As for the Chinese learners’ research on Wordsworth, somewhat interestingly, after he came to the sights of Chinese readers for more than a century rom when Liang Qichao firstly referred him as a good observer in 1900 and then in 1914 when Lu Zhiwei translated his A Place of Burial in the South of Scotland, there are two tendencies of probing into his poetry: one, initially in the vogue, is to observe and study it by comparing Wordsworth’s lines with the foregoing Chinese pastoral poets’, showing the attitude of subjectivity and domestication function of traditional cultures, endowed with vivid characteristics of Chinization with his fresh and natural style well accepted in China but his poetic thinking undergoing a lot of misunderstanding: although some academics like Hu Shi highly appreciated his advocating the emancipation of language, others represented by Wu Mi despised his calling, considering it as a kind of autocracy of words; then due to the influence of positive and negative bifurcations of Romanticism, Wordsworth has been wronged as a negative poet escaping from the reality into the peaceful arms of the nature with his philosophical and critical thoughts ignored; the other, is to dig out some quintessence solely from his lines, which has been extremely developed in the rejuvenation of studying Wordsworth(Xiang Lingling, 2011)。 In the territory of the aesthetic modernity of Wordsworth, on the basis of the long-term analyses, there exist increasing essays with a few experts digging in its poetry considerably deep in comparison, which seems to be a great mass fervor。 Wang Ying and Liu Wei (2012), for instance, have put Wordsworth’s poems and Shen Congwen’s proses together to figure out the differences and similarities of the aesthetic reactions between them with original and new ideas but clearly they paid more attention to the comparison of the texts than the unscrambling of the aesthetic modernity。 And not from a perspective of comparison, a limited number of learners also have contributed to the studies: Gao Shenghua (2011) has summed up the characteristics and causes of that from the perspectives of themes and images; Wang Ying (2007) has pointed out the fusion of rationality and emotion, the spots of time and the melancholic elements of his poetry but not just from one poem。 论文网

It is distinct that under most conditions the researches have been conducted on a general level: not solely laying emphasis on one poem but mainly on all his poetry。 Nevertheless, “My Heart Leaps Up” has not been that unfrequented—Lan Renzhe (2005) has presented the interpretation of “The Child is the father of the Man” by revealing the immortal parts of life; Li Nan (2011) has focused the theme of the poem in the fusion of the children’s heart and nature。 Chinese scholars have not been jumping out of the allusion of Noah—it is quite natural because Wordsworth did grow under the Christian atmosphere, but the Greek fruits did attract his attention。

1。3 Significance and Aims of Decoding the Poem

All the analyses about this little lyric can gain a foothold with paramount importance, but almost as tacit trend, it is easily concluded that while the Hebrew covenant between God and Noah is adopted in their explanations, nearly none of the Greek elements are wielded to interpret the theme of it which is reasonably possible for Wordsworth who has been bathed in the Greek culture。 Accustomed to floating in the general trend on a Biblical vessel, the myriads of scholars have been majorly dissolving “My Heart Leaps Up” in the vast Hebrew sea, leading to the rainbow tightly connected with the covenant between Noah and God, therefore the piety is entertained for God, nearly ignoring the indispensable shunt originating from the ancient Greece that has also endlessly flown into the kernel of western culture, fabulously nourished Wordsworth’s heart and been tracked from his pen。 From the Greek perspective, not denying the validity of probing into it in the light of God molded by the Hebrews, for utterly Wordsworth has been steeped in the Jordan River, more ripples of this poem could be made by the tides from Aegean Sea on the serene damp where almost no one has obviously spearheaded the way。 从希腊视角进行探寻赫尔墨斯·特利斯墨吉斯忒斯的希腊哲学(4):http://www.youerw.com/yingyu/lunwen_172393.html