微格Ezra pound(1885-1972)

1、Ezra pound(1885-1972),Imagism,Ezra Weston Loomis Pound (1885 1972) was an American expatriate poet and critic and a major figure in the early modernist movement in poetry. He became known for his role in developing Imagism, which, in reaction to the Victorian and Georgian poets, favored tight langua

2、ge, unadorned imagery, and a strong correspondence between the verbal and musicalqualities of the verse and the mood it expressed.,His best-known works include Ripostes (1912), Hugh Selwyn Mauberley (1920), and his unfinished 120-section epic, The Cantos, which consumed his middle and late career, a

3、nd was published between 1917 and 1969.,Background Pound was born in Hailey, Idaho Territory, the only child of Homer Loomis Pound (18581942) and Isabel Weston (18601948). Both parents ancestors had emigrated from England in the 17th century.,EducationPounds early education took place in a series of

4、 so-called dame schools. From 1898 until 1900 he attended the Cheltenham Military Academy, where the boys wore Civil War-style uniforms, and were taught military drilling, how to shoot, and the importance of submitting to authority .He was admitted to the University of Pennsylvanias College of Liber

5、al Arts in 1901 at the age of 15:,Imagism A literary movement launched by British and American poets early in the 20th century in reaction against Victorian sentimentalism that advocated the use of free verse, common speech patterns, and clear concrete images. 在20世纪早期由英美诗人发起的反对维多利亚式伤感主义的一场文学运动，主张使用自

6、由体、普通的语言模式和清晰具体的影象。,意象派与庞德 人们一般认为，意象派诗歌是美国现代派诗歌的起点，它成了20世纪美国诗歌的另一传统。1912年，庞德首次采用了“意象派”这个词. 意象派最初并非是一个有组织、有计划的诗歌流派，而是一批有志于诗歌创作的诗人，他们不满于当时诗歌创作的现状，激烈批判19世纪后期浪漫主义诗歌陈旧的夸张的想象、矫揉造作的情感，力图从古希腊抒情诗、法国象征主义自由诗、日本俳句和中国古典诗中吸取营养和灵感，一心要医治诗歌语言的毛病。正是这种共同的兴趣和目的使他们走到了一起，共同探索诗歌创作的新途径，于是，创造了20世纪诗歌史上一个新的诗歌流派，即意象主义。 。,意象派创作

7、的特点： 着重表现诗人的直观印象，不宣泄感情、宣点讲道理或叙述故事； 采用暗示的手法，诗人观察细腻、新鲜； 刻意求新、短小浓缩，一首诗往往只有五、六行； 强调诗的内在的音乐性，提倡自由诗体。,In a Station of the Metro (Ezra Pound) The apparition of these faces in the crowd; Petals on a wet, black bough.,In a Station of the MetroThe apparition of these faces in the crowd；（这几张脸在人群中幻景般闪现；） Petals

8、 on a wet, black bough.（湿漉漉的黑树枝上花瓣数点。） 在地铁站内仅两行、14个字，是一首单一意象诗（one-image poem）。它是庞德根据在巴黎协和广场地铁站的印象写成的。诗虽短，但诗人最后落笔定稿前经过相当一段时间的酝酿和推敲。,从这首诗中，我们充分可以体验到，人面和花瓣的对应制造的底片叠印一般的传神效果，而这种效果也真真切切反映了庞德对意象的内涵。在地铁站庞德眼前闪过一张张美丽的脸。在归途中，这些脸在他眼前反复出现，直到最后他们逐渐变成了一片片彩色印花色底。这时他产生了一个念头，要作出一幅纯粹表现色彩的斑斑点点的非写实主义的画，但他不会作画，只能以诗代之。诗的

9、两行互相依存。apparition是幻象、幽灵，使人们联想到来来往往的乘客的一张张脸。第二行的petal花瓣则传递了美的信息。这一信息由于有深色而又带湿气的树枝的反衬而变得突出鲜明了，同时也给人以模糊重叠之感，意境也就更丰满了。,Major Works 1934 Homage to Sextus Propertius. Faber, London (poems)向萨克斯特斯.普罗波蒂斯致敬1920 Hugh Selwyn Mauberley. Ovid Press, London.休.赛尔温.莫伯利Cantos诗章,Translation Pound was a pioneer with a

10、great gift of language and an incisive intelligence. He helped popularize major poets such as Guido Cavalcanti and Du Fu and brought Provenal and Chinese poetry to English-speaking audiences. He revived interest in the Confucian classics and introduced the west to classical Japanese poetry and drama

11、. He translated and championed Greek, Latin and Anglo-Saxon classics, and helped keep them alive at a time when classical education was in decline, and poets no longer considered translations central to their craft.100,庞德在促进中西文化交流方面作了很大努力。他的意象派作品中汲取了某些日本诗歌如俳句诗的写作形式及特点。 他在长诗诗章中阐述孔子学说，在1915年出版的中国中收集并翻

12、译了十几首中国古诗。庞德不太懂中文，他的译作是由日译本转译的。庞德还曾译过大学、中庸、论语等。,艾兹拉庞德译的英文长干行THE RIVER-MERCHANTS WIFE While my hair was still cut straight across my forehead I played 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

13、living in the village of Chokan: Two small people, without dislike or suspicion. At forteen I married My Lord you. I never laughed, being bashful. Lowering my head, I looked at the wall. Called to, a thousand times, I never looked back.,At fifteen I stopped scowling, I desired my dust to be mingled

14、with yours Forever and forever and forever. Why should I climb the look out? At sixteen you departed, You went into far Ku-to-en, by the river of swirling eddies, And you have been gone five months. The monkeys make sorrowful noise overhead.,You dragged your feet when you went out. By the gate now,

15、the moss is grown, the different mosses, Too deep to clear them away! The leaves fall early this autumn, in wind. The paired butterflies are already yellow with August Over the grass in the West garden; They hurt me. I grow older. If you are coming down through the narrows of the river Kiang, Please

16、 let me know beforehand, And I will come out to meet you As far as Cho-fu-Sa.,长干行李白妾发初覆额，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，瞿塘滟预堆。五月不可触，猿鸣天上哀。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。,Analysis1.He was influence by Greek. Italy and Chinese poets.2.He wrote some fresh short poems and some all-inclusive long poems.3.Personal tone.open and spontaneous(自动的）style.4.Difficult toae read and stud