美国文学-T.S.Eliot.ppt

ThomasStearnsEliot,(1888-1965),American-bornEnglishpoet,playwright,andliterarycriticarguablythemostimportantEnglish-languagepoetofthe20thcentury,amajorinnovatorinmodernEnglishpoetryaleaderofthemodernistmovementfamousaboveallforhisrevolutionarypoemTheWasteLand(荒原,1922),ThomasStearnsEliot,TheNobelPrizeinLiterature1948“forhisoutstanding,pioneercontributiontopresent-daypoetry”,T.S.EliotreceivingtheNobelPrizeforLiterature,December1948.,Thevastaccumulationsofknowledgeoratleastofinformationdepositedbythe19thcenturyhavebeenresponsibleforanequallyvastignorance.TSEliot,“Onlythosewhowillriskgoingtoofarcanpossiblyfindouthowfaronecango.”-T.S.Eliot.,伦敦4月11日电英国有一只猫每个月都会自己去搭公交车，而且都在同一站上车，在同一个地方下车，让当地民众感到十分惊奇。据英国每日邮报10日报道，这只白色猫咪会搭乘英国331路公交车，而且都只搭乘一站就下车。这一有趣的现象最早是由该路公交车司机最早发现的。司机已经为它取了“Macavity”的名字，取自艾略特的诗歌，意为神秘之意。,I.BiographyII.Poetry1.Themainfeatures2.TheWasteLand3.TheLoveSongofJ.AlfredPrufrock4.FourQuartetsIII.DramaVI.literarycriticessays,DrawingofEliotbySimonFieldhouse,广州商学院2007年英美文学,TrueorFalse10.Thefamouspoem“TheLoveSongofJ.AlfredPrufrock”waswrittenbyEzraPound.,I.Biography,borninUSAofabourgeoisfamilyoriginallyfromNewEngland,whohadmovedtoSt.Louis,Missouri.,T.S.Eliot(1938)byWyndhamLewis,livedinSt.Louisduringthefirst18yearsofhislife,Education,SmithAcademyinSaintLouis,USMiltonAcademyinMass.,USHarvardUniversity,aB.A.andM.A.inphilosophytheSorbonne(索邦大学)inParis,FranceOxfordUniversity,UK,From1898to1905,EliotattendedSmithAcademywherehisstudiesincludedLatin,AncientGreek,French,andGerman.,Hebegantowritepoetrywhenhewas14undertheinfluenceofEdwardFitzgeraldsRubaiyatofOmarKhayyamatranslationofthepoetryofOmarKhayyamHesaidtheresultsweregloomyanddespairing,andhedestroyedthem.,Aftergraduation,EliotattendedMiltonAcademyinMassachusettsforapreparatoryyear.HestudiedphilosophyatHarvardfrom1906to1909,earninghisbachelorsdegreeafterthreeyears,insteadoftheusualfour.,EliotmovedtoParis,wherefrom1910-1911,hestudiedphilosophyattheSorbonne.HeattendedlecturesbyHenriBergson.,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,GeorgeOrwellandT.S.Eliot,ItwasinLondonthatEliotcameundertheinfluenceofEzraPound,whorecognizedhispoeticgeniusatonceassistedinthepublicationofhisworkinanumberofmagazines,mostnotably“TheLoveSongofJ.AlfredPrufrock”inPoetryin1915.,PrufrockandOtherObservationshisfirstbookofpoemspublishedin1917immediatelyestablishedhimasaleadingpoetoftheavant-garde,EliotsreputationbegantogrowtonearlymythicproportionswiththepublicationofTheWasteLandin1922nowconsideredbymanytobethesinglemostinfluentialpoeticworkofthe20thcentury,In1927,EliotconvertedtoAnglicanismfromUnitarianismbecameaBritishcitizen,HespecificallyidentifiedasAnglo-Catholic,proclaiminghimself“classicistinliterature,royalistinpolitics,andanglo-catholicsicinreligion.”,EliotrenouncedhiscitizenshiptotheUnitedStatesandsaid:“MymindmaybeAmericanbutmyheartisBritish.”,In1932,EliotleftVivienneinEnglandandwentbacktoHarvard.Uponhisreturn,hearrangedforaformalseparationfromher.,Viviennewascommittedtoamentalhospitalin1938,andremainedthereuntilshedied.AlthoughEliotwasstilllegallyherhusband,henevervisitedher.In1957,Eliotattheageof68marriedEsmValerieFletcher,whowas32.,TSEliotwithhissecondwifeValerie.,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.,PabloPicasso:LesDemoisellesdAvignon(亚维农的少女，1907),i.TheWasteLand,hismostfamousworkwrittenwhenhewas34,Contents,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.TheBurialoftheDeadSectionII.AGameofChessSectionIII.TheFireSermonSectionIV.DeathbyWaterSectionV.WhattheThunderSaid,SectionI:“TheBurialoftheDead,dealschieflywiththethemeofdeathinlifeTheinhabitantsinthemodernWasteLand,whohavelosttheknowledgeofgoodandevil,liveasterile,meaninglesslife.,sterilelsterailadj.1不能生殖的2贫瘠的3枯燥无味的,SalvadorDal:ThePersistenceofMemory,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.theHolyGrailb.theFisherKing,a.theHolyGrail,EliotalludestovariousancientreligionsaswellastotheHolyGrail,findinginthemthecommonthreadofthemythiccycleofthedeathandresurrectionofgods.,amedievallegendthedish,plate,orcupusedbyJesusattheLastSupper,saidtopossessmiraculouspowers,JosephreceivestheGrailfromanapparitionofJesussendsitwithhisfollowerstoGreatBritainusestheGrailtocatchChristsbloodwhileinterring(埋葬)himalineofguardianstokeepitsafeinBritain,ThequestfortheHolyGrailmakesupanimportantsegmentoftheArthuriancycle.,b.theFisherKing,hefoundinabookbyJessieWeston,FromRitualtoRomanceamythicfigurewhoselossofpowerorfertilityproducesacorrespondingblight(枯萎,凋零)ordrought(干旱)inhiskingdom,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.,TypeofWork:DramaticMonologue,Prufrock：amodernisticpoemintheformofadramaticmonologue,dramaticmonologue,aforminventedandpracticedprincipallybyRobertBrowningAlfredTennysonDanteRossettiotherVictorians,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,Hewasoneoftheimportantversedramatistsinthefirsthalfofthe20thcentury.Besidessomefragmentarypieces,Eliothadwritteninhislifetimefivefull-lengthplays.,AlltheplayshavesomethingtodowithChristianthemes.Histhreelaterplaysarealsoconcernedwiththesubjectofspiritualself-discoverybutintheformofasophisticatedmodernsocialcomedy.,Eliotsmajorachievementinplaywritinghasbeenthecreationofaversedramainthe20thcenturytoexpresstheideasandactionsofmodernsocietywithnewaccentsofthecontemporaryspeech.,literarycriticessays,TraditionandIndividualTalentTheSacredWood(1920),VI.literarycriticessays,consideredbysometobeoneofthegreatestliterarycriticsofthe20thcentury,Duringhisliterarycareer,hewrotealargenumberofessays,articlesandbookreviews.Hisessaysaremainlyconcernedwithcultural,social,religious,aswellasliteraryissues.Inparticular,EliotstronglyinfluencedtheschoolofNewCrit