爱情,虽不是文学创作必要的主题,以爱情为主题的文学创作却往往最能感动人。自先秦时代,中华民族的先民们就创作了大量的文学精品,或讴歌青年男女对爱情的忠贞不移,或抒发青年男女对美好爱情的向往??总之,以爱情为主题的文学作品无疑是灿烂中华文化中不可或缺的一部分,具有不可替代的位置。
关关雎鸠
《诗经》,又称“诗三百”,中国最早的诗歌总集,收录了自西周初年到春秋中叶的诗歌305篇。泛黄的纸页,记录了先民生活的点点滴滴;朴实的语言,描绘了先民心中理想的爱情画卷。关关的雎鸠,见证了青年与少女的初次邂逅;淇水之畔的海誓山盟,早已湮没在尘土之中;那身着素衣、佩带美玉的少年,为什么迟迟不现?
我远远地听见有一名年轻的女子在为爱呐喊: 摽有梅,其实七兮。求我庶士,迨其吉兮。 摽有梅,其实三兮。求我庶士,迨其今兮。 摽有梅,顷筐塈之。求我庶士,迨其谓之
崇尚礼制的时代,在女性的身心自由受到束缚的情况下,这样的呐喊可谓是空前绝后的。可是为了爱,抛开一切枷锁,挣开所有的桎梏,大声地呐喊一次又有何不可?
我也看见,王公贵胄妻妾成群之时,有一名男子不忘初心,一如既往的爱着自己的爱人。虽则身处芳园,繁花锦簇,自己深爱的唯一支而已:
出其东门,有女如云。
虽则如云,匪我思存。
缟衣綦巾,聊乐我员。
出其闉闍,有女如荼。
虽则如荼,匪我思且。
缟衣茹藘,聊可与娱。
愿得一人心,白首不相离
高祖刘邦唯才是用,开创大汉王朝,至武帝时期,达到鼎盛。汉代文学,以赋为盛,史称汉赋。
两汉时代,汉赋名家辈出,贾谊、张衡、班超、左思、司马相如等都有名篇传世。
司马相如本一介布衣,出身贫寒,但自幼受名师指导,更寒窗苦读,可谓满腹经纶。一场意外,邂逅了名门出身的富家千金卓文君,一见钟情,再也忘不了,于是写下了中华五千年最受世人赞赏的情诗——《凤求凰》:
有美人兮,见之不忘。一日不见兮,思之如狂。凤飞翩翩兮,四海求凰。无奈佳人兮,不在东墙。张弦代语兮,欲诉衷肠。何时见许兮,慰我彷徨。愿言配德兮,携手相将。不得不飞兮,使我沦亡。
只需登上画舸时的一个回眸就足够了,卓文君心知眼前这个男人,尽管看上去衣衫破旧,绝非池中之物,有一天终会功成名就。况且,他那满腹的才学不就是自己一直以来所仰慕的吗?于是,在一个夜黑风高的晚上,卓文君和司马相如携手远走他乡。作为营生,夫妻俩开了个小酒坊,卓文君任掌柜,文人出身的司马相如打起了下手。卓文君深知当庐卖酒绝非长久之计,于是和司马相如返回故里,在卓府附近安了家。尽管当初卓文君离家出走,老
父气得不行,可一看到闺女回来,气立马消了七分,不仅给些钱粮度日,还雇了丫鬟、老嬷嬷数人照顾卓文君一家。物质条件改善,司马相如决定进京谋个差事,也好施展平生所学。时值武帝刘彻上林苑狩猎,司马相如献上《上林赋》。武帝大喜,留京重用。
再说卓文君自那日送走司马相如,已是数年之久,不见司马相如归来,此间皆是书信往来。这日,收到司马相如来信,信中却是司马相如将要纳妾的消息。尽管卓文君万分悲痛,但仍寄希望于司马相如,希望司马相如能够回心转意,于是提笔作一首《白头吟》:
皑如山间雪,皎若云中月。
闻君有两意,故来相决绝。
今日斗酒会,明旦沟水头。
蹀躞御沟止,沟水东西流。
凄凄复凄凄,嫁娶不须啼。
愿得一心人,白首不相离。
竹杆何袅袅,鱼儿何簁簁。
男儿重义气,何用钱刀为?
司马相如看毕,涕泪俱下,先前与卓文君生活时的一幕幕眼前重现。自此,再不提纳妾之事。
上邪
什么样的誓言才算是山盟海誓?
上邪,
我欲与君相知,
长命无绝衰,
山无棱,
江水为竭,
冬雷阵阵,
夏雨雪,
天地合,
乃敢与君绝。
直到山塌地陷、江水枯竭、冬天雷声阵阵、六月天飘起漫天大雪、天与地合二为一的那一刻,我
才会与你诀别!所有的承诺在这誓言面前都会变得黯然失色。
郎骑竹马来,绕床弄青梅
看过日本动画大师宫崎骏先生的电影《天空之城》后,不禁要想:希达和巴鲁之间的感情算不算爱情?天真烂漫的孩童时代,遇到一个甘愿用生命去守护的女孩,这样的男孩是幸运的。也许巴鲁只把希达当作朋友,单纯的朋友,他们的感情却远远高于爱情、友情之上。他们的感情纯洁无暇,没有功利的因素,仅仅是伸手可触、可望亦可及的爱,但这样就足够了。
中国有“青梅竹马”的说法,语出李太白《长干行》:
妾发初覆额,折花门前剧。
郎骑竹马来,绕床弄青梅。
同居长干里,两小无闲猜。
十四为君妇,羞颜未尝开。
低头向暗壁,千唤不一回。
十五始展眉,愿同尘与灰。
常存抱柱信,岂上望夫台。
十六君远行,瞿塘滟滪堆。
五月不可触,猿声天上哀。
门前迟行迹,一一生绿苔。
苔深不能扫,落叶秋风早。
八月蝴蝶黄,双飞西园草。
感此伤妾心,坐愁红颜老。
早晚下三巴,预将书报家。
相迎不道远,直至长风沙。
在古代,男子成家之后,常常会远行,或投笔从戎,或为建立功名,或为游历锦绣山川。由此,边塞诗、闺怨诗、送别诗、思乡诗渐成诗歌创作之主流,岑参“马上相逢无纸笔,凭君传语保平安”、王昌龄“忽见陌头杨柳色,悔教夫婿觅封侯”、高适“莫愁前路无知己,天下谁人不识君”、刘皂“无端更渡桑干水,却望并州是故乡”??
远去的人儿迟迟不归,独守空房的女子,登上高楼远望时期盼的目光,势必把那一池秋水都忘穿了??
众里寻他千百度
国学大师王国维有言:“古今大凡在学问上有大成就者,必经历三种境界:‘昨夜西风凋敝树,独上高楼,望尽天涯路’,此乃第一境;‘衣带渐宽终不悔,为伊消得人憔悴’,此乃第二境;‘众里寻他千百度,暮然回首,那人却在、灯火阑珊处’,此乃第三境。”此三首此皆是宋词精品:
晏殊《蝶恋花》
槛菊愁烟兰泣露,罗幕轻寒,燕子双飞去。 明月不谙离恨苦,斜光到晓穿朱户。
昨夜西风凋碧树,独上高楼,望尽天涯路。 欲寄彩笺兼尺素,山长水阔知何处。
柳永《蝶恋花》
伫倚危楼风细细。望极春愁,黯黯生天际。 草色烟光残照里,无言谁会凭栏意。
拟把疏狂图一醉。对酒当歌,强乐还无味。 衣带渐宽终不悔,为伊消得人憔悴。
辛弃疾《青玉案》
东风夜放花千树,更吹落、星如雨。宝马雕车香满路。凤箫声动,玉壶光转,一夜鱼龙舞。
蛾儿雪柳黄金缕,笑语盈盈暗香去。众里寻他千百度,蓦然回首,那人却在,灯火阑珊处。
这三首词,单从字面理解,分别是爱情的三个阶段,从殷切的盼望到深深的思念,再到于众人间寻觅,这是一个漫长而艰辛的过程。个中滋味,只有身处其间,方能真切体会。对词的理解再高深一点,就上升到追寻个人理想的高度,在此略去不提。
问世间,情为何物,直教生死相许?
词,又称诗余、长短句,古代诗歌体裁的一种,始于隋代的曲子词,唐、五代发展,盛于宋代,史称“宋词”。根据篇幅长短的不同,分为小令、中调、长调。填词不仅在中原文人中盛行,在异国番邦,也有许多著名的词人,请看金国诗人元好问《摸鱼儿.雁丘词》:
问世间,情为何物,直教生死相许?天南地北双飞客,老翅几回寒暑。欢乐趣,离别苦,就中更有痴儿女。君应有语:渺万里层云,千山暮雪,只影向谁去?横汾路,寂寞当年箫鼓,荒烟依旧平楚。招魂楚些何嗟及,山鬼暗啼风雨。天也妒,未信与,莺儿燕子俱黄土。千秋万古,为留待骚人,狂歌痛饮,来访雁丘处。
年仅十六岁的诗人元好问,在赴并州应试途中,听见一位射雁者说,天空中一对比翼双飞的大雁,其中一只被射杀之后,另一只大雁一头栽下来,殉情而死。元好问买下了这对大雁,将它们葬在汾水之滨,建了一个小小的坟墓,叫做“雁丘”,并写
《雁丘词》一阕。鸿雁如此,况人哉?古代,迫于礼教束缚、父母之命、媒妁之言,有情人不能成眷属。生不能同床,死后尚可同穴。梁山伯与祝英台、刘兰芝与焦仲卿??举不胜举,有情如斯,可怜可叹。
两情若是久长时,又岂在、朝朝暮暮? 彼此相爱的两个人,却又相隔千山万里,如何互诉衷肠?通讯不发达的古代,传统的书信往来太过漫长;鸿雁捎书、鱼传尺素毕竟是幻想出来的。难道就任凭时间、距离将这情慢慢淡化?一年一度的七夕又到了,喜鹊吵个不休。身处异乡的秦少游,此刻脸上也添了几许淡淡的愁:牛郎织女尚可一年一会,而我和她什么时候才能相会?
秦观《鹊桥仙》
纤云弄巧,飞星传恨,银汉迢迢暗度。金风玉露一相逢,便胜却人间无数。
柔情似水,佳期如梦,忍顾鹊桥归路。两情若是久长时,又岂在、朝朝暮暮。
总是离人泪
为何离别总是在深秋?想张生和相府千金莺莺好不容易私定终身,还没来得及做一日恩爱夫妻,张生就要进京赶考,这是上天在捉弄这对苦命鸳鸯吗?戏台上,花旦一挽衣袖,唱起了《西厢记长亭送别》:
碧云天 ,
黄花地,
西风紧,
北雁南飞。
晓来谁染霜林醉?
总是离人泪。
哒哒的马蹄声还未远去,这边莺莺早已哭成一个泪人??
说著分携泪暗流
纳兰容若生于官宦之家,自幼饱读圣贤之书,精于诗词歌赋,是清代少有的才子。加之被康熙皇帝任命为御前带刀侍卫,更是风光无限。娶得名媛卢氏为妻,夫妻恩爱,琴瑟和谐。起初,夫妻二人也幸福地生活了几年。天不怜见,妻子卢氏不幸亡故。纳兰容若自此郁郁寡欢,常常借酒浇愁。因悼念亡妻作《南乡子》一首:
《南乡子》
烟暖雨初收,落尽繁花小院幽。摘得一双红豆子,低头,说著分携泪暗流。
人去似春休,酒曾将酹石尤。别自有人桃叶渡,扁舟,一种烟波各自愁。
人世间最痛苦的事,莫过于所爱之人,先赴黄泉,留下自己孤苦伶仃,于夜深人静时念一句“十年生死两茫茫,不思量,自难忘”,空对着昔人留下的妆奁。春末,小雨初歇,幽静小院里繁华落尽,摘得一双红豆,触景生情,不禁流下两行清泪。人的离去就像春天的消逝??
中国诗歌文化源远流长,博大精深,关于才子佳人的凄美故事更是灿若星河,在一代代文人骚客的生花妙笔之下,得以流传不息。爱情,在诗、词、歌、赋中得以展现、升华、延续;而诗、词、歌、赋因为爱情的注入,内容得以充实。爱情,是人类情感中不可或缺的一部分。因此,歌颂爱情、赞美爱情成为文学创作的主流。文化生生不息,文学里的爱情将会更加炫丽多彩!
中国古典诗歌对庞德的影响
The Impacts of Chinese Classical Poetry
On Ezra Pound
Abstract: Ezra Pound, as one of creators of American Imagism plays a very important role in the coming and development of American Imagism poetry, but his poetry-creation and his imagism theories are greatly influenced by Chinese classical poetry theories. Through an analysis of Ezra Pound?s works, the author discusses the impacts of Chinese classical poetry on him. Key words: Ezra Pound; Chinese classical poetry; Imagist poetry
中国古典诗歌对庞德的影响
摘 要:庞德作为美国意象派诗歌的创始人之一,是美国诗歌界的一颗耀眼之星,他对美国意象派诗歌的产生及发展做出了巨大的贡献。本文通过对庞德的作品浅析,进一步探讨了中国古典诗歌对庞德的影响。
关键词:庞德;意象派诗歌;中国古典诗歌
1. Introduction
Ezra Pound, as a genius poet and a literature giant has been deeply attracted by Chinese classical poetry and he has influenced the development of the modern literature all over the world. Ezra Pound gained rich of creative inspiration through assimilating the achievements of Chinese classical poetry. The impact of Chinese classical poetry on Ezra Pound is absolutely immeasurable. Ezra Pound is also an interpreter who is engaged in introducing Chinese classical poetry and philosophy. Meanwhile, he has translated and recreated Cathay, ShiJing, SiShu, ZhongYong, LunYu and so on. His translation of the eastern literature and philosophy arouses European poets great interest in the eastern literature. Many later writers have become the literature giant in Pound?s debt, imitating his creative ideas. Through all his life,Ezra Pound has written a lot of works, such as Mask (1990),Hugh Selnwyn Mauberley (1920) and Cantos (1917-1959). His early poetry are in line with the theory of imagism,which highlights concise, implicit and exact images to express ideas or concepts .The choice of words in his poetry are simple,common and fluent. He is the advocator of Imagist Poetry and puts forward the slogan of originality in composing poetry. Early in his youth ,Ezra
Pound showed great zest in Chinese classical poetry. In 1915 his translation version of Cathay was published. Besides, he also collected other 17 poems, most of which are the works of Li Bai, such “ The Green Grass on the Bank of the River ”(李白《青青河畔草》). As to Ezra Pound?s significance in the development of literature, this essay will discuss Ezra Pound from the following two parts: The impacts of Chinese classical poetry literature theory on Ezra Pound?s poetry literature theory and the impacts of Chinese classical poetry on Ezra Pound?s poetry.
2. The Impacts of Chinese Classical Poetry Literary Theory on Ezra Pound’s Poetry Literary Theory
Chinese classical poetry literary theory put emphasis on “music”, “imagery”, “rhyme”, which are concordant with Ezra Pound?s exploration of the new poetry. For instance as Mei Raochen wrote in his poetry: The description of scene is vivid as if it is before the meaning of sentence is behind the language. (状难写之景如在目前, 含不尽之意现于言外), Yan Yu has also held that (盛唐诗人唯在兴趣, 羚羊挂角, 无迹可求故其妙处透彻玲珑, 不可凑泊, 为空中之音, 相中之色, 水中之月, 镜中之像, 言有尽而意无穷).
After his research on Chinese poetry, Ezra Pound found that Chinese ancient poets just wanted to express the objective entities in poetry, which implicitly convey their feelings, or notions. Ezra Pound?s poetry can trace the origin of the spiritual truth and poetic notions of Chinese classical poetry literary theory. The essence of Chinese poetry is humanism, upholding individualism and subjectivity. In some aspect, it is different from the western poetic culture which attaches importance to objectivity. Therefore, the Chinese ancient poetry pays more attention to the human?s mentality an d psychology when they express imagination intuition and emotion.
The core category of Chinese classical Poetry is: Simple and Xng(比兴), Image (意境), Didactic (弘道),spiritual (养气) and Sentiment (尚意). All of these contain a close relation between profound poet ry and human?s mental. Particular ly the ancient Han and Tang poetry pay close attention to the postscript soul. LiBai?s poetry embody this point. When Ezra Pound sorts out Fenollosa?s essay, he knows that Li Bai?s works are not only skillful at language but also emphasize the human?s mentality in content .
So in the Cathay there are a lot of Li Bai?s works.
In fact, the Li Sao of Qu Yuan is very common in Fenollosa?s essay s. But Ezra Pound chooses nothing of it except Li Bai?s works. Because, first, Li Bai?s poetry are full of beautiful images, which are more closed to his imagism poetry, which he advocates zealously. Secondly, Li Bai?s poems characterize which using oral language. And this characteristic is at the same side of Tang dynasty poetry?s oral language. Ezra Pound advocates direct and simple principle in poetry creation. That?s why he chooses Li Bai?s poetry in the Cathay, which shows Ezra Pound?s opinion on literature.
In American literature world, Ezra Pound (1885-1927) is called modern poetry?s explorer. And this name deserves his achievement in reality. The beginning of America modern poetry can?t come without Ezra Pound?s imagist poetry. The beginning of imagist poetry and the theory are also the beginning of his modern poetry career, then he absorbs and uses the spirit of Chinese classical poetry which made his poetry perfect. From then on, he created an “Ezra Pound Age” in American poetry history.
Ezra Pound comprehends and transfers the images of Chinese poems into his modern poems. The read ers can comprehend Pound?s definition of image from his translated essays. Image is a kind of synthesis of intelligence and feelings. In fact, in each part of Cathay, there are many creative translations showing such artistic features. It is also an evidence that Ezra Pound?s literature creation is affected by Chinese culture. What is to be sure is that Pound?s comprehension is based on the structure of Chinese character and Chinese classical poetry. He actually comprehended the spirit that embodies imagery of Chinese poetry.
Ezra Pound was the first man, who proposed the concept of imagism in London in 1912 and started the imagism movement, which marks the beginning of the American modern poetry. Next year, he, Hume and Flynnt published a series of articles in Poem Collocation and edited Imagism Poetry, which expanded the image principle influence in 1914. Ezra Pound once defined: “The image as the combination of a idea with emotion ”. According to his opinion, this creation method was influenced by Chinese ancient poetry. He once translated many Chinese ancient poetry which are regarded as the model for the imagism. And he considered “Make it new” in Chinese “Confucian analects” as the modern poetry movement slogan that was the Chinese poetry typical
characteristic, however this terminology was actually created by Ezra Pound.
When Ezra Pound just met the Eastern literary arts, such as Japanese instinct play and the Laiku, he thought the image was one way of presentation, but after he contacted Chinese ancient poetry of Liu Che and Li Bai, he changed his view on eastern poetic art. Moreover, his poetics ideas also changed. In the same year, he made such explanation for the image and image iteration in an article about V orticism. He thought that the image is not one idea, but a luminous spot or a light beam, which is called vortice. (This kind of imagism poem is one kind iteration form. Namely it is a thought that places above another thought). Ezra Pound deepened his understanding of Chinese poetry image thought his translation of Chinese poetry. His imagism poetry became more freely after accepting Chinese poetic theories and which also formed his Vorticism view. This kind of poetics paid more attention to the “fundamental elements” that were widely used in Ezra Pound aft erwards significant work “Cantos ”, in which the method of “image iteration” was more complicated. Thus Poundian or Chinese poetic form came into being. (The present American critic Solmho called Pound?s poety as “discoutious syntax” which means a deconstruction of syntax. When Ezra Pound translated LiuChen?s poetry, he intented to assemble the syntax of Chinese classical poetry to leave out some parts of article, preposition and predictive verbs, which remembered the fresh meaning of Chinese poetry.
Ezra Pound utilized this kind of technique in Li Bai?s “To deliver Friend” (<送友人>>) to achieve a specific artistic effect. William Yea once related the Ezra Pound?s opinions on carving art to explain the image juxtaposition in Chinese poetry, which was precisely, called carving beauty.
The poetry in Tang Dynasty characterized obviously as image combination and the image iteration. The galaxy of renowned poets had a good master of this technique. They often combined wisely the weed-chosen images from real life. Although all these different images are directly ordered without any additional information, such as transitive, rhetorical words, the impressive picture with different images inspired reader?s great imagination. In this way, poems can successfully fulfill brevity, cl arity and beauty as well, which aroused reader?s aestheticism.
There is a sentence in Wen Tingyun?s poem “Leave in the Morning for Shang Shan.”
(温庭筠《商山早行里》). Cock sings in the house when the moon is still in the sky, footprint found in the frost of wooden bridge.”(鸡声茅店月, 人迹板桥霜). In which contains six images which convey a beautiful scenery. The former two sentences are “In the morning I leave for army, the tourist leave with a homesick for hometown” which conveys a specific image. In a cold and lonely morning, the poet leaves for a strange place. In such circumsta nces, he couldn?t help to feel depressed and unhappy. After seeing the lonely footprint, hearing the cock?s singing and walking on the frost-covered bridge. He feels more depressed and melancholy. Those series of images appear before the readers as the movie flashes, which convey the high implicity and build a beautiful artistic context like a piece of painting. This implicit presentation of irrelevant images depicts a meaningful picture so that the readers will be in rampant with the poet. The poem with impressive images can truly touch readers from the bottom of heart.
The image juxtaposition in poetry falls into three kinds: First, the strengthening juxtaposition, namely, using several sentences to present many images continuously to strengthen complicated emotions. The description without boundary and limitation brings the reader a more spacious perspective. Hence, the poem?s emotions are strengthened on the effect. The most prominent example of this sort of juxtaposition is Bai Juyi?s “Song of Eternal Sorrow” (白居易《长恨歌》). “flower”, “spring”, “sun”, “galaxy”, “clown” are united in order to intensely exaggerate Emperor Li Xuanzong lonely and miserable feeling after loss of Yang Yuhuan.
Second, metaphoric juxtaposition, namely, two sentences make a group, in which one sentence describes the scenery, while the other conveys a metaphor relationship between the scenery and poet. For instance, Si Kongshu “Joy from Brother?s visit ” (司空曙《喜外弟卢纶访宿》). says “Yellow trees in rain, an old person under the lamp.” (雨中黄叶树, 灯下白头人) . In the poem the author presents two images: an outdoor scene, that is “ Yellow tree and in autumn rain and an indoor scene, an old person with white hair stands under dim light.” The poet does not made any declarative connection between them, but what only to do is to show juxtapose dismal atmosphere. The reader then can feel a sorrow from that “the trees stand out of yellow sun, the man hair turn to white in depression. Third, the caper juxtaposition, namely the scenes and images different space and time together, so as to enlarge space and time scope. Those
irrelevant scenes and images have transferred a contrast in scene and image to enhance poetic effect. For example, in Gaoshi?s poem “A Farewell to Li Shaofu”. The image combination with enormous spa ce and time exaggerates the poet?s sadness at parting with his friend who will soon be away for distant place. The image juxtaposition in Chinese ancient poetry?s is often used in Ezra Pound?s creation and translation. Such kind of technique was well shown in Ezra Pound?s poetry“ In a Station of the Metro”. (The apparition of these faces in the crowd. Petals on a wet, black bough). This poem is a good example of using such techniques and also has the obvious feature of juxtaposition. It means that different faces appear and disappear in the crowd, they look like the petal in the wet bough.
3. The Impacts of Chinese Classical Poetry on Ezra Pound’s Poetry
The imagism poets not only imitate the tact of image poetry in Chinese classical poetry, but also imitate the characteristics of its grammar, Chinese letters, in their creation. Because of the well-strict rulers and forms of Chinese classical poems, they often omit most of the conjunctions, copulatives and all of the syntax symbol, finally only leave the bare nouns to achieve a fairly high stage of imaginary density, In the imagism poetry, every image is an independent image, and between the images there is no conjunction. Just as the expert Sun Shaozhen?s comments on Chinese classical poetry: The strong point of it is to match the mood with the scene, and what it pursues stresses the image and often omits most of the conjunctions in order to prevent the concise logic relation. In order to get more close to Chinese classical poetry, Ezra Pound imitates the grammar characteristics of Chinese classical poem in order to make his poem concise and condense, which is just shown as in the poem “In a Station of the Metro. ”
After deleting and correcting for many times, the original 30 lines of the poem In a Station of the Metro contains only two lines. It is made up of two noun sentences taking “apparition” and “petal “as its key words. In English sentences, the necessary subject and predicate can be not deleted, but they are omitted completely. The poem is short and its language is concise. However, these two words have their additional words, just because of the limit of the language itself. English imagery poem can?t get to the
imagine density like Chinese poems. But from that we clearly understand that Ezra Pound tried his best to imitate Chinese classical poems. Besides, from this poem we can also see the author?s imitation of Chinese poem?s own characteristics. We know that three kinds of poetic techniques “Fu”, “Simile” and “Xing” were used in the first poetry collection ShiJing. The method of “Xing” means two groups of images form a kind of parallel in poetic form. The first and second sentence of this poem is of this kind. From the above analysis we can arrive the conclusion that American imagine poem has been deeply influenced by Chinese classical poetry. Imagists have found the image, nature, concise and combination they have been seeking for in Chinese classical poetry. If the history demands the imagists to compose new poems fitting social character, Chinese classical poem provided the foundation and animate example for imagism theory. Actually, Chinese classical poetry plays an important role in the development of imagists ? new poem movement.
4. Conclusion
In American literary, Ezra Pound (1885-1972) was called modern time poetry explorer, which is not exaggeration. American modernism literature?s inchoation can?t be without Ezra Pound and his creation of the imagism poetry. The coming of imagism poetry and the theory launch the journey of modern time poetry, and then the absorb and use of Chinese classical poetic theory makes his poetry perfect, which marked Ezra Pound Age. Especially his theory of poetry is the beginning of America modern poetry, his creation is closely connected with Chinese classical poetry.
The famous American essayist Huge Kenner sang highly of Ezra Pound and he called this period as Ezra Pound?s Age. Besides, Huge Kenner highly appreciated Pound ?s creative opinions in literature and all kinds of poetry practice. All of these advanced the development of the western country ?s modern literature of the 20th century.
This paper mainly makes some comments on Ezra Pound and introduces the effects of Chinese classical theory on Ezra Pound?s literary creation theory, that is, the theory of imagism . It also makes a brief discussion about the classical poetry?s impacts on his
creation. From Pound?s poetry, we find the influence of Chinese classic poetry. For instance, the poem “In a Station of the Metro”, but the study of Chinese classical poetry?s impacts on Ezra Pound is not enough.
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中国古典诗歌对美国意象派诗歌的影响
2003年第4期总第80期外语研究
ForeignLanguagesResearch2003,№4Serial№80
中国古典诗歌对美国意象派诗歌的影响
田朝绪
(上海对外贸易学院外语学院,上海200336)
摘 要:20世纪初,英美部分诗人提出意象主义这一概念,并按这一理论进行诗歌创作。他们提倡通过创造恰切集中的意象,使用简洁通俗的语言,运用富于音乐性的节奏来描绘“事物”。中国古典诗歌无论是在哲学思想还是意象创造上都对意象派产生过深刻的影响。本文以“东学西渐”中中国文化对美国诗歌的影响为切入点,阐述了意象派代表诗人与中国诗歌的联系,指出中国古典诗歌与意象派诗歌相通的契合点,从而揭示中国古典诗歌对意象派诗歌的影响。
关键词:中国古典诗歌;美国意象派诗歌;影响
中图分类号:I109.9 文献标识码:A 文章编号:1005-7242(2003)04-0034-06
20世纪初,一股声势浩大的文学浪潮———现代主义———席卷了欧美大陆。在这股大潮中,美国诗歌也发生了重大的演变。1922年10月,T?S
(TheWaste?艾略特的传世之作《荒原》
(The,表在英国的《标准》,。然而,美国
现代主义诗歌的新风貌不是一种孤立或自发的文学现象,它与19世纪以来的西方文化大背景以及英美文学的迅速发展和演变有着密切的联系。在众多的文学事件中,若就“现代性”和对美国现代主义诗歌的影响而言,恐怕只有庞德(EzraPound,1885-1972)及其领导的意象派才部分地
面,,中中国文化特别是中国古,阐述意象派代表诗人与中国诗歌的联系,通过具体分析意象派诗人的典型作品,找出中国古典诗歌和美国意象派诗歌相通的契合点,从而揭示中国古典诗歌对意象派和美国现代主义诗歌的影响。
一
如果说中国人借助19世纪末20世纪初“西学东渐”的机会,在“五四”新文化运动中,完成了自己的“文学革命”,从无到有全面地创立了自己的新文学的研究体系,那么在这股“西学东渐”的大潮中,得益最多的自然是中国文学。这也是一个中国知识分子主动向西方学习的过程。与“西学东渐”相对的则是“东学西渐”,主要讲的是中国文化(或称“东方文化”Orientalculture)对西方特别是欧美的影响,但它来得远不如前者那样响亮和显著。这主要是由于“西方中心主义”或“西方优越论”的影响“,西方人都自我感觉极为良好,以
②‘天之骄子’自命。”“对于还未形成时尚的小国③远地的文学是不太注意的。”“今天,中国人民对
具备了标志美国现代主义诗歌发端的“代表”资格。探究美国现代主义的发轫,自然离不开对意
象派和庞德的观照;而探究意象派的诞生发展、庞德的诗艺成熟,就不能不关注中国古典诗歌对意象派的影响。因为,无论是意象派的旗手———庞德,还是其他绝大多数意象派诗人,都非常钟情于中国古典诗歌并且深受其影响。可以说,中国古典诗歌对美国意象派的产生和发展具有深远的影响。所以,美国诗人埃温说“:到如今,不考虑中国诗的影响,美国诗就无法想象。这种影响已成为
①美国诗传统的一部分。”
西方的了解远远超过西方人民对中国的了解。在西方,不但有一些平民老百姓对中国毫无所知;有
的人甚至认为今天中国仍在裹小脚,吸鸦片。连
④
一些知识分子也对中国懵懂无知。”于是“三四,
流的西方作品在中国也有人知,而第一流的中国
但是长期以来,中国古典诗歌对意象派的影响并未引起足够的注意。虽有介绍,也只是浮光掠影,不着重笔,遑论系统而全面的阐述。另一方
?34?
作品就是在英美的文学爱好者研究者之间也寂无
⑤
反响。”实际上,有着悠久历史和辉煌遗产的中国在世界上一直有着不可忽视的影响。无论是13世纪的意大利旅行家马可?波罗(MarcoPolo1254-1324)留下的《马可?波罗游记》,还是17世纪他那位大名鼎鼎的同乡、天主教耶稣会士利马窦(MatteoRicci1552-1610)所撰写的《中国文化史》;无论是17、18世纪风行英国的“中国热”,还是曾经风靡法国的“汉学热”,都印证了中国文化深深地渗入了欧洲文明,并直接影响着长期以“老大”和“中心”自居的欧洲文明的发展进程。这种影响到今天一直都存在着并将持续下去。然而,许多中国的学者却并没有深刻地意识到这一点。就“现代主义”或“现代派”而论,几乎所有研究中国现当代文学的人都或多或少地介入这一“现代”理论,有的甚至对其津津乐道。但实际情况是,许多人依然对它感到“陌生”———“研究对象的陌生和接受对象的陌生。西方的现代主义诗歌,⑥
它产生的时候起,陌生的原因何在?品”血儿,,在意境和思想态度上他们取了十九世纪法国象征派诗
这里所说的“意象”是一种侧重于
主体的思想和情感表现的虚构形象,它与一般生活中的观念意象是有区别的。
事实上,“意象是中国首创的一个审美范⑨
畴。”意象的注重是中国古典诗歌固有的传统。它的源头可以上溯到《周易?系辞》:
子曰:书不尽言,言不尽意。然则圣人之意,其不可见乎!
子曰:圣人立象以尽意。意象的古义是“表意之象”,是指用来表达某种抽象的观念和哲理的艺术形象。也有将意象理解为象征的。例如,庄子《逍遥游》里的“抟扶摇而上者九万里”的大鹏,既是一种意象,又是一种象征。,如吴承恩,都是具有特,使用意象的小雅》中的“硕,中的“湘夫人”,陶潜《饮酒》东篱”,周敦颐《爱莲说》中的“莲”,李白《长干行》中的“竹马”“、青梅”,李商隐《无题》中的“春蚕”“、蜡炬”等等。可见,意象并不是什么新的名词与概念,它早已出现在中国的古典诗歌中。可以这么说,是庞德从中国古典诗歌中发现并借用了这一名词,并将其融入自己的诗歌创作之中,从而丰富和发展了意象主义诗歌。这一点可以由庞德对于中国文化的认识,以及庞德翻译的《华夏》
)和其(Cathay1915,又译《神州集》或《中国诗章》
(Cantos)可以看出。长篇《诗章》作为一位伟大的天才诗人,庞德所受的影响
是多方面的。无论是法国的象征派、印象派,柏格森派哲学,意大利的未来派还是埃及、意大利、中国的古典诗歌以至于希腊、日本的古典戏剧都对其产生过影响。但是对其影响最大的恐怕还是中国古典诗歌。庞德是中国古代文明的歌颂者,对孔子的思想非常崇拜,因为他从基督教上看不到治疗其时代弊病的有效方法。对他来说,冠冕堂皇的基督教不过是个深渊。随着时间的流逝,他甚至失去了对希腊文化的信仰。正当他四顾茫然,百思不得其解时,庞德将目光转向了东方,他似乎从中国文化中看到了现代西方所急需的理智和理想。在孔子及其儒家学说中,他找到了医治西方社会弊病的良药。庞德深信,孔子就像“屋顶
?35?
withenergy)
⑧
人态度……中国的现代派诗只是袭取了新意象派
⑦
的外衣或形式,而骨子里仍是传统的意境。”这说明“现代派”这一概念虽然来自于西方,实质上却没有摆脱中国古典诗歌意境(意象)创造的精神渊源,也就是说,中国古典诗歌影响了意象派,而意象派又影响了现代派。无论是研究意象派还是研究现代派都离不开对中国古典诗歌的观照。否则,只能是舍本逐末,对所研究的对象感到“陌生”。
二
(image)呢?美国什么是“意象”“意象派”
(Imagism)诗歌运动领袖埃兹拉?庞德给它的定义是:意象是一种一刹那间呈现出来的理性和感性的集合体(animageisthatwhichpresentsasintellectualandemotionalcomplexinaninstantoftime)。后来,当庞德脱离了意象派而热衷于漩涡主义(Vorticism)运动时,他又发展了关于意象的观点。他说“:意象在任何情况下都不只是一个思想,它是一个漩涡,或一簇相交融的思想,具有活
(avortexorclusteroffusedideasendowed力。”
(诗章》下的一盏明灯”《第49章),一定能照亮和
(Ta开化野蛮的西方。庞德认为,体现在《大学》
HioorDaXue)中的孔子的智慧还没有枯竭而且
孔子关于“秩序”的论述,使此前诗章内的污浊空气一扫而光,让读者抬首望到天堂般的光辉与安谧气氛(16-17章)。第49章引用中国古典诗歌与古代舜王时的《卿云歌》,第52章为《礼记》的意译,而53-61章则是著名的中国章,简述自古至清代乾隆皇帝时的中国历史,表现出诗人渴求天下大治的愿望。
中国古典诗歌对意象派的影响不只体现在庞德身上,也体现在意象派的其他诗人身上。意象派的创始人之一英国哲学家兼诗人T?E?休姆(ThomasErnestHulme,1883-1917)也不是对中国古典诗歌无动于衷。休姆认为,汉字象形表意,中国诗歌充满意象,雄浑简洁,内容丰富(这同意象派诗歌的主张一致)就是不创造意象,象的“叠加”
()等近似于()和,最终完成意义休姆强调用词简洁,注重诗的内在节奏。如其所作的《日落》,诗中音部多寡不一,犹如中国古代的长短句;韵尾参差不齐,语言近似口语,但读来仍是抑扬顿挫,音韵天成:
一位女芭蕾舞演员贪恋着喝采,迟迟不肯走下舞台,
在全场不友好的嘁喳声里她施展出最后的魔力,高高踮起她的脚尖,
露出了胭脂云织成的嫣好的内衣。
瑣
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