美国文学Wallace Stevens华莱士·史蒂文斯

WallaceStevens(1879-1955)

华莱士·史蒂文斯

lifeworksappreciationLifeandcareerBorninReading,Pennsylvania,StevenswaseducatedatHarvardUniversity.HethenworkedasajournalistinNewYorkCitybeforeattendingNewYorkLawSchool.Stevenswasadmittedtothebarin1904andin1909marriedElsieMoll,whowasalsofromReading.In1916StevensjoinedtheHartfordAccidentandIndemnityCompany,aninsurancefirminHartford,Connecticut,andhebecameavicepresidentatthefirmin1934.Heworkedthere,despitehisincreasingsuccessasapoet,untilhisdeath.LifeandcareerHereceivedtheNationalBookAwardin1951and1955.(美)国家图书奖WonthePulitzerPrizeforPoetryin1955.(普利策奖)FirstbookofpoetryentitledHarmonium,1923.Twomoremajorbooksofpoetryduringthe1920sand1930sandthreemoreinthe1940s.CollectedPoemsin1955,forwhichhewonthePulitzerPrizeforPoetry.

Stevens'sfirstpublishedworkHarmoniumappearedin1914inPoetrymagazine.Harmonium(1923)washisfirstcollectionofverse.Itcontainssomeofhisbestknownpoems,

LeMonocledeMonUncle《我叔叔的单片眼镜》

TheEmperorofIceCream《冰激凌皇帝》IncludingSundayMorning《星期日早晨》AnecdoteoftheJar《坛子轶闻》TheNecessaryAngel《必要的天使》worksLaterworksofpoetryincluded:

IdeasofOrder《秩序的思考》(1935),TheManwiththeBlueGuitar《拿蓝色吉它的人》

(1937),NotesTowardaSupremeFiction《超小说笔记》(1942),(whichisoftenconsideredhismasterpiece)TheAurorasofAutumn《秋日晨曦》(1950).

Literarystyle

Hebelievesthatthepoetshouldfindbeautifulness,joy,,fun,stimulationandmeaningsinthedirtyrealitiesofthesocity.Sohecommittedtostudytheinherentrelationshipbetweenrealityandart;

Thepoet‘smeditationonnature：headvocatedtheacceptanceofthenaturalrealityoflife,againsttheWorldofUltimateBliss;

Thelaterpoemstendtothinking.thereisnofixedpattern.Itisdifficulttounderstand.Language:meticulous;fullofwit,puns,andirony;difficulttounderstand.语言细致，充满智慧的，多用双关语，讽刺;很难理解。2.Asensualpoet,delightindepictingtheworldbyfindingthepleasureinsenses.一个感性的诗人，发现在感官的快乐世界中描绘的喜悦。maginationandreality

Stevens,whoseworkwasmeditativeandphilosophical,isverymuchapoetofideas.

Concerningtherelationbetween

consciousness

andtheworld,inStevens'swork"imagination"isnotequivalenttoconsciousnessnoris"reality"equivalenttotheworldasitexistsoutsideourminds.Realityistheproductoftheimaginationasitshapestheworld.Becauseitisconstantlychangingasweattempttofindimaginativelysatisfyingwaystoperceivetheworld,realityisanactivity,notastaticobject.AnecdoteoftheJar（坛子轶事）IplacedajarinTennessee,

Androunditwas,uponahill.

Itmadetheslovenlywilderness

Surroundthathill.Thewildernessroseuptoit,

Andsprawledaround,nolongerwild.

Thejarwasroundupontheground

Andtallandofaportinair.Ittookdominioneverywhere.

Thejarwasgrayandbare.

Itdidnotgiveofbirdorbush,

LikenothingelseinTennessee.我把坛子置于田纳西州

它是圆的，立在小山顶。

它使得散乱的荒野

都以此小山为中心。

荒野全都向坛子涌来，

俯伏四周，不再荒野。

坛子圆圆的，在地上

巍然耸立，风采非凡。

它统领四面八方，

这灰色无花纹的坛子

它不孳生鸟雀或树丛，

与田纳西的一切都不同。

诗歌分析第一个层面,揭示了艺术的功能及其与自然的关系。诗中的“坛子”是艺术和想象力的象征,田纳西的荒野是大自然的象征,坛子的出现使毫无秩序的荒野呈现形式、秩序和意义。由此,诗人使人们看到了奇妙完美的艺术品具有的无限的魅力。但是,另一方面,作为艺术品的坛子又不同于自然万物,“不像田纳西别的东西”,“它无法产生鸟或树丛”,它依仗周围世界的存在而存在,深受自