Funeral Blues "was originally part of the stage play" Climbing F6 ", later adapted by Auden and composed by Britten, becoming a well-known version. Although Auden classified it as a fictional work, the themes of death and love in the poem are closely linked to his personal experiences. This article explores the autobiographical elements in poetry through Freudian psychoanalytic theory and combined with Auden's life background, in order to gain a deeper understanding of its elegiac connotation and its role in the transition from elegiac poetry to anti elegiac poetry.

1、 The Character Relationships and Fate Implications in 'Climbing F6'

Climbing F6 explores personal fate, family relationships, and LGBTQ+themes through Michael Ransom's mountaineering story. Lansham faced a conflict between the government's summit mission and his personal mountaineering dream on the F6 mountain peak between the British and Austronesian colonies. His mother's persuasion in the name of love led him to accept the mission, but the crystal magic mirror of the temple at the foot of the mountain and the warning of the abbot hinted at his tragic fate. The prophecies and prayers in the magic mirror reveal Ransom's homosexual identity, echoing Auden's early poem 'Narcissus', expressing the longing and sadness for unattainable love. Lansham's mountaineering companions were tempted by fame and fortune to become believers in the government, while Lansham experienced the death of his teammates and a struggle for self-identity under the influence of the prophecy of the magic mirror. The conflict between Shawcross and Gunn reflects the competition between Lansham and his brother James, as well as the contradiction of his mother's preference. In the end, Lansham climbed the mountain alone in the snowstorm, foreshadowing his death and a metaphor for his homosexuality.

2、 Lansham's homosexuality and its psychological causes

Lansham's homosexual identity and complex emotions towards his brother James are consistent with Freud's description of the psychological generation mechanisms of homosexuality in "Jealousy, Paranoia, and Some Neurological Mechanisms of Homosexuality". During childhood, boys develop jealousy towards their older brothers due to their Oedipus complex, which may turn into aggression towards them and even a desire for death. As one grows up, these hostile emotions are transformed into a suppression mechanism under the influence of elder education and one's own sense of powerlessness, and competitors become targets of same-sex love. Ransom's jealousy and attitude change towards his brother were reflected in his incarnation as Shawcross, demanding tolerance for Gunn's unreasonable behavior and ultimately attacking Gunn. Ransom's change in attitude towards F6 marked his thirst for power, which was linked to his brother's political ambitions. Lansham's homosexual identity and admiration for his older brother are reflected through narcissistic object selection and confusion in object identification. Ransom's wish for death did not dissolve due to his romantic relationship, which is reflected in 'Funeral Blues' as a carrier of same-sex romance and depression mourning.

3、 The identity of mourners and objects of mourning in the first edition of 'Funeral Blues'

In the first version of 'Funeral Blues', the plot development after Lansham's mountain fall is full of mystery. James hinted at the military tactics of the British government in his peace speech, and James was not surprised by the unexpected appearance of Lansham and his teammates. In the game, James seemed to win, but eventually realized the truth of power under Lansham's questioning. James suddenly collapsed, and the choir accused Ransom of murder. The temple abbot demanded to leave, and the monks carried James out. Stagmantel and Isabelle sang 'Funeral Blues'. The poem describes the participants in the funeral, including the deceased, who sent the living James to his grave. Ransom attempted to deny the murder charges, but the choir found him guilty. The plot may be a hallucination of Ransom before his death, reflecting his jealousy and homosexual feelings towards his brother. During the trial, Ransom refused to plead guilty until the abbot apologized and admitted that the motive for the murder stemmed from uncontrollable love. The identity of the demon and the appearance of the mountain dragon symbolize the object that Ransom sought but could not obtain. Lansham's end-of-life awakening echoes Freud's analysis that the hostility of homosexuals towards their older brothers stems from narcissistic mother complex. Funeral Blues "is not only a elegiac poem, but also a" coming out "love poem in the name of mourning, expressing a combination of grief and confession of love. Auden emphasized the connection between love and death in early love poems, while the love in "Funeral Blues" was difficult to dispel due to the lack of alternative objects, becoming a pioneer of "anti elegiac poetry" in the 20th century.

4、 The Mourning Literary Value of the First and Second Editions of 'Funeral Blues'

Jehan Lemamani proposed the concepts of self mourning poetry and anti mourning poetry in "Yeats and the Poem of Death", emphasizing the initiative of self mourning poetry and the anti traditional tendency of anti mourning poetry. In "Mourning Poems", he distinguished between compensatory mourning and depressive mourning, and classified self mourning poems as depressive mourning. Auden's first edition of 'Funeral Blues' showcases depressive traits, which are related to his homosexual orientation and love poetry writing. Freud proposed in "The Interpretation of Dreams" that dreams are the fulfillment of wishes, while the dying dreams in "Funeral Blues" reflect Ransom's depressive psychology. The exaggerated description of the state funeral ceremony and criticism of James' camp in the first edition reflect the depressed mentality of the mourners. The reprint of 'Funeral Blues' shifts towards compensating for mourning, using exaggerated expressions of sorrow to vent mourning emotions rather than indulging in the past. Auden's modifications are seen as a regression of the mourning paradigm, but both versions emphasize the grandeur of state funeral ceremonies and reflect the logic of compensatory mourning. Although "Funeral Blues" originated from a fictional background, it was deeply influenced by Auden's personal experiences. He extracted the psychological paradigm of depression and mourning from the growth psychology of homosexuals and applied it to mourn real-life characters, promoting the process of depression in modern elegiac poetry.