week 16 ts eliot 英国文学导论.ppt

thomasstearnseliot,(1888-1965),american-bornenglishpoet,playwright,andliterarycriticarguablythemostimportantenglish-languagepoetofthe20thcentury,amajorinnovatorinmodernenglishpoetryaleaderofthemodernistmovementfamousaboveallforhisrevolutionarypoemthewasteland(1922),thomasstearnseliot,thenobelprizeinliterature1948“forhisoutstanding,pioneercontributiontopresent-daypoetry”,t.s.eliotreceivingthenobelprizeforliterature,december1948.,“onlythosewhowillriskgoingtoofarcanpossiblyfindouthowfaronecango.”-t.s.eliot.,i.biography,borninusaofabourgeoisfamilyoriginallyfromnewengland,whohadmovedtost.louis,missouriandlivedthereduringthefirst18yearsofhislife.,t.s.eliot(1938)bywyndhamlewis,hebegantowritepoetrywhenhewas14undertheinfluenceofedwardfitzgeraldsrubaiyatofomarkhayyamatranslationofthepoetryofomarkhayyamhesaidtheresultsweregloomyanddespairing,andhedestroyedthem.,education,smithacademyinsaintlouis,us(1898to1905)studiedlatin,ancientgreek,french,andgerman.miltonacademyinmass.,usforapreparatoryyearharvarduniversity,ab.a.andm.a.inphilosophy(1906to1909)thesorbonneinparis,france1910-1911,studiedphilosophyoxforduniversity,uk,eliotwasawardedascholarshiptomertoncollege,oxfordin1914eliotdidnotsettleatmerton,andleftafterayear.,hewrote:“ihateuniversitytownsanduniversitypeople,whoarethesameeverywhere,withpregnantwives,sprawlingchildren,manybooksandhideouspicturesonthewalls.oxfordisverypretty,butidontliketobedead.,inaletterindecember1914,eliot,aged26,wrote,“iamverydependentuponwomen.”lessthan4monthslater,thayerintroducedeliottoviviennehaigh-wood,acambridgegoverness.theyweremarriedathampsteadregisterofficeinjune,1915,thephilosopherbertrandrusselltookaninterestinviviennewhilethenewlywedsstayedinhisflat.somescholarshavesuggestedthatsheandrussellhadanaffair,buttheallegationswereneverconfirmed.,workedfirstasateacherthenworkedasaclerkforlloydsbankwrotepoetryinhissparetime,itwasinlondonthateliotcameundertheinfluenceofezrapound,whorecognizedhispoeticgeniusatonceassistedinthepublicationofhisworkinanumberofmagazines,mostnotably“thelovesongofj.alfredprufrock”inpoetryin1915.,prufrockandotherobservations普鲁弗洛克及其他hisfirstbookofpoemspublishedin1917immediatelyestablishedhimasaleadingpoetoftheavant-garde,eliotsreputationbegantogrowtonearlymythicproportionswiththepublicationofthewastelandin1922nowconsideredbymanytobethesinglemostinfluentialpoeticworkofthe20thcentury,eliotrenouncedhiscitizenshiptotheunitedstatesandsaid:“mymindmaybeamericanbutmyheartisbritish.”in1927,eliotconvertedtoanglicanismfromunitarianismandbecameabritishcitizen,hespecificallyidentifiedasanglo-catholic,proclaiminghimself“classicistinliterature,royalistinpolitics,andanglo-catholicinreligion.”,in1932,eliotleftvivienneinenglandandwentbacktoharvard.uponhisreturn,hearrangedforaformalseparationfromher.viviennewascommittedtoamentalhospitalin1938,andremainedthereuntilshedied.althougheliotwasstilllegallyherhusband,henevervisitedher.,in1957,tseliotmarriedesmvaleriefletcher,whowas32.,ii.aestheticviews,1.apoemshouldbeanorganicthinginitself.onceitisfinished,thepoetwillnolongerhavecontrolofit.itshouldbejudged,analyzedbyitselfwithouttheinterferenceofthepoetspersonalinfluence.,2.modernlifeischaotic,futile,fragmentary,sopoetryshouldreflectthisfragmentarynatureoflifethiskindnatureoflifeshouldbeprojected,notanalyzed,3.thepoetshoulddrawupontradition:usethepasttoservetheresentandfutureborrowfromauthorsremoteintime,alieninlanguage,diverseininterestusethepasttounderscorewhatismissingfromthepresent,iii.techniques,useof1.disconnectedimages/symbols2.literaryallusions/references3.highlyexpressivemeterandrhythmoffreeverses4.metaphysicalwhimsicalimages/whims5.flexibletone,iv.poetry,thelovesongofj.alfredprufrock,阿尔弗雷德普鲁弗洛克的情歌,1915thewasteland,荒原,1922thehollowmen,空心人,1925ashwednesday,圣灰星期三,1930fourquartets,四个四重奏,1944,hisbelief:poetryshouldaimatarepresentationofthecomplexitiesofmoderncivilizationinlanguagesuchrepresentationnecessarilyleadstodifficultpoetry.,inrejectingthepoeticvaluesoftheenglishromanticsandvictorians,eliot,alongwithwilliambutleryeatsandezrapound,setnewpoeticstandardsequaltothoseestablishedbyjamesjoyceandmarcelproustinfiction.,thewastelandcontents,1.assessment2.synopsis:fivesections3.twoallusions4.theme5.languagerepondebatilla:.”forezrapoundilmigliorfabbro.,“是的，我自己亲眼看见古米的西比尔吊在一个笼子里。孩子们在问她：西比尔，你要什么，她回答说：我要死。”献给埃兹拉庞德最卓越的匠人,thepoemis433lineslongandisdividedinto5sections,whicharenotlogicallyconstructedorconnected.,2.synopsis:fivesections,sectioni.theburialofthedead（葬礼）sectionii.agameofchess（对弈）sectioniii.thefiresermon（火诫）sectioniv.deathbywater（水里的死亡）sectionv.whatthethundersaid（雷的说话）,sectioni:“theburialofthedead,dealschieflywiththethemeofdeathinlifetheinhabitantsinthemodernwasteland,whohavelosttheknowledgeofgoodandevil,liveasterilelsterail,meaninglesslife.,inthelastpassageofthesection,eliotconnectsthe“unrealcity”withthecityofthedeadmodernlondonwithdanteshellclaimedthatthosewhohavenofaithofreligionareactuallylivingdead.toburythedeadistoburyamemory,whichbringsnohopeofgrowthorrenewal.,thefirstsection,asthesectiontitleindicates,isaboutdeath.thesectionbeginswiththewords“aprilisthecruellestmonth,”whichisperhapsoneofthemostremarkeduponandmostimportantreferencesinthepoem.,thosefamiliarwithchaucerspoemthecanterburytaleswillrecognizethateliotistakingchaucersintroductorylinefromtheprologuewhichisoptimisticaboutthemonthofaprilandtheregenerative,life-givingseasonofspringandturningitonitshead.,justaschaucerslinesetsthetoneforthecanterburytales,eliotsdarkwordsinformthereaderthatthisisgoingtobeadarkpoem.throughouttherestofthefirstsection,ashewilldowiththeotherfoursections,eliotshiftsamongseveraldisconnectedthoughts,speeches,andimages.,collectively,theepisodicscenesinlines1through18discussthenaturalcycleofdeath,whichissymbolizedbythepassingoftheseasons.thefirstsevenlinesemployimagesofspring,suchas“breeding/lilacs,”and“dullrootswithspringrain.”,inline8,eliottellsthereader“summersurprisedus,comingoverthestarnbergersee.”thetimehasshiftedfromspringtosummer.,andwhilethereferencetostarnbergerseealakesouthofmunich,germanyhasbeenlinkedtovariousaspectsofeliotspast,toeliotsreadersatthetimethepoemwaspublished,itwouldhavestuckoutforotherreasons,giventhatworldwarihadfairlyrecentlyended.,sectionii:“agameofchess”,givingaratherconcreteillustrationofthesterilesituationapictureofspiritualemptinessispresentedwiththereproductionofacontemporarypubconversationbetweentwocockneywomen.thediscussionisconstantlyinterruptedbythepubkeepers“hurryuppleaseitstime.”,sectioniii,“thefiresermon,”,expressesapainfullyelegiacfeelingbyjuxtaposingthevulgarityandshallownessofthemodernwiththebeautyandsimplicityofthepast.,whatwasonceritualisticmeaningfulisnowdespairingempty,sectioniv,“deathbywater”,thedrownedphoenician(腓尼基人)sailorisanemblem(象征)offutile(无意义的)worriesoverprofitandloss,youthandage.,withthecurativeandbaptismalpowerofthewaterimages,thedrownedphoeniciansailoralsorecallstherebirthofthedrownedgodofthefertilitycults,thusgivinganinstanceoftheconquestofdeath.,sectionv,“whatthethundersaid”,thetitleappearstobederivedfromanindianmyth,inwhichthesupremelordofthecreationspeaksthroughthethunder.,3.twoallusions,a.theholygrailthequestforitmakesupanimportantsegmentofthearthuriancycleb.thefisherkingthetaleinvolvesakingwhoislameinoneleg(aeuphemismforimpotency)whichinturncausesthelandtobecomebarren(infertile).,a.theholygrail,eliotalludestovariousancientreligionsaswellastotheholygrail,findinginthemthecommonthreadofthemythiccycleofthedeathandresurrectionofgods.,amedievallegendthedish,plate,orcupusedbyjesusatthelastsupper,saidtopossessmiraculouspowers,josephreceivesthegrailfromanapparitionofjesussendsitwithhisfollowerstogreatbritainusesthegrailtocatchchristsbloodwhileinterring(埋葬)himalineofguardianstokeepitsafeinbritain,b.thefisherking,hefoundinabookbyjessieweston,fromritualtoromanceamythicfigurewhoselossofpowerorfertilityproducesacorrespondingblight(枯萎,凋零)ordroughtinhiskingdom,thelandberestoredtofertilityonlythrough:thedeathofthiskinghisreplacementbyanew,young,andvigorousknight,meditationonthestateofwesterncivilization,especiallyregardingthesenseofdepressionwastefutilityofthepost-worldwariera,4.theme,(1)presentsphysicaldisorderandspiritualdecadenceinthemodernwesternsociety(2)reflectsdisillusionanddespairofawholepostwargeneration,anguish,menace,sterilityhadbeenafflictingallsensitivemembersofthepostwargeneration,(3)concernswiththespiritualbreakupofamoderncivilizationinwhichhumanlifehaslostitsmeaning(4)reflectsthe20thcenturypeoplesdisillusionandfrustrationinameaninglessandboringworld,5.language,1.explanationofthetitle,originaltitleofthispoem:“prufrockamongthewomen”.eliottookthelastnameofthetitlecharacterfromasignadvertisingthewilliamprufrockfurniturecompany,abusinessineliotshometown.,adramaticmonologuepresentsamomentinwhichanarrator/speakerdiscussesatopicinsodoing,revealshispersonalfeelingstoalistener,duringhisdiscourse,thespeakerintentionallyandunintentionallyrevealsinformationabouthimself.themainfocusofadramaticmonologueisthispersonalinformation,notthespeakerstopic.adramaticmonologueisatypeofcharacterstudy.,thespeaker/narrator,abalding,insecuremiddle-agedman,whoexpresseshisthoughtsaboutthedull,uneventful,mediocrelifeheleadsasaresultofhisfeelingsofinadequacyhisfearofmakingdecisions,unabletoseizeopportunitiesortakerisks(especiallywithwomen),helivesinaworldthatisthesametodayasitwasyesterdayandwillbethesametomorrowasitistoday.hedoestrytomakeprogress,buthistimidityandfearoffailureinhibithimfromtakingaction.,setting,tbablyst.louis,london,oranycityanywhere,characters,(1)j.alfredprufrock(2)thelistener(3)thewomen(4)thelonelymeninshirtsleeves,(1)j.alfredprufrock,thespeaker/narratoratimid,overcautiousmiddle-agedmanneurotic（神经质的）self-important,illogicalincapableofactionaninterestingtragicfigure,heescortshissilentlistenerthroughstreetsinashabbypartofacity,pastcheaphotelsandrestaurants,toasocialgatheringwherewomenhewouldliketomeetareconversing.however,heishesitanttotakepartintheactivityforfearofmakingafoolofhimself.,amancaughtinasenseofdefeatedidealismandtorturedbyunsatisfieddesiredarenottoseeklovebecauseevenifhecouldfindit,itwouldnotsatisfyhisneeds,hecompareshimselfwithhamlet.asaresultofhistimidityhehasbecomeincapableofactionofanysort.,(2)thelistener,anunidentifiedcompanionofprufrock.thelistenercouldalsobeprufrocksinnerself,onethatprodshimbutfailstomovehimtoaction.,(3)thewomen,womenatasocialgathering.prufrockwouldliketomeetoneofthembutworriesthatshewilllookdownonhim.,(4)thelonelymeninshirtsleeves,leaningoutoftheirwindows,theysmokepipes.theyarelikeprufrockinthattheylookuponascenebutdonotbecomepartofit.,thesmokefromtheirpipeshelpsformthehazeoverthecity,thehazethatservesasametaphorforatimidcatwhichisprufrock.,themes,a.lonelinessandalienationb.indecisionc.inadequacyd.pessimism,a.lonelinessandalienation,prufrockisapatheticmanwhoseanxietiesandobsessionshaveisolatedhim.anironiccontrastbetweenapretended“lovesong”andaconfessionofthespeakersincapabilityoffacinguptoloveandtolifeinasterileupper-classworld,b.indecision,prufrockresistsmakingdecisionsforfearthattheiroutcomeswillturnoutwrong.,c.inadequacy,prufrockcontinuallyworriesthathewillmakeafoolofhimselfandthatpeoplewillridiculehimforhisclothes,hisbaldspot,andhisoverallphysicalappearance.,d.pessimism,prufrockseesonlythenegativesideofhisownlifeandthelivesofothers.,style,conversationallanguagecombinedwiththestylizedlanguageofpoetryvariationsinlinelengthandmetershiftsinthetrainofthoughtshiftsintopicsunderdiscussion,shiftsfromabstracttoconcrete(anduniversaltoparticular)shiftsfromobviousallusionsorreferencestoobliqueallusionsorreferences,vi.fourquartets,eliotslastmajorpoeticsequence,writteninfoursectionsfrom1935to1942hebelievedtobehisfinestachievementreligiousinaverybroadsensemorepersonalthanthepreviouspoemsexquisitelylyricalandmusicalinstructure,theme,basedonthechristiandogmasofincarnationandresurrectionconcernedwiththequestfortheimmortalelement,thestillnesswithintimeorhistoryman,disillusionedandhopelessinhisearlypoetry,nowfindsreconciliationingod.,iii.drama,murderinthecathedral,大教堂谋杀案,1935-hisbest-knownplaythefamilyreunion,家庭聚会,1939thecocktailparty,鸡尾酒会,1950theconfidentialclerk,1954theelderstatesman,1958,majorachievementsindramawriting,hewasoneoftheimportantversedramatist