《道林·格雷的畫像》中唯美主義意象分析

《道林·格雷的畫像》中唯美主義意象分析AbstractOscarWilde(1854-1900)istheholderofthebannerofaesthetics,oneofthemostcomplicatedwritersinthehistoryofEnglishliterature,andanadvocate,practitionerandaestheticexpert.HewasborninDublin,Ireland,andtheUnitedKingdom.DuringhisearlydeathinParis,France,Wilde'slifewasshortandmiserable.Onthecontrary,hehasbeendedicatedtopursuingthebeautyofartform,insistingonthesupremacyofartisticbeauty,advocatingseparatistart,andadvocatingart.Independentlife.Becauseofhisgroundbreakingtheoreticalthinkingandthesubversivenatureoftraditionalliterature,especiallythecreativeconceptofrealism,aestheticismwasthemostbeautifulflowerintheliteraryworldofthe19thcentury.WildeDorianGray’sonlynovel"PortraitofDorianGray"isaclassicembodimentofWildeDorian(uniqueaestheticism),whichcomesfromaristocraticaristocracyfamily.ThepainterBessierandthecynicalLordHenry,whocausedthegenderdifferences,realizedhisamazingbeauty.HedealtwithFatienwiththiswonderfulportrait,andexchangedhissoulforyouthandeternalbeauty.Dadao,eventhoughsheisstillveryyoung,YuRongwillalwaysexist.Buttheportraitreplacedhim.Dorianisoldandterrifying,pursuingallbeautifulthings,freeinghisyouth,indulginginjoy,atanycost,thecrimeshecommitsareendless,firstofall,ruthlesslyabandoned.ShowsthatthefemaleSybilcausedSybiltocommitsuicide:HethenmurderedthepainterBessier,threatenedAaronCambertosuicidebecauseofguilt,andlatermurderedSybil'sbrotherJim,intheendDoriandidn'tdaretolook.Hestabbedhissoulwithaknifeandtriedtodestroytheiconicportraitofhistruesoul,andstabbedthedeadwithaterriblescream,lookinguglyandold.Itcanbefullyrememberedandhasamagicwand.Theknifepiercedhischestonlythroughtheringonthehandofthedeceased.TheservantrecognizedhimasDorianGray,andhissoulportraitwasrestoredtoitsoriginalbeautyandbrilliance.Keywords:Wilde's"PortraitofDowlingGray"Aestheticism;spaceimage;deathimage;flowerimageContentsTOC\o"1-2"\h\u301881.TherootsofWilde'saestheticism 2299282.ContradictionsinWilde'saestheticism 3289422.1 3103602.2 4310003.Thepurposeandsignificanceoftheresearch 5295224.Multipleimagesandfunctions, 536535.Whatarethemultipleimagesin"PortraitofDorianGray"? 6303955.1Spaceimage 620183City: 66585Road 6267235.2theimageofflowers 6132206.Deathimage 873096.1Sensualimagesofdeath 8287996.2Imageryofmentaldeath 8155107.TheoreticalAnalysisofPersonalityStructur 9257927.Throughanalysis 1023143WorksCited 11TherootsofWilde'saestheticismtheonlyshieldofaestheticthoughtthatexistsbecauseartisfarfromreality,Wildebelievesthatartisawaytoexpressoneself,lifeisanimitationofart,andartcreationmustbefarawayfromlife.However,whenWildeisrightWhendiscussinghisviews,contradictionsoftenarise.First,hebelievesthattheexpressionofartis"artforthesakeofart".Theexpressionofartmusthaveitsownindependenceinordertomaintainitsownholycharacterandnotbepollutedbytheworld.ButHealsowrotetofindeverythinginart."Artcanevokethenobleemotionsofeveryone",whichcontradictshisownproposition.Secondly,Wildeadvocatesthatartneedstobefarfromreality,buthecannotcompletelyavoiditinhisownliterarycreation.Toopenupreality,hebelievesthathiscreationisawayofreactingtolifeinawaythatisfarfromreality,andtofreelycreateadramathatexpressesreality,hemustunderstandreality."Yimu'sAestheticismtowardsrealityWilde'saestheticismbelievesthatarthasnothingtodowithreality,artishigherthanreality,anditstrivestoreflectthisinhisworks.However,Wilde'screationisnotcompletelydivorcedfromreality,regardlessofWhetheritisadramaorafairytale,Wilde'sworkstrulyreflectWilde'sownviewsonsocietyandexpressdissatisfactionwithsocietyatthattime.Thethemeofbeautyisthemostimportantaspectofthisnovel.TheaestheticsthatWildepursuedthroughouthislifeweredividedintothreemainareas:theartoftranscendinglife.Artthatisoutoflifeshouldnotbelabeledwithmorality.Firstofall,thenovelendswiththerevivalofyouthandbeauty,buttheDorianisdead,uglyandancient,reflectingthesupremacyofartisticaesthetics.Whenlifeconflictswithart,artalwaysconquerlife.Itrefutesthatlifeisthesourceofart,andartisticcreationmustbebasedonthetraditionoftrueandprofoundearthlylife.Secondly,Sybil,whowaspreviouslyatalentedactor,wasabandonedbyDorianbecauseshegaveupheractingcareerinordertoreturntotruelove.Wildeenduredtheseparationbetweenartandlife,subvertingtheprimitiveinterdependenceandtheintimaterelationshipbetweenartandreality.Third,thepainterBasilthePaintercanberegardedasamoralguide,defendingtraditionalmoralityeverywhere.Buthewaskilledbecauseofhisartwork.ThisshowsthatWildeproposedthatarthasnothingtodowithmoralconsciousness,whichunderminestraditionalmoralconcepts,suchasabandoningevilandreceivinggoodinreturnforthegloryofgoodnessandbeauty.Fromtheresultsoftheresearch,wecanseethatthisextraordinaryaesthetictheoryiscompletelydifferentfromthetradition.Forrealism,thebiggestpurposeofcondemningbeautyisbecauseittriestoclearlydescribedetailsfromobservationsinreallife,regardlessoftheuglinessofreality.Realiststrytopresentlifeinasimpleandclearwayandavoidformssuchasillegallove,eventhoughtheybelievethattruthistheultimatebeautyandmoralitythatpermeateseverything.Alltheabove-mentionedtraditionalliterarycharacteristicsarethegoalsthatWildeistryingtosubvertbecausehesupportsthisgoal."Artforart?2.ContradictionsinWilde'saestheticism2.1ThecontradictionbetweenimaginationandrealityWildebelievedthatartwastheproductoftheartist'smindwhenhewascreating.Therefore,themainmethodheusedinhiscreationwasfantasy.Hewantedtocompletelyseparaterealityfromhisownart,soinhisliteraryworksStrivetoavoidtheinfluenceofreality.Heoncesaidthis:Allartistsshouldavoidtherealityofformandthemodernityofthesubject.Inordertoavoidthevulgarityofreality,aestheticistshidintheivorytowerofartandpursuedtheirminds.Anaestheticworldofnothingness.InWilde’sfairytales,amysteriousandsurrealworldisdepicted.Thisistheembodimentofhispursuitofanaestheticworldinfantasy.However,intheseworks,wecanstillunderstandtheauthor’sperceptionofreallife.Dissatisfactionandfloggingagainsttheuglyphenomenathatexistinsociety.Mr.LuXunoncecommentedonWilde'sfairytales:Itisbeautifulandrelaxed,andverywitty,anditisveryquicktoread,butithasabitteraftertaste.Inotherwords,Wilde'sThesurrealworlddepictedintheworkisactuallybasedontherealworld,asstatedinTheNightingaleandtheRose.Thelittlegirl'sviewthatjewelryismorevaluablereflectsWilde'sresentmenttowardsgoldworshippers.Deplore,thedisgustandsighofthepeopleblindedbythemoney.In``StarChild,''thedescriptionofStarChildwhoisbeautifulbutdespiseshisadoptiveparentsandfellowvillagers,andtheignoranceofhisbiologicalmotherwhosufferedtofindhisface,reflectsthesharpcontrastbetweenthebeautifulappearanceandtheuglypsychology.Intheend,theappearanceofthestarchildbecamedisgustingbecauseoftheuglysoul,whichisexactlytheauthor'swhiplashtotheuglysouls,andatthesametime,hecanalsoseetheironyofthemoralcharactersinthesocietyatthattime.Andinthe"HappyPrince"Theimagesofthemayor,theSenate,andthebailiffdescribedbyWildearealsotherepresentativesofthepursuitoffameandfortuneandself-promotioninthesociety.TheseworksfullyexpressWilde'sunderstandingofthekindsofpeoplethatappearedinthesocietyatthattime.Thisdissatisfactionwiththisphenomenonisalsotheembodimentofthefairytalesinhisworksthatarederivedfromreality.WhenWildewascreating,hecouldnotcompletelywithdrawtheinfluenceofreality,whichwasincontradictionwiththeaestheticismheadvocated.2.2Thecontradictionbetweenmoralityandultra-moralityinthestorytelling.InthetheoryadvocatedbyWilde,hebelievesthatartshouldbeultra-moral.Hebelievesthat"whatIpreachistheresistanceofindividualityandthegospelofperfectindividuality""Theconnotationoftheguideisthatthecrimeofcuriositybroadensthescopeoflife","Prejudiceandtabooarethewallsthatimprisonthesoul."InWilde'stheory,moralityistheexistenceofobliteratingtheartist'spersonality,whichwillweakentheartist'sinfectionHeadvocatedthatthecreationofartistsshouldbeabovemorality.Thereisnoneedinliteratureandart.TheperformanceofmoralityisadvocatedbyWilde.Fromtheperspectiveofcreation,analyzingWilde'sfairytaleswillfindthattheseworksarenotmorallyrestrainedandignoremoralevaluation;butfromtheperspectiveofthecontentoffairytalesandtheirimpactonsocietyInWilde’sfairytales,throughthestrongcontrastbetweengoodandevil,beautyandugliness,thepseudo-moralityexistinginsocietyisrevealed,anditalsoreflectstheauthor'sownmoralorientation.In"FaithfulFriend",WildecreatesaverylongingFriendship,andwillgivealltheimageoflittleHanstohisgoodfriends,whilelittleHans’sfriend,thedoughmaker,isahypocritical,self-conscious,andgreedyperson,reflectingthegoodqualitiesofhonestyandkindnessandbeingselfishandhypocritical.Thephenomenonofdestruction,whileopposingugliness,alsopraisedthenoblecharacter.In"TheGreatRocket",throughthedescriptionoftherocket'sexperience,itcriticizedthepretentiousness,self-boasting,andself-deceptioninsocietyatthattime.Intheseconversations.ThemoralissuesreflectedinWildeareallmanifestationsofWilde'sownmoralconcepts.InthefairytaleswrittenbyWilde,thenarrativeiscalmandcalmonthesurface,butreaderscanexperiencetheauthor'scriticismofmoralityfromtheline.Theadvocatedrelationalismispureaestheticismonthesurface,andisbasedontheimaginaryaestheticsofnihility,butinhiscreationsitreflectstherealsocialphenomenaandhisownrecognitionofthesephenomena.3.ThepurposeandsignificanceoftheresearchThepurposeofliteraryresearchistorevealtheoriginalaestheticcharacteristicsofaestheticsbyexploringtheaestheticexpressionofWildeinhisworks,thatistosay,aestheticsprovidesanewinterpretationoftraditionalartisticconceptstoalargeextent.Overthrowtraditionalliteraturethere,whichistheconceptoftherelationshipbetweenartandreality,artandmorality."PortraitofDorianGray"isthemainembodimentofWilde'saesthetics.ItreflectsWilde'sartisticattitudeandunderstanding,andisuniquetoaesthetics.Intermsofnewrolesandstorytellingskills,thisarticlewillanalyzetheworksindetailtostudythepeculiaritiesofWilde'saestheticsandcompareitwithtraditionalliteraryviews.CleartraditionalartisticconceptThisarticlesummarizesWilde'saestheticsintothreemainareas:artishigherthanlife,artisfarfromlife,andartisnotmorality.Theninacertainway,Iexploredthespecificexpressionsofthesethreearttheoriesintheworks.Reversethenthroughthestudyofthecollisionandoppositionbetweenthetwoartisticperspectives,thecharacteristicsofhisworksarecomparedandanalyzedwithtraditionalliterature.ThinkaboutWilde'suniqueaesthetics,whichsubvertsmanyaspectsoftradition.Wilde’smonologue,"PicturesofDorianGray",isarecognizedmasterpieceofaestheticsandatypicalexampleofWilde’suniqueaestheticthought.ThecleversymbolsandwittylanguageallreflectWilde’sartisticpassion-aesthetics,DorianGray,ThenoblenobleswereinspiredbytheexquisitepaintingsofthepainterBasilHallward(BasilHallward),andwereseducedbyLordHenry'scunningcult,agreeingthathewantedtoexchangehissoulforanimageofeternalbeautyandyouth-FaustiAnn,thistransactionandthistransactionaresurprisinglyreal.Therefore,Dorianisbeautifulandalwaysyoung,whilethephotosareoldandscary.Dorianwasinterestedinallgoodthings,spenthisyouthfreely,andenjoyedhishappinessatallcosts.HisfriendBasil.HelaterblackmailedAlanCampbell,whocommittedsuicide.DorianwaslaterresponsibleforSibil'sbrotherJamesBeing,whowasaccidentallykilled.Inanutshell,asWilde'sonlyfull-lengthliterarywork,"PortraitofDorianGray"hasbeencontroversialfromallwalksoflife,butthisdoesnotshakeitsclassicimageintheheartsofreaders.Whetheritisthetemptinganddepravedmagicrevealedinthetext,orthelightanddarkness,beautyandugliness,goodandevilfilledwithmultipleimages,theyallbringpeopleauniquesenseofbeauty.4.Multipleimagesandfunctions,Inordertoexploretheroleofimageryinliteraryworks,wemustfirstunderstandtheconnotationoftheword."Image"originatedfromChina's"ZhouYi·XiCi":"Thesaintcreatesanimagetospeak."Therefore,theimageisthe"imagethatexpressesthemeaning."Inliteraryworks,imageryisoftenexpressedasanimageintheheartformedbyartisticconception.Itisaconceptualorhigh-levelaestheticimage.Itisageneraltermforallartisticimagesandlanguageimagesthatappearinthework,similartoartandliterature.Conceptssuchasimage.Imageconnotationisverybroad,soitcanbegenerallycalledauniqueideographicartorliteraryimage.Itbelongstoaspecialform.Itisavarietyofartisticimagesthatcontainuniqueideasinliteratureandallowreaderstoobtainextraneousmeanings.Collectively4.1.Theportrayalofdeathimages(1)TheimageofdeathbythesensesLetusfirstlookatthefirstdescriptionofanovel.Thestudiowasfilledwithastrongfragranceofroses,thesummerbreezeblewthetreesinthegarden,andtheopendoorsentafragrantscentoflilac,orthefragranceofthornsfullofpinkflowers;fromthesofaLookingoutofthecorner,itjusthappenstobeseenlikehoney~-Sweetandhoney-likeyellownasturtiumsareflickering;thetremblingbranchesseemtobedifficulttocarrytheflame-likebeautyoftheflowers.LordHenryWordenlayonacouchmadeofPersianleather,smokingacigarettehabitually,andthenumberisuncountable;thebeesbuzzeddullly,walkingthroughthetallgrassthathadnotbeenmowed.Inbetween,ormonotonouslyspinningaroundthegoldenandgraystamensofthehoneysuckleontheground,itseemedtomakethesilenceevenmoresuppressed.(2)ImageryofmentaldeathInsummary,theimageofspiritualdeathin"DowlingGray'sPortrait"LingleyandSilbyperformedvividly.Theclimaxoftheplotdevelopmentinthenovelshouldbethebeginningoftheprotagonist’ssoul,Whenfallingstepbystep.UnderthepersuasionandinducementofLordHenryWarden,DowlingGraybegantohavefunintimewithhisunparalleledbeautyandindulgedindrugs,promiscuityanduncontrolledpleasures.ThisneglectorevenabandonmentofspiritualpursuitsandtheexcessivepursuitofmaterialenjoymentisdefinitelynotwhatOscarWildeexpects,anditcanevenbesaidtobecontrarytohisvalues.Thenwhydoestheauthorarrangethedevelopmentoftheplotlikethis?Thefirstisthehelplessnessofworldlypressure,justlikeOscarWildehimselfencounteredinlife.ArtpurelyforthesakeofartiswhatOscarWildehopedandstronglypursued,buthefailedtoachieveit.Instead,hewasalittlebiteliminatedbytherealworldofthisinstinctiveartisticexpression.ThesecondisasOscarWildesaid:IfIcan'tbefamous,atleastIcanbenortorious.Inthiscase,DowlingGrayisamicrocosmofOscarWilde.Sincebeautycannotexisteternally,itisbettertokissher4.2Three,thetripleconnotationofdeathimage(1)PerseverancetoartBasilisoneofthegreatesttragediesinthenovel,andhisdeathembodiesaspiritofincomparablepersistencetoart.BasildrewaportraitofDorianGrayandwasdeeplyattractedbyit.Theattractionhereismanifestedintwoaspects.Thefirstistobeattractedbythepainting,thatis,tobeattractedbyhisownartisticcreationandthebeautyofDowlingGrayinthepainting;thesecondistobeattractedbythebeautifulfaceofDowlingGrayinreallife..Asapainterandanartist,Basilispure,helivespurelyforhisownart,livinginasuperegoworld[3].SowhenhewatchedthereallifeDorianGraydegeneratestepbystepandslowlyturnintoaterrifyingdevilthatcanswalloweverything,hefeltextremepain.Becausethiskindofscenedoesnotcorrespondtothebeautyhepursuedandthepurearthepursued.SuchatransformedDoolinGrayiscompletelydifferentfromtheDoolinGrayinhisheartandtheDoolinGrayinhispaintings,sohewantstosaveandchangethefallenDoolinGray,andhewantstosavehisheartasasymbolofhisownart.Thepicturepursued.However,DowlingGray,whohadbecomeveryegoatthistime,wasnolongerunderBasil'scontrol,andtherewasalsoaveryself-consciousLordHenryWordenwhowashelping.Therefore,itisimpossibleforBasiltochangeDowlingGray,itisimpossibletoretrievetheoriginalpainting,itisimpossibletoreturntothemostauthenticselfinthepursuitofart.Sowhattodo?Onlydeath!ThismaybethemostdirectreasonwhyOscarWildearrangedBasil'sdeath.However,Basildidnotsimplydie.Hediedwithhisgoodwishesandhispersistenceinart.(2)ThereturnofgoodOscarWildeisanaesthetic,amanwhoworksforart.Inhisheart,thepurityandbeautyofartareaboveallelse,andtheworldiskind.WhetheritwasSilby'sdeathorBasil'sdeath,orDorianGray'sdeath,therewasareturnofgoodnesseverywhere,whichwasthemostgenuinecallinOscarWilde'sheart.Firstofall,forDorianGray'sdeath,thisisacommendableactofcouragetoabandonalltheevilsthathavebeenused,andapracticalactoftruegoodnessintheheart.DorianGraywaskindwhenhefirstcametothecity.Hedidnotlistentoothers’persuasionandpursuedSybilandplannedtomarryhim.However,underHenry’sinductionhebegantosellhissoulandbegantolivealifeofextravaganceandlicentiousness,andevenwenttokill.Butthesearenotentirelyhisinnermostrealthoughtsandmostwillingpractices,sohehimselfhasbeensufferingfrominnertorture,hopingtogobacktothepast,andfinallywhenhepickedupaknifeandstabbedattheportrait,thiswasexactlywhathedid.Itkillsitsevilsideandreturnstoitsoriginalgoodperformance.Secondly,thedeathofBasilalsoembodiestheconnotationofreturningtogood.BasilpaintedforDowlingGrayatfirst,notonlywasattractedbyhisbeauty,butalsobyhiskindness.(3)Self-seekingOscarWildeoncesaid:DorianGrayiswhatIwanttobe1].Inthisway,itcanbeseenthatthedeathofDowlingGrayattheendofthenovelisalsothemostsatisfactoryandexpectedendingofOscarWildehimself,becausethiskindofapproachofendingeverythingwithdeathfundamentallyrealizestheself-seeking,whichistheultimategoalofthenovel.ThisistrueforDorianGray,andevenmoresoforOscarWildeinreallife.OscarWildeadvocatedartforthesakeofartthroughouthislife,advocatingdesperatepursuitofbeautifulthings.Inhismind,thepursuitofbeautyisthesameasthepursuitofhisownart,sothepursuitofthetwoisnothingmorethantworesults:First,intherealworld,hehasbeenunanimouslyrecognizedbypeople,includinghisownvalues??andhisownart.Thisisthemostidealresult,butintheeyesofthesocietyatthetime,itwasthemostimpossibleresult.ThetragicendingofOscarWildeisenoughtoexplaineverything.Infact,theyareabandonedbytheworldandliveinaworldthatbelongstothemonly,whichisdeath.OscarWildeoncesaid:Beingconstrainedbytheworldandbeggingtobewrongedisthemostimmoralbehavior.Forthisreason,hewouldratherdie.Inreality,OscarWildewouldratherchoosetodie,toaccomplishhisartisticpursuitandself-seekingindeath.JustasDorianGrayinthenovelchosetocommitsuicideinordertobidfarewelltohissinfulselfandreturntohismostbeautifulself.SuchanextraordinarycorrespondenceexpressestheconfusionandhelplessnessinOscarWilde'sheart,andalsodemonstrateshisactivesearchforself-realizationandhisdedicationtoart.PerhapsthisiswhatOscarWildewantstotelltheworldthroughthisnovel!Lifeandartshouldbemutuallycomplementaryandintegrated.Lifecanpromotetherealizationofart,andartcanexpressthemostbeautifullife.However,suchalogicalrelationshipinEuropeinthenineteenthcenturywassoimpossibletoachieve.Undertheconstraintsofalmostharshtraditionalethics,OscarWildecouldonlymakechoicesinlifeandart.ThismustbeaveryPainfuldecision.Obviously,asanaestheticianandapersonwhoinsistsonartforthesakeofart,OscarWildechoseart,evenifheevenhadtofacedeathforit.Theinterpretationoftheimageofdeathin"PortraitofDorianGray"willenableustogetclosertoOscarWilde'sinnerworldandexperiencehisartandbeauty.5.Whatarethemultipleimagesin"PortraitofDorianGray"?5.1SpaceimageBakhtinoncepointedout:"InWesternliterature,thefrequentlyusedspacesmainlyincluderoads,salons,castles,thresholds,andpublicsquares.Authorsoftenneedtoarrangedifferenttimeandspacesubjectsaccordingtodifferentspatialcharacteristicstomeettheneedsofcreation."Inthisnovel,thefulltextadherestotheauthor'saestheticstyleandtellsapureandhandsomeyoungmannamedDaolin.Gray,inordertomaintainhisbeauty,hewouldsellhissoul,whichcausedhispersonalitytobedistortedandeventuallyself-destructive.Intheplotofthisnovelandtheunfoldingofthestory,theauthorusesthethreespatialimagesofthecity,theroad,andthesalontohighlighttheinnerstoryofthestory.Ideologicalimplication,inordertoexplorethefunctionandmeaningofspaceimageindepth,itneedstobetreateddifferently.City:Ifthenarrativeandthemeexpressionofthenoveldoesnotinvolvetheplot,othermethodsandinformationneedtobeusedtomakeupforit.Theimageofthetownplaysthisroleandbecomesthespatialsceneofthestorynarrative.Notonlythat,thetownisalsothebasisofthenovel.Thethemehasstrongsocialsignificanceanddifferentresponses.Forthespatialimageofthetown,ithasalmostbecomethedrivingforcesupportingthedevelopmentofthethemeandplotofthenovel.Road:Inthenovel,thewriterdesignedalotofnarrativesabouttheroad.Itwasontheroad.WhenDowlingandHenrywerechatting,JamesglancedatDowling;onthenightDowlingwenttothedrugdistrict,hewasalsoontheroad.,HemetBasil,Basilrecognizedhimataglance,andcaughthimwhenhetriedtoescape,buthewaskilledbyhim,andtheprocesswasdiscoveredbyJamespassingby.Allthesearetheembodimentoftheroadimage,allkindsofpeoplecometogethertopromotethedevelopmentoftheplot,5.2theimageofflowersInthenovel,theauthorusestheimageofflowerstooutlineDaolin'sappearanceandcharacter,depictshislove,andalsometaphorshisfate.Thebeautyandgoodnessofdaisies.Inthebeginning,DowlingwasnotonlythemodelunderBasil'sbrush,butalsothepersoninthepaintingthatHenrywasinterestedin,andheoftenappearedinthedialoguebetweenthetwointhethirdperson.Atthattime,hewashandsomeandbeautiful.AppearanceandkindnessarethemuseofthepainterBasil,andheisalsoanimageofaestheticismcarefullycraftedbytheauthor.Thedaisyhasalwaysbeenasymbolofbeauty.ItsscientificnameisBellis,whichisconsistentwiththefairyoftheforest.Itisalsocalled"theflowercrownofthefairy"and"thebeautyoftheflowerbed".Inthe"Bible",thedaisysymbolizespurityandcontentment.Humilityisasymbolofthesoulofbliss,asymbolofunspeakablelove.5.2.1AfterthesecondchapterofRoseYouthandLove,thecharacterpatternbegantochange,Dowlingappearedinthereader'sfieldofvision,andundertheinfluenceofBasilandHenry,Dowling'sdualpersonalitybegantoappear.(3Ontheonehand,UnderthepositiveinfluenceofthepainterBasil,whopursuedbeautyasthehighestgoal,Dowlingregardedpurebeautyasthethemeoflifeandbegantoseekrealization;ontheotherhand,hewasunderthenegativeinfluenceofHenry,whosupremehedonism.,Begantostepintotheabyssofdegenerationstepbystep.Inthepursuitofbeauty,hewasoriginallykind-heartedundertheinfluenceofHenryandtheenvironment,andhebegantohesitate,hesitate,andbeatalossintheworldofbeauty,whichalsocausedhimtoexchangepositionswiththeportrait.Thoughts,bychance,histhoughtscametrue.Sincethen,hehaspermanentyouth,buttheportraithasbecomeincreasinglyscarredundertimeandviciousness.Atthetimewhenthelovefestivalisbecomingintensifiedandcomplicated,theimageoftherosehelpsWebetterunderstandthechangesinDowling’sheart.Therosesymbolizeslove,beauty,andyouth.Inthetext,theroseappearsmanytimes,Theyouthfulbloomofroseswillsurelyexudeasultryfragrance,andloveisthebestproduct.Althoughrose-coloredloveisfragrant,butitcan’tescapetheultimatedestinyofwithering.Dowling’slovebeganinShakespeare’splays,andhefellinlove.Sibier,whoplaysayounggirlintheplay,playedJulietatthattime.Herflower-likefaceandeyeswereasmovingasvioletsanddeepwells,andherlipswerelikerosepetals.SuchalovelyappearancemadelovefallinDaolin'sheartinaninstant.Everythingistoosudden,butalsointoxicating.Alllifeseemstoberenderedintoarosecolor.Atthistime,therosesymbolizesloveandthelover.Inhiseyes,theloveristhemostbeautifulrose,anditisthesoulofShakespeareandrama.Theincarnationofnotwo.5.2.2Thesinofthepoppy.Foralongtime,thepoppyhasbeenasymbolofsinandshort-termlove.Inthenov