Archivio testo: Symphony in yellow

Analisi in inglese Symphony in yellow

OSCAR WILDE

SYMPHONY IN YELLOW

– POEMS –


– ANALISI IN INGLESE –
– CON TRADUZIONE IN ITALIANO –


Symphony in Yellow is a poem written in 1889 by the Irish poet Oscar Wilde and it’s considered as a symbol of Wilde’s interest in the Aesthetic poetics.

In Symphony in Yellow, Wilde wants to give back through rhythm, sounds and images in the poem, an idea of a musical symphony, in the spirit of Decadentism and Aestheticism.

“Symphony” is a term borrowed from classical music and it indicates an harmonic complex of sounds and voices: in a symphony there are many layers, instruments and textures.

The same harmonic complex is represented in Symphony in Yellow through the rhythm of the lines, the sounds of the chosen words, the pictures that the poet describes in every stanza, with their coloristic and motion details.

The outcome is an evocatively descriptive poem, in which musical and visual elements converge to allow the poet to vividly sketch a London landscape taken in the end of summer.

And Wilde’s ability is to involve so intimately the reader in the poetic texture of images, colors, and sounds, to turn a reader into a viewer and a listener.

The poem consists in three quatrains with ABBA, CDDC, EFFE rhyme scheme.

A symphony usually starts off slowly, then livens up, and to follow there are ups and downs. In the first stanza Wilde represents these same alternating tones by the contrasting images of the slow march of the bus on the bridge and the restless movements of a passer-by.

In order to give the reader images to “visualize” rather than concepts, Wilde uses two figures of speech, two similes, to describe the scene: he compares the slow bus on the bridge to a yellow butterfly while the agitated passer-by is compared to a little, restless midge.

Differently, in the second stanza there’s no action and the tones of the symphony are down. To transmit a sense of slow time, Wilde describes a static river landscape with boats docked and a shadowy wharf brighten up by a load of yellow hay.

Suggesting the idea of immobility is also the thick fog. Again Wilde refers about it with a simile: he compares the fog to a silk yellow scarf which is hanging along the quay.

The last stanza suggests the end of the symphony through the images of the decaying summer.

Wilde refers about the change of the season through images and colors, once again: the faded yellow of the leaves falling from the elms in Temple and the pale green of Thames.

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And the appearance of the river is described with a further simile: the Thames is straight and smooth like a rod, its waters are slightly ruffled and its color is light green as jade.

As in painting, Wilde works with colors, sketching out the landscape through the tones of yellow: in the first stanza the poet introduces the image of the yellow butterfly, in the second appear the yellow hay and the silken yellow of the fog, in the third stanza the faded yellow of the leaves and glossy pale green of the river.

The rhythm – slow as befits a decaying landscape of an ending summer – is defined by the chosen words and the syllabic patterns, but also by the choice of the verbs which suggest ideas of movements, mostly slow and sluggish: the crawling of the omnibus, the being docked of the boats, the hanging of the fog, the fluttering of the leaves, the lying of the river.

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Analisi in inglese con traduzione interlineare


Per comodità di utilizzo dell’analisi di “Symphony in Yellow” di Oscar Wilde, forniamo qui di seguito una traduzione letterale, periodo per periodo, del testo dell’analisi in inglese.


“Symphony in Yellow” is a poem written in 1889 by the Irish poet Oscar Wilde and it’s considered as a symbol of Wilde’s interest in the Aesthetic poetics.

Symphony in Yellow  (ossia: “Sinfonia in Giallo”) è una poesia scritta nel 1889 dal poeta irlandese Oscar Wilde ed è considerata un testo “simbolo” dell’interesse di Wilde per le poetiche estetizzanti.


In Symphony in Yellow, Wilde wants to give back through rhythm, sounds and images in the poem, an idea of a musical symphony, in the spirit of Decadentism and Aestheticism.

In Symphony in Yellow,  Wilde vuole restituire, attraverso il ritmo, i suoni e le immagini della poesia, l’impressione di una sinfonia musicale, nello spirito del Decadentismo e dell’Estetismo.


“Symphony” is a term borrowed from classical music and it indicates an harmonic complex of sounds and voices: in a symphony there are many layers, instruments and textures.

“Sinfonia” è un termine preso in prestito dalla musica classica e indica un complesso armonico di suoni e voci: in una sinfonia ci sono molti strati sonori, strumenti e tessiture.


The same harmonic complex is represented in Symphony in Yellow through the rhythm of the lines, the sounds of the chosen words, the pictures that the poet describes in every stanza, with their coloristic and motion details.

Il medesimo complesso armonico viene ricreato in Symphony in Yellow, per mezzo del ritmo dei versi, per mezzo dei suoni delle parole scelte, per mezzo dei quadri che il poeta descrive in ciascuna strofa, con i loro particolari coloristici e di movimento.


The outcome is an evocatively descriptive poem, in which musical and visual elements converge to allow the poet to vividly sketch a London landscape taken in the end of summer.

Il risultato è una poesia suggestivamente descrittiva, nella quale elementi musicali e visivi collaborano per consentire al poeta di rappresentare in maniera vivida uno scorcio londinese colto al termine dell’estate.


And Wilde’s ability is to involve so intimately the reader in the poetic texture of images, colors, and sounds, to turn a reader into a viewer and a listener.

E l’abilità di Wilde è quella di coinvolgere così intimamente il lettore nella tessitura poetica di immagini, colori e suoni, da trasformarlo da lettore in qualcuno che osserva ed ascolta.


The poem consists in three quatrains with ABBA, CDDC, EFFE rhyme scheme.

La poesia è formata da tre quartine di schema rimico ABBA, CDDC, EFFE.


A symphony usually starts off slowly, then livens up, and to follow there are ups and downs. In the first stanza Wilde represents these same alternating tones by the contrasting images of the slow march of the bus on the bridge and the restless movements of a passer-by.

Una sinfonia generalmente inizia lentamente, quindi si vivacizza, e a seguire ci sono alti e bassi. Nella prima strofa Wilde ricrea la medesima alternanza di toni attraverso le immagini opposte della lenta marcia dell’autobus sul ponte, e i movimenti frenetici di un passante.

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In order to give the reader images to “visualize” rather than concepts, Wilde uses two figures of speech, two similes, to describe the scene: he compares the slow bus on the bridge to a yellow butterfly while the agitated passer-by is compared to a little, restless midge.

Al fine di fornire al lettore immagini da “visualizzare”, più che concetti, Wilde, per descrivere la scena, utilizza due figure retoriche, due similitudini: egli paragona il bus lento sul ponte ad una farfalla gialla, mentre il passante agitato viene paragonato a un moscerino irrequieto.


Differently, in the second stanza there’s no action and the tones of the symphony are down. To transmit a sense of slow time, Wilde describes a static river landscape with boats docked and a shadowy wharf brighten up by a load of yellow hay.

Diversamente, nella seconda strofa, non c’è azione, ed i toni della sinfonia sono verso il basso. Per trasmettere un senso di tempo che procede lentamente, Wilde descrive un paesaggio fluviale statico, con barche attraccate e un molo in ombra ravvivato da un carico di fieno giallo.


Suggesting the idea of immobility is also the thick fog. Again Wilde refers about it with a simile: he compares the fog to a silk yellow scarf which is hanging along the quay.

A suggerire l’idea di immobilità è anche la nebbia fitta. Di nuovo, Wilde vi si riferisce tramite similitudine: egli paragona la nebbia ad una sciarpa di seta gialla che sta appesa lungo la banchina.


The last stanza suggests the end of the symphony through the images of the decaying summer.

L’ultima strofa dà il senso della fine della sinfonia attraverso le immagini dell’estate che volge al termine.


Wilde refers about the change of the season through images and colors, once again: the faded yellow of the leaves falling from the elms in Temple and the pale green of Thames.

Ancora una volta Wilde suggerisce il trapasso di stagione attraverso immagini e colori: il giallo sbiadito delle foglie che cadono dagli olmi a Temple e il verde pallido del Tamigi.


And the appearance of the river is described with a further simile: the Thames is straight and smooth like a rod, its waters are slightly ruffled and its color is light green as jade.

E l’aspetto del fiume viene descritto con un’ulteriore similitudine: il Tamigi è dritto e liscio come una bacchetta, le sue acque sono leggermente increspate e il suo colore è verde chiaro come la giada.


As in painting, Wilde works with colors, sketching out the landscape through the tones of yellow: in the first stanza the poet introduces the image of the yellow butterfly, in the second appear the yellow hay and the silken yellow of the fog, in the third stanza the faded yellow of the leaves and glossy pale green of the river.

Come in pittura, Wilde lavora con i colori, tratteggiando il paesaggio attraverso i toni del giallo: nella prima strofa il poeta introduce l’immagine della farfalla gialla, nella seconda compaiono il fieno giallo e il giallo “seta” della nebbia, nella terza stanza il giallo sbiadito delle foglie e il verde pastello patinato del fiume.


The rhythm – slow as befits a decaying landscape of an ending summer – is defined by the chosen words and the syllabic patterns, but also by the choice of the verbs which suggest ideas of movements, mostly slow and sluggish: the crawling of the omnibus, the being docked of the boats, the hanging of the fog, the fluttering of the leaves, the lying of the river.

Il ritmo – lento, come si addice ad un paesaggio decadente, di un’estate che volge al termine – risulta dalla scelta delle parole e dal metro, ma anche dalla scelta dei verbi, che suggeriscono idee di movimenti per lo più lenti e “pigri”: lo strisciare del bus, lo stare ancorate delle barche, il penzolare della nebbia, il volteggiare delle foglie, il giacere del fiume.