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Home Burial Review--论文代写范文精选

2015-10-20 来源: 51due教员组 类别: Essay范文

51due论文代写网essay代写范文:“Home Burial Review ” 这篇essay是关于《叶落归根》诗文的一些赏析性评论。这首诗的第一句,“他看到她在楼梯的底部/她看见他之前”她会采取两种行为,为他的询问和自发的行为,“她犹豫地踏出了一步”强调了为她担心的意念,“她犹豫地踏出了一步,然后毁掉了它”。这首诗内蕴比较丰富,层层递进。

On "Home Burial"

Randall Jarrell
The poem's first sentence, "He saw her from the bottom of the stairs / Before she saw him," implies what the poem very soon states: that, knowing herself seen, she would have acted differently—she has two sorts of behavior, behavior for him to observe and spontaneous immediate behavior: "She was starting down, / Looking back over her shoulder at some fear" says that it is some fear, and not a specific feared object, that she is looking back at; and, normally, we do not look back over our shoulder at what we leave, unless we feel for it something more than fear. "She took a doubtful step" emphasizes the queer attraction or fascination that the fear has for her; her departing step is not sure it should depart. "She took a doubtful step and then undid it ": the surprising use of undid gives her withdrawal of the tentative step a surprising reality. The poem goes on: "To raise herself and look again." It is a little vertical ballet of indecision toward and away from a fearful but mesmerically attractive object, something hard to decide to leave and easy to decide to return to. "He spoke / Advancing toward her": having the old line end with "spoke," the new line begin with "advancing," makes the very structure of the lines express the way in which he looms up, gets bigger. (Five lines later Frost repeats the effect even more forcibly with: "He said to gain time: 'What is it you see,' / Mounting until she cowered under him.") Now when the man asks: "What is it you see / From up there always—for I want to know," the word "always" tells us that all this has gone on many times before, and that he has seen it—without speaking of it—a number of times before. The phrase "for I want to know" is a characteristic example of the heavy, willed demands that the man makes, and an even more characteristic example of the tautological, rhetorical announcements of his actions that he so often makes, as if he felt that the announcement somehow justified or excused the action.

The poem goes on: "She turned and sank upon her skirts at that . . ." The stairs permit her to subside into a modest, compact, feminine bundle; there is a kind of smooth deftness about the phrase, as if it were some feminine saying: "When in straits, sink upon your skirts." The next line, "And her face changed from terrified to dull," is an economically elegant way of showing how the terror of surprise (perhaps with another fear underneath it) changes into the dull lack of response that is her regular mask for him. The poem continues: "He said to gain time"—to gain time in which to think of the next thing to say, to gain time in which to get close to her and gain the advantage of his physical nearness, his physical bulk. His next "What is it you see" is the first of his many repetitions; if one knew only this man one would say, "Man is the animal that repeats." In the poem's next phrase, "mounting until she cowered under him," the identity of the vowels in "mounting" and "cowered" physically connects the two, makes his mounting the plain immediate cause of her cowering. "I will find out now" is another of his rhetorical announcements of what he is going to do: "this time you're going to tell me, I'm ging to make you." But this heavy-willed compulsion changes into sheer appeal, into reasonable beseeching, in his next phrase: "you must tell me, dear." The "dear" is affectionate intimacy, the "must" is the "must "of rational necessity; yet the underlying form of the sentence is that of compulsion. The poem goes on: "She, in her place, refused him any help . . ." The separated phrase "in her place" describes and embodies, with economical brilliance, both her physical and spiritual lack of outgoingness, forthcomingness; she brims over none of her contours, remains sitting upon her skirts upon her stairstep, in feminine exclusion. "Refused him any help / With the least stiffening of her neck and silence": she doesn't say Yes, doesn't say No, doesn't say; her refusal of any answer is worse than almost any answer. "The least stiffening of her neck," in its concise reserve, its slight precision, is more nearly conclusive than any larger gesture of rejection. He, in extremities, usually repeats some proverbial or rhetorical generalization; at such moments she usually responds either with a particular, specific sentence or else with something more particular than any sentence: with some motion or gesture.

The next line, "She let him look, sure that he wouldn't see," reminds one of some mother bird so certain that her nest is hidden that she doesn't even flutter off, but sits there on it, risking what is no risk, in complacent superiority. "Sure that he wouldn't see, / Blind creature": the last phrase is quoted from her mind, is her contemptuous summing up. "And awhile he didn't see"; but at last when he sees, he doesn't tell her what it is, doesn't silently understand, but with heavy slow comprehension murmurs, "Oh," and then repeats, "Oh." It is another announcement of what he is doing, a kind of dramatic rendition of his understanding. (Sometimes when we are waiting for someone, and have made some sound or motion we are afraid will seem ridiculous to the observer we didn't know was there, we rather ostentatiously look at our watch, move our face and lips into a "What on earth could have happened to make him so late?" as a way of justifying our earlier action. The principle behind our action is the principle behind many of this man's actions.) With the undignified alacrity of someone hurrying to reestablish a superiority that has been questioned, the woman cries out like a child: "What is it—what?" Her sentence is, so to speak, a rhetorical question rather than a real one, since it takes it for granted that a correct answer can't be made. His reply, "Just that I see," shows that his unaccustomed insight has given him an unaccustomed composure; she has had the advantage, for so long, of being the only one who knows, that he for a moment prolongs the advantage of being the only one who knows that he knows. The immediately following "'You don't,' she challenged. 'Tell me what it is'" is the instant, childishly assertive exclamation of someone whose human position depends entirely upon her knowing what some inferior being can never know; she cannot let another second go by without hearing the incorrect answer that will confirm her in her rightness and superiority.

The man goes on explaining, to himself, and to mankind, and to her too, in slow rumination about it and about it. In his "The wonder is I didn't see at once. / I never noticed it from here before. / I must be wonted to it—that's the reason," one notices how "wonder" and "once" prepare for "wonted," that provincial-, archaic-sounding word that sums up—as "used" never could—his reliance on a habit or accustomedness which at last sees nothing but itself, and hardly sees that; and when it does see something through itself, beyond itself, slowly marvels. In the next line, "The little graveyard where my people are!" we feel not only the triumph of the slow person at last comprehending, but also the tender, easy accustomedness of habit, of long use, of a kind of cozy social continuance—for him the graves are not the healed scars of old agonies, but are something as comfortable and accustomed as the photographs in the family album. "So small the window frames the whole of it," like the later "Broad-shouldered little slabs there in the sunlight / On the sidehill," not only has this easy comfortable acceptance, but also has the regular feel of a certain sort of Frost nature description: this is almost the only place in the poem where for a moment we feel that it is Frost talking first and the man talking second. But the man's "Not so much larger than a bedroom, is it?"—an observation that appeals to her for agreement—carries this comfortable acceptance to a point at which it becomes intolerable: the only link between the bedroom and the graveyard is the child conceived in their bedroom and buried in that graveyard. The sentence comfortably establishes a connection which she cannot bear to admit the existence of—she tries to keep the two things permanently separated in her mind. (What he says amounts to his saying about their bedroom: "Not so much smaller than the graveyard, is it?") "There are three stones of slate and one of marble, / Broad-shouldered little slabs there in the sunlight / On the sidehill " has a heavy tenderness and accustomedness about it, almost as if he were running his hand over the grain of the stone. The "little" graveyard and "little" slabs are examples of our regular way of making something acceptable or dear by means of a diminutive.

Next, to show her how well he understands, the man shows her how ill he understands. He says about his family's graves: "We haven't to mind those"; that is, we don't have to worry about, grieve over, my people: it is not your obligation to grieve for them at all, nor mine to give them more than their proper share of grief, the amount I long ago measured out and used up. But with the feeling, akin to a sad, modest, relieved, surprised pride, with which he regularly responds to his own understanding, he tells her that he does understand: what matters is not the old stones but the new mound, the displaced earth piled up above the grave which he had dug and in which their child is buried.

When he says this, it is as if he had touched, with a crude desecrating hand, the sacred, forbidden secret upon which her existence depends. With shuddering hysterical revulsion she cries: "Don't, don't, don't, don't." (If the reader will compare the effect of Frost's four don't's with the effect of three or five, he will see once more how exactly accurate, perfectly effective, almost everything in the poem is.) The poem continues: "She withdrew shrinking from beneath his arm / That rested on the banister, and slid downstairs"; the word "slid" says, with vivid indecorousness, that anything goes in extremities, that you can't be bothered, then, by mere appearance or propriety; "slid" has the ludicrous force of actual fact, is the way things are instead of the way we agree they are. In the line "And turned on him with such a daunting look," the phrase "turned on him " makes her resemble a cornered animal turning on its pursuer; and "with such a daunting look" is the way he phrases it to himself, is quoted from his mind as "blind creature" was quoted from hers. The beautifully provincial, old-fashioned, folk-sounding "daunting" reminds one of the similar, slightly earlier "wonted," and seems to make immediate, as no other word could, the look that cows him. The next line, " He said twice over before he knew himself," tells us that repetition, saying something twice over, is something he regresses to under stress; unless he can consciously prevent himself from repeating, he repeats. What he says twice over (this is the third time already that he has repeated something) is a rhetorical question, a querulous, plaintive appeal to public opinion: "Can't a man speak of his own child he's lost?" He does not say specifically, particularly, with confidence in himself: "I've the right to speak of our dead child"; instead he cites the acknowledged fact that any member of the class man has the acknowledged right to mention, just to mention, that member of the class of his belongings, his own child—and he has been unjustly deprived of this right. "His own child he's lost" is a way of saying: "You act as if he were just yours, but he's just as much just mine; that's an established fact." "Can't a man speak of his own child he's lost" has a magnificently dissonant, abject, aggrieved querulousness about it, in all its sounds and all its rhythms; "Can't a man" prepares us for the even more triumphantly ugly dissonance (or should I say consonance?) of the last two words in her "I don't know rightly whether any man can."

Any rhetorical question demands, expects, the hearer's automatic agreement; there is nothing it expects less than a particular, specific denial. The man's "Can't a man speak . . ." means "Isn't any man allowed to speak . . . ," but her fatally specific answer, "Not you!" makes it mean, "A man cannot—is not able to—speak, if the man is you." Her "Oh, where's my hat?" is a speech accompanied by action, means: "I'm leaving. Where's the hat which social convention demands that a respectable woman put on, to go out into the world?" The immediately following "Oh, I don't need it!" means: in extremities, in cases when we come down to what really matters, what does social convention or respectability really matter? Her "I must get out of here. I must get air" says that you breathe understanding and suffocate without it, and that in this house, for her, there is none. Then, most extraordinarily, she gives a second specific answer to his rhetorical question, that had expected none: "I don't know rightly whether any man can." The line says: "Perhaps it is not the individual you that's to blame, but man in general; perhaps a woman is wrong to expect that any man can speak—really speak—of his dead child."

His "Amy! Don't go to someone else this time" of course tells us that another time she has gone to someone else; and it tells us the particular name of this most particular woman, something that she and the poem never tell us about the man. The man's "Listen to me. I won't come down the stairs" tells us that earlier he has come down the stairs, hasn't kept his distance. It (along with "shrinking," "cowered," and many later things in the poem) tells us that he has given her reason to be physically afraid of him; his "I won't come down the stairs" is a kind of euphemism for "I won't hurt you, won't even get near you."

The poem's next sentence, "He sat and fixed his chin between his fists"—period, end of line—with its four short i's, its "fixed " and "fists," fixes him in baffled separateness; the sentence fits into the line as he fits into the isolated perplexity of his existence. Once more he makes a rhetorical announcement of what he is about to do, before he does it: "There's something I should like to ask you, dear." The sentence tiptoes in, gentle, almost abjectly mollifying, and ends with a reminding "dear"; it is an indirect rhetorical appeal that expects for an answer at least a grudging: "Well, go ahead and ask it, then." His sentence presupposes the hearer's agreement with what it implies: "Anyone is at least allowed to ask, even if afterwards you refuse him what he asks." The woman once more gives a direct, crushing, particular answer: "You don't know how to ask it." "Anyone may be allowed to ask, but you are not because you are not able to ask"; we don't even need to refuse an animal the right to ask and be refused, since if we gave him the right he couldn't exercise it. The man's "Help me, then," has an absolute, almost abject helplessness, a controlled child-like simplicity, that we pity and sympathize with; yet we can't help remembering the other side of the coin, the heavy, brutal, equally simple and helpless anger of his later I'll come down to you.

The next line, "Her fingers moved the latch for all reply" (like the earlier "She . . . refused him any help / With the least stiffening of her neck and silence"; like "And turned on him with such a daunting look"; like the later "She moved the latch a little"; like the last "She was opening the door wider"), reminds us that the woman has a motion language more immediate, direct, and particular than words—a language she resorts to in extremities, just as he, in extremities, resorts to a language of repeated proverbial generalizations. "Home Burial" starts on the stairs but continues in the doorway, on the threshold between the old life inside and the new life outside.

The man now begins his long appeal with the slow, heavy, hopeless admission that "My words are nearly always an offence." This can mean, "Something is nearly always wrong with me and my words," but it also can mean—does mean, underneath—that she is to be blamed for nearly always finding offensive things that certainly are not meant to offend. "I don't know how to speak of anything / So as to please you" admits, sadly blames himself for, his baffled ignorance, but it also suggests that she is unreasonably, fantastically hard to please—if the phrase came a little later in his long speech he might pronounce it "so as to please you." (Whatever the speaker intends, there are no long peacemaking speeches in a quarrel; after a few sentences the speaker always has begun to blame the other again.) The man's aggrieved, blaming "But I might be taught, / I should suppose" is followed by the helpless, very endearing admission: "I can't say I see how"; for the moment this removes the blame from her, and his honesty of concession makes us unwilling to blame him. He tries to summarize his dearly bought understanding in a generalization, almost a proverb: "A man must partly give up being a man / With women-folk." The sentence begins in the dignified regretful sunlight of the main floor, in "A man must partly give up being a man," and ends huddled in the basement below, in "With women-folk." He doesn't, use the parallel, coordinate "with a woman," but the entirely different "with women-folk"; the sentence tries to be fair and objective, but it is as completely weighted a sentence as "A man must partly give up being a man with the kiddies," or "A man must partly give up being a man with Bandar-log." The sentence presupposes that the real right norm is a man being a man with men, and that some of this rightness and normality always must be sacrificed with that special case, that inferior anomalous category, "women-folk."

He goes on: "We could have some arrangement [it has a hopeful, indefinite, slightly helter-skelter sound] / By which I'd bind myself to keep hands off "—the phrases "bind myself" and "keep hands off" have the primitive, awkward materiality of someone taking an oath in a bad saga; we expect the sentence to end in some awkwardly impressive climax, but get the almost ludicrous anticlimax of "Anything special you're a-mind to name." And, too, the phrase makes whatever she names quite willful on her part, quite unpredictable by reasonable man. His sensitivity usually shows itself to be a willing, hopeful form of insensitivity, and he himself realizes this here, saying, "Though I don't like such things 'twixt those that love." Frost then makes him express his own feeling in a partially truthful but elephantine aphorism that lumbers through a queerly stressed line a foot too long ("Two that don't love can't live together without them") into a conclusion ("But two that do can't live together with them") that has some of the slow, heavy relish just in being proverbial that the man so often shows. (How hard it is to get through the monosyllables of the two lines!) His words don't convince her, and she replies to them without words: "She moved the latch a little." He repeats in grieved appeal: "Don't—don't go. / Don't carry it to someone else this time." (He is repeating an earlier sentence, with "Don't go" changed to "Don't carry it.") The next line, "Tell me about it if it's something human," is particularly interesting when it comes from him. When is something inside a human being not human, so that it can't be told? Isn't it when it is outside man's understanding, outside all man's categories and pigeonholes—when there is no proverb to say for it? It is, then, a waste or abyss impossible to understand or manage or share with another. His next appeal to her, "Let me into your grief," combines an underlying sexual metaphor with a child's "Let me in! let me in!" This man who is so much a member of the human community feels a helpless bewilderment at being shut out of the little group of two of which he was once an anomalous half; the woman has put in the place of this group a group of herself-and-the-dead-child, and he begs or threatens—reasons with her as best he can—in his attempt to get her to restore the first group, so that there will be a man-and-wife grieving over their dead child.

He goes on: "I'm not so much / Unlike other folks as your standing there / Apart would make me out." The "standing there / Apart" is an imitative, expressive form that makes her apart, shows her apart. Really her apartness makes him out like other folks, all those others who make pretense of following to the grave, but who before one's back is turned have made their way back to life; but he necessarily misunderstands her, since for him being like others is necessarily good, being unlike them necessarily bad. His "Give me my chance"—he doesn't say a chance—reminds one of those masculine things fairness and sportsmanship, and makes one think of the child's demand for justice, equal shares, which follows his original demand for exclusive possession, the lion's share. "Give me my chance" means: "You, like everybody else, must admit that anybody deserves a chance—so give me mine"; he deserves his chance not by any particular qualities, personal merit, but just by virtue of being a human being. His "I do think, though, you overdo it a little" says that he is forced against his will to criticize her for so much exceeding (the phrase "a little" is understatement, politeness, and caution) the norm of grief, for mourning more than is usual or reasonable; the phrase "overdo it a little" manages to reduce her grief to the level of a petty social blunder. His next words, "What was it brought you up to think it the thing / To take your mother-loss of a first child / So inconsolably—in the face of love," manage to crowd four or five kinds of condemnation into a single sentence. "What was it brought you up" says that it is not your essential being but your accidental upbringing that has made you do this-it reduces the woman to a helpless social effect. "To think it the thing" is particularly insulting because it makes her grief a mere matter of fashion; it is as though he were saying, "What was it brought you up to think it the thing to wear your skirt that far above your knees?" The phrase "To take your mother-loss of a first child " pigeonholes her loss, makes it a regular, predictable category that demands a regular, predictable amount of grief, and no more. The phrase "So inconsolably—in the face of love" condemns her for being so unreasonable as not to be consoled by, for paying no attention to, that unarguably good, absolutely general thing, love; the generalized love makes demands upon her that are inescapable, compared to those which would be made by a more specific phrase like "in the face of my love for you." The man's "You'd think his memory might be satisfied " again condemns her for exceeding the reasonable social norm of grief; condemns her, jealously, for mourning as if the dead child's demands for grief were insatiable.

Her interruption, "There you go sneering now!" implies that he has often before done what she calls "sneering" at her and her excessive sensitivity; and, conscious of how hard he has been trying to make peace, and unconscious of how much his words have gone over into attack, he contradicts her like a child, in righteous anger: "I'm not, I'm not!" His "You make me angry" is another of his rhetorical, tautological announcements about himself, one that is intended somehow to justify the breaking of his promise not to come down to her; he immediately makes the simple childish threat, "I'll come down to you"—he is repeating his promise, "I won't come down to you," with the "not" removed. "God, what a woman!" righteously and despairingly calls on God and public opinion ( that voice of the people which is the voice of God) to witness and marvel at what he is being forced to put up with: the fantastic, the almost unbelievable wrongness and unreasonableness of this woman. "And it's come to this," that regular piece of rhetorical recrimination in quarrels, introduces his third use of the sentence "Can't a man speak of his own child he's lost"; but this time the rhetorical question is changed into the factual condemnation of "A man can't speak of his own child that's dead." This time he doesn't end the sentence with the more sentimental, decorous, sympathy—demanding "that's lost," but ends with the categorical "that's dead."

Earlier the woman has given two entirely different, entirely specific and unexpected answers to this rhetorical question of his; this time she has a third specific answer, which she makes with monosyllabic precision and finality: "You can't because you don't know how to speak." He has said that it is an awful thing not to be permitted to speak of his own dead child; she replies that it is not a question of permission but of ability, that he is too ignorant and insensitive to be able to speak of his child. Her sentence is one line long, and it is only the second sentence of hers that has been that long. He has talked at length during the first two-thirds of the poem, she in three- or four-word phrases or in motions without words; for the rest of the poem she talks at length, as everything that has been shut up inside her begins to pour out. She opens herself up, now—is far closer to him, striking at him with her words, than she has been sitting apart, in her place. His open attack has finally elicited from her, by contagion, her open anger, so that now he is something real and unbearable to attack, instead of being something less than human to be disregarded.

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