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1、EzraPound(1885-1972)Americanpoet,critic,editor,andtranslator,consideredoneoftheforemostAmericanliteraryfiguresofthe20thcentury.PoundwasachiefarchitectofEnglishandAmericanliterarymodernism,amovementcharacterizedbyexperimentationinliteraryformandcontent,explorationoftheliterarytraditionsofnon-Westerna
2、ndancientcultures,andrejectionofthetraditionsoftheimmediatepast.Asapoet,Poundexperimentedwithvariousverseforms,fromshortpoemsfocusingonconcreteimagestohisepicmasterpiece,theCantos,awiderangingseriesofpoemscombiningancientandmodernhistorywithPoundspersonalreflectionsandexperiences.Asacriticandeditor,
3、Pounddiscoveredandencouragedmanyexperimentalauthors,includingIrishwriterJamesJoyce,EnglishpoetT.S.EliotandAmericanwritersFrostandHemingway.Asanessayist,hewrotemanifestosestablishinginfluentialprinciplesofstyleandtheme.EarlyLifeEzraPoundwasborninHailey,Idaho.Whenhewasstillaninfant,hisfamilymovedtoGer
4、mantown,Pennsylvania.Byage15,Poundhaddecidedtobecomeapoet,resolvingthatbytheageof30he“wouldknowmoreaboutpoetrythananymanliving.”In1901heenteredtheUniversityofPennsylvania,wherehebefriendedthefuturepoetsWilliamCarlosWilliamsandHildaDoolittle.AftertwoyearshetransferredtoHamiltonCollegeinNewYorkState,a
5、ndhegraduatedin1905.HereturnedtotheUniversityofPennsylvaniaforgraduatestudiesinRomancelanguages,earninghisM.A.degree.PoundthentaughtlanguagesforabrieftimeatWabashCollegeinIndiana.DecidingthattherewasnoplaceintheUnitedStatesforpoets,PoundmovedtoEurope,livingfirstinVenice,Italy.Therehepublishedhisfirs
6、tvolumeofpoetry,ALumeSpento(1908;).ConvincedthatLondonwas“theplaceforpoetry,”herelocatedthereandworkedasthesecretaryofIrishpoetWilliamButlerYeats.DuringhistimeinLondon,Poundsupportedhimselfbywritingandteaching.HealsoservedastheLondonrepresentativefortwoAmericanliteraryjournals,theChicago-basedPoetry
7、magazineandtheNewYorkCity-basedTheLittleReview.Onthelookoutforwriterswhoseemeddedicatedtoreinvigoratingliteratureoftheperiodorinhiswords,“makingitnew”heregularlysentsomeoftheerasfinestpoemstobepublishedinPoetry,notablyT.S.Eliots“TheLoveSongofJ.AlfredPrufrock”(1915).PoundalsoeditedearlydraftsofEliots
8、masterpieceTheWasteLand(1922).DevelopmentasapoetInhisownpoetryandessays,Poundestablishedprinciplesthatmanymodernistwriterswouldfollow.Detestingwhathecalled“emotionalslither,”hedemandeda“harderandsaner”poetrythatwas“nearerthebone”thantraditionalverse,with“fewerpaintedadjectivesimpedingtheshockofit.”H
9、ewarnedpoets,“Goinfearofabstraction.”Whatwasneededwas“directtreatmentofthething,whethersubjectiveorobjective,”andrhythmthatwas“insequenceofthemusicalphrase,notinthesequenceofametronome.”Inabout1909Poundbecamethefounderand,foratime,theleaderoftheschoolofpoetrycalledimagism,featuringsuccinctverse“whic
10、hpresentsanintellectualandemotionalcomplexinaninstantoftime.”PoundsownpoetryofthisperiodappearedinsuchvolumesasPersonae(1910),Cathay(1915),andLustra(1916).AmericanpoetAmyLowelleventuallyassumedleadershipoftheimagistmovement,andPoundmovedontothevorticismmovement.AlongwithBritishartistandwriterWyndham
11、Lewis,Poundattemptedtoinvestdynamicenergyinthepoeticimage,whichhesaidwasnotanideabut“aradiantnodeorclusteraVORTEX,fromwhich,andthroughwhich,andintowhich,ideasareconstantlyflowing.”Poundconsideredtherestorationofsophisticationandhistoricalrichnesstoliteratureasanecessaryandintegralpartofhiscommitment
12、toinnovation.AsaresulthehadamixedviewofAmericanpoetWaltWhitman,whomheadmiredforhisexperimentalstylebutdislikedforwhatheconsideredWhitmanslackofinterestinculturalmattersbeyondAmerica,andforhisveryinfatuationwithanAmericathathaddisappointedPound.Insuchpoemsas“APact”(1916),PoundpaidgrudgingrespecttoWhi
13、tman,callinghima“pig-headedfather”butadding,“Itwasyouthatbrokethenewwood,Nowitistimeforthecarving.”Partofthissymbolic“carving”ofanewliterarytraditionwastheuseofpoeticdevicesfromforeignlanguages.Tothisend,PoundextensivelytranslatedpoetryfromtheJapaneseandChineseAround1914,Poundconceivedofapoetryseque
14、ncethatwouldpossessthesweepofWhitmansmajorvolumeofpoetry,LeavesofGrass(1855),butwouldusemodernistdevices.TheresultwastheCantos.Writtenfrom1915to1970,theCantoseventuallytotaled116poems.WritteninwhatPoundcalledtheideo-grammaticmethod,featuringunexpectedjuxtapositionsandassociations,thevariousCantoscom
15、binedreminiscence,meditation,andallusionstomanycultures,includingRenaissanceItaly,dynasticChina,and18th-centuryAmerica.Oftendifficulttounderstand,theCantosareendlesslydebatedbyscholarsandarewidelyregardedasthe20thcenturysclosestapproximationtoamodernpoeticepic.PoliticalalienationsThedevastationcause
16、dbyWorldWarI(1914-1918)deepenedPoundsdisillusionwiththeWest,whichhelabeled“abotchedcivilization.”HisbitternesswasvisibleinhissatiricalvolumeHughSelwynMauberly:LifeandContacts(1920),whichdescribesthe“tawdrycheapness”anddeteriorationofamodernAmericaPoundcalled“ahalf-savagecountry.”Believingthatcapital
17、ismmarginalizedorexcludedpoets,PoundsoughtcountriesthathefeltweremorehospitableandleftEnglandin1920.HemovedfirsttoFranceandthentoItaly,wherein1925hesettledinthevillageofRappallo.PoundsawItalysfascistdictatorBenitoMussoliniasapotentialsavioroftheworldfromcapitalism.In1933hemetMussolini,whopraisedhisp
18、oetry.Poundbecameanactivesupporteroffascism,promotingitonradiobroadcaststoEnglandandtheUnitedStatesduringWorldWarII(1939-1945).Inanti-capitalistandanti-Semiticspeeches,PounddenouncedthoseheheldresponsiblefortheWestsdeclineinparticular,Jewishbankers.WhentheAlliedtroopsoccupiedItalyin1945neartheendofW
19、orldWarII,Poundwasimprisonedforweeksinanopen-aircage.Afterbeingtransferredtoamedicaltent,hewrotethePisanCantos(1948),whichconsistoftensectionsdescribingtheprison,itsenvironment,anditsinhabitants.Becauseoftheirvividimageryandunityasawhole,thesepoemsareregardedbysomeashisfinestpoems.In1946Poundwastake
20、ntoWashington,D.C.,tobetriedfortreason.Histrialwascanceledafterhewasdeclaredlegallyinsane,andheenteredahospitalforthecriminallyinsane,wherehecontinuedtowriteandtoreceivevisitors.In1949PoundsPisanCantoswonthefirstannualLibraryofCongressBollingenAwardforPoetry,reopeningthedebateoverhisliterarystature.
21、Stronglydefendedbyseveralprominentwriters,includingHemingway,Frost.Poundwasreleasedfromthehospitalin1958,andhereturnedtoItaly.Poundspenthisfinalyearsinself-imposedliterarysilence,leavingtheCantosincomplete.Despitethereprehensiblepoliticsofhislaterlife,Poundwasanimportantpoetandliteraryinnovatorwhofo
22、rgedthewaytomodernismwhileretaininganallegiancetoliterarytradition.EditionsofPoundswritingsincludeMakeItNew(1934),PoliteEssays(1937),TheLettersofEzraPound,1907-1941(1950),LiteraryEssaysofEzraPound(1954),CollectedEarlyPoemsofEzraPound(1976),andEzraPound:ACriticalAnthology(1970).InaStationoftheMetroTh
23、eapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.BackgroundofthepoemThreeyearsagoinParisIgotoutofametrotrainatLaConcorde,andsawsuddenlyabeautifulface,andthenanotherandanother,andthenabeautifulchildsface,andthenanotherbeautifulwoman,andItriedallthatdaytofindwordsforwhatthishadmeanttome,andIc
24、ouldnotfindanywordsthatseemedtomeworthy,oraslovelyasthatsuddenemotion.Andthatevening,asIwenthomealongtheRueRaynouard,IwasstilltryingandIfound,suddenly,theexpression.IdonotmeanthatIfoundwords,buttherecameanequation.notinspeech,butinlittlesplotchesofcolor.Itwasjustthat-apattern,orhardlyapattern,ifbypa
25、tternyoumeansomethingwitharepeatinit.Butitwasaword,thebeginning,forme,ofalanguageincolor.IdonotmeanthatIwasunfamiliarwiththekindergartenstoriesaboutcolorsbeingliketonesinmusic.Ithinkthatsortofthingisnonsense.Ifyoutrytomakenotespermanentlycorrespondwithparticularcolors,itisliketyingnarrowmeaningstosy
26、mbols.InaStationoftheMetro1.Whatdothewords“the Metro”referto?2.IsthepoetassumingthatwealreadyknowwhichparticularMetrostationistheimmediatesettingforwhatfollows?3.Whydidhenotidentifythestationfullyinthepoem?WhatmattersaboutthisstationisnotitsuniqueidentitybutratheritstypicalityofitsclassorkindtheMetr
27、ostationofPariscertainlybutpossiblyallstationsofthistype.Theapparitionofthesefacesinthecrowd;1.Whatisthetime-settingofthepoem?2.Whatmight“these”inLine1infer?Ifwechangethefirstlineintothe“facesofthecrowd”or“thefacesofthiscrowd”,howwouldwefeel?Thisistheveryfirstmentionoffaces,yetitisnotonlyspecificbut
28、selective,andnotmerelyselectivebut“near”,not“far”,initsperspectiveinspaceandtime.Theapparitionofthesefacesinthecrowd“Comingintoview,especiallyofaghostorthespiritofadeadperson”1.Anactofcomingintoview2.Visualimpressionsomeoneorsomethingmakesontheobserver,theaspectorcharacterpresentedbysomethingorsomeo
29、newhenseen.ThestationoftheMetrointhe1920sUndergroundrailwaysystemofParis.dankandgloomy1.As a determiner, these is maximally specific, suggestive of immediacy in space and time2.It is selective as well. It picks out certain faces for special attention, faces which are close rather than distant.In Fre
30、nch apparition can and often does carry the special meaning of the way something appears to a viewer at the precise moment it is perceived to suggest the unique way in which the faces appeared to the viewer at the precise moment of their being perceived convey the feeling of surprised discovery whic
31、h such a vision in such a place must evoke. MNQTHEAPPARITIONofthesefacesinthecrowd0PETALSonawet,blackbough.M=modifierN=nounQ=qualifierMNQtheseFacesinthe00CROWD0PETALSonawet,blackBOUGHMNQTheapparitionofthesefacesinthe00crowd(Theapparitionof)0petalsonawet,blackbough 地铁车站地铁车站人群中这些脸庞的隐现；人群中这些脸庞的隐现； 湿漉漉黑
32、幽幽树枝上的花瓣。湿漉漉黑幽幽树枝上的花瓣。解答解答: :庞德在此诗中前句运用了间距庞德在此诗中前句运用了间距100100米米, ,高度高度1515这样的线段比这样的线段比, ,即即20:320:3的比的比, ,从而引申至光的折射从而引申至光的折射定律。从高处俯视地铁众多出口的拥挤人群定律。从高处俯视地铁众多出口的拥挤人群, ,迅速迅速汇涌到统一出口通道的熙熙攘攘情景汇涌到统一出口通道的熙熙攘攘情景; ;后句则具有后句则具有时节性时节性, ,描绘了春季三月风雨的夜卧听风雨描绘了春季三月风雨的夜卧听风雨, ,晨晓晨晓看树花的春光无限看树花的春光无限. .雨后湿漉漉的枝和干的黝黑具雨后湿漉漉的枝和
33、干的黝黑具有递进的层次感有递进的层次感, ,再与含苞待放的广玉兰树上的花再与含苞待放的广玉兰树上的花蕾的产生若即若离，忽隐忽现的多项意义对比蕾的产生若即若离，忽隐忽现的多项意义对比. .因因此此,.,.作品呈现出异类对比的对偶结构作品呈现出异类对比的对偶结构. .在地铁站: 人潮中这些面容的忽现；湿巴巴的黑树丫上的花瓣。（罗池）地铁车站: 人群中这些脸庞的幻影；潮湿又黑的树枝上的花瓣.（成婴）地铁车站: 人群中这些面庞的闪现；湿漉的黑树干上的花瓣。（赵毅衡）在地铁车站: 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）地铁站里: 出现在人群里这一张张面孔；湿的黑树枝上的一片片花瓣
34、。（张子清）人群里这些脸忽然闪现；花丛在一条湿黑的树枝。（流沙河）人群中，这些面孔的鬼影；潮湿的黑树枝上的花瓣。（余光中）这些面孔浮现于人群；花瓣潮湿的黑树枝（颜元叔）众中梦幻身影，黝湿枝头疏花。（吴其尧）人潮中面孔若隐若现；黝湿树干上花瓣朵朵。InaStationoftheMetroTheRedWheelbarrowWilliamCarlosWilliamssomuchdependsuponaredwheelbarrowglazedwithrainwaterbesidethewhitechickens此诗的意义o这是意象派小品，把红色车子、晶亮雨水、白色鸡群并列对照，构成一幅画面，而这往往是我们容易忽略的。再者，诗又出之于惊喜的口吻，好像发现了什么奇迹。其实，是诗人无意中发现了一种常人视而不见的美。这首诗或者没有深意，但它告诉我们，只要善于捕捉和提炼，生活中极其委琐的事物也可以有其美学价值，也可以丰富人们的生活情趣。更重要的在于，它为我们观察极其普通的事物提供了一个新的角度。o需要指出的是，这位威廉斯开创了美国战后新诗风，被誉为新诗的一代宗师。
