From the three poems – “A View of Taishan”, “In the quiet of the Night” and “Drinking Alone with the Moon” – it is evident that the poets are driven toward evoking a correlation between feeling and scene to underscore the fundamental nature of the Chinese lyrical relationship. However, what is at the core of this lyrical relationship is the metaphor or Xing in Chinese context. This is because the metaphor is intertwined in all the stages of the poetic process, running from the creative stages to the impact on the readers’ minds. Most importantly, the use of metaphor in Chinese poem dictates the variant expressions of the relationship between scene and feeling through an implicit correlation between the two components. The influence of metaphor
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It depicts the speakers wandering, which leads to him discovering a field full of daffodils by the lake. This encounter with the daffodils has since turned into a memory which comforts and pleases the speaker whenever he is bored, restless or lonely. In the early stanzas of the poem, the poet brilliantly employs the use of reverse personification. The poet gives a metaphorical comparison of the speaker with an object of nature that is the cloud – “I wandered lonely as a cloud” (Tutschka 5). The poet also personifies the daffodils as if they were human, “Dancing and tossing their heads”, he also describes them as being in “a crowd, a host” (Tutschka 5). In the poem, the persona is not a cloud yet for a slight moment he is transformed into a cloud to serve the purpose of being likened to a crowd and its movement. Outside the persuasive equation achieved in the metaphor, the two are still separate and dissimilar. Due to the fact that the speaker’s act of wandering and feeling of loneliness is not a cloud – apart from in the made-up context of the poem – a deliberate and explicit metaphoric transference has to occur to connect the dichotomy between them, thereby achieving an innovatively fictitious correlation between them. That very impact is what gives the metaphor the power to perceive the dissimilar as similar. Conclusively, that example underscores the nature of metaphoric transference in terms of its purpose and
It depicts the speakers wandering, which leads to him discovering a field full of daffodils by the lake. This encounter with the daffodils has since turned into a memory which comforts and pleases the speaker whenever he is bored, restless or lonely. In the early stanzas of the poem, the poet brilliantly employs the use of reverse personification. The poet gives a metaphorical comparison of the speaker with an object of nature that is the cloud – “I wandered lonely as a cloud” (Tutschka 5). The poet also personifies the daffodils as if they were human, “Dancing and tossing their heads”, he also describes them as being in “a crowd, a host” (Tutschka 5). In the poem, the persona is not a cloud yet for a slight moment he is transformed into a cloud to serve the purpose of being likened to a crowd and its movement. Outside the persuasive equation achieved in the metaphor, the two are still separate and dissimilar. Due to the fact that the speaker’s act of wandering and feeling of loneliness is not a cloud – apart from in the made-up context of the poem – a deliberate and explicit metaphoric transference has to occur to connect the dichotomy between them, thereby achieving an innovatively fictitious correlation between them. That very impact is what gives the metaphor the power to perceive the dissimilar as similar. Conclusively, that example underscores the nature of metaphoric transference in terms of its purpose and