In a Station of the Metro在地鐵車站

1、In a Station of the MetroHaiku 俳句俳句Haiku is a very short form of Japanese poetrytypically characterised by three qualities:The essence of haiku is cutting .This is often represented by the juxtaposition of two images or ideas and a kireji (cutting word) between them, a kind of verbal punctuation mar

2、k which signals the moment of separation and colours the manner in which the juxtaposed elements are related.Traditional haiku consist of 17 on (also known as morae), in three phrases of 5, 7 and 5 on respectively. Any one of the three phrases may end with the kireji.Although haiku are often stated

3、to have 17 syllables,this is inaccurate as syllables and on are not the same.A kigo (seasonal reference), usually drawn from a saijiki, an extensive but defined list of such words.Modern Japanese haiku Modern Japanese haiku are increasingly unlikely to follow the tradition of 17 on or to take nature

4、 as their subject, but the use of juxtaposition continues to be honoured in both traditional and modern haiku.There is a common, although relatively recent, perception that the images juxtaposed must be directly observed everyday objects or occurrences. In Japanese, haiku are traditionally printed i

5、n a single vertical line while haiku in English often appear in three lines to parallel the three phrases of Japanese haiku.In a Station of the MetroThe apparition of these faces in the crowd;Petals on a wet, black bough. Ezra Pound這幾張臉在人群中幻景般閃現(xiàn)；這幾張臉在人群中幻景般閃現(xiàn)；濕漉漉的黑樹枝上花瓣數(shù)點(diǎn)。濕漉漉的黑樹枝上花瓣數(shù)點(diǎn)。The Origin of

6、Inspiration Pound had seen a succession of beautiful faces one day on the Paris Metro, and in the evening he found suddenly the expression for his sudden emotion. I got out of a train at, I think, La Concorde, and in the jostle I saw a beautiful face, and then, turning suddenly, another and another,

7、 and then a beautiful childs face, and then another beautiful face. All that day I tried to find words for what this made me feel. He worked on the poem for a year, reducing it to its essence in the style of a Japanese haiku.In a Station of the MetroThe apparition of these faces in the crowd;Petals

8、on a wet, black bough. Ezra Pound這幾張臉在人群中幻景般閃現(xiàn)；這幾張臉在人群中幻景般閃現(xiàn)；濕漉漉的黑樹枝上花瓣數(shù)點(diǎn)。濕漉漉的黑樹枝上花瓣數(shù)點(diǎn)。ImagesThe word “apparition” is considered crucial as it implies both presence and absence - and thus transience as mentioned previously. It gives human life a spiritual, mystical significance, but one that we can

9、never be sure of.The plosive word Petals conjures ideas of delicate, feminine beauty which contrasts with the bleakness of the wet, black bough. Essence By linking human faces, a synecdoche for people themselves, with petals on a damp bough, the poet calls attention to both the elegance and beauty o

10、f human life, as well as its transience. A dark, wet bough implies that it has just rained, and the petals stuck to the bough were shortly before attached to flowers from the tree. They may still be living, but they will not be for long. In this way, Pound calls attention to human mortality as a who

11、le - we are all dying. This is the essence of the poem. 在地鐵車站的最大特點(diǎn)就是意象派常用的在地鐵車站的最大特點(diǎn)就是意象派常用的“意象迭加意象迭加”手法。手法。“人群，臉龐人群，臉龐”是詩人所看是詩人所看到的直觀形象是對現(xiàn)實(shí)的直接描寫，是一幅熙熙到的直觀形象是對現(xiàn)實(shí)的直接描寫，是一幅熙熙攘攘、人流涌動的地鐵車站景象；攘攘、人流涌動的地鐵車站景象；“樹枝，花瓣樹枝，花瓣”是詩人在所看到的現(xiàn)實(shí)的剎那間的感覺所引起的是詩人在所看到的現(xiàn)實(shí)的剎那間的感覺所引起的聯(lián)想而形成的一組意象，是一幅花朵開放在濕漉聯(lián)想而形成的一組意象，是一幅花朵開放在濕漉漉，

12、黑色的樹枝上的景象。漉，黑色的樹枝上的景象。 人群與濕漉漉的黑色樹枝都是給人一種晦暗人群與濕漉漉的黑色樹枝都是給人一種晦暗陰濕的壓抑氣氛，也給人一種神秘感，更是符合陰濕的壓抑氣氛，也給人一種神秘感，更是符合地鐵車站人流涌動的氛圍。而那些美麗的面孔和地鐵車站人流涌動的氛圍。而那些美麗的面孔和花瓣一樣，給人的是一種美的享受，以花比喻美花瓣一樣，給人的是一種美的享受，以花比喻美麗的面孔更是再常見不過。而兩組意象各自結(jié)合麗的面孔更是再常見不過。而兩組意象各自結(jié)合所形成的那種由于晦暗的背景襯托下的美好事物所形成的那種由于晦暗的背景襯托下的美好事物給人所帶來的神秘的感受也是相同的。詩人把意給人所帶來的神秘的感受也是相同的。詩人把意象間微妙而又必然的聯(lián)系，用這種象間微妙而又必然的聯(lián)系，用這種“意象迭加意象迭加”的手法，完全表現(xiàn)出來，從而收到一