ContentsLifeHismajorworksFamousworksInfluencefactorsonPoundandhisinfluenceontheworldThelifeofPoundborninHailey,IdahogrewupandwaseducatedmainlyinPennsylvania.In1901attheageof15,heenteredtheUniversityofPennsylvania

twoyearslater,transferredtoHamiltonCollegetheUniversityofPennsylvania

HamiltonCollegeIn1908hemovedtoEurope,livingfirstinVenicebuteventuallysettlinginLondon.Poundself-publishedALumeSpento《燈火熄滅之時》

,hisfirstpublishedcollectionofshortpoems,whilelivinginVenice.IntheyearsbeforetheWorldWarI,PoundwaslargelyresponsiblefortheappearanceofImagism（意象主義）,andcoinedthenameofthemovementVorticism（漩渦派）EzramarriedtheartistDorothyShakespearin1914.In1920,hemovestoParis,thensettledinItalyin1924.

DuringthesecondWorldWar,heleanedinthedirectionofMussolini’sfascisttotalitarianism（極權(quán)主義）havingmadeanti-Americanradiobroadcasts,hewasarrestedasatraitor（叛國者）in1945.senttotheUS,wherehewasdeemedmentallyunfittostandtrialfortreason.

Poundwasconfinedfor12yearsinahospital(actuallyprison)forthecriminallyinsaneinWashington.DuringthistimehetranslatedworksofancientGreekandancientChineseliterature.Whileinprison,hewasawardedaprestigiouspoetryprizein1949forhislastCantos.

In1958hereturnedtoItaly,wherehecontinuedtowriteandmaketranslationsuntilhediedin1972.ImagismThedoctrineandpoeticpracticeofasmallbutinfluentialgroupofAmericanandBritishpoetscallingthemselvesImagistsbetween1909-1917.LedatfirstbyEzraPound,thenafterhisdefectiontoVorticismbyAmyLowell.Imagismischaracterizedbythe3principles:i.Directtreatmentof“thething”,whethersubjectiveorobjectiveii.Touseabsolutelynowordthatdoesnotcontributetothepresentationiii.Asregardsrhythm,tocomposedinthesequenceofthemusicalphrase,notinthesequenceofametronomeInaStationoftheMetro

龐德最著名的作品，要屬意象派名作《在地鐵站內(nèi)》：

InaStationoftheMetroTheapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.

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）

人潮中這些面容的忽現(xiàn)；濕巴巴的黑樹丫上的花瓣。（羅池）人群中幻影般浮現(xiàn)的臉潮濕的，黑色樹枝上的花瓣（鐘鯤）人群中，這些面孔的鬼影；潮濕的黑樹枝上的花瓣。（余光中）人群里這些臉忽然閃現(xiàn)；花叢在一條濕黑的樹枝。（流沙河）

《在地鐵站內(nèi)》僅兩行、14個字，是一首單一意象詩（one-imagepoem）。它是龐德根據(jù)在巴黎協(xié)和廣場地鐵站的印象寫成的。詩雖短，但詩人最后落筆定稿前經(jīng)過相當(dāng)一段時間的醞釀和推敲。在地鐵站龐德眼前閃過一張張美麗的臉。在歸途中，這些臉在他眼前反復(fù)出現(xiàn)，直到最后他們逐漸變成了一片片彩色印花色底。這時他產(chǎn)生了一個念頭，要作出一幅純粹表現(xiàn)色彩的斑斑點點的非寫實主義的畫，但他不會作畫，只能以詩代之。詩的兩行互相依存。apparition是幻象、幽靈，使人們聯(lián)想到來來往往的乘客的一張張臉。第二行的petal花瓣則傳遞了美的信息。這一信息由于有深色而又帶濕氣的樹枝的反襯而變得突出鮮明了，同時也給人以模糊重疊之感，意境也就更豐滿了。

HisMajorWorks

Alume

Spento(1908)《燈火熄滅之時》Personea

(1909)《人物》TheSpiritofRomance(1910)《精神浪漫史》Cathay(1915)《神州集》HomagetoSextusProperties(1919)《向賽克斯特斯·普羅波蒂斯致敬》HughSelwynMauberley(1920)《休·賽爾溫·毛伯利》

Cantos(1917-1969)

《詩章》Cantos《詩章》along,incompletepoemin120sections,eachofwhichisacanto.Mostofitwaswrittenbetween1915and1962,althoughmuchoftheearlyworkwasabandonedandtheearlycantos,asfinallypublished,datefrom1922onwards.TheCantoscanappearonfirstreadingtobechaoticorstructurelessbecauseitlacksplotoradefiniteending.

Itisabook-lengthwork,widelyconsideredtopresentformidabledifficultiestothereader.Strongclaimshavebeenmadeforitasthemostsignificantworkofmodernistpoetryofthetwentiethcentury.AsinPound'sprosewriting,thethemesofeconomics,governance,andcultureareintegraltoitscontent.TheCantoshasalwaysbeencontroversial;initiallysobecauseoftheexperimentalnatureofthewriting.Thecontroversyhasintensifiedsince1940whenPound'spublicapprovalforMussolini'sfascismbecamewidelyknown.《詩章》簡介龐德主要的詩作是一部長詩，以“詩章”的形式分批發(fā)表，自1917年開始，直至1959年。1969年他又發(fā)表未完成的片斷。全詩共包括109首“詩章”及8首未完成的草稿。據(jù)龐德說他從1904年就開始計劃寫一首現(xiàn)代史詩，包括世界文學(xué)、藝術(shù)、建筑、神話、經(jīng)濟學(xué)、歷史名人傳等方面的內(nèi)容，以反映人類的成就，并描繪一個由一些思想正確、有行動能力的人物所領(lǐng)導(dǎo)的美好的文化。這部長詩晦澀難讀，而且涉及16世紀(jì)的意大利建筑、普羅旺斯的詩歌、孔子哲學(xué)、中古的經(jīng)濟史等。

長詩第1至7章是關(guān)于詩的構(gòu)思及主題。

8至11章是寫一位威尼斯軍人及藝術(shù)庇護人西吉斯門多·馬拉特斯塔。

12至13章是將現(xiàn)代的經(jīng)濟與孔子道德哲學(xué)所向往的社會秩序相對比。

14至16章是以現(xiàn)代倫敦為背景，描寫地獄的一條通道，它通向中古時期的威尼斯，這是詩人心目中的天堂的象征。龐德還在長詩里寫了他愛慕的幾位美國總統(tǒng)31至33章是關(guān)于杰弗遜，34章是關(guān)于約翰·昆西·亞當(dāng)斯，37章寫馬丁·范布倫，62至71章寫約翰·亞當(dāng)斯。龐德對墨索里尼的經(jīng)濟政策、文化藝術(shù)政策十分欣賞，認(rèn)為他是當(dāng)時最好的領(lǐng)袖，因此他的第41章長詩專寫墨索里尼。52至61章是寫中國孔子的哲學(xué)、倫理及其所追求的和平、昌盛的社會秩序。龐德在長詩中還攻擊了高利貸剝削，認(rèn)為金融界及政府對財富、貨幣的錯誤控制是戰(zhàn)爭的根源。長詩中突出的一部分是當(dāng)龐德被監(jiān)禁在比薩俘虜營中所寫的《比薩詩章》。這部作品在1948年獲得博林根詩獎，當(dāng)時龐德還是一個戰(zhàn)犯,在醫(yī)院中等候?qū)徲?這個決定引起很大的爭論?！侗人_詩章》描寫一次穿過“靈魂的黑夜”走向愛之女神的過程。龐德的詩學(xué)對現(xiàn)代英美詩歌的發(fā)展具有重大的作用。20世紀(jì)初，他通過對意象派詩的支持，對傳統(tǒng)的詩學(xué)進行了沖擊。TheinfluencesofCantosDespiteallthecontroversysurroundingbothpoemandpoet,TheCantoshasbeeninfluentialinthedevelopmentofEnglish-languagelongpoemssincetheappearanceoftheearlysectionsduringthe1920s.EzraPound艾茲拉·龐德

isinfluencedbyHomerDanteAncientchinaHomer

alegendaryancientGreekepicpoet,andtheauthoroftheepicpoemstheIliadandtheOdyssey

PoundowesheavilytoHomerHismajorpoemsoftentaketheformofvoyageHisherohasalwaysbeenanOdysseusfigureThenarratorofHughSelwynMauberleyisOdysseus-PoundThesubstructureoftheCantosisHomericTheinfluenceofDanteDante,wasanItalianpoetoftheMiddleAges.InItalyheisknownas"theSupremePoet"andisalsocalledthe"FatheroftheItalianlanguage".Pound’senthusiasmforDantewasunbounded.TheinfluenceoftheItalianpoetismostevidentintheCantosDante'sjourneythroughtherealmshaveparallelswithPound'examinationofindividualexperiencesintheCantos.AncientChina

ThegreatestculturalinfluenceoverPoundcameperhapsfromancientChina,especiallyConfucius.theinfluenceofChinesecultureonEzraPoundreflectedinhispoems,Cathay

andTheCantos.In1915,PoundpublishedCathay,asmallvolumeofpoemsthathedescribedas“ForthemostpartfromtheChinesepoetLiPo(李白）anditwas

consideredamongthemostbeautifulofhiswritings.1915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“TheRiver-Merchant‘sWife:ALetter”(艾茲拉·龐德根據(jù)李白的《長干行》譯的英文）waspublishedin1915inEzraPound'sthirdcollectionofpoetry,Cathay

TheRiver-Merchant’sWife:ALetter

Whilemyhairwasstillcutstraightacrossmyforehead

Iplayedaboutthefrontgate,pullingflowers.

Youcamebyonbamboostilts,playinghorse,

Youwalkedaboutmyseat,playingwithblueplums.

AndwewentonlivinginthevillageofChokan:

Twosmallpeople,withoutdislikeorsuspicion.

AtforteenImarriedMyLordyou.

Ineverlaughed,beingbashful.

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。

長干行(李白)

Loweringmyhead,Ilookedatthewall.

Calledto,athousandtimes,Ineverlookedback.

AtfifteenIstoppedscowling,

Idesiredmydusttobemingledwithyours

Foreverandforeverandforever.

WhyshouldIclimbthelookout?

Atsixteenyoudeparted,

YouwentintofarKu-to-en,bytheriverofswirlingeddies,

Andyouhavebeengonefivemonths.

Themonkeysmakesorrowfulnoiseoverhead.

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！十六君遠行瞿塘滟預(yù)堆。五月不可觸猿鳴天上哀。門前遲行跡，一一生綠苔。苔深不能掃，落葉秋風(fēng)早。八月蝴蝶來，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。Youdraggedyourfeetwhenyouwentout.

Bythegatenow,themossisgrown,thedifferentmosses,

Toodeeptoclearthemaway!

Theleavesfallearlythisautumn,inwind.

Thepairedbutterflies