ABSTRACT In ‘Bridge and Door,’ Simmel makes a comment regarding the function of the window. He argues that the window acts as ‘a connection of inner space with the external world.’ He argues that ‘the teleological emotion with respect to the window is directed almost exclusively from inside to outside.’ Simmel speaks of the window as a mediating entity, a structural attribute that separates. With Simmel’s comments in mind, this essay examines two poems: one from the seventeenth-century by George Herbert, and another from the twentieth-century by Philip Larkin. The essay looks at the different ways the outside is brought inside in Herbert’s religious poem ‘The Windows’ and in Larkin’s poem ‘High Windows.’ The issue at hand considers what appears to be Larkin’s modern existential angst, for as Herbert’s windows symbolise the outside entity of God being brought in to the hearts of the congregation, beyond Larkin’s windows is blue sky that is ‘Nothing, and is nowhere, and is endless.’ The comparative poetic study demonstrates that the modern window metaphor has taken a new shape. In the modern world, the mediating power of the window has lost the power of mediating faith. Larkin’s poem exemplifies a modern angst absent in Herbert.

中文翻译：

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乔治·赫伯特（George Herbert）和菲利普·拉金（Philip Larkin）的窗户：诗意隐喻研究

摘要在“桥和门”中，Simmel对窗户的功能进行了评论。他认为窗户是“内部空间与外部世界的连接”。他认为，“关于窗户的目的论情感几乎完全是从内到外的。” Simmel将窗口称为中介实体，这是一个分离的结构属性。考虑到Simmel的评论，本文研究了两首诗：一首是乔治·赫伯特（George Herbert）十七世纪的诗，另一首是菲利普·拉金（Philip Larkin）二十世纪的诗。这篇文章探讨了赫伯特的宗教诗《窗户》和拉金的诗歌《高窗》中将外部带入内部的不同方式。当前的问题考虑了拉金的现代存在焦虑，因为正如赫伯特的窗户象征着上帝的外在实体被带入会众的心，在拉金的窗户之外是蓝天，那是“虚无，无处，无尽”。比较诗学研究表明，现代窗户隐喻已经有了新的形态。在现代世界中，窗口的调解力量已经失去了调解信仰的力量。拉金的诗代表了赫伯特所缺乏的现代焦虑。