristabelmarriedherbelovedknightandGeraldinedisappears.Thestoryshouldgoesasthis:BracyarrivedGeraldine’shouseandfoundthatthecastlewaswashedaway.Geraldineknewalland28万方数据 usedhermagicpowertopreventtheBard’sreturn.WhenatlengththeBardcamebackGeraldinechangedherappearancetothatoftheabsentknightandmadeChristabelmarryher.Christabelfeltthedisgustforthefakeknightbutdidnotknowwhy.Butsheatlastyieldedtoherfatherandagreedtomarrythefakeknight.Whentheweddingceremonywasgoing,theabsentknight,thereallovercamebackatthatmoment.Atlast,GeraldinedisappearsandtherightmarriagetookplaceandChristabelreconciledwithherfather.Inthisversion,finallyChristabelfinishedhertransformationfromayoungandinnocentladytoamatureandmarriedwoman,whileGeraldinedisappears.AsJungsays,individuationistheindividual’sdevelopmentfromtheconflictbetweenconsciousnessandunconsciousandthetwodonotmakeawholewhenoneofthemissuppressedorinjured.ItisunderstandablewhyintheendGeraldinedisappearsrathernotkillsthemsinceshehaspowerfulmagic.YoumayaskinthisstorysinceGeraldinedoesnotobtainanythingwhysheracksherbraininschemingtoinvadeintothecastle.ItisreasonablefortheauthortoconjecturethatChristabelfinishedherindividuationprocessandthentheconsciousnessandunconsciousofChristabelcollaboratesharmoniouslyintheendingofthepoem.29万方数据 ChapterFiveCONCLUSION5.1MajorFindingsThisthesisstartsbyinterpretingGeraldineasananima.Theanimaiswiththepeculiareroticcharmandfullofcharmingbeauty,likealamiathatinfatuatesyoungmenandsucksthelifeoutofthem,hidesinnumeroustransformationsanddisguisesthatplaystricksonusandmakeseverythingshetouchesbecomenuminous-unconditional,dangerous,taboo,andmagical.AndGeraldine,astheauthorconjecture,hasallthecharacteristicthatallowustospeculatethatsheisthevisualizedanimainChristabel’smind.ShechangesappearancesandplaytricksonChristabel.ThenwestudywhatChristabelreactsagainstthesetricks.AlthoughChristabelseemstobeinthedrytreemostofthetime,stillshekeepsfightingonherownwill.WiththehelpoftheoldwisemanChristabelfinallygetsridofGeraldine’smanipulation.AtlastGeraldinedisappears,whichfellsuponwithJung’sstudyoftheprocessofindividuationbywhichconsciousnesscollaborateswithunconscioustomakeawhole.SincewehavespeculatedthatChristabelmaybetheprojectionofColeridge,thenthedevelopmentofChristabeltosomeextentisthedevelopmentofColeridge.AsIstatedbefore,inthebeginningthepoemwritesChristabeldreamsallyesternight,thisprobablyisColeridge’sdream.ColeridgehimselfonceclaimedthatthefirstpartofChristabelistheresultofanopiumdream.Jungsaystheunconsciousisfrequentlyexpressedthroughthesymbolsofwoodorwater.ThusitissufficientlyreasonablefortheauthortoregardthispoemasColeridge’sdreamandinthatdreamhemeetshisobjectivizedunconscious.InthatdreamtheanimainColeridge’smindisvisualizedandconcretestheconflictbetweenColeridge’sconsciousnessandunconscious.InmostofthetimeChristabelissuppressedbyGeraldine,whichmeansconsciousnessissuppressedbytheunconscious.ThatcorrespondstotheopiumaddictionofColeridge.Sufferingfromthe30万方数据 painfultortureofhisdisease,hebecameaddictedtoopium.Helivedanunhappymarriagelifewithhiswifeandthiscanbeknownfrommanyofhisletters.Allthistortureofphysicalandmentalpainincreasedhisuseofdrugs.SowemayconjecturethatColeridge’sconsciousnessinthatperiodisinchaoticsituation.Soinhisdreamtheconsciousnessisalwaysinthedrytreeandissuppressedbytheconcreteunconscious.Jungoncesaidconsciousnesssuccumbsalltooeasilytounconsciousinfluences(282).Theunconsciousproducesdreams,vision,emotions,grotesqueideasandsoforth(Jung283).ThusChristabelhaddreamsandvisionsandsinfulemotions.Andunconscious,accordingtoJung,isthemotherofconsciousness.Thatmeansconsciousnessiseasilyinfluencedbyunconsciousandgetstheideaconveyedbyarchetypalimages.Inthispoemtheauthorusedmanybiblicalimagesandacceptedthechangefrommanyfairytalesandmyth.Thisistheinfluenceofunconscious,formythandfairytalesaretheexpressionsofarchetypeandarchetypeisthecontentofunconscious.ThuswemaysaythispoemistheresultofboththeconsciousnessandunconsciousofColeridge.AlthoughColeridgeplannedtocompletethepoeminfiveparts,yetheonlyfinishedtwoparts.Theinabilitytocompletethepoemmaybetheresultofhischaoticconsciousnesssituation.5.2LimitationsandSuggestionsforFurtherResearchOnthewholethisthesisintroducesCarlJung’stheoryofpsychoanalysisandstudiesChristabelthepoembasedonthetheoryofcollectiveunconsciousandarchetype.AlthoughtheauthorreadsCarlJung’swork,Shen’sCarlJungAnalyticalpsychologyandsomeresearchesrelatedwiththeunderstandingofJung’stheorytoachieveadeeperunderstandingofJung’spsychoanalysistheory,butbecauseoflimitedtimeandresourcestheauthorstilldidnotspendmuchtimeinreadingColeride’sotherworkssuchasLiterariaBiography,hisotherpoemtheAncientMarinersandKublaKhan.ItisnecessaryfortheauthortohaveacomprehensiveknowledgeofColeridge’slifeandhisworksiftheauthorwantstowriteathesisaboutColeridge.Theother31万方数据 inadequacyliesintheconcentrationofthisthesisuponthepsychoanalysisofthepoemespeciallythepsychoanalysisofColeridge’simaginationofChristabel,Geraldine,thewiseoldmanandthemysteriousplots.AlthoughitseemsreasonablefortheauthortospeculatethispoemisactuallythevisualizeddreamofColeridgeandtheconfrontationbetweenChristabelandGeraldineistheobjectifiedprocessofColeridge’sindividuation,however,thisstrictlyspeakingisjusttheauthor’ssubjectiveconjecturebasedonthecollectionofexistingmaterialsandresearches.Thereadermayhavedifferentunderstandingwiththeauthor’scomprehensionandhemayfinditisunreasonabletomakesuchassumption.Onemorepointisthelackofastrongconclusion.AlthoughtheauthoranalyzesindetailthepsychologicalmeaningoftheimaginedcharactersandplotsandrelatetheanalysiswithJung’stheory,yettheauthordidnotspendsufficientspaceindiscussingtheinnerlogicbehindthesepsychologicaltraitsofthepoem.ThuspleaseallowmeheretogiveasliceofadviceforthepersonwhowantstoestablishdeeperpsychologicalanalysisthattrytohaveathroughandcomprehensiveofColerisge’sworksandthetheoryofJung’spsychoanalysis.32万方数据 REFERENCES陈清芳.(2008).柯勒律治诗歌的基督教主题.(Doctoraldissertation,华中师范大学).郭峰,&鲁春芳.(2013).论柯尔律治的三部“超自然诗歌”.外国文学研究(3),58-66.蒋显璟.《英国浪漫主义文学选读》.北京：对外经济贸易大学出版社，2014蒋显璟.(1993).生命哲学与诗歌——浅谈柯勒律治的诗歌理论.外国文学评论(2),63-71.刘宏宇.(2014).弗洛伊德与荣格精神分析文学批评观比较.湖北社会科学(8).牛小五.(2007).柯尔律治诗歌的神秘因子探源.(Doctoraldissertation,贵州大学).申荷永.《荣格与分析心理学》.北京:中国人民大学出版社,2012.孙蓓蓓.(2007).聆听想象的声音——剖析柯勒律治想象思想的神秘源泉与实践.(Doctoraldissertation,浙江大学).王锺陵.(1997).论荣格分析心理学派的文学观.社会科学战线(5),43-55.洪芳.(2006).论柯勒律治的想象理论.(Doctoraldissertation,首都师范大学).杨瑞.(1996).《聊斋志异》中的“阿尼玛”原型.中国人民大学学报,10(6).Basler,R.P.(1943).Christabel.TheSewaneeReview.51(1):73-95.Bloom,H.(1971).TheVisionaryCompany.Ithaca,NewYork:CornellUniversityPress.Cassagnère,C.L.(2001).TheStrangenessof"Christabel".WordsworthCircle,32(2),84-88.Fulford,T.(1997).DreamsandtheEgotisticalSublime:ColeridgeandWordsworth.Dreaming,7(2),85-98.Guerin,W.L.,Labor,E.,Morgan,L.,Reesman,J.C.&Willingham,J.R.(2005).AHandbookofCriticalApproachestoLiterature.Oxford:OxfordUniversityPress.33万方数据 Johnson,N.B.(1991).PrimordialImageandtheArchetypalDesignofArt.JournalofAnalyticalPsychology,36(3),371-92.Jung,C.G.(1981).TheArchetypesandTheCollectiveUnconscious.Princeton,NewJersey:PrincetonUniversityPress.Liggins,E.M.(1977).FolkloreandtheSupernaturalin"Christabel".Folklore,88(1),91-104.Mcelderry,B.R.(1936).Coleridge"sPlanforCompletingChristabel.StudiesinPhilology,33(3),437-455.Nelson,J.A.(1980).EntelechyandStructurein"Christabel".StudiesinRomanticism,19(3),375-393.Paglia,C.(1990).SexualPersonae:artandDecadencefromNefertititoEmilyDickinson.SouthAtlanticReview(96).Schulz,M.F.(1965).Coleridge,Wordsworth,andthe1800PrefacetoLyricalBallads.StudiesinEnglishLiterature,1500-1900,5(4),619-639.Schwartz,L.M.(1970).ANewReviewofColeridge"s"Christabel".StudiesinRomanticism,9(2),114-124.Spatz,J.(1975).TheMysteryofEros:SexualInitiationinColeridge"s"Christabel".PMLA,90(1),107-116.Strickland,E.(1977).MetamorphosesoftheMuseinRomanticPoesis:Christabel.ELH,44(4),641-658.Taylor,A.(2002).Coleridge"s"Christabel"andthePhantomSoul.StudiesinEnglishLiterature,42(4),707-730.34万方数据