TSEliot-The-Waste-Land-艾略特《荒原》賞析

TheWasteLand

T.S.Eliot

Briefintroduction

TheWasteLandisa434-linemodernistpoembyT.S.Eliotpublishedin1922.Ithasbeencalled"oneofthemostimportantpoemsofthe20thcentury.“Despitethepoem'sobscurity—itsshiftsbetweensatireandprophecy,itsabruptandunannouncedchangesofspeaker,locationandtime,itselegiacbutintimidatingsummoningupofavastanddissonantrangeofculturesandliteratures—thepoemhasbecomeafamiliartouchstoneofmodernliterature.二十世紀(jì)最有影響力的一部詩(shī)作。當(dāng)代著名詩(shī)人兼評(píng)論家阿倫·塔特說(shuō)第一次讀《荒原》時(shí)，一個(gè)字也看不懂，不過他已意識(shí)到這是一首偉大的詩(shī)篇。后來(lái)艾略特給詩(shī)加了５０多條注釋?！痘脑肥切局粦?zhàn)后西方文明的危機(jī)和傳統(tǒng)價(jià)值觀念的失落，反映了整整一代人理想的幻滅和絕望。

Structure《荒原》全文分五個(gè)部分：

“死者葬儀”；“對(duì)弈”；“火誡”；“水里的死亡”；“雷霆的話”。

Thefiveparts:1TheBurialoftheDead2AGameofChess3TheFireSermon4DeathbyWater5WhattheThunderSaid

Style

---dramaticmonologueThestyleoftheworkinpartgrowsoutofEliot'sinterestinexploringthepossibilitiesofdramaticmonologue.ThisinterestdatesbackatleastasfarasTheLoveSongofJ.AlfredPrufrock.Ofcourse,"TheWasteLand"isnotasinglemonologuelike"Prufrock."Instead,itismadeupofawidevarietyofvoices(sometimesinmonologue,dialogue,orwithmorethantwocharactersspeaking).---AllusionsandquotationsThestyleofthepoemoverallismarkedbythehundredsofallusionsandquotationsfromothertexts(classicandobscure;"high-brow"and"low-brow")thatEliotpepperedthroughoutthepoem.Inadditiontothemany"high-brow"referencesand/orquotesfrompoetslikeBaudelaire,Shakespeare,Ovid,andHomer,Eliotalsoincludedacoupleofreferencesto"low-brow"genres.AgoodexampleofthisisEliot'squotefromthe1912popularsong"TheShakespearianRag"bylyricistsHermanRubyandGeneBuck.Therewerealsoanumberoflow-browreferencesintheopeningsectionofEliot'soriginalmanuscript(whenthepoemwasentitled"HeDoThePoliceinDifferentVoices"),buttheywereremovedfromthefinaldraftafterEliotcutthisoriginalopeningsection.---disjointedstructureTheWasteLand"isnotableforitsseeminglydisjointedstructure,indicativeoftheModerniststyleofJamesJoyce'sUlysses(whichEliotcitedasaninfluenceandwhichhereadthesameyearthathewaswriting"TheWasteLand").IntheModerniststyle,Eliotjumpsfromonevoiceorimagetoanotherwithoutclearlydelineatingtheseshiftsforthereader.Healsoincludesphrasesfrommultipleforeignlanguages(Latin,Greek,Italian,German,FrenchandSanskrit),indicativeofPound'sinfluence.TheWasteLand"NAMSibyllam

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fabbro)有一次我親眼看見庫(kù)米的西比爾女巫吊在籠子里，當(dāng)男孩們問她：“你想做什么？”她回答道：“我想死?！鲍I(xiàn)給埃茲拉·龐德更好的藝術(shù)家I.BurialoftheDeadAprilisthecruellestmonth,breedingLilacsoutofthedeadland,mixingMemoryanddesire,stirringDullrootswithspringrain.Winterkeptuswarm,coveringEarthinforgetfulsnow,feedingAlittlelifewithdriedtubers.Summersurprisedus,comingovertheStarnbergerseeWithashowerofrain;westoppedinthecolonnade,Andwentoninsunlight,intotheHofgarten四月最殘忍，從死了的土地滋生丁香，混雜著回憶和欲望，讓春雨挑動(dòng)著呆鈍的根。冬天保我們溫暖，把大地埋在忘懷的雪里，使干了的球莖得一點(diǎn)點(diǎn)生命。夏天來(lái)得意外，隨著一陣驟雨到了斯坦伯吉西；我們躲在廊下，等太陽(yáng)出來(lái)，便到郝夫加登Anddrankcoffee,andtalkedforanhour.Bingarkeine

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deutsch.Andwhenwewerechildren,stayingatthearch-duke's,Mycousin's,hetookmeoutonasled,AndIwasfrightened.Hesaid,Marie,Marie,holdontight.Anddownwewent.Inthemountains,thereyoufeelfree.Iread,muchofthenight,andgosouthinthewinter.去喝咖啡，又閑談了一點(diǎn)鐘。我不是俄國(guó)人，原籍立陶宛，是純德國(guó)種。我們小時(shí)侯，在大公家做客，那是我表兄，他帶我出去滑雪撬，我害怕死了。他說(shuō)，瑪麗，瑪麗，抓緊了呵。于是我們沖下去。在山中，你會(huì)感到舒暢。我大半夜看書，冬天去到南方。Whataretherootsthatclutch,whatbranchesgrowOutofthisstonyrubbish?Sonofman,Youcanotsay,orguess,foryouknowonlyAheapofbrokenimages,wherethesunbeats,Andthedeadtreegivesnoshelter,thecricketnorelief,Andthedrystonenosoundofwater.OnlyThereisshadowunderthisredrock,(Comeinundertheshadowofthisredrock),AndIwillshowyousomethingdifferentfromeitherYourshadowateveningrisingtomeetyou;這是什么根在抓著，是什么樹杈從這片亂石里長(zhǎng)出來(lái)？人子呵，你說(shuō)不出，也猜不著，因?yàn)槟阒恢酪欢哑扑榈男蜗螅苤?yáng)拍擊，而枯樹沒有陰涼，蟋蟀不使人輕松，干石頭發(fā)不出流水的聲音。只有一片陰影在這紅色的巖石下，（來(lái)吧，請(qǐng)走進(jìn)這紅巖石下的陰影）我要指給你一件事，它不同于你早晨的影子，跟在你后面走也不象你黃昏的影子，起來(lái)迎你，Iwillshowyoufearinahandfullofdust.Frish

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weilestdu?'Yougavemehyacinthsfirstayearago;Theycalledmethehyacinthgirl.'--Yetwhenwecameback,late,fromthehyacinthgarden,我要指給你恐懼是在一撮塵土里。風(fēng)兒吹得清爽，吹向我的家鄉(xiāng)，我的愛爾蘭孩子，如今你在何方？“一年前你初次給了我風(fēng)信子，他們都叫我風(fēng)信子女郎?！薄墒钱?dāng)我們從風(fēng)信子花園走回，天晚了，Yourarmsfullandyourhairwet,IcouldnotSpeak,andmyeyesfailed,IwasneitherLivingnordead,andIknewnothing,Lookingintotheheartoflight,thesilence.Oed'undleerdasMeer.你的兩臂抱滿，你的頭發(fā)是濕的，我說(shuō)不出話來(lái)，兩眼看不見，我不生也不死，什么也不知道，看進(jìn)光的中心，那一片沉寂?；臎龆仗撌悄谴蠛?。MadameSosostris,famousclairvoyante,Hadabadcold,neverthelessIsknowntobethewisestwomaninEurope,Withawickedpackofcards.Here,saidshe,Isyourcard,thedrownedPhoenicianSailor,(Thosearepearlsthatwerehiseyes.Look!)HereisBelladonna,theLadyoftheRocks,Theladyofsituations.Hereisthemanwiththreestaves,andheretheWheel,Andhereistheone-eyedmerchant,andthiscard,索索斯垂絲夫人，著名的相命家，患了重感冒，但仍然是歐洲公認(rèn)的最有智慧的女人，她有一副鬼精靈的紙牌。這里，說(shuō)，你的牌，淹死的腓尼基水手，（那些明珠曾經(jīng)是他的眼睛?？矗。┻@是美女貝拉磨娜，巖石的女人，有多種遭遇的女人。這是有三根杖的人，這是輪盤，這是獨(dú)眼商人，還有這張牌Whichisblank,issomethinghecarriesonhisback,WhichIamforbiddentosee.IdonotfindTheHangedMan.Feardeathbywater.Iseecrowdsofpeople,walkingroundinaring.Thankyou.IfyouseedearMrs.Equitone,TellherIbringthehoroscopemyself:Onemustbesocarefulthesedays.是空白的，他拿來(lái)背在背上，不許我看見。我找不到。那絞死的人。小心死在水里。我看見成群的人，在一個(gè)圈里轉(zhuǎn)。謝謝你。如果你看見伊奎通太太，就說(shuō)我親自把星象圖帶過去：這年頭人得萬(wàn)事小心呵。UnrealCity,Underthebrownfogofawinterdawn,AcrowdflowedoverLondonBridge,somany,Ihadnotthoughtdeathhadundonesomany.Sighs,shortandinfrequent,wereexhaled,Andeachmanfixedhiseyesbeforehisfeet.FlowedupthehillanddownKingWilliamStreet,TowhereSaintMaryWooln