AmericanLiteratureModernismSectionOneAmericanModernismSectionTwoModernPoetrySectionThreeAmericanDramaSectionFourModernNovelsAmericanModernism(1918—1945)AmericanModernismBackgroundsofAmericanModernismDefinitionandFeaturesofAmericanModernism

BackgroundofModernism

1TheEffectoftheFirstWorldWarandtheGreatDepression:2NewTheoriesandIdeas

a.German:KarlMarxandNietzscheb.Austrian:SigmundFreudc.WilliamJamesandCarlJungd.FrenchImpressionism,GermanExpressionism‘a(chǎn)ndCubism

ImpressionismExpressionismCubismDefinitionofModernismDuringthefirstdecadesofthe20thcenturymodernismbecameaninternationaltendencyinartandliterature.ItbeganinGermanyinthe1890s,andspreadworldwide,andendedintheearly1940s.Itincludedawiderangeofartisticexpressionssuchassymbolism,impressionism,post-impressionism,imagism,expressionismandsoon.Thedistinctivefeatureofliterarymodernismwasitsstrongandconsciousbreakwithtraditionalforms,perceptionsandtechniquesofexpression,anditsgreatconcernwithlanguageandallaspectsofitsmedium.AEzraPound(1885-1975)

and

ImagistMovement(1909—1917)

FollowersofPoundBT.S.Eliot(1888—1965)and

NewPoetryMovement

FollowersofEliotCE.E.Cummings(1894—1962)DThreeTypesofPoetsModernPoetryImagistMovementDefinitionofImagismThreeprinciplesofImagismExamplesofImagistpoetryTheImagistMovement(Imagism)LedbyEzraPoundandflourishedfrom1909to1917,themovementadvancedmodernisminartswhichconcentratedonreformingthemediumofpoetryasopposedtoRomanticism,especiallyTennyson'swordinessandhigh-flownlanguageinpoetry.ThethreeprinciplesfollowedbytheImagistswere:(1)"Directtreatment"(2)"Economyofexpression"(3)“Freeverse"DirectTreatmentThesubjectofthepoemmustbeexpressedinsuchawayastoresembleitandreproduceitascloselyaspossible.Simplelanguagemustbeusedtocreatean"image"whichthereadercanimmediatelyseeinhisownimagination.Eachwordmustbeusedwithgreatexactitudetoproduceapreciseimageandnothingmore.

EconomyofexpressionNowordmustbeusedwhichdoesnotcontributedirectlytotheimage.Thelanguagemustbeconcentrated.Theremustbenodrawingofconclusions,noexplanations.

FreeverseNounnecessarywordsmaybeincludedinordertomakemeterorarhyme.Apoemshouldbecomposedwiththephrasingofmusic,notametronome.ExamplesofImagistPoemsInaStationoftheMetro

byEzraPoundTheRedWheelbarrow

byWilliamCarlosWilliamsInaStationoftheMetroTheapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.

EzraPoundTheRedWheelbarrowSomuchdependsuponaredwheelbarrowglazedwithrainwaterbesidethewhitechickensWilliamCarlosWilliamsEzraPound(1885—1972)埃茲拉.龐德HislifeHisworksHiscontributionHisLife(1)Bornin1885inHailey,IdahoBroughtupinPennsylvaniaStudiedRomancelanguagesatcollegeanduniversityIn1908sailedtoEuropeandfirstpoetryinVeniceArrivedinLondonandfoundedImagismIn1912editorof“Poetry”andblue-penciled“TheWasteLand”Hislife(2)In1913beganstudyingChineseLanguageandancientChinesecultureIn1914sponsoredVorticismIn1915finished“Cathay”andbeganworkingon“Cantos”“HomagetoSextusPropertiusin1917“HughSelwynMauberley”in1920TreasoninWorldWarTwoandreleasedin1958ReturnedtoItalyanddiedtherein1972Hisworks

Personae(1909)《人物》Exultations(1909)《狂喜》Cathay(1915)譯著《華夏》HomagetoSextusPropertius(1917)《向賽克斯特斯.普羅波蒂斯致敬》HughSelwynMauberley<休.賽爾溫.毛伯利>(1920)TheCantos<詩章>TheABCReading

(LiteraryEssay)

AEstablishedImagismwithBritishpoetT.E.Hulmein1908;BSuggested3principlesforImagismwithRichardAldingtonandHildaDoolittleCSponsoredVorticismwithpainterWindhamLewisin1914;DLeadingroleinpoeticrenovationandrenaissanceinthefirst25yearsofthe20thcenturyEFatherofmodernAmericanpoetryHiscontributionNewPoetryMovementTheyears1912—1914witnessedtheappearanceofanewpoeticrevolution.Thenewpoetswroteapoetrythatdefiedmostoftheacceptedrules,anddealtwithsubjectswhichhadnotbeendealtwith.Theywroteinnewwaysandtechniques.Thenewversewasresponsivetothefragmentizednatureofmodernlife.T.S.Eliot

(1888—1965)Hislife

HisworksHiscontributionAbouthisworkHislifefamousAmericanpoet,playwrightandcriticmajorfigureinNewPoetryMovementakeytomodernBritishandAmericanpoetryBorninSt.Louis,Missouri;receivedagoodeducation,especiallywithclassicliterature;wenttoHarvardin1906;exploredthepoetryofthe17thMetaphysicalpoets;finishedTheLoveSongin1911;settleddowninEnglandin1915teaching,workingasabankclerk,writingbookreviews,sufferinganunhappymarriagewhilecomposingpoetry.HisworksPoems:TheLoveSongofJ.AlfredPrufrock<J.阿爾弗雷德.普魯弗洛克的情歌>Gerontion<小老頭>TheWasteLand<荒原>TheHollowMen<空心人>Ash-Wednesday<圣灰節(jié)>FourQuartets<四個四重奏>Dramaticworks:SweeneyAgonistes;MurderintheCathedral;TheCocktailParty,TheConfidentialClerk;HiscontributionagiveroflawsandthearbiteroftasteinnewpoetryandcriticismaliterarydictatorinAmericanliteraryhistory.

Hisbasicthemesofhiscriticismconcernedtherelationshipbetweentraditionandindividualtalent,andbetweenthepast,thepresentandthefuture.Hisfamousdoctrineonpoetsandpoetryisknownasthe“impersonaltheory”orthetheoryofimpersonalityandobjectivity.Oneofthethingsthatthistheoryemphasizesistherelationofapoemtothepoemsbyotherauthorsandsuggests“theconceptionofpoetryasalivingwholeofallthepoetrythathaseverbeenwritten”.Itexplainstheimportanceoftraditionandthepast.Anotherthingthatthistheorytriestofocusonistherelationofthepoemtoitsauthor.aHestartedthereevaluationofpoetslikeMiltonandtheRomantics.bHedidmoretopopularizethe17th-centuryMetaphysicalpoetsandlate-19th-centuryFrenchSymbolism.cHeemphasizedtheneedtoseethevitalityoftheliteratureofthepastandtodrawfromliterarytraditionsotherthanEnglishliterature.Hispoetryisdifficulttoread:1)Foronethingtheimagesandsymbolsseemverymuchdisconnected.2)Anotherdifficultyliesinhislearnedquotationsandallusions.HisTheWasteLand(P180-183)1)Itwascomposedintheautumnof1921.2)ItsepigraphistakenfromtheSatyriconofPetroniusrepresentingthemotifandthesombermoodofthepoem:desperatestruggletoattainsalvation.3)ItstitledrawsitssignificancefromtheFisherKinglengend.4)Itrevealshisstronghistoricalsense:thepastisofgreatsignificancetowriters.5)Itwasapoemofdespairforthe1920sand1930s.E.E.CummingsHislifeHisworksHiscontributionHisstyleHisworks

Poems:TulipsandChimneys<郁金香和煙囪>XLIPoems<詩四十一首>Is5<是5>Nothanks<不謝>CompletePoems<全集>Drama:Him<他>SantaClaus<圣誕老人>Prose:TheEnormousRoom<巨大的房間>--4months’wrongexperienceinprisonEimi<艾米>--hisexperienceinRussiaSixNon-lectures<六個非講座>--speechesatHarvardHiscontributionAgainsttraditionalpoetrywithboldattemptsatcomposingpoemsUniquestyleCubism&Dadaism--guidehispoemsHisstyleNewspatialarrangementofwords;Newpoemsdealingwith“un-poeticsubjects”;Hisscramblewordorderinsyntacticanagram;Hisextensionofthesemanticpossibilitiesofwords(hechoosestostretch,squeeze,orintensifybytypographicalacrobaticsorgrammaticalinnovations);(seeanexampleonP208)inJust--springwhentheworldismud-lusciousthelittlelameballoonmanwhistlesfarandweeandeddieandbillcomerunningfrommarblesandpiraciesandit’sspringwhentheworldispuddle-wonderfulthequeeroldballoonmanwhistlesfarandweeandbettyandisbelcomedancingfromhop-scotchandjump-ropeandit’sspringandthe

goat-footedballoonmanwhistlesfarandweeThreeTypesofModernPoetsA:ChicagoPoetsB:LeadingfiguresinthepoeticrevolutionC:in-betweenpoets

ChicagoPoetsVachelLindsay(1879—1931)維切爾.林賽EdgarLeeMasters(1869—1950)埃德加.李.馬斯特斯CarlSandburg(1878—1967)卡爾.桑德堡HartCrane(1899—1932)哈特.克蘭/克萊恩Leadingfiguresinthepoeticrevolution

EzraPound(1885—1972)

埃茲拉.龐德T.S.Eliot(1888—1972)T.S.

艾略特E.E.Cummings(1894—1962)

卡明斯FollowersofImagism:AmyLowell(1874—1925)艾米.洛威爾HildaDoolittle(1886—1961)（希爾達.杜利特爾）WilliamCarlosWilliams(1883—1963)威廉.卡洛斯.威廉斯FollowersofT.S.Eliot:WallaceStevens(1879—1955)

華萊士.史蒂文斯

in-betweenpoets

RobertFrost(1874—1963)羅伯特.弗羅斯特EdwinArlingtonRobinson(1869—1935)埃德溫.阿靈頓.羅賓遜ChicagoPoets

Chicago:therevolutionarycenteragainsttraditionalpoetryPoetry<詩刊>(amagazine)AdheretothetraditionofWhitmanReflectfeelingsoflaboringpeopleVachelLindsay(1879—1931)維切爾.林賽“atrampandabeggar”TheTreeofLaughingBells<笑鈴樹>RhymesToBeTradedforBread<換面包的韻文>GeneralWilliamBoothEntersintoHeavenandOtherPoems<威廉.布什將軍入天國及其它>TheCongoandOtherPoems<剛果及其它>--widelyrecognizedasanexponentofthe“newpoetry”Triedtostimulateapopulartasteforpoetrythroughamethodthathecalled“thehighervaudeville”inwhichhisrecitationsweremarkedbyadramaticuseofgestureandchant,emphasizinghisstrongrhythmsandsyncopation.Eg:AbrahamLincolnWalksatMidnight<亞伯拉罕.林肯走在午夜>;TheCongo<剛果>TheSanta-FeTrail<圣誕老人的足跡>TheChineseNightingaleandOtherPoems<中國夜鶯及其它>--markedthepeakofhisartisticachievement:itstitlepoemandTheGhostofBuffaloes<水牛之魂>InPraiseofJohnnyAppleseed—oneofhismostsignificantpieces<贊揚約翰尼.阿普爾希德>Latercollectionswithcomparativelylittlevalue:TheDanielJazz<預言家的爵士樂>TheGoldenWhalesofCalifornia<加利福尼亞金鯨>CollectedPoems<詩集>TheCandleintheCabin<小屋里的蠟燭>JohnnyAppleseed<約翰尼.阿普爾希德>Hisproseworksinclude:AdventuresWhilePreachingtheGospelofBeauty<普美之旅>AHandyGuideofBeggars<乞丐簡便指南手冊>TheGoldenBookofSpringfield—amysticUtopiabasedonhisgospelofbeauty<斯普林.費爾德金書>TheLitanyofWashingtonStreet—abookofpoliticalessays<華盛頓街連禱>HisbiographywaswrittenbyhisfriendEdgarLeeMastersMarkHarris’sCityofDiscontent—aninterpretationofhislifeandhisregionEdgarLeeMasters(1869—1950)埃德加.李.馬斯特斯Kansas-bornlawyerinChicagoFirstenteredliteratureasanavocationABookofVerse<韻文集>Maximilian—blank-versedrama<麥克思米倫>SpoonRiverAnthology:free-verseepitaph<斯普恩河選集>—suddenlycatapultedintofameTheNewSpoonRiver--abittercommentaryontheviciousurbanstandardsofchangingAmerica<新斯普恩河>DomesdayBook<末日裁判書>anditssequelTheFateoftheJury〈陪審團的命運〉—amongthebestofhislaterpoetryotherlaterpoetry:SongsandSatires<歌曲與諷刺>TheGreatValley<大山谷>TowardtheGulf<朝向海灣>StarvedRock<饑餓的巖石>Dramaticpoems:Lee<李>JackKelso<杰克.凱爾索>Godbey<高德拜>LicheeNuts<里奇怪人>—statementsofphilosophyintheChinesemannerInvisibleLandscapes<看不見的風景>PoemsofPeople<人們的詩>TheNewWorld<新世界>—panoramasofAmericaanditsoutstandingfiguresIllinoisPoems<伊利諾里斯詩歌>AlsowroteproseandnovelCarlSandburg(1878—1967)卡爾.桑德堡AmericanmodernpoetandbiographicalwriterBenefitfromhishumblepersonalbackgroundsandrichexperienceWriteplainpoemsforplainpeople“為樸素的人民寫樸素的詩”Tobesoundofthepeople成為“人民的聲音”ContributiontocolloquialstyleofAmericanliteraturebeawardedtheAmericanPoetrySocietyprizein1919and1920beawardedthePulitzerPrizeforhisCompletePoemsin1950<詩歌全集>HisworksInRecklessEcstasy<心醉神迷>ChicagoPoems<芝加哥詩集>FamousImagistpoems:Fog<霧>Lost<失落>TheHarbor<港口>←→Chicago<芝加哥>CoolTombs<清冷的墓>IAmthePeople,theMob<我是人民群眾>ThePeople,Yes<人民，是的>TheAmericanSongbag<美國歌集>--folksongsofcowboys,vagabondandblackpeopleBiographyofLincoln(6volumes)<林肯傳>1autobiography1historicalnovelCornhuskers<碾米機>SmokeandSteel<煙與鋼>GoodMorning,America<早安，美國>CollectedPoems<詩集>HartCrane(1899—1932)哈特.克蘭/克萊恩Poorchildhood，adolescenceandlifeWhiteBuildings<白色的房屋>--early23poemsTheBridge<橋>Hewasnotapproveduntil1937.AmyLowell(1874—1925)艾米.洛威爾FemaleAmericanpoetandcriticLeadingadvocatorandorganizerofImagistMovementtogetherwithEzraPoundAmplifyPound’sprinciplesforImagism(3→6)JohnKeats(1925)<濟慈傳>ADomeofManyColoredGlass(1912)<彩色玻璃大廈>SwordBladesandPoppySeed(1914)<劍刃與罌粟花籽>Men,womenandGhosts(1916)<男人，女人和幽靈>PicturesoftheFloatingWorld(1919)<浮世圖>Legend(1921)<傳奇>HildaDoolittle(1886—1961)（希爾達.杜利特爾）Well-knownasanAmericanImagistpoetOnemajorrepresentativeofImagismOnceloverandlaterfriendofEzraPoundH.D.(pennamegivenbyEzraPound)Trilogy<三部曲>:TheWallsDoNotFall(1944)<不倒的墻>TributetoAngles(1945)<向天使的獻禮>TheFloweringoftheRod(1946)<枝干開花----combinepersonalexperiencewithcontemplationonhistoryUsingclassicalimages運用古典意象:Hymen(1921)<海門>HeliodoraandOtherPoems(1924)<赫里奧多拉及其它>CollectedPoems(1925,1940);<詩集>HeleninEgypt(1961)<海倫在埃及>Herlongnovels:Hedylus(1928)<赫迪拉斯>BidMetoLive(1960)<叫我活著>WilliamCarlosWilliams(1883—1963)威廉.卡洛斯.威廉斯amostimportantfigureinmodernAmericanpoetryuniquetheoryonliterarycomposition“sayit!Noideasbutinthings.”(BookI,Paterson)“思想僅寓于事物中”Freeverseandaccentualverse

自由體詩、重音詩FamousAmericanpoetHisworksPoem詩集<詩>TheTempers<氣質(zhì)>SpringandAll<春天及一切>ANoveletteandOtherProse<一篇中篇小說及其它散文作品>KorainHell<柯拉在地獄中>CollectedEarlierPoems<早期詩集>CollectedLaterPoems<晚期詩集>TheDesertMusic<沙漠音樂>JourneytoLove<愛的旅程>PicturesfromBreughed<布魯格爾的名畫>TheRedWheelbarrow<紅色手推車>Paterson<佩特森>WhiteMule小說<白騾>三部曲

ManyLovesandOtherPlays<愛情的夢及其它劇作>IntheAmericanGrain<美國性格>SelectedEssays<散文選>SelectedLetters<書信選>Autobiography<自傳>WallaceStevens(1879—1955)華萊士.史蒂文斯UnsuccessfullawyerandthenworkedininsurancecompanyInsuranceandpoetry—realityandimagination/artvalueofartandmissionofartistsdutyofpoetsHarmonium<風琴>(firstcollectionofhispoemsattheageof44)NotestowardaSupremeFiction<關(guān)于高度虛構(gòu)的筆記>TheIdeaofOrders<關(guān)于秩序的思想>TheManwiththeBlueGuitar<帶藍吉它的人>PartsofaWorld<一個世界的某些部分>TransporttoSummer<轉(zhuǎn)入夏季>TheAurorasofAutumn<秋天的晨曦>CollectedPoems<詩集>OpusPosthumous<遺作集>TheNecessaryAngel<必不可少的安琪兒>RobertFrost(1874—1963)

羅伯特.弗羅斯特“NewEnglandpoet”RobertFrostwasthemostpopularAmericanpoetofthiscentury.

receivedfourPulitzerPrizesforhispoetry:

TheRoadNotTaken

MendingWall

FireandIceAcquaintedwiththeNight

RobertFrostLiteraryAchievementsHisworksHisstyleAppreciationofhispoems:1StoppingbyWoodsonaSnowyEvening2TheRoadNotTakenLiteraryAchievementsFrostmainlywroteaboutthelandscapeandpeopleinNewEngland.Hewrotemanypoemsthatinvestigatethebasicthemeofman'slife.

Hisworks:

Mybutterfly<我的蝴蝶>ABoy’sWill<少年的意志>NorthofBoston<波士頓以北>MountainInterval<山間>NewHampshire<新罕布什爾>West-RunningBrook<向西流去的小溪>AFurtherRange<又一片牧場>MendingWall<修墻>AfterApple-Picking<摘蘋果之后>TheBirches<白樺樹>AWitnessTree<見證樹>SteepleBush<尖塔叢>AMasqueofMercy<假慈悲>CollectedPoems<詩選>CompletePoems<詩歌全集>IntheClearing<林間空地>wonPulitzerPrize4timesAppointedasprofessororvisitingpoetbydozensofuniversitiesBeentitled“nationalpoet”byAmericansenateatageof75RecitedhispoemTheGiftOutrightonInaugurationDayofJohnKennedy<全心全意的奉獻>Lastpoematageof88

Hisstyle

Frosttooknopartintheliterarymovementinthe20thcentury.Hedidnotexperimentwithform,asmanypoetsdidinthe1920's.Heusedconventionalforms,plainandagracefulstyle.Hispoemswereverycarefullyconstructedyethemadethemseemeffortlessbyusingcolloquiallanguageandfamiliar,conversationalrhythms.Imagesandmetaphorsinhispoemsaredrawnfromthesimplecountrylifeandthepastorallandscapethatcanbeeasilyunderstood--mowing,scything,wind'srustlinginthegrass,bird'ssinging,aswellasponds,roads,thecycleoftheseasons,andthealterationofnightandday.

MostofFrost'spoemsareshortanddirectontheinformationlevel,andtheyhavesimplediction.However,profoundideasaredeliveredunderthedisguiseoftheplainlanguageandthesimpleform.

Byusingsimplespokenlanguageandconversationalrhythms,Frostachievedaneffortlessgraceinhisstyle.Hecombinedtraditionalverseformssonnet,rhymingcouplets,blankverse.Hewroteinboththemetricalformsandthefreeverse,andsometimeshewroteinaformthatborrowsfreelyfromthemeritsofboth,intheformthatmightbecalledsemi-freeorsemi-conventional.

StoppingbyWoodsonaSnowyEveningbyRobertFrostWhosewoodstheseareIthinkIknow.Hishouseisinthevillagethough;HewillnotseemestoppinghereTowatchhiswoodsfillupwithsnow.MylittlehorsemustthinkitqueerTostopwithoutafarmhousenearBetweenthewoodsandfrozenlakeThedarkesteveningoftheyear.HegiveshisharnessbellsashakeToaskifthereissomemistake.Theonlyothersound’sthesweepOfeasywindanddownyflake.Thewoodsarelovely,darkanddeep,ButIhavepromisetokeep,AndmilestogobeforeIsleep,AndmiletogobeforeIsleep."StoppingbyWoodsonaSnowyEvening'

Itrepresentsamomentofrelaxationfromtheonerousjourneyoflife,analmostaestheticenjoymentandappreciationofnaturalbeautywhichiswholesomeandrestorativeagainstthechaoticexistenceofmodernman.

TheRoadNotTaken

byRobertFrostTWOroadsdivergedinayellowwood,AndsorryIcouldnottravelbothAndbeonetraveler,longIstoodAndlookeddownoneasfarasIcouldTowhereitbentintheundergrowth;

Thentooktheother,asjustasfair,Andhaving