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世紀早期由英美詩人發(fā)起的反對維多利亞式傷感主義的一場文學(xué)運動，主張使用自

6、由體、普通的語言模式和清晰具體的影象。,意象派與龐德 人們一般認為，意象派詩歌是美國現(xiàn)代派詩歌的起點，它成了20世紀美國詩歌的另一傳統(tǒng)。1912年，龐德首次采用了“意象派”這個詞. 意象派最初并非是一個有組織、有計劃的詩歌流派，而是一批有志于詩歌創(chuàng)作的詩人，他們不滿于當時詩歌創(chuàng)作的現(xiàn)狀，激烈批判19世紀后期浪漫主義詩歌陳舊的夸張的想象、矯揉造作的情感，力圖從古希臘抒情詩、法國象征主義自由詩、日本俳句和中國古典詩中吸取營養(yǎng)和靈感，一心要醫(yī)治詩歌語言的毛病。正是這種共同的興趣和目的使他們走到了一起，共同探索詩歌創(chuàng)作的新途徑，于是，創(chuàng)造了20世紀詩歌史上一個新的詩歌流派，即意象主義。 。,意象派創(chuàng)作

7、的特點： 著重表現(xiàn)詩人的直觀印象，不宣泄感情、宣點講道理或敘述故事； 采用暗示的手法，詩人觀察細膩、新鮮； 刻意求新、短小濃縮，一首詩往往只有五、六行； 強調(diào)詩的內(nèi)在的音樂性，提倡自由詩體。,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；（這幾張臉在人群中幻景般閃現(xiàn)；） Petals

8、 on a wet, black bough.（濕漉漉的黑樹枝上花瓣數(shù)點。） 在地鐵站內(nèi)僅兩行、14個字，是一首單一意象詩（one-image poem）。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)過相當一段時間的醞釀和推敲。,從這首詩中，我們充分可以體驗到，人面和花瓣的對應(yīng)制造的底片疊印一般的傳神效果，而這種效果也真真切切反映了龐德對意象的內(nèi)涵。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

9、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。,Major Works 1934 Homage to Sextus Propertius. Faber, London (poems)向薩克斯特斯.普羅波蒂斯致敬1920 Hugh Selwyn Mauberley. Ovid Press, London.休.賽爾溫.莫伯利Cantos詩章,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,龐德在促進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詩歌如俳句詩的寫作形式及特點。 他在長詩詩章中闡述孔子學(xué)說，在1915年出版的中國中收集并翻

12、譯了十幾首中國古詩。龐德不太懂中文，他的譯作是由日譯本轉(zhuǎn)譯的。龐德還曾譯過大學(xué)、中庸、論語等。,艾茲拉龐德譯的英文長干行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.,長干行李白妾發(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。,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(自動的）style.4.Difficult toae read and stud