意象派詩(shī)歌完

ImagismOriginatinginthephilosophyofT.E.Hulme,themovementsoonattractedEzraPound,whobecametheleaderofasmallgroupopposedtotheromanticconceptionofpoetryandinspiredbyGreekandRomanclassicsandbyChinese,Japanese,andmodernFrenchpoets.Theimagistpoetscalledfornewrhythms,clearimages,freechoiceofsubjectmatter,compressedpoeticexpression,anduseofcommonspeech.OriginationImagismisapoeticmovementofEnglandandtheUnitedStates,whichflourishedfrom1908to1917.Itscreed,expressedinSomeImagistPoets(1915),includedtheuseofthelanguageofcommonspeech,precision,thecreationofnewrhythms,absolutefreedominchoiceofsubjectmatter,theevocationofimagesinhard,clearpoetry,andconcentration.IntheU.S.,thegroupwasrepresentedbyPound,JohnGouldFletcher,andAmyLowell.MovementPoundcollectedsomeoftheirworkinDesImagists:AnAnthology(1914),afterwhichhisinterestbegantowane.AmyLowellthenassumedactiveleadership,advocatingthatthegroupsubscribetoafixedprogramandholdtogetherforatleastthreeyears.Underherguidancewerepublishedseveralanthologies,allentitledSomeImagistPoets.ThemostimportantfiguresareEzraPound,H.D.(HildaDoolittle),AmyLowell,andWilliamCarlosWilliams.OtherimportantpoetsinthisperiodincludeT.S.Eliot,E.R.Robinson,WallaceStevens,andE.E.Cummings.

MovementWithaspiritofrevoltagainstconventions,imagismwasanti-romanticandanti-Victorian.Itstressedfreechoiceofsubjectmatters(oftendealingwithsingle,concentratedmomentsofexperience),concretenessofimagery,musicalphrases,economyofexpression,andtheuseofadominantimage.Itaimedatinstantaneouseffect,visualandconcise.Imagistsusedthelanguageofcommonspeechandemployedexactwordsinsteadoftheflowerylanguageofpoetry.Theyavoidedallclicheexpressions,theornatediction,andcomplexverseformsoftraditionalpoetry.Majorfeature--1Imagismproducedfreeversewithoutimposingarhythmicalpattern.Therhythmwascomposedasifthepoetweremakingamusicphrase.Thiswasadoing-awaywithconventionsofmetersothatthepoetneedednotmakehisideasfitintoanestablishedmeterasinasonnetoraballad.Thepoetcreatednewrhythmsinthesequenceofthemusicalphraseastheexpressionsofanewmood.Majorfeature--2ImagismwasequivalenttoNaturalisminfictioninasense.Naturalismwasbasedonscientificobservation,afeelingofdeterminismthatthereadershouldlookonlyattheoutsideobjectswithnoattempttogetinsideofthem.TheImagistwritersalsohadthesamefeelingofdeterminismthatthereadershouldonlylookattheimage.Ifthereaderlooksattheimage,itwillevokeanemotionimmediately.Majorfeature--3Imagismtriedtorecordobjectiveobservationsofanobjectorasituationwithoutinterpretationorcommentbythepoet.Imagismrequiredapoettopresentjustapicture,nothisinsight.Itisverybiologicalandveryscientific.Theyneverstatedtheemotioninthepoem,butjustpresentedanimage:concrete,firm,definiteinpicture.Anysignificancetobederivedfromtheimagehadtoappearinherentinitscleanpresentation.Majorfeature--4Imagismwasaradicalchangefromthewaypoetryhadbeenwritteninthe19thcentury.Thesemodernistpoetstriedtokeeptheirideastothemselves,merelygivingthereaderthedescriptionoftheoutwardsurface.Therefore,anImagistpoemconsistsofclearvisualimages,oftenjuxtaposedwithotherimages,promptingthereadertoanimaginativeresponsethatcompletesitsmeaning.SummaryTousethelanguageofcommonspeech,buttoemploytheexactword,notthenearly-exact,northemerelydecorativeword.Webelievethattheindividualityofapoetmayoftenbebetterexpressedinfreeversethaninconventionalforms.Inpoetry,anewcadencemeansanewidea.Absolutefreedominthechoiceofsubject.Topresentanimage.Wearenotaschoolofpainters,butwebelievethatpoetryshouldrenderparticularsexactlyandnotdealinvaguegeneralities,howevermagnificentandsonorous.Itisforthisreasonthatweopposethecosmicpoet,whoseemstoustoshirktherealdifficultiesofhisart.Toproduceapoetrythatishardandclear,neverblurrednorindefinite.Finally,mostofusbelievethatconcentrationisoftheveryessenceofpoetry.

EzraPoundImagistManifestoAmericanpoet,critic,editor,andtranslator;oneoftheforemostliteraryfiguresinliterarymodernismAsapoet,Poundexperimentedwithvariousverseforms,fromshortpoemsfocusingonconcreteimagestohisepicmasterpiece,theCantos.Asanessayist,hewrotemanifestosestablishinginfluentialprinciplesofstyleandtheme.Asacriticandeditor,Pounddiscoveredandencouragedmanyexperimentalauthors,includingIrishwriterJamesJoyce,EnglishpoetT.S.Eliot,andAmericanwritersRobertFrostandErnestHemingway.EzraPound

(1885-1972)Note:Cantos,awide-rangingseriesofpoemscombiningancientandmodernhistorywithPound’spersonalreflectionsandexperiences.

HisContribution:HelaunchedImagism,amovementinpoetrywhichderiveditstechniquefromclassicalChineseandJapanesepoetry--stressingclarity,precision,andeconomyoflanguage.Hisinfluence:Headvancedtheworkofmajorcontemporaries,suchasW.B.Yeats,RobertFrost,WilliamCarlosWilliams,MarianneMoore,

H.D.,JamesJoyce,ErnestHemingway,andespeciallyT.S.Eliot.MajorWorks:1

TheCantos(theencyclopedicepicpoem)2

HughSelwynMauberley

3

ThePisanCantosLiteraryAchievement枯藤老樹昏鴉，小橋流水人家，古道西風(fēng)瘦馬。夕陽(yáng)西下，斷腸人在天涯。天凈沙.秋思

馬致遠(yuǎn)[譯文]

枯藤纏繞著老樹，樹枝上棲息著黃昏時(shí)歸巢的烏鴉，小橋下，流水潺潺，旁邊有幾戶人家，在古老荒涼的道路上，秋風(fēng)蕭瑟，一匹疲憊的瘦馬馱著我蹣跚前行。夕陽(yáng)向西緩緩落下，悲傷斷腸的人還漂泊在天涯。在地鐵站:人潮中這些面容的忽現(xiàn)；濕巴巴的黑樹丫上的花瓣。（羅池）地鐵車站:人群中這些臉龐的幻影；潮濕又黑的樹枝上的花瓣.（成嬰）地鐵車站:人群中這些面龐的閃現(xiàn)；濕漉的黑樹干上的花瓣。（趙毅衡）在地鐵車站: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)。（飛白）地鐵站里:出現(xiàn)在人群里這一張張面孔；濕的黑樹枝上的一片片花瓣。（張子清）人群里這些臉忽然閃現(xiàn)；花叢在一條濕黑的樹枝。（流沙河）人群中，這些面孔的鬼影；潮濕的黑樹枝上的花瓣。（余光中）這些面孔浮現(xiàn)于人群；花瓣潮濕的黑樹枝（顏元叔）眾中夢(mèng)幻身影，黝濕枝頭疏花。（吳其堯）人潮中面孔若隱若現(xiàn)；黝濕樹干上花瓣朵朵。漢譯數(shù)首InaStationoftheMetropseud.H.D.,,AmericanpoetMarriedtoRichardAldingtonin1913InEngland,undertheinfluenceofEzraPound,shebecameassociatedwiththeimagistsanddevelopedintooneofthemostoriginalpoetsofthegroup.VolumesofherverseincludeSeaGarden(1916),RedShoesforBronze(1931),TheWallsDoNotFall(1944),andBidMetoLive(1960).HildaDoolittle

(1886-1961)海浪卷，松針在騰翻。巨松拍巖震天響，翠綠拋起灑人間，林海作長(zhǎng)衫。山之神WilliamCarlosWilliams(1883-1963)Americanpoetandphysician.Hewrotestories,playsandautobiographiesaswellaspoems.HemetandbefriendedEzraPound,andwasinfluencedbyPound.BiographicalFactsHewasborninNewJersey,U.S.1883.HereceivedhisM.D.fromtheUniversityofPennsylvania.Hesustainedhismedicalpracticethroughouthislife.HediedinVienna,Austria,1963.PoeticFeaturesRelaxedcolloquialismVividPresentationEloquentpassagesofbeautifullycontrolledrhythmandphrasingHissubjectmatterwascenteredontheeverydaycircumstancesoflifeandthelivesofcommonpeople.TheRedWheelbarrow1

Howdoesthefirsttwolinesdifferfromtheotherpairsoflines?2

Whatisthemostvisuallycompellingwordineachofthelastthreepairsoflines?3

Whatisthemeaningof“dependsupon”inthefirstpairoflines?“紅色手推車”簡(jiǎn)評(píng)《紅色手推車》是一幅色彩鮮明的日常生活畫面，描述的是一個(gè)躲雨時(shí)見到的場(chǎng)景，躲雨的地方大概太小，所以人雖然躲了進(jìn)去，手推車卻還是淋得透濕。與它運(yùn)送的東西相比，手推車顯得似乎小了點(diǎn)，所以才引起詩(shī)人“那么多”的感慨。況且還被雨水澆得它“渾身溜滑”?？梢韵胂竽莻€(gè)始終沒有露面的“推車人”的辛勞，不免對(duì)他（她）產(chǎn)生一絲同情。但“旁邊有／幾只白雞”一句，使我們眼前一亮。想想看，在雨中，天色也許比較灰暗。但手推車的“紅色”與幾只雞的“白色”卻是那么的耀眼，何況雞還是一個(gè)活動(dòng)的東西，與停放在那里的手推車，正好又構(gòu)成了一動(dòng)一靜的對(duì)比。生活的辛勞、躲雨時(shí)的焦躁，被幾只“白雞”的出現(xiàn)一掃而空。威廉斯選擇紅、白對(duì)比色以及經(jīng)雨水沖洗后的锃亮，寫出了人類與大自然共創(chuàng)理想生活的一面。威廉斯用紅色裝飾手推車的輪子，隱喻人類積極的勞動(dòng)，勞動(dòng)造就了人類積極向上的歡快精神，用“小雞”和“雨水”來表達(dá)他對(duì)自然的崇敬。威廉斯的《紅色手推車》仿佛是一幅西洋油畫，色彩鮮明，線條突出，立體感強(qiáng)，折射出大自然的光亮，整體畫面寧?kù)o完美，富有和諧感，它向世人展示了20世紀(jì)美國(guó)人民的時(shí)代精神追求以及一代美國(guó)詩(shī)人的民族情結(jié)。TheRedWheelbarrowSomuchdependsuponaredwheelbarrowglazedwithrainwaterbesidethewhitechickens.WilliamCarlosWilliams紅色手推車那么多東西

依靠

一輛紅色

手推車

雨水淋得它

晶亮

旁邊是一群

白雞那么多東西

仰仗這輛紅色的

手推車運(yùn)送雨水澆得它

渾身溜滑旁邊有

幾只白雞—選自彭予編譯《二十世紀(jì)英美抒情詩(shī)選》TheGreatFigure在密雨中

在燈光里

我看到一個(gè)金色的

數(shù)字5

寫在一輛紅色的

救火車上

無人注意

疾馳

駛向鑼聲緊敲

警報(bào)尖鳴之處

輪子隆隆

穿過黑暗的城市。

趙毅衡譯巨大的數(shù)字大數(shù)字

雨中

燈下

我看見

一輛紅

救火車上

金色的

數(shù)字5

救火車

急匆匆

不顧一切

敲鈴

伙裁

車輪轆轆

馳過黑暗的城市。鄭建青譯CarlSandburgAmericanpoet,h