现代主义诗歌 美国文学

ModernistPoetry,BackgroundInformation,SilenceofAmericanPoetryafterthedeathofWhitmanandDickinsonattheturnof20thCenturyAmericanpoetryintheGenteelTraditionofBritishRomanticismExaltationofnature,loveandlifeBreachwithrealityTraditionalformClassicalliteraryandmythicalallusion(VachelLindsay,E.A.Robinson,RobertFrost)Modernisticreforminformandimagery,BackgroundInformation,TwopoetictrendsT.S.EliotJohnCroweRansomAllenTate(emphasisonprofoundknowledgeandEuropeanculturaltradition)EzraPoundWilliamCarlosWilliamsHildaDoolittle(emphasisnativeAmericanlandscape),BackgroundInformation,DiversityofpoeticformsSymbolismImpressionismFuturismSuper-realismJapaneseHaikuFreeverse(Whitman+Sandburg/catalogue/meterlessvs.EliotandPound/rhythmandmusicality)Prosepoemimagism,HarrietMonroeandLouisUntermeyer,HarrietMonroePoetry:AMagazineofVerse(1912)YouandIChosePoemTheNewPoetry:AnAnthologyLouisUntermeyerModernAmericanPoetryModernBritishPoetryTheLettersofRobertFrosttoLouisUntermeyer,CarlSandburg,CarlSandburg,“IndubitablyanAmericanineverypulse-beat.”(H.L.Mencken)SympathizerofWhitmanandworksinWhitmanstradition(barbariclanguage,overflowingofemotions)LifeofthelowerclassesandcorruptedurbancivilizationaswellasexaltationofmoderncitiesEverydaylanguageoftenoftheworkingclass,evenslangRealisticatmosphereVividimagesof“indecent”places,TheFogbyCarlSandburg,TheFogThefogcomesonlittlecatfeet.Itsitslookingoverharborandcityonsilenthaunchesandthenmoveson.,WorksofCarlSandburg,ChicagoPoems(1916)CompletePoems(1950)Cornhuskers(1918)GoodMorning,America(1928)HarvestPoems(1950)HoneyandSalt(1963)InRecklessEcstasy(1904)SelectedPoems(1926)SlabsoftheSunburntWest(1922)SmokeandSteel(1920)ThePeople,Yes(1936),VachelLindsay,VachelLindsay,FatherofmodernsingingpoetryPrairieTroubadour“GeneralWilliamBoothEntersintoHeaven”“TheCongo”“TheSantaFeTrail”TheChineseNightingaleandOtherPoems,TheFugitives,SouthernRenaissanceJohnCroweRansom,AllenTate,DonaldDavidson,RobertPennWarrenTheFugitives(includingEliotandPoundsmodernistpoems)Southernculturaltradition(differentfromtheavant-gardesandthelostgeneration):southernprejudice,values,emotionsRevoltagainstnorthernindustrialismRevoltagainsttheromanticsentimentality;bothconservativeandrevolutionary(Tatemoreavant-garde),JohnCroweRansom,AllenTate,DonaldDavidson,RobertWarrenRalphEllison,Agrarians,Ransom,Davidson,Tate,RobertWarren(after1928)CriticismonnorthernindustrialismwhichdeprivemanofhappylifeandartisticcultivationandwhichdestroysnatureandmansrelationshipwithnatureImpracticalworshipofsouthernagriculturallifetypicaloftheslave-holdingsouthGreatinfluenceonAmericanliteratureSouthernfarmersasAdamsSelf-containedplantationastheParadiseNorthernindustrialistsandmerchantsasSatansModerncitiesasHellsWilliamFaulkner,CatherineAnnePorter,EudoraWelty,FlanneryOConnor,ImagismandImagistPoets,EzraPound,HildaDoolittle,AmyLowell,JohnFletcher;RichardAldington,F.S.Flint,D.H.LawrenceOriginofimagismCombinationofOrientalpoeticart(ChineseclassicalpoemsandJapaneseHaiku)andWesternempiricistphilosophyaswellasmodernpaintingandsculptureDiscardingofdecadenceandsentimentalityof19thpoetry,H.D.,AmyLowell,RETURN,F.S.Flint,RETURN,ImagismandImagistPoets,PrinciplesofimagismPounds“AFewDonts”F.S.Flints“Imagism”Directdepictionofobjects(images;formservescontent)Nouselesswordsorphrases(withoutcommentorexplanationorexclamation,nodescriptivelanguage,evennoverbsandconjuncts)UseofmusicalsentencesinsteadofrhythmicbeatsPoundturningtovorticismAmyLowellleadingimagism,AmyLowellsprinciplesofimagismEverydaylanguageCreationofnewcadenceFreechoiceofsubjectExactimagePrecisionandclarityCompactandtightnessThreeeditionsofSomeImagistPoetsanddismissionofimagismH.D.continuingimagistcreationSignofimagisminWilliamCarlosWilliams,CharlesOlson,RobertDuncan,E.E.Cummings,RobertBly,JamesWright,LouisSimpson,DavidBomberg,TheMudBath,RETURN,VorticistPicture,EzraPound,EzraPound,FounderofimagistandVorticistpoetryTutorofyoungergenerationofpoetsandnovelists(T.S.Eliot,JamesJoyceRadicaloreccentricpoliticalviews(LondonParisItalyandhisanti-Semitism)Expatriatepoet(Yeats,T.E.Hulme,FordmadoxFord,F.S.Flint)Theoristofnewpoetictheories(IGathertheLimbsofOsiris)CycleoflifeanddeathassymbolofpoeticcreationLiterarycriticism,essaysandconversationasaformofpoeticcreationTranslationaspoeticcreationParodyascreationMusicalpoeticscombinedwithcriticismincreationCombineroforientalandwesterncultureandliterature(JapaneseHaikuandLiBaispoemandConfuciusandMencius),EzraPound,GeneralizationofPoundsaestheticsWorshipoftheclassical(heritanceandpersonae=conversationbetweenthepastandthepresent,thewestandtheeast)InnovationCombinationofwesternandorientalculturesCriticismofthereality,RepresentativeWorksofPound,InaStationoftheMetroHughSelwynMauberley:LifeandContactsTheCantosPersonaeCathay,InaStationoftheMetro,Theapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.,TheRiver-MerchantsWife,WhilemyhairwasstillcutstraightacrossmyforeheadIplayedaboutthefrontgate,pullingflowers.Youcamebyonbamboostilts,playinghorse,Youwalkedaboutmyseat,playingwithblueplums.AndwewentonlivinginthevillageofChokan:Twosmallpeople,withoutdislikeorsuspicion.AtfourteenImarriedMyLordyou.Ineverlaughed,beingbashful.Loweringmyhead,Ilookedatthewall.Calledto,athousandtimes,Ineverlookedback.,妾发初覆额，折花门前剧。郎骑竹马来，绕床弄青梅。同居长干里，两小无嫌猜。十四为君妇，羞颜未尝开。低头向暗壁，千唤不一回。,AtfifteenIstoppedscowling,IdesiredmydusttobemingledwithyoursForeverandforeverandforever.WhyshouldIclimbthelookout?Atsixteenyoudeparted,YouwentintofarKu-to-en,bytheriverofswirlingeddies,Andyouhavebeengonefivemonths.Themonkeysmakesorrowfulnoiseoverhead.,十五始展眉，愿同尘与灰。常存抱柱信，岂上望夫台。十六君远行，瞿塘滟滪堆。五月不可触，猿鸣天上哀。,Youdraggedyourfeetwhenyouwentout.Bythegatenow,themossisgrown,thedifferentmosses,Toodeeptoclearthemaway!Theleavesfallearlythisautumn,inwind.ThepairedbutterfliesarealreadyyellowwithAugustOverthegrassintheWestgarden;Theyhurtme.Igrowolder.IfyouarecomingdownthroughthenarrowsoftheriverKiang,Pleaseletmeknowbeforehand,AndIwillcomeouttomeetyouAsfarasCho-fu-Sa.,门前迟行迹，一一生绿苔。苔深不能扫，落叶秋风早。八月蝴蝶来，双飞西园草。感此伤妾心，坐愁红颜老。早晚下三巴，预将书报家。相迎不道远，直至长风沙。,HildaDoolittle,ImagistH.D.ThemostimagistimagistpoetConcise,hard,concretestyleincontrastwithVictorianambiguity,tediousnessandpreach(early)Womantopics,classics,mysteryandreligion(later)H.D.withEzraPound(EndtoTorment)andFrancesGregg(PaintitTodaylifted,and(beforemyeyessinking)inward,fled;softlyyourfacesmilebreastsgargledbydeath:drownedonly,againcarefullythroughdeepnesstorisetheseyourwriststhighsfeethandspoisingtoagainutterlydisappear;rushinggentlyswiftlycreepingthroughmydreamslastnight,allofyourbodywithitsspiritfloated(clothedonlyinthetidesacuteweavingmurmur,Poemsofe.e.cummings,dyingisfine)butDeath?obabyiwouldntlikeDeathifDeathweregood:forwhen(insteadofstoppingtothink)youbegintofeelofit,dyingsmiraculouswhy?be,causedyingisperfectlynatural;perfectlyputtingitmildlylively(butDeathisstrictlyscientific,l(aleaffalls)oneliness,WallaceStevens,AnecdoteoftheJarDisillusionmentofTenOClockTheEmperorofIceCreamTheIdeaofOrderatKeyWestSundayMorningThirteenWaysofLookingataBlackbird,WallaceStevens,ProfundityduetoexuberanceofmetaphorandsymbolsPhilosophicalmeditationovertherelationshipsbetweenart,imaginationandtherealityPhilosophicalmeditationovertherelationshipsbetweenimagination,chaosandorder“Thereisamanwhoseworkmakesmostoftherestofusquail.”(HartCrane),ThomasStearnsEliot,T.S.Eliot,themostimportantEnglish-languagepoetofthe20thcenturyOrderofMerit(awardedbyKingGeorgeVI(UnitedKingdom),1948)NobelPrizeforLiteratureforhisoutstanding,pioneercontributiontopresent-daypoetry(Stockholm,1948)OfficierdelaLegiondHonneur(1951)HanseaticGoethePrize(Hamburg,1955)DanteMedal(Florence,1959)CommandeurdelordredesArtsetdesLettres,(1960)PresidentialMedalofFreedom(1964)13honorarydoctorates(includingOxford,Cambridge,theSorbonne,andHarvard)TonyAwardin1950forBestPlay:TheBroadwayproductionofTheCocktailParty.TwoposthumousTonyAwards(1983)forhispoemsusedinthemusicalCats,T.S.EliotsLiteraryAesthetics,Newcriticism(“TraditionandtheIndividualTalent”=thevalueofoneworkofartmustbeviewedinthecontextofallpreviouswork)Objectivecorrelative(aconnectionamongthewordsofthetextandevents,statesofmind,andexperiences,whichsuggeststhatapoemmeanswhatitsays,butsuggeststhattherecanbeanon-subjectivejudgmentbasedondifferentreadersdifferentbutperhapscorollaryinterpretationsofawork),T.S.EliotsLiteraryAesthetics,LiteraryprinciplesInheritanceofhistorical,social,culturaltraditionsandinnovationImpersonalizationandobjectivecorrelativeandavoidanceofromanticsentimentality(formmoreimportant)ModernistpoetictechniquesModernisttopics=spiritualwastelandBiblical,culturalandliteraryallusionsRealisticconcernDramaticeffectofliteraryworks,WorksofEliot,PoetryPrufrockandOtherObservations(1917)TheLoveSongofJ.AlfredPrufrockPortraitofaLady(poem)AuntHelenTheWasteLand(1922)TheHollowMen(1925)ArielPoems(1927-1954)TheJourneyoftheMagi(1927)AshWednesday(1930)Coriolan(1931)OldPossumsBookofPracticalCats(1939)TheMarchingSongofthePollicleDogsandBillyMCaw:TheRemarkableParrot(1939)FourQuartets(1945),WorksofEliot,PlaysSweeneyAgonistes(publishedin1926,firstperformedin1934)TheRock(1934)MurderintheCathedral(1935)TheFamilyReunion(1939)TheCocktailParty(1949)TheConfidentialClerk(1953)TheElderStatesman(firstperformedin1958,publishedin1959),RobertFrost,RobertFrost,NewEnglandPoetAmericanNationalPoetUnofficialpoetlaureateThemostpopularAmericanpoetinthe20thcenturyTraditionalandmodernistpoetFour-timePulitzerPrizewinnerfor1924forNewHampshire:APoemWithNotesandGraceNotes1931forCollectedPoems1937forAFurtherRange1943forAWitnessTree,RobertFrost,Receiving40honorarydegrees,includingonesfromPrinceton,OxfordandCambridgeuniversities;andtheonlypersontoreceivetwohonorarydegreesfromDartmouthCollegeReadingofhispoetryattheinaugurationofPresidentJohnF.KennedyonJanuary20,1961,FrostsPoeticTheory,RobertFrostpoetictheoryPoetryisthelanguageturningintofact:feelingsturningintothoughts,thoughtsturningintolanguagePoembeginningwithecstasyandendingwithwisdom;poetrygivingordertothechaosofreality,exploringthereality,protectingthepoetagainsttherealityPoemasthenaturaloutflowoffeelings,insteadofanythingofpre-deviceUnityofcadenceandthemetoachievespecialdramaticeffect,FrostsPoeticFeatures,Naturalness:cleardiction,NewEnglandeverydaylanguage,colloquialrhythms,simpleimages,folksyspeaker(likeconversingwithsomebody),athoughtfulreplytohighmodernismsfondnessforobscurityanddifficulty.Ruralism(likemodernistsfondnessofnature)combinedwithpoetictraditionalitywhichforFrostistheessenceofpoetry.RobertFrostsaidthatpoetrywas“onestepbackwardtaken,”resistingtimea“momentarystayagainstconfusion.”Quatrain,blankverse,andsonnetFarmimagesNewEnglandregionalism(rejectingmodernistsinternationalism);ruralNewEnglandtheheartofAmericaPlayingtherhythmsofordinaryspeechagainstformalpatternsoflineandverseandbycontainingthemwithintraditionalformstoachieveaninternaldynamicInteractionofcolloquialdictionwithblankversecentraltohisdramaticmonologuesEmersonandThoreauinfluencedFrostgreatly,especiallyEmersonsprosaicsimplicityandprofundityofmeaning,FrostsFourKindsofPoems,DramaticpoetryNarrativepoemtellingastoryintheformofaplayTwokindsofdramaticpoetry:monologue,andconversation“AServanttoServant,”“TheDeathofaHiredMan,”and“HomeBurial.”MeditativepoetryOpeningwithanaturalphenomenonandendingwithawisdomormorality“TheRoadNotTaken,”“MendingWall,”“Birches,”and“StoppingbyWoodsonaSnowEvening.”SatiricalpoetryUsingnaturalobjectorphenomenonasguiseforasocialcriticism“AconsiderableSpeck”PhilosophicalpoetryComparedwithmeditativepoetry:shortinlength,abstractideasascentral,pessimisticandpoignant“Design,”“FireandIce”,OtherModernistPoets,HartCraneJohnGouldFletcherMarianneMooreWystanHughAuden,PoetrySinceWWII,TraditionalismTraditionalform,diction,rhymeandfixedmeterRichardWilbur,JohnCroweRansom,AllenTate,andRobertPennWarren,JohnHollanderandRichardHoward,RobertLowell,JamesMerrill,GwendolynBrooks,AdrienneRichIdiosyncraticpoetsuniquestylesdrawingontraditionbutextendingitintonewrealmswithadistinctivelycontemporaryflavorJohnBerryman,TheodoreRoethke,RichardHugo,PhilipLevine,JamesDickey,ElizabethBishop,AdrienneRich,SylviaPlath,AnneSexton,PoetrySinceWWII,ExperimentalpoetryTheBlackMountainSchool(1950s)CharlesOlson,RobertDuncan,RobertCreeley,EdDorn,JoelOppenheimer,JonathanWilliams,PaulBlackburn,LarryEigner,DeniseLevertovCharlesOlsonstheoryof“projectiveverse”TheSanFranciscoSchool(1950s)Easternphilosophyandreligion,JapaneseandChinesepoetryJackSpicer,LawrenceFerlinghetti,RobertDuncan,PhilWhalen,LewWelch,GarySnyder,KennethRexroth,JoanneKyger,andDianediPrima,PoetrySinceWWII,BeatPoets(1950s)Themostanti-establishmentformofliteratureintheUnitedStates,withaloveofcountryAcryofpainandrageatthelossofAmericasinnocenceandthetragicwasteofitshumanandmaterialresourcesOral,repetitive,andimmenselyeffectiveinreadings,largelybecauseitdevelopedoutofpoetryreadingsinundergroundclubsAllenGinsberg,GregoryCorso,JackKerouac,andWilliamBurroughsTheNewYorkSchool(1950s)FineartandabstractexpressionisminNewYorkNotinterestedinovertlymoralquestionsbutinformFastmoving,fullofurbandetail,incongruity,andanalmostpalpablesenseofsuspendedbeliefJohnAshbery,FrankOHara,andKennethKoch,PoetrySinceWWII,TheConfessionalandPost-ConfessionalPoets(1950s)RobertLowell(1917-1977):LifeStudies(1959);Mr.EdwardsandtheSpider(1946)I:1583CharlesWright(1935-):TheDaughtersofBlum(1967)SurrealismandExistentialism(1960s)Pureemotion,archetypalimages,modelsofanti-rational,existentialunrestAsenseofalienationfromwhite,male,mainstreamliteratureW.S.Merwin,RobertBly,CharlesSimic,CharlesWright,andMarkStrand,PoetrySinceWWII,Womenandmulti-ethnicpoets(1960s)Womenpoets:AmyClampitt,RitaDove,JorieGraham,CarolynKizer,MaxineKumin,DeniseLevertov,AudreLorde,GjertrudSchnackenberg,MaySwenson,andMonaVanDuyn.Minoritypoets:inHispanic-AmericansGarySoto,AlbertoRios,andLornaDeeCervantes;inNativeAmericanssuchasLeslieMarmonSilko,SimonOrtiz,andLouiseErdrich;inAfrican-AmericanwriterssuchasAmiriBaraka(LeRoiJones),MichaelHarper,RitaDove,MayaAngelou,andNikkiGiovanni;andinAsian-AmericanpoetssuchasCathySong,LawsonInada,andJaniceMirikitani,PoetrysinceWWII,NewDirectionsLanguagepoets(1970s-80s)Languagestretchedtorevealitspotentialforambiguity,fragmentation,andself-assertionwithinchaosIronicandpostmodern,meta-narratives(ideologies,dogmas,conventions)rejectedandtheexistenceoftranscendentrealityquestionedViewingartandliterarycriticismasinherentlyideological,modernismsclosedforms,hierarchies,ideasofepiphanyandtranscendence,categoriesofgenreandcanonicaltexts(acceptedliteraryworks)opposed,yetopenformsandmulticulturaltextsproposedAppropriationofimagesfrompopularculture,themedia,andfashionandrefashionthemBruceAndrews,LynHejinian,DouglasMesserli,BobPerelman,BarretWatten,MichaelPalmer,PoetrysinceWWII,Performance-orientedpoetryChanceoperations,jazzimprovisation,mixedmediawork,andEuropeansurrealismLaurieAnderson,authoroftheinternationalhitUnitedStates(1984),whichusesfilm,video,acousticsandmusic,choreography,andspace-agetechnology.Soundpoetry,emphasizingthevoiceandinstruments,ispracticedbypoetsDavidAntin(whoextemporizeshisperformances)andNewYorkersGeorgeQuasha,ArmandSchwerner,andJacksonMacLowEthnicperformancepoetryenteredthemainstreamwithrapmusic,PoetrysinceWWII,NewFormalistsReturntoform,rhyme,andmeterStoryLinePress,DanaGioia,PhilipDacey,DavidJauss,BradLeithauser,GjertrudSchnakenburg,RobertRichman,PoetsandContexts,RandallJarrellTheDeathoftheBallTurretGunner(1945)TheodoreRoethkeTheLostSon(1948)RichardWilburCeremony(1950)CharlesOlsonMaximus,toHimself,AtomicbombsonHiroshimaandNagasaki;WWIIended;coldwarSenatorJosephMcCarthysMcCarthyism,PoetsandContexts,JohnBerrymanDreamSongs(music)(1955-58)AllenGinsbergHowl(19561959RobertCreeleyKoreRobertLowellMyLasAfternoonwithUncleDevereuxWinslow,1954BeatGenerationpoetsgatheratSanFranciscosCityLightsBookshop1956MartinLutherKingJr.leadingbusboycott1959FidelCastrobomesCommunistdictatorofCuba,PoetsandContexts,1960GwendolynBrooksWeRealCoolRobertDuncanOftenIAmPermittedtoReturntoaMeadow1961DennisLevertovTheJacobsLadder1962RobertHaydenMiddlePassage,1960Woolworthlunchcountersit-ininGreensboro,N.C.marksbeginningofCivilRightmovement1961ArmedCubanrefugeesivadeCubawithU.S.