Objetivos Específicos

满地黄花堆积 12

憔悴损， 13

如今有谁堪摘！ 14

The scene described focuses on the multitude of yellow flowers. There are three instances of image schema presented to make the yellow flowers prominent. Line 12 ‘ 满地黄花堆积’ (yellow chrysanthemums are over the ground and piling up) reveals all the elements which form these locative relations. ɥhey are ‘黄花’ (yellow flower) and ‘地’ (ground). By reading this line, the scene being put in front of the readers is that the yellow flowers are piling up all over the ground. As mentioned in 5.2.3 Interpretation of second stanza, the yellow flower indicates chrysanthemums, in the scene the chrysanthemums are piled up and spread all over the ground. In this scene, there are two image schemas presented: the OVER image schema and the first instance of the UP image schema. For both image schemas, the chrysanthemums are the figure/trajector and the ground is the ground/landmark. First of all, as discussed in 5.3.3, the OVER image schema expresses the path of the trajector being above the landmark and moveing from one side of the landmark to the other. The elaboration of the OVER image schema here is that the trajector is in contact with the landmark and the size of the trajector is the same or bigger than the landmark (Ungerer & Schmid 2006:171). The

150 movement of the chrysanthemums covering the ground receives conceptual prominence. So the first locative relation presented in ‘满地’ (all over the ground) guides the readers to the scene that the yellow flowers are everywhere. This emphasizes that the yellow flowers abound in great quantity by describing them as a carpet as large as the ground. Secondly, the UP image schema expresses that ‘the path of the trajector has a vertical direction, the landmark is only relevant as far as its vertical is concerned’ (Ungerer & ɤchmid 2006:169). ɤo the trajector moves vertically from a starting point to a resting point which is higher when compared with the landmark. In the locative relation presented in ‘Mao climbs up the wall’, the importance is the vertical movement the trajector, Mao, makes. The landmark, ‘the wall’, is only used to reference the vertical direction. ɥhe elaboration of the UP image schema in the source text is that the trajector is in contact with the landmark and the ascending path is made by the growth of the trajector itself.

Thus the expression ‘堆积’ (piling up) depicts a dynamic process of the chrysanthemums vertically overlapping each other in many layers. Again, this process and the chrysanthemums are given conceptual prominence. Through the prominence the trajector generates, the significant quantity of the yellow flowers is implied by the image of thickness created through the piling up process. Together with the OVER image schema, line 12 describes the scene; the chrysanthemums are in great quantity as observed from two directions, the horizontal mass and the vertical thickness. The scene which is full of chrysanthemums is linked with the next line of the poem ‘憔悴损’ (very withered) to suggest that all these ‘yellow flowers’ are withered. ɥhis can be seen as the reason why nobody is interested in picking them up expressed in line 14 ‘如今有谁堪摘’ (who would pluck them up now). Through the OVER image schema and the UP image schema, readers have received the conceptual prominence of the scene which is full of chrysanthemums. By indicating that the chrysanthemums are no longer attractive as they are all withered, the negativity of this notion creates more awareness of grief for the readers. This creates a contrast which suggests that the more

151 yellow flowers on the ground, the more sorrowful the scene becomes. In addition, the second instance of the UP image schema is presented in line 14 ‘有谁堪摘’ (who would pluck them up). Similarly to the first UP image schema, in this locative relation, the figure/trajector is ‘yellow

flowers’ and the ground/landmark is ‘the ground’. Conceptual prominence is given to the ‘yellow flower’ in the process of being plucked up. Reviewing this prominence in the whole scene, the negativity coming with the sadness that nobody cares to pick the flowers up is emphasized. On the other hand, presumably the chrysanthemums could be picked and appreciated before they are withered as the poet used to do so (see 5.2 The Ancient Chinese Poem), a possible reason that no one is interested in picking them up is because the poet was too sorrowful to enjoy the flowers. Thus, the prominence generated by this UP image schema might emphasize that the reason why the flowers are not plucked up is not only because they are withered, but also because there are no enjoyment of the flowers due to the poet’s sorrow. Consequently, the degree of negativity associated is greatly increased. Therefore, with the presence of the three instances of image schema, the scene of chrysanthemums is visualized and sorrow is emphasized.

5.3.5 OVER image schema

着窗儿， 15

独自怎生得黑！ 16

ɥhe character ‘ ’ in line 1 is a verb, it is also a Chinese character that has many different meanings (Zhang 2014:1365). For instance, combined with other characters, ‘ ’ could mean ‘wait’ in ‘ 候’, ‘keep’ in ‘遵 ’, ‘guard’ in ‘ 卫’ and ‘stay together’ in ‘厮 ’. In the source text, it means ‘staying somewhere without moving’. ɥhe possible verbal description here is staying by the window without moving. ɥhe other character ‘着’ is a grammatical character whose function is

152 similar to that of the ‘-ing’ participle verb inflection in ɕnglish, suggesting that the action is progressive. Hence, ‘staying by’ can be seen as an equivalent interpretation of ‘ 着’ in this case.

These two lines express the hardship of spending evenings alone staying by the window, especially when it is getting dark in the evening. It contains the adverbial ‘ 着窗儿’ (staying by the window) and the main clause ‘独 自 怎 生 得 黑 ！’ (how to bear the darkness coming over on my own!). Spending the evening without any interactions with others when good company was available in the past is not a nice experience for the speaker, particularly in a scenario where there are no others available and being alone is the only option. On top of this, the darkness, coming along with that specific time of a day when the daylight gradually fades away, makes the evening unbearable. So the scene depicted contains a window with someone staying by and the darkness caused by the coming evening. The interesting feature here is a locative relation OVER image schema presented in line 16 by ‘得黑’ (coming over darkness). In this locative relation, there are two elements: ‘窗儿’ (window) and ‘黑’ (darkness). Whether in China or in the West, a ‘window’ is an opening in the surface of a building or vehicle, fitted with glass or another material (for example oil paper in ancient China) in a frame to admit light or air and allow people to see out. As a part of a building, ‘

窗儿’ (window) remains still in most cases. Additionally, the verb ‘ ’ expresses the static state as discussed above. So line 15 (staying by the window) is the ground in this locative relation. As we have learnt that the speaker in the poem might be the poet herself, we might infer that the poet is the one who stays by the window. ɥhe other element ‘黑’(darkness) is defined by the previous character ‘得’ (Zhang 2014:266) which suggests the progressive property of the ‘darkness’ as in the sense of ‘the evening darkness coming over’. ɥhis describes the scenario with more detail in regard to the gradual change of the darkness. ɤo the ‘coming darkness of the evening’ is not just a single- motion of being dark but a dynamic process of the daylight starting to dim from, perhaps, the late

153 afternoon to the point when there is no daylight at all in the evening. ɥhus, in the source text, ‘得黑’ (coming over darkness) is the figure. ɥhe ‘coming darkness of the evening’ is the trajector crossing over the poet who is ‘staying by the window’ as the landmark. As discussed earlier (5.3.3), the

OVER image schema describes the locative relation of figure being above ground. The elaboration here is that the trajector, the darkness of the evening, moves from a starting point which is on one side of the landmark, the window, to a resting point which is on the other side of the landmark; and the trajector covers the landmark (Ungerer & Schmid 2006:171). So conceptual prominence is given to the process of getting dark from later afternoon to the evening, and by emphasising the path of the trajector, the scene is thus visualized. The three-dimensional effects bring the reader closer to the interpretation of the poem.

As mentioned above, the line 16 ‘独自怎生得黑！’ (how to bear the darkness coming over on my own!) explicitly expresses the hardship which is caused by facing the darkness of the coming evening without any interaction with others. ɥhe negativity of the effect, the poet’s fear, is increased by putting the cause, the darkness, in the prominent position. The image schema helps to raise the readers’ awareness of the unbearable experience described in the source text. Consequently, for readers, staying by the window as a terrifying experience is presented as a dynamic process including waiting for the darkness of the evening coming, resigning to the darkness hopelessly and being beaten by the darkness without any company.