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意象派與象征派？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激烈反對維多利亞詩歌過分模糊抽象，過分雕琢矯情。主張詩歌要寫得堅挺（hardness)、明晰（clarity)、和嚴(yán)謹(jǐn)（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、用樂句，不用呆板的節(jié)拍）。意象是一瞬間呈現(xiàn)出的理性意象是一瞬間呈現(xiàn)出的理性和感情的復(fù)合體和感情的復(fù)合體日本俳句&中國古詩的影響n古池塘，n青蛙躍入，n水清響!n古池靜幽幽，n蛙躍激水聲n閑寂古池旁n青蛙跳進水中央n撲通一聲響 枯藤老樹昏鴉，枯藤老樹昏鴉， 小橋流水人家，小橋流水人家， 古道西風(fēng)瘦馬。古道西風(fēng)瘦馬。 夕陽西下，夕陽西下， 斷腸人在天涯。斷腸人在天涯。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. 龐德與弗林特在意象派詩歌理論上意見不合。n子曰：“書不盡言，言不盡意?！?n子曰：“圣人立象以盡意?！眓言者所以在意，得意而忘言。n艾青：意象是純感官的，意象是具體化了的感覺。n朱光潛：意象是所知覺的事物在心中所印的影子。n朱琦：意象就是滲透著詩人主觀情思的某個客觀物象。n李元洛：意象是客觀的生活場景和詩人主觀的思想感情相交融，通過審美的創(chuàng)造而使文字表現(xiàn)出來的藝

6、術(shù)景象或境界。n余光中：所謂意象即是詩人內(nèi)在之意訴之于外在之象，讀者再根據(jù)這外在之象試圖還原為詩人當(dāng)初的內(nèi)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華夏集華夏集, 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年龐德發(fā)表了他根據(jù)東方學(xué)者芬諾洛薩的遺稿而譯成的中國古詩英譯本Cathay n“The River-Merchants Wife: A Letter” (艾茲拉龐德根據(jù)李白的長干行譯的英文） 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. 龐德龐德致敬致敬n喂，你們這派頭十足的一代，喂，你們這派頭十足的一代，你們這極不自然的一代，你們這極不自然的一代，我見過漁民在太陽下野餐，我見過漁民在太陽下野餐，我見過他們和邋遢的家屬一我見過他們和邋遢的家屬一起，起，我見過他們微笑時露出滿口我見過他們微笑時露出滿口牙，牙，聽過他們不文雅的大笑。聽過他們不文雅的大笑?？晌揖褪潜饶銈冇懈?，可我就是比你們有福，他們就是比我有福；他們就是比我有福；豈不見魚在湖里游，豈不見魚在湖里游，壓根兒沒有衣服。（飛白壓根兒沒有衣服。（飛白）n呵，整潔體面的一代人，呵，整潔體面的一代人， 和陷

16、于困窘處境的一代人，和陷于困窘處境的一代人， 我看見漁民在陽光下野餐，我看見漁民在陽光下野餐，我看見他們攜帶著邋遢的我看見他們攜帶著邋遢的家屬，家屬，我看見他們露著滿嘴牙齒我看見他們露著滿嘴牙齒微笑，微笑，聽到他們難聽的笑聲。聽到他們難聽的笑聲。我比你們幸福，我比你們幸福，他們比我幸福；他們比我幸福；在湖中游的魚，在湖中游的魚， 甚至沒有衣服。（申奧）甚至沒有衣服。（申奧） 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人群中這些面龐的閃現(xiàn)；這些面龐的閃現(xiàn)；濕漉的黑樹干上的花瓣。（趙毅衡）濕漉的黑樹干上的花瓣。（趙毅衡）n這幾張臉在人群中幻景般閃現(xiàn)；這幾張臉在人群中幻景般閃現(xiàn)；濕漉漉的黑樹枝上花瓣數(shù)點。（飛白）濕漉漉的黑樹枝上花瓣數(shù)點。（飛白）n n人群中，這些面孔的鬼影；人群中，這些面孔的鬼影；潮濕的黑樹枝上的花瓣。（余光中）潮濕的黑樹枝上的花瓣。（余光中） n

20、這些面孔浮現(xiàn)于人群；這些面孔浮現(xiàn)于人群；花瓣潮濕的黑樹枝（顏元叔）花瓣潮濕的黑樹枝（顏元叔）n人面幻影人群中，花瓣帶雨青枝頭。人面幻影人群中，花瓣帶雨青枝頭。nQ: What is your way to translate? n 詩中只有兩個意象，人群中的臉和黑色枝條上詩中只有兩個意象，人群中的臉和黑色枝條上的花瓣并置在一起，這完全是在匆忙的行走的人的花瓣并置在一起，這完全是在匆忙的行走的人群中獲得的瞬間意象，寫出了詩人一瞬間的視覺群中獲得的瞬間意象，寫出了詩人一瞬間的視覺印象，一瞬間的內(nèi)心感受。在地鐵車站的密密麻印象，一瞬間的內(nèi)心感受。在地鐵車站的密密麻麻的人群中，詩人站立其間，過往的行人

21、迎面而麻的人群中，詩人站立其間，過往的行人迎面而來，匆匆忙忙從身邊走過，整個氣氛陰森潮濕，來，匆匆忙忙從身邊走過，整個氣氛陰森潮濕，令人窒息。幾張女人和孩子蒼白美麗的面孔時隱令人窒息。幾張女人和孩子蒼白美麗的面孔時隱時現(xiàn)，打破了這種冷清沉悶，給人一種愉快的感時現(xiàn)，打破了這種冷清沉悶，給人一種愉快的感覺，從而感受到一些活力。兩個并置的意象映入覺，從而感受到一些活力。兩個并置的意象映入大腦，構(gòu)成俗陋與優(yōu)美，潮悶與清新對比強烈的大腦，構(gòu)成俗陋與優(yōu)美，潮悶與清新對比強烈的畫幅。既表現(xiàn)了都市人繁忙庸碌的生活，給人以畫幅。既表現(xiàn)了都市人繁忙庸碌的生活，給人以一種擠壓感，描繪出現(xiàn)代人內(nèi)心的焦慮不安、緊一種擠

22、壓感，描繪出現(xiàn)代人內(nèi)心的焦慮不安、緊張動蕩、繁忙而又單調(diào)的生活現(xiàn)實，同時又展示張動蕩、繁忙而又單調(diào)的生活現(xiàn)實，同時又展示了心靈對自然美的依戀與向往。了心靈對自然美的依戀與向往。 日本俳句n俳圣：松尾芭蕉 賞櫻n樹下肉絲n菜湯上n飄落櫻花瓣！小麻雀到我這里來玩呀?jīng)]爹沒娘的小麻雀 -小林一查玉容寂寞淚闌干，玉容寂寞淚闌干，梨花一枝春帶雨。梨花一枝春帶雨。 白居易白居易長恨歌長恨歌去年今日此門中，去年今日此門中，人面桃花相映紅。人面桃花相映紅。人面不知何處去，人面不知何處去，桃花依舊笑春風(fēng)桃花依舊笑春風(fēng) - 崔護崔護n王維：大漠孤煙直，長河落日圓。王維：大漠孤煙直，長河落日圓?！眓紅樓夢紅樓夢第四十

23、八回里說：第四十八回里說：“大漠孤煙直，長河落日圓大漠孤煙直，長河落日圓。想來煙如何直？。想來煙如何直？日自然是圓的。這日自然是圓的。這直直字似無理，字似無理，圓圓字似太俗。合上書一想，倒象是見了字似太俗。合上書一想，倒象是見了這景的。要說再找兩個字換這兩個，竟再找不出兩個字來。這景的。要說再找兩個字換這兩個，竟再找不出兩個字來?！边@就是這就是“詩的詩的好處，有口里說不出來的意思，想去卻是逼真的；又似乎無理的，想去竟好處，有口里說不出來的意思，想去卻是逼真的；又似乎無理的，想去竟是有理有情的。是有理有情的?！边@段話可算道出了這兩句詩高超的藝術(shù)境界這段話可算道出了這兩句詩高超的藝術(shù)境界 。n司空

24、曙司空曙: 雨中黃葉樹，燈下白頭人。雨中黃葉樹，燈下白頭人。n馬戴馬戴: 落葉他鄉(xiāng)樹，寒燈獨夜人。落葉他鄉(xiāng)樹，寒燈獨夜人。 n柳宗元：孤舟蓑笠翁，獨釣寒江雪。柳宗元：孤舟蓑笠翁，獨釣寒江雪。長干行nn 妾發(fā)初覆額，折花門前劇。 郎騎竹馬來，繞床弄青梅。 同居長干里，兩小無嫌猜。 十四為君婦，羞顏未嘗開。 低頭向暗壁，千喚不一回。 十五始展眉，愿同塵與灰。常存抱柱信，豈上望夫臺。 十六君遠行，瞿塘滟澦堆。 五月不可觸，猿聲天上哀。 門前遲行跡，一一生綠苔。 苔深不能掃，落葉秋風(fēng)早。 八月蝴蝶黃，雙飛西園草。 感此傷妾心，坐愁紅顏老。 早晚下三巴，預(yù)將書報家。 相迎不道遠，直至長風(fēng)沙。“滟大如馬，

25、瞿塘不可下滟大如鱉，瞿塘行舟絕 滟大如龜，瞿塘不窺?！?n 記得我劉海初蓋前額的時候，常常折一枝花朵在門前嬉戲。記得我劉海初蓋前額的時候，常常折一枝花朵在門前嬉戲。郎君總是跨著竹竿當(dāng)馬騎來，手持青梅繞著交椅爭奪緊追。長期郎君總是跨著竹竿當(dāng)馬騎來，手持青梅繞著交椅爭奪緊追。長期來我倆一起住在長干里，咱倆天真無邪相互從不猜疑。十四歲那來我倆一起住在長干里，咱倆天真無邪相互從不猜疑。十四歲那年作了你結(jié)發(fā)妻子，成婚時羞得我不敢把臉抬起。自己低頭面向年作了你結(jié)發(fā)妻子，成婚時羞得我不敢把臉抬起。自己低頭面向昏暗的墻角落，任你千呼萬喚我也不把頭回。十五歲才高興地笑昏暗的墻角落，任你千呼萬喚我也不把頭回。十五

26、歲才高興地笑開了雙眉，誓與你白頭偕老到化為塵灰。你常存尾生抱柱般堅守開了雙眉，誓與你白頭偕老到化為塵灰。你常存尾生抱柱般堅守信約，我就怎么也不會登上望夫臺。十六歲那年你離我出外遠去，信約，我就怎么也不會登上望夫臺。十六歲那年你離我出外遠去，要經(jīng)過瞿塘峽可怕的滟要經(jīng)過瞿塘峽可怕的滟堆。五月水漲滟堆。五月水漲滟難辨擔(dān)心觸礁，猿猴難辨擔(dān)心觸礁，猿猴在兩岸山頭嘶鳴更悲凄。門前那些你緩步離去的足印，日子久了在兩岸山頭嘶鳴更悲凄。門前那些你緩步離去的足印，日子久了一個個都長滿青苔。苔蘚長得太厚怎么也掃不了，秋風(fēng)早到落葉一個個都長滿青苔。苔蘚長得太厚怎么也掃不了，秋風(fēng)早到落葉紛紛把它覆蓋。八月秋高粉黃蝴蝶多

27、么輕狂，雙雙飛過西園在草紛紛把它覆蓋。八月秋高粉黃蝴蝶多么輕狂，雙雙飛過西園在草叢中戲愛。此情此景怎不叫我傷心痛絕，終日憂愁太甚紅顏自然叢中戲愛。此情此景怎不叫我傷心痛絕，終日憂愁太甚紅顏自然早衰。遲早有一天你若離開了三巴，應(yīng)該寫封信報告我寄到家來。早衰。遲早有一天你若離開了三巴，應(yīng)該寫封信報告我寄到家來。為了迎接你我不說路途遙遠，哪怕趕到長風(fēng)沙要走七百里！為了迎接你我不說路途遙遠，哪怕趕到長風(fēng)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.妾發(fā)初覆額，折花門前劇。 郎騎竹馬來，繞床弄青梅。 同居長干里，兩小無嫌猜。 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十四為君婦，羞顏未嘗開。 n低頭向暗壁，千喚不一回。 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，愿同塵與灰

30、。 常存抱柱信，豈上望夫臺。,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 十六君遠行，瞿塘滟澦堆。 五月不可觸，猿聲天上哀。 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! 門前遲行跡，一一生綠苔。 苔深不能掃，落葉秋風(fēng)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. 八月蝴蝶黃，雙飛西園草。 感此傷妾心，坐愁紅顏老。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，預(yù)將書報家。 相迎不道遠，直至長風(fēng)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-(顏色） Barrow，chickens（靜動） Fresh ,nice, lively

34、 The beauty of common dailylife 紅色手推車 那么多東西依靠 一輛紅色 手推車 雨水淋得它 晶亮 旁邊是一群 白雞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 致窮老嫗n大聲咀嚼著梅子n在大街上n手里捧著一袋梅子n對她來說n它們味道真好n味道真好，味道n真好n你可以從她津津有味地n吮吸著她手中那半個梅子便可明白n真舒坦n熟透的梅子給她的欣慰n似乎充溢在四周n它們味道真好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霧來了，n踮著貓的腳步。n他弓起腰蹲著，n靜靜地俯視n海港和城市，n又再往前走。n如果說如果說地鐵站里地鐵站里是既簡單又韻味無窮的咖啡，那是既簡單又韻味無窮的咖啡，那霧霧則則是簡約清新的綠茶。是簡約清新的綠茶。霧霧也來自詩人某日清晨對港口城市芝也來自詩人某日清晨對港口城市芝加哥的凝視，描寫了霧的飄逸流動，來去悄然。詩人心中對此加哥的凝視，描寫了霧的飄逸流動，來去悄然。詩人心中對此情此景瞬間生成一個幻象情此景瞬間生成一個幻象貓，這個給人以神秘感的小動物，貓，這個給人以神秘感的小動物，它藍色的眼睛，輕盈的步伐，敏捷的行動馬上浮現(xiàn)在讀者的腦它藍色的眼睛，輕盈的步伐，敏捷的行動馬上浮現(xiàn)在讀者的腦中。在西方文化中，貓還是邪惡和危險的象征。與中。在西方文化中，貓還是邪惡和危險的象征。與地鐵站里地鐵站里相比，相比，霧霧的意象形象生動，結(jié)構(gòu)也清晰明朗。小詩共分為的意象形象生動，結(jié)構(gòu)也清晰明朗。小詩共分為三段，開始兩行為第一部分，霧悄然而來如同貓的腳步。接下三段，開始兩行為第一部分，霧悄然而來如同貓的腳步。接下來三至五行中，這只小貓已從緩行變?yōu)槎鬃?，貓的形象也逐漸來三至五行中，這只小貓已從緩行變?yōu)槎鬃埖男蜗笠仓饾u清晰，能夠眺望海港和城市，也喻示著此時的霧已愈