美國文學(xué)第12章Eliot

1、Chapter 12Eliot StevensWilliamsT.S. Eliot(18881965) T(homas) S(tearns) Eliot was born in St. Louis in 1888 to a family with prominent New England roots. Eliot largely abandoned his Midwestern roots and chose to ally himself with both New and old England throughout his life. He attended Harvard as an

2、 undergraduate in 1906, was accepted into the literary circles, and had a predilection for 16th- and 17th-century poetry, the Italian Renaissance (particularly Dante), Eastern religion, and philosophy. Perhaps the greatest influence on him, however, were the 19th-century French Symbolists such as Ch

3、arles Baudelaire, Stephene Mallarme, and Eliots favorite, Jules Laforgue. Eliot took from them their sensual yet precise attention to symbolic images, a feature that would be the hallmark of his brand of Modernism. Eliot also earned a masters degree from Harvard in 1910 before studying in Paris and

4、Germany. He settled in England in 1914 at the outbreak of World War I, studying at Oxford, teaching, and working at a bank. In 1915 he married British writer Vivienne Haigh-Wood, a woman prone to poor physical and mental health, and in November of 1921, Eliot had a nervous breakdown. The Love Song o

5、f J. Alfred Prufrock（普魯夫洛克情歌）The Waste Land荒原(The Burial of the Dead死者的葬禮;A Game of Chess弈棋;The Fire Sermon火誡;Death by Water水邊之死;What the Thunder Said雷電之言); 名詩：Ash Wednesday圣灰星期三;Four Quartets四個四重奏 詩劇：Murder in the Cathedral大教堂謀殺案;Family Reunion大團圓;Cocktail Party雞尾酒會 Hollow Man(空心人）Literary theory D

6、epersonalizationimpersonal theory Escape from emotion Objective correlative 艾略特的詩歌理論艾略特的詩歌理論。艾略特是一位有著精確思辨才能的詩人，他的詩歌理論體現(xiàn)了現(xiàn)代主義詩歌原則，為現(xiàn)代主義發(fā)展提供了一種新的審美形式，使艾略特成為新文學(xué)批評的奠基人之一。被稱為“現(xiàn)代文學(xué)批評大師”。艾略特的主要批評論蓍有傳統(tǒng)與個人才能（1921）,玄學(xué)派詩人（1921），批評的功能（1923）。他的詩歌理論主要包括“非個性化理論”、“情感逃避理論”和“客觀對應(yīng)物理論”。 “非個性化非個性化”。它的基本內(nèi)容是：生活與藝術(shù)不能等同，它們之

7、間有不可逾越的界限，因此作家的個人感情經(jīng)驗必須經(jīng)過非個人化的過程，將個人的情緒轉(zhuǎn)變?yōu)橛钪嫘?、藝術(shù)性情緒，才能進入文學(xué)作品。這個概念出自艾略特的第一本論文集圣林中的名篇傳統(tǒng)與個人才能。他在這本書中提出詩歌不是表現(xiàn)個性而是逃避個性。也就是說，創(chuàng)作主體在從事藝術(shù)實踐時不宜將自身的個性特征帶入文本，而應(yīng)力圖消滅個性。 艾略特認(rèn)為，與個人才能的有限性和不完整性相比，傳統(tǒng)是一個具有廣闊意義的東西，對詩人會產(chǎn)生潛移默化的影響。即便是最具個性的詩人，也可發(fā)現(xiàn)他對傳統(tǒng)的創(chuàng)造性轉(zhuǎn)化之后的痕跡。艾略特在強調(diào)傳統(tǒng)的重要影響的同時，也反對墨守傳統(tǒng)。他只是認(rèn)為個人才能只有融入傳統(tǒng)的深厚底蘊之中才體現(xiàn)出它的歷史價值和獨特意

8、義。因此，他認(rèn)為要以正確的方式介入傳統(tǒng)。這就是通過消滅個性、放棄自己，犧牲自己。只有這樣的人才有余力、并且更加客觀地進行創(chuàng)作。 情感逃避情感逃避概念是對“非個性化的補充和發(fā)揮，艾略特認(rèn)為詩歌不是放縱情感，而是逃避情感。這種觀念一反傳統(tǒng)中認(rèn)為詩人應(yīng)當(dāng)直抒胸臆，宣泄情感的認(rèn)識。艾略特的這種思想緣于他對浪漫主義的反思和批判。艾略特認(rèn)為詩人不應(yīng)該是情感的噴射器，而應(yīng)該是情感的催化劑，他促使藝術(shù)素材轉(zhuǎn)化為詩歌，但并不把自己的情感個性融入其中，而是保持“惰性、中立、無變”。 “客觀對應(yīng)物客觀對應(yīng)物”出自圣林中的另一篇著名論文：哈姆雷特及其他問題在該文中，艾略特尊崇莎士比亞為最偉大的戲劇大師，但又說哈姆雷特

9、決不是莎士比亞的杰作，它肯定是一部藝術(shù)上的失敗之作。他認(rèn)為其原因是由于“藝術(shù)的不可避免性在于外界事物和情感上的完全對應(yīng)，而哈姆雷特所缺乏的正是這種對應(yīng)”，這就是“客觀對應(yīng)物”?！翱陀^對應(yīng)物”就是指用一系列實物、場景、一連串事件來表現(xiàn)某種特定的情感，做到最終形式是感覺經(jīng)驗的外部事實一旦出現(xiàn)，便能立刻喚起那種情感。 艾略特認(rèn)為作家唯有訴諸于客觀象征物包括意象、場景、事件、典故、引語等，才能以較大的自由度和創(chuàng)造性，完成情感的藝術(shù)表現(xiàn)。而且，優(yōu)秀的詩人能得心應(yīng)手地借助有規(guī)范和約束功能的表現(xiàn)手段客觀對應(yīng)物，這樣就能賦予自由無序的情感以凝定的形態(tài)、確定的秩序，把個人情緒轉(zhuǎn)變?yōu)槠毡榍楦?。艾略特本人在詩歌中?/p>

10、運用了大量的意象、場景、典故、引語等客觀對應(yīng)物，使現(xiàn)代詩歌的表現(xiàn)復(fù)雜的心理感受和情感體驗成為可能，超越了文學(xué)上的簡單直感。quotation Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from emotion. 詩不是放縱情感，而是逃避情感；不是表現(xiàn)個性，而是逃避個性The Love Song of J. Alfred Prufrock阿爾弗雷德普魯弗洛克情歌 普魯弗洛克屬于當(dāng)代社會中很常

11、見的一類青年，他們內(nèi)心敏感，有自己的理想和追求，對日益冷漠的工業(yè)化城市感到不滿，但是他們沒有力量掙脫。在憤怒和痛苦的同時，他們最終只能選擇怯懦的忍受現(xiàn)實。 雖然J.阿爾弗瑞德.普魯弗洛克的情歌名為情歌，但實際上是一曲悲歌，是主人公內(nèi)心掙扎的寫照。 Sio credesse che mia risposta fosseA persona che mai tornasse al mondo,Questa fiamma staria senza piu scosse.Ma percioche giammai di questo fondoNon torno vivo alcun, siodo il

12、vero,Senza tema dinfamia ti rispondo. 假如我認(rèn)為，我是回答一個能轉(zhuǎn)回陽世間的人，那么，這火焰就不會再搖閃。但既然，如我聽到的果真沒有人能活著離開這深淵，我回答你就不必害怕流言。 這段話出自但丁的神曲.地獄篇（第27章，61-66），是一個名叫圭多.蒙泰菲爾特羅的伯爵（Count Guido da Montefeltro）對但丁說的一段話.作者通過這段引文在提醒讀者：做好思想準(zhǔn)備吧，你在下面讀到的這首愛情詩可能不會很讓人愉快，我要把我真實的內(nèi)心袒露給你，哪怕它是丑惡的 1 Let us go then, you and I, 2 When the eveni

13、ng is spread out against the sky 3 Like a patient etherized upon a table; 那么我們走吧，你我兩個人，正當(dāng)朝天空慢慢鋪展著黃昏好似病人麻醉在手術(shù)桌上； 雖然說是“你和我”，但實際上此時只有普魯弗洛克一個人在街上走。這句話的意思是，在他想像中，他希望愛人在精神上和自己在一起，希望自己不那么孤獨。這個“你”表面上指他的愛人，但本質(zhì)上是他內(nèi)心中的一個傾訴對象。 第2行和第3行將黃昏的天空比做一個手術(shù)臺上被麻醉的病人，這是一個非常有名的比喻，現(xiàn)代主義氣息十足，表明在主人公看來，就連天空也已經(jīng)被毒素扭曲了，一點生氣也沒有了。 4 L

14、et us go, through certain half-deserted streets, 5 The muttering retreats 6 Of restless nights in one-night cheap hotels 7 And sawdust restaurants with oyster-shells: 我們走吧，穿過一些半清冷的街，那兒休憩的場所正人聲喋喋；有夜夜不寧的下等歇夜旅店和滿地蚌殼的鋪鋸末的飯館；（ 隨著夜色降臨，外界紛紛擾擾的嘈雜開始消退了，普魯弗洛克內(nèi)心的聲音慢慢發(fā)出來了。 8 Streets that follow like a tedious a

15、rgument 9 Of insidious intent 10 To lead you to an overwhelming question . 11 Oh, do not ask, What is it? 12 Let us go and make our visit. 街連著街，好象一場討厭的爭議帶著陰險的意圖要把你引向一個重大的問題唉，不要問，“那是什么？”讓我們快點去作客。 在普魯弗洛克看來，一條條空蕩蕩的大街都像是一個個巨大的問號，加劇了他的痛苦。此時，他不得不想到他內(nèi)心一直有著“an overwhelming question”。一想到這個問題，普魯弗洛克的內(nèi)心就有一個聲音跳出

16、來，告誡他別去想這個問題，還是趕路重要，別忘了“我們要去做客”（make our visit），這表明他是參加某種活動。 13 In the room the women come and go 14 Talking of Michelangelo. 在客廳里女士們來回地走，談著畫家米開朗基羅 普魯弗洛克所要參加的，正是那種空虛的、附庸風(fēng)雅的上流社會的聚會。 37 And indeed there will be time 38 To wonder, Do I dare? and, Do I dare?39 Time to turn back and descend the stair,40

17、With a bald spot in the middle of my hair -41 (They will say: How his hair is growing thin!)42 My morning coat, my collar mounting firmly to the chin,43 My necktie rich and modest, but asserted by a simple pin -44 (They will say: But how his arms and legs are thin!)45 Do I dare46 Disturb the univers

18、e?47 In a minute there is time48 For decisions and revisions which a minute will reverse. 呵，確實地，總還有時間來疑問，“我可有勇氣？”“我可有勇氣？”總還有時間來轉(zhuǎn)身走下樓梯，把一塊禿頂暴露給人去注意（她們會說：“他的頭發(fā)變得多么??！”）我的晨禮服，我的硬領(lǐng)在腭下筆挺，我的領(lǐng)帶雅致而多彩，用一個簡樸的別針固定（她們會說：“可是他的胳膊腿多么細(xì)！”）我可有勇氣攪亂這個宇宙？在一分鐘里總還有時間決定和變卦，過一分鐘再變回頭 .The Waste Land A long work divided into f

19、ive sections, The Waste Land takes on the degraded mess that Eliot considered modern culture to constitute, particularly after the first World War had ravaged Europe. A sign of the pessimism with which Eliot approaches his subject is the poems epigraph, taken from the Satyricon, in which the Sibyl (

20、a woman with prophetic powers who ages but never dies) looks at the future and proclaims that she only wants to die. The Sibyls predicament mirrors what Eliot sees as his own: He lives in a culture that has decayed and withered but will not expire, and he is forced to live with reminders of its form

21、er glory. Thus, the underlying plot of The Waste Land, inasmuch as it can be said to have one, revolves around Eliots reading of two extraordinarily influential contemporary cultural/anthropological texts, Jessie Westons From Ritual to Romance and Sir James Fraziers The Golden Bough. Eliots poem, li

22、ke the anthropological texts that inspired it, draws on a vast range of sources. Eliot provided copious footnotes with the publication of The Waste Land in book form; these are an excellent source for tracking down the origins of a reference. Many of the references are from the Bible While Eliot emp

23、loys a deliberately difficult style and seems often to find the most obscure reference possible, he means to do more than just frustrate his reader and display his own intelligence: He intends to provide a mimetic account of life in the confusing world of the twentieth century. 荒原在藝術(shù)上的成就超過現(xiàn)代派的其他詩作。這

24、首抒情長詩風(fēng)格多樣，表現(xiàn)手法不拘一格，柔和了象征主義、意象主義和玄學(xué)派的一些特點。詩中陳述與詠嘆，抒情與諷刺，描繪與警句，莊嚴(yán)典雅的詩句、滑稽可哂的市井俗語，交織穿插為五彩繽紛的景象。大量的典故（作者引用36個作家、56部作品和6種外文）、比喻、暗示、聯(lián)想、對應(yīng)等象征主義手法及意象疊加，時空交錯等現(xiàn)代詩歌表現(xiàn)手段，詩人用來得心應(yīng)手。他甚至大膽采用了象征里套象征、神話里面套神話、神話和現(xiàn)實交錯、虛與實融匯的手法，使得詩歌高度的抽象化、哲理化有機地統(tǒng)一起來，極大地豐富了詩歌的表現(xiàn)手段，拓展了詩歌的思想內(nèi)容。Wallace Stevens(18791955)華萊士史蒂文森 Late in writi

25、ng (not published till 44) A successful business man Early career influenced by Imagist movement Late , diffuse(彌漫的） and reflective Harmonium風(fēng)琴;The Man With the Blue Guitar彈藍(lán)吉他的人;Notes Toward a Supreme Fiction關(guān)于最高虛構(gòu)的札記(Peter Quince at the Clavier彼得昆斯彈風(fēng)琴;Sunday Morning（星期天早晨);The Auroras of Autumn秋天的

26、晨曦;Collected Poems詩集 I placed a jar in Tennessee, And round it was, upon a hill. It made the slovenly wilderness Surround that hill.Anecdote of the Jar The wilderness rose up to it, And sprawled around, no longer wild. The jar was round upon the ground And tall and of a port in air. It took dominion

27、 every where The jar was gray and bare. It did not give of bird or bush, Like nothing else in Tennessee. Theme and meaning: P185-186壇子軼聞我把壇子置于田納西州它是圓的，立在小山頂。它使得散亂的荒野都以此小山為中心。荒野全都向壇子涌來，俯伏四周，不再荒野。壇子圓圓的，在地上巍然聳立，風(fēng)采非凡。它統(tǒng)領(lǐng)四面八方，這灰色無花紋的壇子它不孳生鳥雀或樹叢，與田納西的一切都不同。William Carlos Williams18831963William Carlos Wil

28、liams18831963威廉卡洛斯威廉姆斯 Like Stevens, take poetry as an avocation He worked all his life as a physician in America except for 2 visits to Europe- root poetry in America Anti-Eliot all his life Disapproves of the Pound-Eliot bookish, believes that “l(fā)ocalism alone can lead to culture”.Basic principles Give everyday objects unique charm Create clear images Poetry is in everyday life that careless eyes and ears may miss. Poetry must be grounded in everyday experience and in the speech of the common man. It must use the common meters of living speech and rid of ornamentation