现代主义诗歌-美国文学

ModernistPoetryBackgroundInformationSilenceofAmericanPoetryafterthedeathofWhitmanandDickinsonattheturnof20thCenturyAmericanpoetryintheGenteelTraditionofBritishRomanticismExaltationofnature,loveandlifeBreachwithrealityTraditionalformClassicalliteraryandmythicalallusion(VachelLindsay,E.A.Robinson,RobertFrost)ModernisticreforminformandimageryBackgroundInformationTwopoetictrendsT.S.Eliot—JohnCroweRansom—AllenTate(emphasisonprofoundknowledgeandEuropeanculturaltradition)EzraPound—WilliamCarlosWilliams—HildaDoolittle(emphasisnativeAmericanlandscape)BackgroundInformationDiversityofpoeticformsSymbolismImpressionismFuturismSuper-realismJapaneseHaikuFreeverse(Whitman+Sandburg/catalogue/meterlessvs.EliotandPound/rhythmandmusicality)ProsepoemimagismHarrietMonroeandLouisUntermeyerHarrietMonroePoetry:AMagazineofVerse(1912)YouandIChosePoemTheNewPoetry:AnAnthologyLouisUntermeyerModernAmericanPoetryModernBritishPoetryTheLettersofRobertFrosttoLouisUntermeyerCarlSandburgCarlSandburg“IndubitablyanAmericanineverypulse-beat.”(H.L.Mencken)SympathizerofWhitmanandworksinWhitman’stradition(barbariclanguage,overflowingofemotions)LifeofthelowerclassesandcorruptedurbancivilizationaswellasexaltationofmoderncitiesEverydaylanguageoftenoftheworkingclass,evenslangRealisticatmosphereVividimagesof“indecent”placesTheFogbyCarlSandburgTheFogThefogcomesonlittlecatfeet.Itsitslookingoverharborandcityonsilenthaunchesandthenmoveson.WorksofCarlSandburgChicagoPoems(1916)

CompletePoems(1950)

Cornhuskers(1918)

GoodMorning,America(1928)

HarvestPoems(1950)

HoneyandSalt(1963)

InRecklessEcstasy(1904)

SelectedPoems(1926)

SlabsoftheSunburntWest(1922)

SmokeandSteel(1920)

ThePeople,Yes(1936)

VachelLindsayVachelLindsayFatherofmodernsingingpoetryPrairieTroubadour“GeneralWilliamBoothEntersintoHeaven”“TheCongo”“TheSantaFeTrail”TheChineseNightingaleandOtherPoemsTheFugitivesSouthernRenaissanceJohnCroweRansom,AllenTate,DonaldDavidson,RobertPennWarrenTheFugitives(includingEliotandPound’smodernistpoems)Southernculturaltradition(differentfromtheavant-gardesandthelostgeneration):southernprejudice,values,emotionsRevoltagainstnorthernindustrialismRevoltagainsttheromanticsentimentality;bothconservativeandrevolutionary(Tatemoreavant-garde)JohnCroweRansomAllenTate

DonaldDavidson

RobertWarrenRalphEllisonAgrariansRansom,Davidson,Tate,RobertWarren(after1928)Criticismonnorthernindustrialismwhichdeprivemanofhappylifeandartisticcultivationandwhichdestroysnatureandman’srelationshipwithnatureImpracticalworshipofsouthernagriculturallifetypicaloftheslave-holdingsouthGreatinfluenceonAmericanliteratureSouthernfarmersasAdamsSelf-containedplantationastheParadiseNorthernindustrialistsandmerchantsasSatansModerncitiesasHellsWilliamFaulkner,CatherineAnnePorter,EudoraWelty,FlanneryO’ConnorImagismandImagistPoetsEzraPound,HildaDoolittle,AmyLowell,JohnFletcher;RichardAldington,F.S.Flint,D.H.LawrenceOriginofimagismCombinationofOrientalpoeticart(ChineseclassicalpoemsandJapaneseHaiku)andWesternempiricistphilosophyaswellasmodernpaintingandsculptureDiscardingofdecadenceandsentimentalityof19thpoetryH.D.AmyLowellRETURNF.S.FlintRETURNImagismandImagistPoetsPrinciplesofimagismPound’s“AFewDon’ts”F.S.Flint’s“Imagism”Directdepictionofobjects(images;formservescontent)Nouselesswordsorphrases(withoutcommentorexplanationorexclamation,nodescriptivelanguage,evennoverbsandconjuncts)UseofmusicalsentencesinsteadofrhythmicbeatsPoundturningtovorticismAmyLowellleadingimagismAmyLowell’sprinciplesofimagismEverydaylanguageCreationofnewcadenceFreechoiceofsubjectExactimagePrecisionandclarityCompactandtightnessThreeeditionsofSomeImagistPoetsanddismissionofimagismH.D.continuingimagistcreationSignofimagisminWilliamCarlosWilliams,CharlesOlson,RobertDuncan,E.E.Cummings,RobertBly,JamesWright,LouisSimpson

DavidBomberg,TheMudBath

RETURNVorticistPictureEzraPoundEzraPoundFounderofimagistandVorticistpoetryTutorofyoungergenerationofpoetsandnovelists(T.S.Eliot,JamesJoyceRadicaloreccentricpoliticalviews(London—Paris—Italyandhisanti-Semitism)Expatriatepoet(Yeats,T.E.Hulme,FordmadoxFord,F.S.Flint)Theoristofnewpoetictheories(IGathertheLimbsofOsiris)CycleoflifeanddeathassymbolofpoeticcreationLiterarycriticism,essaysandconversationasaformofpoeticcreationTranslationaspoeticcreationParodyascreationMusicalpoeticscombinedwithcriticismincreationCombineroforientalandwesterncultureandliterature(JapaneseHaikuandLiBai’spoemandConfuciusandMencius)EzraPoundGeneralizationofPound’saestheticsWorshipoftheclassical(heritanceandpersonae=conversationbetweenthepastandthepresent,thewestandtheeast)InnovationCombinationofwesternandorientalculturesCriticismoftherealityRepresentativeWorksofPoundInaStationoftheMetroHughSelwynMauberley:LifeandContactsTheCantosPersonaeCathayhttp:///ezra-pound/poems/InaStationoftheMetroTheapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.TheRiver-Merchant'sWifeWhilemyhairwasstillcutstraightacrossmyforeheadIplayedaboutthefrontgate,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。HildaDoolittleImagistH.D.ThemostimagistimagistpoetConcise,hard,concretestyleincontrastwithVictorianambiguity,tediousnessandpreach(early)Womantopics,classics,mysteryandreligion(later)H.D.withEzraPound(EndtoTorment)andFrancesGregg(PaintitToday&Asphodel)andRichardAldingtonandCecilGreen(amusicalhistorian)andBryher(AnnieWinifredEllerman).NotedWorksofH.D.Oread(1914)SeaGarden(1916)TheGod(1917)Translations(1920)Hymen(1921)HeliodoraandOtherPoems(1924)HippolytusTemporizes(1927)RedRosesFromBronze(1932)TheWallsDoNotFall(1944)TributetotheAngels(1945)Trilogy(1946)FloweringoftheRod(1946)ByAvonRiver(1949)HeleninEgypt(1961)HermeticDefinition(1972)“Oread”byH.D.Whirlup,sea—Whirlyourpointedpines.SplashyourgreatpinesOnourrocks.Hurlyourgreenoverus—Coveruswithyourpoolsoffir.WilliamCarlosWilliamsWilliamCarlosWilliamsFriendsofEzraPoundandrivalofT.S.EliotWinnerofNationalBookAward,PulitzerPrizeDenialofEliot’sacademicismanditssymbolismBasicallyanti-imagistAmerican-centeredandRealistictopicsWilliamCarlosWilliamsVisualeffect(“ThisIsJustToSay”&“TheSparrow”)ObjectivistpoemDevelopmentofimagismPoemasanobjectStructureofapoemObjecttosubjecttonewobject(thoughtspictured)Typeset“BetweenWalls”InfluenceonBeatGenerationpoetAllenGinsbergRelationshipsbetweenpoetandthemacro-worldaswellasthemicro-worldandman’sinternalworldPastiche,cubistpictureandsurrealismintopoetryConciseandclarityinlanguageandrapidityinpoeticrhythmPoemsofWilliamsBetweenWallsthebackwingsofthehospitalwherenothingwillgrowliecindersInwhichshinethebrokenpiecesofagreenbottleThisIsJustToSayIhaveeatentheplumsthatwereintheiceboxandwhichyouwereprobablysavingforbreakfastForgivemetheyweredelicioussosweetandsocolde.e.cummingsAngryCandye.e.cummingsLyricistandsatiristVisualpoetryTypesettingPeculiarspellingandpunctuationEuropeanCubistictechniqueWordplayForerunnerofConcretePoetryPlaywrightHimSantaClaus:AMoralityPopularinthe1950slikeRobertFrostPopularinthe1960sforhisrevolutionaryspiritAwardsWonbye.e.cummingsDialAward(1925)GuggenheimFellowship(1933)ShelleyMemorialAwardforPoetry(1944)HarrietMonroePrizefromPoetrymagazine(1950)FellowshipofAmericanAcademyofPoets(1950)GuggenheimFellowship(1951)CharlesEliotNortonProfessorshipatHarvard(1952–1953)SpecialcitationfromtheNationalBookAwardCommitteeforhisPoems,1923-1954(1957)BollingenPrizeinPoetry(1958)BostonArtsFestivalAward(1957)Two-yearFordFoundationgrantof$15,000(1959)Poemsofe.e.cummings

becauseiloveyou)lastnightclothedinsealaceappearedtomeyourminddriftingwithchucklingrubbishofpearlweedcoralandstones;lifted,and(beforemyeyessinking)inward,fled;softlyyourfacesmilebreastsgargledbydeath:drownedonly

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l(aleaffalls)onelinessWallaceStevensAnecdoteoftheJarDisillusionmentofTenO'ClockTheEmperorofIceCreamTheIdeaofOrderatKeyWestSundayMorningThirteenWaysofLookingataBlackbirdWallaceStevensProfundityduetoexuberanceofmetaphorandsymbolsPhilosophicalmeditationovertherelationshipsbetweenart,imaginationandtherealityPhilosophicalmeditationovertherelationshipsbetweenimagination,chaosandorder“Thereisamanwhoseworkmakesmostoftherestofusquail.”(HartCrane)ThomasStearnsEliotT.S.EliotthemostimportantEnglish-languagepoetofthe20thcenturyOrderofMerit(awardedbyKingGeorgeVI(UnitedKingdom),1948)NobelPrizeforLiterature"forhisoutstanding,pioneercontributiontopresent-daypoetry"(Stockholm,1948)OfficierdelaLegiond'Honneur(1951)HanseaticGoethePrize(Hamburg,1955)DanteMedal(Florence,1959)Commandeurdel'ordredesArtsetdesLettres,(1960)PresidentialMedalofFreedom(1964)13honorarydoctorates(includingOxford,Cambridge,theSorbonne,andHarvard)TonyAwardin1950forBestPlay:TheBroadwayproductionofTheCocktailParty.TwoposthumousTonyAwards(1983)forhispoemsusedinthemusicalCatsT.S.Eliot’sLiteraryAestheticsNewcriticism(“TraditionandtheIndividualTalent”==thevalueofoneworkofartmustbeviewedinthecontextofallpreviouswork)Objectivecorrelative(aconnectionamongthewordsofthetextandevents,statesofmind,andexperiences,whichsuggeststhatapoemmeanswhatitsays,butsuggeststhattherecanbeanon-subjectivejudgmentbasedondifferentreaders’different—butperhapscorollary—interpretationsofawork)T.S.Eliot’sLiteraryAestheticsLiteraryprinciplesInheritanceofhistorical,social,culturaltraditionsandinnovationImpersonalizationandobjectivecorrelativeandavoidanceofromanticsentimentality(formmoreimportant)ModernistpoetictechniquesModernisttopics==spiritualwastelandBiblical,culturalandliteraryallusionsRealisticconcernDramaticeffectofliteraryworksWorksofEliotPoetryPrufrockandOtherObservations(1917)TheLoveSongofJ.AlfredPrufrock

PortraitofaLady(poem)

AuntHelen

TheWasteLand(1922)TheHollowMen(1925)ArielPoems(1927-1954)TheJourneyoftheMagi(1927)AshWednesday(1930)Coriolan(1931)OldPossum'sBookofPracticalCats(1939)TheMarchingSongofthePollicleDogsandBillyM'Caw:TheRemarkableParrot(1939)FourQuartets(1945)WorksofEliotPlaysSweeneyAgonistes(publishedin1926,firstperformedin1934)TheRock(1934)MurderintheCathedral(1935)TheFamilyReunion(1939)TheCocktailParty(1949)TheConfidentialClerk(1953)TheElderStatesman

(firstperformedin1958,publishedin1959)RobertFrostRobertFrostNewEnglandPoetAmericanNationalPoetUnofficialpoetlaureateThemostpopularAmericanpoetinthe20thcenturyTraditionalandmodernistpoetFour-timePulitzerPrizewinnerfor1924forNewHampshire:APoemWithNotesandGraceNotes

1931forCollectedPoems

1937forAFurtherRange

1943forAWitnessTree

RobertFrostReceiving40honorarydegrees,includingonesfromPrinceton,OxfordandCambridgeuniversities;andtheonlypersontoreceivetwohonorarydegreesfromDartmouthCollegeReadingofhispoetryattheinaugurationofPresidentJohnF.KennedyonJanuary20,1961Frost’sPoeticTheoryRobertFrostpoetictheoryPoetryisthelanguageturningintofact:feelingsturningintothoughts,thoughtsturningintolanguagePoembeginningwithecstasyandendingwithwisdom;poetrygivingordertothechaosofreality,exploringthereality,protectingthepoetagainsttherealityPoemasthenaturaloutflowoffeelings,insteadofanythingofpre-deviceUnityofcadenceandthemetoachievespecialdramaticeffectFrost’sPoeticFeaturesNaturalness:cleardiction,NewEnglandeverydaylanguage,colloquialrhythms,simpleimages,folksyspeaker(likeconversingwithsomebody),athoughtfulreplytohighmodernism’sfondnessforobscurityanddifficulty.Ruralism(likemodernist’sfondnessofnature)combinedwithpoetictraditionalitywhichforFrostistheessenceofpoetry.RobertFrostsaidthatpoetrywas“onestepbackwardtaken,”resistingtime—a“momentarystayagainstconfusion.”Quatrain,blankverse,andsonnetFarmimagesNewEnglandregionalism(rejectingmodernist’sinternationalism);ruralNewEnglandtheheartofAmericaPlayingtherhythmsofordinaryspeechagainstformalpatternsoflineandverseandbycontainingthemwithintraditionalformstoachieveaninternaldynamicInteractionofcolloquialdictionwithblankversecentraltohisdramaticmonologuesEmersonandThoreauinfluencedFrostgreatly,especiallyEmerson’sprosaicsimplicityandprofundityofmeaningFrost’sFourKindsofPoemsDramaticpoetryNarrativepoemtellingastoryintheformofaplayTwokindsofdramaticpoetry:monologue,andconversation“AServanttoServant,”“TheDeathofaHiredMan,”and“HomeBurial.”MeditativepoetryOpeningwithanaturalphenomenonandendingwithawisdomormorality“TheRoadNotTaken,”“MendingWall,”“Birches,”and“StoppingbyWoodsonaSnowEvening.”SatiricalpoetryUsingnaturalobjectorphenomenonasguiseforasocialcriticism“AconsiderableSpeck”PhilosophicalpoetryComparedwithmeditativepoetry:shortinlength,abstractideasascentral,pessimisticandpoignant“Design,”“FireandIce”OtherModernistPoetsHartCraneJohnGouldFletcherMarianneMooreWystanHughAudenPoetrySinceWWIITraditionalismTraditionalform,diction,rhymeandfixedmeterRichardWilbur,JohnCroweRansom,AllenTate,andRobertPennWarren,JohnHollanderandRichardHoward,RobertLowell,JamesMerrill,GwendolynBrooks,AdrienneRich

IdiosyncraticpoetsuniquestylesdrawingontraditionbutextendingitintonewrealmswithadistinctivelycontemporaryflavorJohnBerryman,TheodoreRoethke,RichardHugo,PhilipLevine,JamesDickey,ElizabethBishop,AdrienneRich,SylviaPlath,AnneSextonPoetrySinceWWIIExperimentalpoetryTheBlackMountainSchool(1950s)CharlesOlson,RobertDuncan,RobertCreeley,EdDorn,JoelOppenheimer,JonathanWilliams,PaulBlackburn,LarryEigner,DeniseLevertovCharlesOlson’stheoryof“projectiveverse”TheSanFranciscoSchool(1950s)Easternphilosophyandreligion,JapaneseandChinesepoetryJackSpicer,LawrenceFerlinghetti,RobertDuncan,PhilWhalen,LewWelch,GarySnyder,KennethRexroth,JoanneKyger,andDianediPrima

PoetrySinceWWIIBeatPoets(1950s)Themostanti-establishmentformofliteratureintheUnitedStates,withaloveofcountryAcryofpainandrageatthelossofAmerica'sinnocenceandthetragicwasteofitshumanandmaterialresourcesOral,repetitive,andimmenselyeffectiveinreadings,largelybecauseitdevelopedoutofpoetryreadingsinundergroundclubsAllenGinsberg,GregoryCorso,JackKerouac,andWilliamBurroughs

TheNewYorkSchool(1950s)FineartandabstractexpressionisminNewYorkNotinterestedinovertlymoralquestionsbutinformFastmoving,fullofurbandetail,incongruity,andanalmostpalpablesenseofsuspendedbeliefJohnAshbery,FrankO'Hara,andKennethKoch

PoetrySinceWWIITheConfessionalandPost-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,andMarkStrandPoetrySinceWWIIWomenandmulti-ethnicpoets(1960s)Womenpoets:AmyClampitt,RitaDove,JorieGraham,CarolynKizer,MaxineKumin,DeniseLevertov,Audre

Lorde,Gjertrud

Schnackenberg,MaySwenson,andMonaVanDuyn.Minoritypoets:inHispanic-AmericansGarySoto,AlbertoRios,andLornaDeeCervantes;inNativeAmericanssuchasLeslieMarmon

Silko,SimonOrtiz,andLouiseErdrich;inAfrican-AmericanwriterssuchasAmiri

Baraka(LeRoiJones),MichaelHarper,RitaDove,MayaAngelou,andNikkiGiovanni;andinAsian-AmericanpoetssuchasCathySong,LawsonInada,andJaniceMirikitani

PoetrysinceWWIINewDirectionsLanguagepoets(1970s-80s)Languagestretchedtorevealitspotentialforambiguity,fragmentation,andself-assertionwithinchaosIronicandpostmodern,meta-narratives(ideologies,dogmas,conventions)rejectedandtheexistenceoftranscendentrealityquestionedViewingartandliterarycriticismasinherentlyideological,modernism'sclosedforms,hierarchies,ideasofepiphanyandtranscendence,categoriesofgenreandcanonicaltexts(acceptedliteraryworks)opposed,yetopenformsandmulticulturaltextsproposedAppropriationofimagesfrompopularculture,themedia,andfashionandrefashionthemBruceAndrews,LynHejinian,DouglasMesserli,BobPerelman,Barret

Watten,MichaelPalmerPoetrysinceWWIIPerformance-orientedpoetryChanceoperations,jazzimprovisation,mixedmediawork,andEuropeansurrealismLaurieAnderson,authoroftheinternationalhitUnitedStates(1984),whichusesfilm,video,acousticsandmusic,choreography,andspace-agetechnology.Soundpoetry,emphasizingthevoiceandinstruments,ispracticedbypoetsDavidAntin(whoextemporizeshisperformances)andNewYorkersGeorgeQuasha,ArmandSchwerner,andJacksonMacLowEthnicperformancepoetryenteredthemainstreamwithrapmusicPoetrysinceWWIINewFormalistsReturntoform,rhyme,andmeterStoryLinePress,DanaGioia,PhilipDacey,DavidJauss,BradLeithauser,Gjertrud

Schnakenburg,RobertRichmanPoetsandContextsRandallJarrell—TheDeathoftheBallTurretGunner

(1945)TheodoreRoethke—TheLostSon(1948)RichardWilbur—Ceremony(1950)CharlesOlson—Maximus,toHimselfAtomicbombsonHiroshimaandNagasaki;WWIIended;coldwarSenatorJosephMcCarthy’sMcCarthyismPoetsandContextsJohnBerryman—DreamSongs(music)(1955-58)AllenGinsberg—Howl(19561959RobertCreeley—KoreRobertLowell—MyLasAfternoonwithUncleDevereuxWinslow1954BeatGenerationpoetsgatheratSanFrancisco’sCityLightsBookshop1956MartinLutherKingJr.leadingbusboycott1959FidelCastrobomesCommunistdictat