ImagismImagismFu LiFu LiSchool of Foreign LanguagesSchool of Foreign LanguagesHIT HIT OriginatinginthephilosophyofT.E.Hulme,themovementsoonattractedEzraPound,whobecametheleaderofasmallgroupopposedtotheromanticconceptionofpoetryandinspiredbyGreekandRomanclassicsandbyChinese,Japanese,andmodernFrenchpoets.Theimagistpoetscalledfornewrhythms,clearimages,freechoiceofsubjectmatter,compressedpoeticexpression,anduseofcommonspeech.OriginationOriginationImagismisapoeticmovementofEnglandandtheUnitedStates,whichflourishedfrom1908to1917.Itscreed,expressedinSome Imagist Poets(1915),includedtheuseofthelanguageofcommonspeech,precision,thecreationofnewrhythms,absolutefreedominchoiceofsubjectmatter,theevocationofimagesinhard,clearpoetry,andconcentration.IntheU.S.,thegroupwasrepresentedbyPound,JohnGouldFletcher,andAmyLowell.MovementMovementPoundcollectedsomeoftheirworkinDes Imagists: An Anthology(1914),afterwhichhisinterestbegantowane.AmyLowellthenassumedactiveleadership,advocatingthatthegroupsubscribetoafixedprogramandholdtogetherforatleastthreeyears.Underherguidancewerepublishedseveralanthologies,allentitledSome Imagist Poets.ThemostimportantfiguresareEzraPound,H.D.(HildaDoolittle),AmyLowell,andWilliamCarlosWilliams.OtherimportantpoetsinthisperiodincludeT.S.Eliot,E.R.Robinson,WallaceStevens,andE.E.Cummings.MovementMovementWithaspiritofrevoltagainstconventions,imagismwasanti-romanticandanti-Victorian.Itstressedfreechoiceofsubjectmatters(oftendealingwithsingle,concentratedmomentsofexperience),concretenessofimagery,musicalphrases,economyofexpression,andtheuseofadominantimage.Itaimedatinstantaneouseffect,visualandconcise.Imagistsusedthelanguageofcommonspeechandemployedexactwordsinsteadoftheflowerylanguageofpoetry.Theyavoidedallclicheexpressions,theornatediction,andcomplexverseformsoftraditionalpoetry.Majorfeature-1Imagismproducedfreeversewithoutimposingarhythmicalpattern.Therhythmwascomposedasifthepoetweremakingamusicphrase.Thiswasadoing-awaywithconventionsofmetersothatthepoetneedednotmakehisideasfitintoanestablishedmeterasinasonnetoraballad.Thepoetcreatednewrhythmsinthesequenceofthemusicalphraseastheexpressionsofanewmood.Majorfeature-2ImagismwasequivalenttoNaturalisminfictioninasense.Naturalismwasbasedonscientificobservation,afeelingofdeterminismthatthereadershouldlookonlyattheoutsideobjectswithnoattempttogetinsideofthem.TheImagistwritersalsohadthesamefeelingofdeterminismthatthereadershouldonlylookattheimage.Ifthereaderlooksattheimage,itwillevokeanemotionimmediately.Majorfeature-3Imagismtriedtorecordobjectiveobservationsofanobjectorasituationwithoutinterpretationorcommentbythepoet.Imagismrequiredapoettopresentjustapicture,nothisinsight.Itisverybiologicalandveryscientific.Theyneverstatedtheemotioninthepoem,butjustpresentedanimage:concrete,firm,definiteinpicture.Anysignificancetobederivedfromtheimagehadtoappearinherentinitscleanpresentation.Majorfeature-4Imagismwasaradicalchangefromthewaypoetryhadbeenwritteninthe19thcentury.Thesemodernistpoetstriedtokeeptheirideastothemselves,merelygivingthereaderthedescriptionoftheoutwardsurface.Therefore,anImagistpoemconsistsofclearvisualimages,oftenjuxtaposedwithotherimages,promptingthereadertoanimaginativeresponsethatcompletesitsmeaning.Summary1.To use the language of common speech, but to employ the exact word, not the nearly-exact, nor the merely decorative word.2.We believe that the individuality of a poet may often be better expressed in free verse than in conventional forms. In poetry, a new cadence means a new idea.3.Absolute freedom in the choice of subject.4.To present an image. We are not a school of painters, but we believe that poetry should render particulars exactly and not deal in vague generalities, however magnificent and sonorous. It is for this reason that we oppose the cosmic poet, who seems to us to shirk the real difficulties of his art.5.To produce a poetry that is hard and clear, never blurred nor indefinite. 6.Finally, most of us believe that concentration is of the very essence of poetry.7.Ezra PoundImagist ManifestoImagist ManifestoAmericanpoet,critic,editor,andtranslator;oneoftheforemostliteraryfiguresinliterarymodernismAsapoet,Poundexperimentedwithvariousverseforms,fromshortpoemsfocusingonconcreteimagestohisepicmasterpiece,theCantos.Asanessayist,hewrotemanifestosestablishinginfluentialprinciplesofstyleandtheme.Asacriticandeditor,Pounddiscoveredandencouragedmanyexperimentalauthors,includingIrishwriterJames Joyce,EnglishpoetT. S. Eliot,andAmericanwritersRobert FrostandErnest Hemingway.Ezra Pound Ezra Pound (1885-1972)Note: Cantos,awide-rangingseriesofpoemscombiningancientandmodernhistorywithPoundspersonalreflectionsandexperiences.His Contribution:HelaunchedImagism,amovementinpoetrywhichderiveditstechniquefromclassicalChineseandJapanesepoetry-stressingclarity,precision,andeconomyoflanguage.His influence:Headvancedtheworkofmajorcontemporaries,suchasW.B.Yeats,RobertFrost,WilliamCarlosWilliams,MarianneMoore,H.D.,JamesJoyce,ErnestHemingway,andespeciallyT.S.Eliot.Major Works:1The Cantos (the encyclopedic epic poem)2Hugh Selwyn Mauberley3The Pisan Cantos Literary AchievementLiterary Achievement枯藤老树昏鸦，小桥流水人家，古道西风瘦马。夕阳西下，断肠人在天涯。天净沙.秋思马致远译文枯藤缠绕着老树，树枝上栖息着黄昏时归巢的乌鸦，小桥下，流水潺潺，旁边有几户人家，在古老荒凉的道路上，秋风萧瑟，一匹疲惫的瘦马驮着我蹒跚前行。夕阳向西缓缓落下，悲伤断肠的人还漂泊在天涯。在地铁站: 人潮中这些面容的忽现；湿巴巴的黑树丫上的花瓣。（罗池）地铁车站: 人群中这些脸庞的幻影；潮湿又黑的树枝上的花瓣.（成婴）地铁车站: 人群中这些面庞的闪现；湿漉的黑树干上的花瓣。（赵毅衡）在地铁车站: 这几张脸在人群中幻景般闪现；湿漉漉的黑树枝上花瓣数点。（飞白）地铁站里: 出现在人群里这一张张面孔；湿的黑树枝上的一片片花瓣。（张子清）人群里这些脸忽然闪现；花丛在一条湿黑的树枝。（流沙河）人群中，这些面孔的鬼影；潮湿的黑树枝上的花瓣。（余光中）这些面孔浮现于人群；花瓣潮湿的黑树枝（颜元叔）众中梦幻身影，黝湿枝头疏花。（吴其尧）人潮中面孔若隐若现；黝湿树干上花瓣朵朵。In a Station of the Metropseud.H.D.,AmericanpoetMarriedtoRichardAldingtonin1913InEngland,undertheinfluenceofEzraPound,shebecameassociatedwiththeimagistsanddevelopedintooneofthemostoriginalpoetsofthegroup.VolumesofherverseincludeSea Garden(1916),Red Shoes for Bronze(1931),The Walls Do Not Fall(1944),andBid Me to Live(1960).Hilda Doolittle Hilda Doolittle (1886-1961)(1886-1961)海浪卷，海浪卷，松针在腾翻。松针在腾翻。巨松拍岩震天响，巨松拍岩震天响，翠绿抛起洒人间，翠绿抛起洒人间，林海作长衫。林海作长衫。山之神山之神William Carlos Williams(1883 - 1963) Americanpoetandphysician.Hewrotestories,playsandautobiographiesaswellaspoems.HemetandbefriendedEzraPound,andwasinfluencedbyPound.Biographical FactsHewasborninNewJersey,U.S.1883.HereceivedhisM.D.fromtheUniversityofPennsylvania.Hesustainedhismedicalpracticethroughouthislife.HediedinVienna,Austria,1963.Poetic FeaturesPoetic FeaturesRelaxedcolloquialismVividPresentationEloquentpassagesofbeautifullycontrolledrhythmandphrasingHissubjectmatterwascenteredontheeverydaycircumstancesoflifeandthelivesofcommonpeople.The Red Wheelbarrow1Howdoesthefirsttwolinesdifferfromtheotherpairsoflines?2Whatisthemostvisuallycompellingwordineachofthelastthreepairsoflines?3Whatisthemeaningof“dependsupon”inthefirstpairoflines?“红色手推车红色手推车”简评简评1.红色手推车是一幅色彩鲜明的日常生活画面，描述的是一个躲雨时见到的场景，躲雨的地方大概太小，所以人虽然躲了进去，手推车却还是淋得透湿。与它运送的东西相比，手推车显得似乎小了点，所以才引起诗人“那么多”的感慨。况且还被雨水浇得它“浑身溜滑”。可以想象那个始终没有露面的“推车人”的辛劳，不免对他（她）产生一丝同情。但“旁边有几只白鸡”一句，使我们眼前一亮。想想看，在雨中，天色也许比较灰暗。但手推车的“红色”与几只鸡的“白色”却是那么的耀眼，何况鸡还是一个活动的东西，与停放在那里的手推车，正好又构成了一动一静的对比。生活的辛劳、躲雨时的焦躁，被几只“白鸡”的出现一扫而空。2.威廉斯选择红、白对比色以及经雨水冲洗后的锃亮，写出了人类与大自然共创理想生活的一面。威廉斯用红色装饰手推车的轮子，隐喻人类积极的劳动，劳动造就了人类积极向上的欢快精神，用“小鸡”和“雨水”来表达他对自然的崇敬。3.威廉斯的红色手推车仿佛是一幅西洋油画，色彩鲜明，线条突出，立体感强，折射出大自然的光亮，整体画面宁静完美，富有和谐感，它向世人展示了20世纪美国人民的时代精神追求以及一代美国诗人的民族情结。The Red WheelbarrowThe Red WheelbarrowSomuchdependsuponaredwheelbarrowglazedwithrainwaterbesidethewhitechickens.William Carlos Williams红色手推车红色手推车那么多东西依靠一辆红色手推车雨水淋得它晶亮旁边是一群白鸡那么多东西仰仗这辆红色的手推车运送雨水浇得它浑身溜滑旁边有几只白鸡选自彭予编译二十世纪英美抒情诗选The Great FigureThe Great Figure在密雨中在灯光里我看到一个金色的数字5写在一辆红色的救火车上无人注意疾驰驶向锣声紧敲警报尖鸣之处轮子隆隆穿过黑暗的城市。赵毅衡 译巨大的数字大数字雨中灯下我看见一辆红救火车上金色的数字5救火车急匆匆不顾一切敲铃伙裁车轮辘辘驰过黑暗的城市。 郑建青 译CarlSandburgAmericanpoet,historian,novelistandfolklorist,thesingingbard.AcentralfigureintheChicagoRenaissanceHeemphasizedthetraditionofAmericanexperienceandplayedasignificantroleinthedevelopmentinpoetrythattookplaceduringthefirsttwodecadesofthe20thcentury.InhisworkSandburggavevoicetoleastpowerfulpeople.WiththeappearanceofhisChicago Poems(1916),Cornhuskers(1918),Smoke and Steel(1920),andSlabs of the Sunburnt West(1922),hisreputationwasestablished(1878-1967)雾来了，踮着猫的细步。他弓起腰蹲着，静静地俯视海港和城市，又再往前走。 赵毅衡 译霧來了以小貓的步伐它坐著俯視港灣和城市靜靜的拱著腰而後繼續往前走。 雾来了踮着猫步弓腰蹲坐静静俯视港湾和城市复又缓缓游移雾FOGThefogcomesOnlittlecatfeet.ItsitslookingOverharborandcityOnsilenthaunchesAndthen,moveson.WindowNightfromarailroadcarwindowIsagreat,dark,softthingBrokenacrosswithslashesoflight.窗窗 卡尔卡尔桑得堡桑得堡火车窗中望见的夜，火车窗中望见的夜，是大而黑的柔软物体，是大而黑的柔软物体，纵横带着光之鞭痕。纵横带着光之鞭痕。CarlSandburg