imaginism-pound

1、 Imagism(1900S-1910S) Imagism(1900S-1910S) nThe Imagist movement included English and American poets in the early twentieth century who wrote free verse and were devoted to clarity of expression through the use of precise visual images. The Imagist Movement began in London and later spread to the US

2、. It underwent three major phases in its development意象派与象征派？1. 19081909nT. E. Hulme founded a Poets Club in 1908. nThe most effective means to express the momentary impressions is through “the use of one dominant image”.n激烈反对维多利亚诗歌过分模糊抽象，过分雕琢矫情。主张诗歌要写得坚挺（hardness)、明晰（clarity)、和严谨（restraint)。n2. 1909

3、1912n Ezra Pound took over the movement. n a. Direct treatment of the “thing”, whether subjective or objective;n b. To use absolutely no word that does not contribute to the presentation;n c. As regarding rhythm, to compose in the sequence of the musical phrase, not in the sequence of a metronome.（采

4、用乐句，不用呆板的节拍）。意象是一瞬间呈现出的理性意象是一瞬间呈现出的理性和感情的复合体和感情的复合体日本俳句&中国古诗的影响n古池塘，n青蛙跃入，n水清响!n古池静幽幽，n蛙跃激水声n闲寂古池旁n青蛙跳进水中央n扑通一声响 枯藤老树昏鸦，枯藤老树昏鸦， 小桥流水人家，小桥流水人家， 古道西风瘦马。古道西风瘦马。 夕阳西下，夕阳西下， 断肠人在天涯。断肠人在天涯。3 19141917nAmy Lowell took over the movement and developed itnImagism as a movement was over by 1917, the ideas a

5、bout poetry embedded in the Imagist doctrine profoundly influenced free verse poets throughout the twentieth century. 庞德与弗林特在意象派诗歌理论上意见不合。n子曰：“书不尽言，言不尽意。” n子曰：“圣人立象以尽意。”n言者所以在意，得意而忘言。n艾青：意象是纯感官的，意象是具体化了的感觉。n朱光潜：意象是所知觉的事物在心中所印的影子。n朱琦：意象就是渗透着诗人主观情思的某个客观物象。n李元洛：意象是客观的生活场景和诗人主观的思想感情相交融，通过审美的创造而使文字表现出来的艺

6、术景象或境界。n余光中：所谓意象即是诗人内在之意诉之于外在之象，读者再根据这外在之象试图还原为诗人当初的内在之意。Imagism: its representativesnIn a station of MetronThe Redwheel BarrownFognOread (Hilda Doolittle)Ezra Pound nLife2. Works3. Comments on Ezra PoundThe father of modern poetry. The father of modern poetry. Ezra Pound (18851972)Ezra Pound (18851

7、972) Cantos (1948), a total of 117 poems Ezra Pound( his life)Born in Hailey, IdahoBrought up in Pennsylvania1885Studied Romance languages and Renaissance literature at Hamilton College and the University of Pennsylvania1908: sailed to Europe1920: became a Permanent expatriate1924, left Paris for It

8、alyWorld War II, Italian government, radio broadcastsaccused of treason,dismissed in 1958died in 1972, in Italyn2. Works: (1)Cathay, (2)The Cantos Cathay华夏集华夏集, a collection of Chinese translations, based on the manuscripts of Ernest FennellosanIn 1915, Pound published Cathay, a small volume of poem

9、s that he described as “For the most part from the Chinese poet Li Po(李白） and it was considered among the most beautiful of his writings. n1915年庞德发表了他根据东方学者芬诺洛萨的遗稿而译成的中国古诗英译本Cathay n“The River-Merchants Wife: A Letter” (艾兹拉庞德根据李白的长干行译的英文） was published in 1915 in Ezra Pounds third collection of poet

10、ry, Cathay The Cantos It explores western civilization from the classical past through the medieval period and the Renaissance to the modern age,and describes remedies for its cultural illness. encyclopedicepic poem Style: very difficult to read Pounds early poems are fresh and lyrical. The Cantos c

11、an be notoriously difficult in some sections, but delightfully beautiful in others. Few have made serious study of the long poem; fewer, if anyone at all, have had the courage to declare that they have conquered Pound; and many seem to agree that The Cantos is a monumental failure.3. Comments on Ezr

12、a PoundnEzra Pound is generally considered the poet most responsible for defining (characterizing) and promoting a modernist artistic poetry. nIn the early twentieth century, he opened an influential exchange of work and ideas between British and American writers, and was famous for the generosity.n

13、His own significant contributions to poetry begin with his promulgation (spread) of Imagism, a movement in poetry. nHe stressed clarity, precision, and economy of language, and foregoing (earlier) traditional rhyme and meter in order to compose in the sequence of the musical phrase.SalutationnO gene

14、ration of the thoroughly smug and thoroughly uncomfortable, I have seen fishermen picnicking in the sun, I have seen them with untidy families, I have seen their smiles full of teeth and heard ungainly laughter. And I am happier than you are, And they were happier than I am; And the fish swim in the

15、 lake and do not even own clothing. 庞德庞德致敬致敬n喂，你们这派头十足的一代，喂，你们这派头十足的一代，你们这极不自然的一代，你们这极不自然的一代，我见过渔民在太阳下野餐，我见过渔民在太阳下野餐，我见过他们和邋遢的家属一我见过他们和邋遢的家属一起，起，我见过他们微笑时露出满口我见过他们微笑时露出满口牙，牙，听过他们不文雅的大笑。听过他们不文雅的大笑。可我就是比你们有福，可我就是比你们有福，他们就是比我有福；他们就是比我有福；岂不见鱼在湖里游，岂不见鱼在湖里游，压根儿没有衣服。（飞白压根儿没有衣服。（飞白）n呵，整洁体面的一代人，呵，整洁体面的一代人， 和陷

16、于困窘处境的一代人，和陷于困窘处境的一代人， 我看见渔民在阳光下野餐，我看见渔民在阳光下野餐，我看见他们携带着邋遢的我看见他们携带着邋遢的家属，家属，我看见他们露着满嘴牙齿我看见他们露着满嘴牙齿微笑，微笑，听到他们难听的笑声。听到他们难听的笑声。我比你们幸福，我比你们幸福，他们比我幸福；他们比我幸福；在湖中游的鱼，在湖中游的鱼， 甚至没有衣服。（申奥）甚至没有衣服。（申奥） In a Station of the Metro The apparition of these faces in the crowd; Petals on a wet, black bough.A ghostly fi

17、gure; a specter.A sudden or unusual sight.The act of appearing; appearance.nQuestions ：n1. Where does the narrator see the “faces”?n2. What are the “faces” compared to?n3. What adjectives does the narrator use to describe the “bough”? n4. What are the two images juxtaposed in the poem? Note: The Met

18、ro is the underground railway of Paris. Pound has said that he wrote this poem to convey an experience: emerging one day from a train in the subway, he beheld suddenly a beautiful face, and then another and another. Originally, he has described his impression in a poem 30 lines long. In this final v

19、ersion of only two lines, the little poems contains an image, which like a picture, may take the place of a thousand words. n人群中这些面庞的闪现；这些面庞的闪现；湿漉的黑树干上的花瓣。（赵毅衡）湿漉的黑树干上的花瓣。（赵毅衡）n这几张脸在人群中幻景般闪现；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）湿漉漉的黑树枝上花瓣数点。（飞白）n n人群中，这些面孔的鬼影；人群中，这些面孔的鬼影；潮湿的黑树枝上的花瓣。（余光中）潮湿的黑树枝上的花瓣。（余光中） n

20、这些面孔浮现于人群；这些面孔浮现于人群；花瓣潮湿的黑树枝（颜元叔）花瓣潮湿的黑树枝（颜元叔）n人面幻影人群中，花瓣带雨青枝头。人面幻影人群中，花瓣带雨青枝头。nQ: What is your way to translate? n 诗中只有两个意象，人群中的脸和黑色枝条上诗中只有两个意象，人群中的脸和黑色枝条上的花瓣并置在一起，这完全是在匆忙的行走的人的花瓣并置在一起，这完全是在匆忙的行走的人群中获得的瞬间意象，写出了诗人一瞬间的视觉群中获得的瞬间意象，写出了诗人一瞬间的视觉印象，一瞬间的内心感受。在地铁车站的密密麻印象，一瞬间的内心感受。在地铁车站的密密麻麻的人群中，诗人站立其间，过往的行人

21、迎面而麻的人群中，诗人站立其间，过往的行人迎面而来，匆匆忙忙从身边走过，整个气氛阴森潮湿，来，匆匆忙忙从身边走过，整个气氛阴森潮湿，令人窒息。几张女人和孩子苍白美丽的面孔时隐令人窒息。几张女人和孩子苍白美丽的面孔时隐时现，打破了这种冷清沉闷，给人一种愉快的感时现，打破了这种冷清沉闷，给人一种愉快的感觉，从而感受到一些活力。两个并置的意象映入觉，从而感受到一些活力。两个并置的意象映入大脑，构成俗陋与优美，潮闷与清新对比强烈的大脑，构成俗陋与优美，潮闷与清新对比强烈的画幅。既表现了都市人繁忙庸碌的生活，给人以画幅。既表现了都市人繁忙庸碌的生活，给人以一种挤压感，描绘出现代人内心的焦虑不安、紧一种挤

22、压感，描绘出现代人内心的焦虑不安、紧张动荡、繁忙而又单调的生活现实，同时又展示张动荡、繁忙而又单调的生活现实，同时又展示了心灵对自然美的依恋与向往。了心灵对自然美的依恋与向往。 日本俳句n俳圣：松尾芭蕉 赏樱n树下肉丝n菜汤上n飘落樱花瓣！小麻雀到我这里来玩呀没爹没娘的小麻雀 -小林一查玉容寂寞泪阑干，玉容寂寞泪阑干，梨花一枝春带雨。梨花一枝春带雨。 白居易白居易长恨歌长恨歌去年今日此门中，去年今日此门中，人面桃花相映红。人面桃花相映红。人面不知何处去，人面不知何处去，桃花依旧笑春风桃花依旧笑春风 - 崔护崔护n王维：大漠孤烟直，长河落日圆。王维：大漠孤烟直，长河落日圆。”n红楼梦红楼梦第四十

23、八回里说：第四十八回里说：“大漠孤烟直，长河落日圆大漠孤烟直，长河落日圆。想来烟如何直？。想来烟如何直？日自然是圆的。这日自然是圆的。这直直字似无理，字似无理，圆圆字似太俗。合上书一想，倒象是见了字似太俗。合上书一想，倒象是见了这景的。要说再找两个字换这两个，竟再找不出两个字来。这景的。要说再找两个字换这两个，竟再找不出两个字来。”这就是这就是“诗的诗的好处，有口里说不出来的意思，想去却是逼真的；又似乎无理的，想去竟好处，有口里说不出来的意思，想去却是逼真的；又似乎无理的，想去竟是有理有情的。是有理有情的。”这段话可算道出了这两句诗高超的艺术境界这段话可算道出了这两句诗高超的艺术境界 。n司空

24、曙司空曙: 雨中黄叶树，灯下白头人。雨中黄叶树，灯下白头人。n马戴马戴: 落叶他乡树，寒灯独夜人。落叶他乡树，寒灯独夜人。 n柳宗元：孤舟蓑笠翁，独钓寒江雪。柳宗元：孤舟蓑笠翁，独钓寒江雪。长干行nn 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。 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，瞿塘滟澦堆。 五月不可触，猿声天上哀。 门前迟行迹，一一生绿苔。 苔深不能扫，落叶秋风早。 八月蝴蝶黄，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。“滟大如马，

25、瞿塘不可下滟大如鳖，瞿塘行舟绝 滟大如龟，瞿塘不窥。” n 记得我刘海初盖前额的时候，常常折一枝花朵在门前嬉戏。记得我刘海初盖前额的时候，常常折一枝花朵在门前嬉戏。郎君总是跨着竹竿当马骑来，手持青梅绕着交椅争夺紧追。长期郎君总是跨着竹竿当马骑来，手持青梅绕着交椅争夺紧追。长期来我俩一起住在长干里，咱俩天真无邪相互从不猜疑。十四岁那来我俩一起住在长干里，咱俩天真无邪相互从不猜疑。十四岁那年作了你结发妻子，成婚时羞得我不敢把脸抬起。自己低头面向年作了你结发妻子，成婚时羞得我不敢把脸抬起。自己低头面向昏暗的墙角落，任你千呼万唤我也不把头回。十五岁才高兴地笑昏暗的墙角落，任你千呼万唤我也不把头回。十五

26、岁才高兴地笑开了双眉，誓与你白头偕老到化为尘灰。你常存尾生抱柱般坚守开了双眉，誓与你白头偕老到化为尘灰。你常存尾生抱柱般坚守信约，我就怎么也不会登上望夫台。十六岁那年你离我出外远去，信约，我就怎么也不会登上望夫台。十六岁那年你离我出外远去，要经过瞿塘峡可怕的滟要经过瞿塘峡可怕的滟堆。五月水涨滟堆。五月水涨滟难辨担心触礁，猿猴难辨担心触礁，猿猴在两岸山头嘶鸣更悲凄。门前那些你缓步离去的足印，日子久了在两岸山头嘶鸣更悲凄。门前那些你缓步离去的足印，日子久了一个个都长满青苔。苔藓长得太厚怎么也扫不了，秋风早到落叶一个个都长满青苔。苔藓长得太厚怎么也扫不了，秋风早到落叶纷纷把它覆盖。八月秋高粉黄蝴蝶多

27、么轻狂，双双飞过西园在草纷纷把它覆盖。八月秋高粉黄蝴蝶多么轻狂，双双飞过西园在草丛中戏爱。此情此景怎不叫我伤心痛绝，终日忧愁太甚红颜自然丛中戏爱。此情此景怎不叫我伤心痛绝，终日忧愁太甚红颜自然早衰。迟早有一天你若离开了三巴，应该写封信报告我寄到家来。早衰。迟早有一天你若离开了三巴，应该写封信报告我寄到家来。为了迎接你我不说路途遥远，哪怕赶到长风沙要走七百里！为了迎接你我不说路途遥远，哪怕赶到长风沙要走七百里！ nThe River-merchants wife :A LetterWhile my hair was still cut straight across my foreheadI p

28、layed about the front gate, pulling flowers.You came by on bamboo stilts, playing horse,You walked about my seat, playing with blue plums.And we went on living in the village of Chokan:Two small people, without dislike or suspicion.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。 nnAt forteen I married My Lor

29、d you.I never laughed, being bashful.Lowering my head, I looked at the wall.Called to, a thousand times, I never looked back.n十四为君妇，羞颜未尝开。 n低头向暗壁，千唤不一回。 At fifteen I stopped scowling,I desired my dust to be mingled with yoursForever and forever and forever.Why should I climb the look out?十五始展眉，愿同尘与灰

30、。 常存抱柱信，岂上望夫台。,n At sixteen you departed,You went into far Ku-to-en, by the river of swirling eddies nAnd you have been gone five months.The monkeys make sorrowful noise overhead.n 十六君远行，瞿塘滟澦堆。 五月不可触，猿声天上哀。 You dragged your feet when you went out.By the gate now, the moss is grown, the different mos

31、ses,Too deep to clear them away! 门前迟行迹，一一生绿苔。 苔深不能扫，落叶秋风早。 nThe leaves fall early this autumn, in wind.The paired butterflies are already yellow with AugustOver the grass in the West garden;They hurt me. I grow older. 八月蝴蝶黄，双飞西园草。 感此伤妾心，坐愁红颜老。nIf you are coming down through the narrows of the river

32、Kiang,Please let me know beforehand,And I will come out to meet youAs far as Cho-fu-Sa. 早晚下三巴，预将书报家。 相迎不道远，直至长风沙William Carlos Williams (18831963)William Carlos Williams (18831963)Poems (1909)Spring and All (1923)Paterson (19461963) The Redwheel Barrow William Caros Williamsso much depends upona red

33、 wheelbarrowglazed with rainwaterbeside the whitechickens. How dou you interpret the poem?(1)Find some images in the poem.nBarrow , rain, chickens(2)These images can form a picture, then what is it? The picture of a farmyard after rain, Red ,white, glazed-(颜色） Barrow，chickens（静动） Fresh ,nice, lively

34、 The beauty of common dailylife 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To a Poor Old Woman William Carlos Williams munching a plum onthe street a paper bag of them in her handThey taste good to herThey taste good to her.They taste good to herYou can see it bythe way she gives herself to the one hal

35、fsucked out in her handComforted a solace of ripe plumsseeming to fill the airThey taste good to her 致穷老妪n大声咀嚼着梅子n在大街上n手里捧着一袋梅子n对她来说n它们味道真好n味道真好，味道n真好n你可以从她津津有味地n吮吸着她手中那半个梅子便可明白n真舒坦n熟透的梅子给她的欣慰n似乎充溢在四周n它们味道真好Interpreting the poem : A :8-10 ; B 8-6 ; C ;6-4;D 4分以下 Evening Richard Aldington 1892-1962 T

36、he chimneys ,rank on rank,Cut the clear sky.The moon,With a rag of gauze about her loinsPress among them, an awkward VenusAnd here I am looking wantonly at herOver the kitchen sink Fog -Car SandburgnThe fog comesnon little cat feet.nIt sits lookingnover harbor and citynon silent haunches.nand then m

37、oves on. n雾来了，n踮着猫的脚步。n他弓起腰蹲着，n静静地俯视n海港和城市，n又再往前走。n如果说如果说地铁站里地铁站里是既简单又韵味无穷的咖啡，那是既简单又韵味无穷的咖啡，那雾雾则则是简约清新的绿茶。是简约清新的绿茶。雾雾也来自诗人某日清晨对港口城市芝也来自诗人某日清晨对港口城市芝加哥的凝视，描写了雾的飘逸流动，来去悄然。诗人心中对此加哥的凝视，描写了雾的飘逸流动，来去悄然。诗人心中对此情此景瞬间生成一个幻象情此景瞬间生成一个幻象猫，这个给人以神秘感的小动物，猫，这个给人以神秘感的小动物，它蓝色的眼睛，轻盈的步伐，敏捷的行动马上浮现在读者的脑它蓝色的眼睛，轻盈的步伐，敏捷的行动马上浮现在读者的脑中。在西方文化中，猫还是邪恶和危险的象征。与中。在西方文化中，猫还是邪恶和危险的象征。与地铁站里地铁站里相比，相比，雾雾的意象形象生动，结构也清晰明朗。小诗共分为的意象形象生动，结构也清晰明朗。小诗共分为三段，开始两行为第一部分，雾悄然而来如同猫的脚步。接下三段，开始两行为第一部分，雾悄然而来如同猫的脚步。接下来三至五行中，这只小猫已从缓行变为蹲坐，猫的形象也逐渐来三至五行中，这只小猫已从缓行变为蹲坐，猫的形象也逐渐清晰，能够眺望海港和城市，也喻示着此时的雾已愈