D. H. Lawrence in the poem “Piano” (1913) dramatizes the ordeal of nostalgia through the use of striking aural devices. Most commentary focuses on the theme, which is generally taken as the lost felicity of childhood. I will unwrap a technical issue evident in this poem, however that involves how Lawrence achieves his effect of creating a longing for the past through sound symbolism. Biographically, the nostalgia in “Piano” reflects Lawrence’s close relationship with his mother as he grew up. Farr states that “Lawrence acknowledged his mother as muse, fostering his writing and painting” (196). Lydia Lawrence cultivated a natural appreciation of music in her children and “Piano” is one such poem in Lawrence’s canon where his “sincere and deeply felt response to his mother’s efforts can be seen” (Mellown 50). The poem commences with a mellow tone as the speaker becomes wistful when he hears a woman singing and playing a piano. This reminds him of his childhood with his mother. The tone of the second stanza is resentful as the speaker is resisting the foray of his childhood memories. However, the unexpected encounter with his childhood recollections, makes the speaker nostalgic about those “old Sunday evenings at home with winter outside” when hymns were played on the piano “in the cosy parlour.” The third stanza has a melancholic tone where the speaker completely surrenders to his childhood recollections. The speaker is not only forsaking the adult world of the present, for the overwhelming memories of the past, but also the adult world of manhood in which he has the ability to resist the pull of sentimentality. The final image that the readers are left with, is that of an adult, weeping “like a child for the past.” Doing so, he forsakes his manhood and embraces childhood frailty, thereby abridging the distance between the past and the present, between the innocence of childhood and the maturity of adulthood. Lawrence uses sound symbolism to evoke in his readers the experience of childhood nostalgia. His depiction of childhood memories in the first stanza, his resistance against the onslaught of memory in the second stanza, his thorough capitulation to his memory in the third stanza and flavoring of these experiences with apt aural devices, leaves the reader in a state where he can find himself wandering down his own memory lane, with certain

中文翻译：

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劳伦斯的钢琴

DH 劳伦斯在诗“钢琴”（1913 年）中通过使用引人注目的听觉装置戏剧化了怀旧的折磨。大多数评论都集中在主题上，这通常被认为是失去童年的幸福。我将解开这首诗中一个明显的技术问题，但这涉及劳伦斯如何通过声音象征来达到他创造对过去的渴望的效果。从传记上看，《钢琴》中的怀旧反映了劳伦斯长大后与母亲的亲密关系。法尔说，“劳伦斯承认他的母亲是缪斯，培养了他的写作和绘画”（196）。莉迪亚·劳伦斯 (Lydia Lawrence) 在她的孩子身上培养了对音乐的天生鉴赏力，而“钢琴”就是劳伦斯经典中的一首诗，“可以看到他对母亲努力的真诚而深刻的反应”（梅隆 50）。这首诗以柔和的语调开始，因为当演讲者听到一个女人唱歌和弹钢琴时，他变得渴望。这让他想起了他与母亲的童年。第二节的语气是怨恨的，因为演讲者正在抵制他童年记忆的闯入。然而，与童年回忆的意外相遇，让演讲者怀念那些“在家里，外面是冬天的老星期天晚上”，当时“在舒适的客厅里”在钢琴上弹奏赞美诗。第三节有一种忧郁的语气，说话者完全屈服于他的童年回忆。说话者不仅放弃了现在的成人世界，为了过去的压倒性记忆，而且他有能力抵抗多愁善感的拉动的成人世界。留给读者的最后一个形象是一个成年人，“像个孩子一样为过去哭泣”。这样做，他放弃了自己的男子气概，拥抱了童年的脆弱，从而缩短了过去与现在、童年的纯真与成年的成熟之间的距离。劳伦斯使用声音象征来唤起他的读者对童年的怀旧体验。他在第一节对童年记忆的描绘，在第二节对记忆冲击的抵抗，在第三节对他的记忆彻底投降，并用适当的听觉装置对这些经历进行了调味，使读者处于一种状态可以发现自己在自己的记忆中徘徊 他舍弃了自己的男子气概，拥抱了童年的脆弱，从而缩短了过去与现在、童年的纯真与成年的成熟之间的距离。劳伦斯使用声音象征来唤起他的读者对童年的怀旧体验。他在第一节对童年记忆的描绘，在第二节对记忆冲击的抵抗，在第三节对他的记忆彻底投降，并用适当的听觉装置对这些经历进行了调味，使读者处于一种状态可以发现自己在自己的记忆中徘徊 他舍弃了自己的男子气概，拥抱了童年的脆弱，从而缩短了过去与现在、童年的纯真与成年的成熟之间的距离。劳伦斯使用声音象征来唤起他的读者对童年的怀旧体验。他在第一节对童年记忆的描绘，在第二节对记忆冲击的抵抗，在第三节对他的记忆彻底投降，并用恰当的听觉装置对这些经历进行了调味，使读者处于一种状态可以发现自己在自己的记忆中徘徊 劳伦斯使用声音象征来唤起他的读者对童年的怀旧体验。他在第一节对童年记忆的描绘，在第二节对记忆冲击的抵抗，在第三节对他的记忆彻底投降，并用适当的听觉装置对这些经历进行了调味，使读者处于一种状态可以发现自己在自己的记忆中徘徊 劳伦斯使用声音象征来唤起他的读者对童年的怀旧体验。他在第一节对童年记忆的描绘，在第二节对记忆冲击的抵抗，在第三节对他的记忆彻底投降，并用适当的听觉装置对这些经历进行了调味，使读者处于一种状态可以发现自己在自己的记忆中徘徊