ezrapound解析學習教案

1、會計學1ezrapound解析解析(ji x)第一頁，共29頁。第1頁/共29頁第二頁，共29頁。 (1) Pounds life experiencesPounds life experiences (2) Pounds major worksPounds major works (3) Pound and ImagismPound and Imagism (4) Juxtaposition and Superposition of the imagesJuxtaposition and Superposition of the images第2頁/共29頁第三頁，共29頁。Pounds l

2、ife Pounds life (1) Ezra pound was born in 1885 in Hailey, Idaho, and brought up in Pennsylvania.(2) After college in Pennsylvania and a brief stint as a teacher, in 1908 Pound travelled to Venice and then to London.(3) In 1912 he appointed himself foreign editor of poetry.(4) In 1913 pound became t

3、he literary executor of Ernest Fenollosa (18531908).(5) He moved to Paris in 1920, and then settled in Italy in 1924. 第3頁/共29頁第四頁，共29頁。(6) Enamored with Benito Mussolini, Pound made anti-American radio broadcasts during World War II. He was arrested as a traitor in 1945.(7) In 1958 he returned to It

4、aly, where he continued to write and make translations until he died in 1972. 第4頁/共29頁第五頁，共29頁。Pounds major worksPounds major worksCollections: A Lume Spento (1908) 燈火熄滅燈火熄滅(xmi)之時之時 Cathy (1915) Homage to Sextus Propertius (1917)向塞克斯圖斯向塞克斯圖斯普羅佩提普羅佩提烏斯致敬烏斯致敬 Hugh Selwyn Mauberley (1920) 休休賽爾溫賽爾溫毛伯利毛

5、伯利 CantosFamous poems: In a Station of the Metro A Pact第5頁/共29頁第六頁，共29頁。Imagism Imagism （1909191719091917）第6頁/共29頁第七頁，共29頁。 Imagism is a poetic movement of England and the United States, which flourished from 1909 to 1917. it is a branch of the symbolism literary movement which was used chiefly in T

6、he Western World during that time. It stressed free choice of subject matters (often dealing with single, concentrated moments of experience), concreteness of imagery, musical phrases, economy of expression, and the use of a dominant image. It aimed at instantaneous effect, visual and concise.第7頁/共2

7、9頁第八頁，共29頁。Content of Content of ImagismImagism Origin of Origin of Imagism Imagism Three phases Three phases of imagismof imagism第8頁/共29頁第九頁，共29頁。The origins of Imagism are found in two poems, Autumn and A City Sunset by T.E.Hulme. These were published in January 1909 by the Poets Club in London. T

8、he second phase of the movement was the period of some three years (19121914) when Ezra pound took over and championed the new poetry. In 1914, Pound turned from Imagism to Vorticism. Since Pound left Imagism, Amy Lowell carried on leading that movement and caught up with several principled proposit

9、ions.Three phrases of imagismThree phrases of imagism第9頁/共29頁第十頁，共29頁。 T.E.Hulme suggests that modern art should deal with expressions and communication of momentary phases in the poets minds. And poetic techniques should become subtle enough to record exactly the momentary impressions. “Each word m

10、ust be an image seen.” “Each sentence should be a lump; a piece of clay, a vision seen.” ImagismImagism第10頁/共29頁第十一頁，共29頁。 Pounds definition: “An Image is that which presents an intellectual and emotional complex in an instant of time.” An image “gives that sense of sudden liberation; that sense of

11、freedom from time limits and space limits; that sense of sudden growth, which we experience in the greatest works of art.”第11頁/共29頁第十二頁，共29頁。 In 1912 Pound and Flint laid down three imagist poetic principles: (1) Direct treatment of the thing whether subjective or objective. (2) To use absolutely no

12、 word that does not contribute to the presentation. (3) As regarding rhythm: to compose in the sequence of the musical phrase, not in sequence of a metronome.第12頁/共29頁第十三頁，共29頁。Major objectives of Imagism Major objectives of Imagism (according to Amy Lowell, 1917)(according to Amy Lowell, 1917) (1)

13、to use the language of common speech(2) to use the exact word (3) to avoid clichs(4) to create new rhythms to express a new mood(5) to allow absolute freedom in choice of subject(6) to present an image (concrete, definite)(7) to strive for concentration(8) to suggest rather than to offer complete st

14、atements第13頁/共29頁第十四頁，共29頁。 Imagism derived from their opposition to the writing style of the poets at that time. Secondly, the popularity of “Bergson fad” influenced the imagists. Thirdly, the poetry of Symbolism founded a new path for imagism to composing new poem, it greatly inspired imagist. The

15、re existed great influence of Japanese Haiku and Chinese poetry on the Imagist movement. The Origins of ImagismThe Origins of Imagism第14頁/共29頁第十五頁，共29頁。Japanese HaikuJapanese Haiku Haiku is the shortest form of poetry in Japan. It tells a story or makes a picture in your mind of something that happe

16、ns in nature. Many descriptive words are used in this seventeen-syllable poem. Usually haiku is written in three lines. There are five syllables in the first line, seven in the second, and five in the third. It does not rhyme. The poetry form of haiku was developed in Japan and later became popular

17、in the United States.第15頁/共29頁第十六頁，共29頁。 荒木田守武(1473-1549)俳句(pij)： 落花飛返枝頭 一只蝴蝶Basil Hall Chamberlain ，Japanese Poetry (1910)：Fallen flower returning to the branch;Behold! It is a butterfly.Ezra Pound: The fallen blossom flies back to its branch:A butterfly The footsteps of the cat upon the snow:(are

18、like) plum blossoms.第16頁/共29頁第十七頁，共29頁。日本日本“俳圣俳圣”松尾芭蕉（松尾芭蕉（16441694） 古池塘古池塘 “古池塘，青蛙躍入，水清響古池塘，青蛙躍入，水清響” 寒鴉宿枯枝，秋深日暮時。寒鴉宿枯枝，秋深日暮時。 芭蕉芭蕉 枯藤老樹昏鴉枯藤老樹昏鴉舟行在蓮塘，蓮花碰觸小鬢上。舟行在蓮塘，蓮花碰觸小鬢上。 子規(guī)子規(guī) 采蓮南塘秋，蓮花過人頭采蓮南塘秋，蓮花過人頭柿葉柿葉(sh y)飄零人徑絕。飄零人徑絕。 秋秋櫻子櫻子 “古木無人徑古木無人徑”第17頁/共29頁第十八頁，共29頁。 周易周易系辭上：系辭上：“子曰：子曰：書不盡言書不盡言(sh b jn y

19、n)，言不盡意，言不盡意.” 王弼王弼 周易略例周易略例明象：明象：“夫象者，出意者也；言夫象者，出意者也；言者，明象者也。盡意莫若象，盡象莫若言。言生于象，故者，明象者也。盡意莫若象，盡象莫若言。言生于象，故可尋言以觀象；象生于意，故可尋象以觀意。意以象盡，可尋言以觀象；象生于意，故可尋象以觀意。意以象盡，象以言著，故言者所以明象，得象而忘言；象者，所以存象以言著，故言者所以明象，得象而忘言；象者，所以存意，得意而忘象。意，得意而忘象?！?第18頁/共29頁第十九頁，共29頁。In a Station of the Metro In a Station of the Metro The ap

20、parition of these faces in the crowd Petals on a wet, black bough 白居易長恨歌白居易長恨歌 “玉容寂寞淚闌干玉容寂寞淚闌干(lngn)，梨花一枝春帶雨，梨花一枝春帶雨” 第19頁/共29頁第二十頁，共29頁。In a Station of the MetroIn a Station of the Metro第20頁/共29頁第二十一頁，共29頁。 Alba As cool as the pale wet leaves of lily-of-the-valley She lay beside me in the dawn崔護題都城

21、南莊崔護題都城南莊 去年今日此門中，去年今日此門中， 人面桃花相映紅。人面桃花相映紅。 人面不知何處去，人面不知何處去， 桃花依舊笑桃花依舊笑春風。春風。杜牧贈別杜牧贈別 娉娉裊裊十三余，娉娉裊裊十三余， 豆蔻梢頭二月豆蔻梢頭二月(r yu)初。初。蘇軾采桑子蘇軾采桑子 多情多感仍多病，多景樓中。尊酒相逢，樂事回頭一笑空。多情多感仍多病，多景樓中。尊酒相逢，樂事回頭一笑空。 停杯且聽琵琶語，細捻輕攏。醉臉春融，斜照江天一抹紅。停杯且聽琵琶語，細捻輕攏。醉臉春融，斜照江天一抹紅。 第21頁/共29頁第二十二頁，共29頁。落葉哀蟬曲落葉哀蟬曲 羅袂兮無聲羅袂兮無聲(wshng)，玉墀兮塵生。，玉墀

22、兮塵生。 虛房冷而寂寞，落葉依于重扃。虛房冷而寂寞，落葉依于重扃。 望彼美之女兮，安得感余心之未寧？望彼美之女兮，安得感余心之未寧？ Liu Che Ezra Pound The rustling of the silk is discontinued, Dust drifts over the court-yard, There is no sound of foot-fall, and the leaves Scurry into heaps and lie still, And she the rejoicer of the heart is beneath them: A wet le

23、af that clings to the threshold. 第22頁/共29頁第二十三頁，共29頁。第23頁/共29頁第二十四頁，共29頁。第24頁/共29頁第二十五頁，共29頁。 Juxtaposition of the images Juxtaposition of the imagesCantos 64 (Pound)Cantos 64 (Pound)Moon, cloud, tower a patch of the battiseroMoon, cloud, tower a patch of the battisero all of whiteness all of whiten

24、ess溫庭筠商山早行：雞聲茅店溫庭筠商山早行：雞聲茅店(mo din)(mo din)月，人跡板橋霜。月，人跡板橋霜。 賀鑄青玉案：試問閑愁都幾許？賀鑄青玉案：試問閑愁都幾許？ 一川煙草，滿城風絮，梅一川煙草，滿城風絮，梅子黃時雨。子黃時雨。 顧城弧顧城弧 線線 鳥兒在疾風中鳥兒在疾風中 迅速轉(zhuǎn)向迅速轉(zhuǎn)向 少年去撿拾少年去撿拾 一枚分幣一枚分幣 葡萄藤因幻想葡萄藤因幻想 而延伸的觸絲而延伸的觸絲 海浪因退縮海浪因退縮 而聳起的背脊而聳起的背脊 第25頁/共29頁第二十六頁，共29頁。 Cino Cino I will sing of the white birdsI will sing of the white birdsIn the blue waters of heavenIn the blue waters of heavenThe