意象派诗歌完

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枯藤老树昏鸦，小桥流水人家，古道西风瘦马。夕阳西下，断肠人在天涯。天净沙.秋思

马致远[译文]

枯藤缠绕着老树，树枝上栖息着黄昏时归巢的乌鸦，小桥下，流水潺潺，旁边有几户人家，在古老荒凉的道路上，秋风萧瑟，一匹疲惫的瘦马驮着我蹒跚前行。夕阳向西缓缓落下，悲伤断肠的人还漂泊在天涯。在地铁站:人潮中这些面容的忽现；湿巴巴的黑树丫上的花瓣。（罗池）地铁车站:人群中这些脸庞的幻影；潮湿又黑的树枝上的花瓣.（成婴）地铁车站:人群中这些面庞的闪现；湿漉的黑树干上的花瓣。（赵毅衡）在地铁车站:这几张脸在人群中幻景般闪现；湿漉漉的黑树枝上花瓣数点。（飞白）地铁站里:出现在人群里这一张张面孔；湿的黑树枝上的一片片花瓣。（张子清）人群里这些脸忽然闪现；花丛在一条湿黑的树枝。（流沙河）人群中，这些面孔的鬼影；潮湿的黑树枝上的花瓣。（余光中）这些面孔浮现于人群；花瓣潮湿的黑树枝（颜元叔）众中梦幻身影，黝湿枝头疏花。（吴其尧）人潮中面孔若隐若现；黝湿树干上花瓣朵朵。汉译数首InaStationoftheMetropseud.H.D.,,AmericanpoetMarriedtoRichardAldingtonin1913InEngland,undertheinfluenceofEzraPound,shebecameassociatedwiththeimagistsanddevelopedintooneofthemostoriginalpoetsofthegroup.VolumesofherverseincludeSeaGarden(1916),RedShoesforBronze(1931),TheWallsDoNotFall(1944),andBidMetoLive(1960).HildaDoolittle

(1886-1961)海浪卷，松针在腾翻。巨松拍岩震天响，翠绿抛起洒人间，林海作长衫。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?“红色手推车”简评《红色手推车》是一幅色彩鲜明的日常生活画面，描述的是一个躲雨时见到的场景，躲雨的地方大概太小，所以人虽然躲了进去，手推车却还是淋得透湿。与它运送的东西相比，手推车显得似乎小了点，所以才引起诗人“那么多”的感慨。况且还被雨水浇得它“浑身溜滑”。可以想象那个始终没有露面的“推车人”的辛劳，不免对他（她）产生一丝同情。但“旁边有／几只白鸡”一句，使我们眼前一亮。想想看，在雨中，天色也许比较灰暗。但手推车的“红色”与几只鸡的“白色”却是那么的耀眼，何况鸡还是一个活动的东西，与停放在那里的手推车，正好又构成了一动一静的对比。生活的辛劳、躲雨时的焦躁，被几只“白鸡”的出现一扫而空。威廉斯选择红、白对比色以及经雨水冲洗后的锃亮，写出了人类与大自然共创理想生活的一面。威廉斯用红色装饰手推车的轮子，隐喻人类积极的劳动，劳动造就了人类积极向上的欢快精神，用“小鸡”和“雨水”来表达他对自然的崇敬。威廉斯的《红色手推车》仿佛是一幅西洋油画，色彩鲜明，线条突出，立体感强，折射出大自然的光亮，整体画面宁静完美，富有和谐感，它向世人展示了20世纪美国人民的时代精神追求以及一代美国诗人的民族情结。TheRedWheelbarrowSomuchdependsuponaredwheelbarrowglazedwithrainwaterbesidethewhitechickens.WilliamCarlosWilliams红色手推车那么多东西

依靠

一辆红色

手推车

雨水淋得它

晶亮

旁边是一群

白鸡那么多东西

仰仗这辆红色的

手推车运送雨水浇得它

浑身溜滑旁边有

几只白鸡—选自彭予编译《二十世纪英美抒情诗选》TheGreatFigure在密雨中

在灯光里

我看到一个金色的

数字5

写在一辆红色的

救火车上

无人注意

疾驰

驶向锣声紧敲

警报尖鸣之处

轮子隆隆

穿过黑暗的城市。

赵毅衡译巨大的数字大数字

雨中

灯下

我看见

一辆红

救火车上

金色的

数字5

救火车

急匆匆

不顾一切

敲铃

伙裁

车轮辘辘

驰过黑暗的城市。郑建青译CarlSandburgAmericanpoet,h