The Evolution of Environmentalism in English Romantic Literature

我们是浪漫主义者的后代，因为我们对自然的现代概念以及对我们的环境和生态系统的欣赏都归功于他们。例如，想想济慈的《丘比特与赛琪》。在一个有着“朦胧思想”的诗人的形象中，他渴望成为绿色凉亭中普赛克神庙的牧师，我们看到了我们可以称之为济慈的绿色思想。在他对待自然、同情自然、与自然和解的过程中，似乎也有一种原始生态学的观点，它警告我们地球上的绿色正在减少。济慈在《普绪客颂》中看到的“由自己的眼睛所激发的”，或者他在《夜莺颂》中敢于用“诗的无形的翅膀”抓住的，正是浪漫主义诗人所珍视的创造力--想象力。无论是普绪客的“透明扇”，还是作为想象和诗意象征的“诗的无形翅膀”，似乎都与诗人的“消极能力”信念和“变色龙诗人”立场有关。济慈心目中理想的诗人是一个能够做到这一点的人，他没有突兀的性格，而是一个“自我毁灭”的人。（安底弥翁一，799）一，济慈等英国浪漫主义诗人对大自然无私之美的无私之爱的精神漫游，很可能是我们追寻生态美的宿命之旅与自然共存。我们可能生来就在不断重复这段旅程。

We are the descendents of the Romantics, since we owe the modem notion of Nature and this appreciation of our environment and ecosystem to them. Consider, for instance, Keats's Cupid and Psyche. In a figure of a poet with "that shadowy thought" who aspires to be a priest in the fane of Psyche in the green bower, we see what we might call Keats's green thought. Also in his treatment of, sympathy for, and reconciliation with nature, there seems to be a proto-ecological viewpoint which warns us about the decreasing of greenness on the earth.What Keats sees "inspired by his own eyes" in Ode to Psyche, or he dares to grasp with "the viewless wings of Poesy" in Ode to a Nightingale is what the Romantic poets valued as the essential creative power, imagination. Both Psyche's "lucent fan" and his "viewless wings of Poesy," the symbol of imagination and poesy, seem to have much to do with the poet's belief in "negative capability" and his stance as a "chameleon poet." The ideal poet for Keats is one who can, with no obtrusive character but a "self-destroying" (Endymion I,799) one, melt into the nature around him to consequently gain the ultimate inspiration and imagination.The spiritual wandering of Keats as well as some other English Romantic poets in search of disinterested love for nature's disinterested beauty is likely to exemplify our own predestined journey in search of ecological coexistence with nature. We might be born to repeat this journey perpetually.