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WallaceStevens(1879-1955)华莱士·史蒂文斯WallaceStevens(1879-1955)Life•AnAmericanModernistpoet•BorninReading（雷丁）,Pennsylvania•EducatedatHarvardandthenNewYorkLawSchool•SpentmostofhislifeworkingasalawyerfortheHartfordinsurancecompanyinConnecticut（康涅狄格）.•Lateinstartinghisliterarycareer•HereceivedtheNationalBookAwardin1951and1955.•WonthePulitzerPrizeforPoetryin1955.Works:Stevens‘sfirstpublishedworkHarmoniumappearedin1914inPoetrymagazine.Harmonium(1923)washisfirstcollectionofverse.Itcontainssomeofhisbestknownpoems：•LeMonocledeMonOncle（我叔叔的单片眼镜）•TheEmperorofIceCream（冰激凌皇帝）•SundayMorning（礼拜天早晨）•AnecdoteoftheJar（坛子的轶事）•PeterQuinceattheClavier（大键琴上的彼得·昆）•ThirteenWaysofLookingataBlackbird(观赏乌鸫的十三种方式)Laterworksofpoetryincluded:•IdeasofOrder（秩序观念）(1935)•Owl'sClover(1936)•TheManwiththeBlueGuitar（拿蓝色吉它的人）(1937)•NotesTowardaSupremeFiction（关于最高虚构的札记）whichisoftenconsideredhismasterpiece.(1942)•PartsofaWorld(1942)•TransporttoSummer(1947)•TheAurorasofAutumn（秋天的晨曦）(1950)•CollectedPoems（诗集）(1954)wonthePulitzerPrizeandtheNationalBookAwardinpoetryin1955.Prose:ThenecessaryAngle(必要的天使)(1951):manyofStevens’scriticalessaysareincluded.Posthumouscollections:•OpusPosthumous(遗作集）(1957)•LettersofWallaceJamesStevens,editedbyHollyStevens(1966)•ThePalmattheEndoftheMind(1972)Stevens’PhilosophicalThoughtsandWritingStyle1.Maintopic:therelationshipbetweenrealityandpoetry,natureandimagination2.2kindsofreality:a.Theobjectivereality:theperceptionsbythefivesensesb.Thesubjectivereality:mentalworlddominatedbyimagination(toarrangethechaoticinformationfromthesensualperception)3.Hedonism:thesignificanceontheenjoymentofsensualemotions4.Poetryofstatement:anactoffaithinthesenseof“nothingness”inreality5.Simplelines:anemphasisonvocabularyandimageryratherthanprosody6.Thefaithinpoetry:whennoonebelievesinGod,itisnecessarytobelieveinsomethingelse,suchaspoetry,athingcreatedbyimaginationTheSnowMan•OnemusthaveamindofwinterToregardthefrostandtheboughsOfthepine-treescrustedwithsnow;•AndhavebeencoldalongtimeTobeholdthejunipersshaggedwithice,Thesprucesroughinthedistantglitter若想敬仰松树枝干层层为霜雪覆盖，你得具备冬天的头脑。在寒冷中持久凝视，那冰雪蓬松的刺柏丛林，那闪烁在远处•OftheJanuarysun;andnottothinkOfanymiseryinthesoundofthewindInthesoundofafewleaves,WhichisthesoundofthelandFullofthesamewindThatisblowinginthesamebareplaceForthelistener,wholistensinthesnowAnd,nothinghimself,beholdsNothingthatisnotthereandthenothingthatis.腊月阳光下的迷漫云杉。不要去想那风声和树叶夹带着的凄凉。这声音是风地里的声音，这风是为在空地上的你而吹。在雪里聆听的人儿啊，听着与己无关的事儿，那儿不存在的东西看见，眼里只有现存的一片空旷。•TheSnowManisapoemfromWallaceStevens'sfirstbookofpoetry,Harmonium.Itwasfirstpublishedin1921andisthereforeinthepublicdomain.•ThepoemisanexpressionofStevens'perspectives,leadingfromarelativelyobjectivedescriptionofawinterscenetoarelativelysubjectiveemotionalresponse(thinkingofmiseryinthesoundofthewind),tothefinalideathatthelistenerandtheworlditselfarenothingapartfromtheseperspectives.AnecdoteoftheJar•IplacedajarinTennessee,•Androunditwas,uponahill.•Itmadetheslovenlywilderness•Surroundthathill.•Thewildernessroseuptoit,•Andsprawledaround,nolongerwild.•Thejarwasroundupontheground•Andtallandofaportinair.•Ittookdominioneverywhere.•Thejarwasgrayandbare.•Itdidnotgiveofbirdorbush,•LikenothingelseinTennessee.在田纳西，我把一个广口瓶，圆形的，放在一座小山上。那些散漫不羁的荒野由此就环绕在这小山旁。荒野高高地向它隆起，在它四周爬行，不再荒凉。地上的广口瓶，圆圆的，高高的，好似一个空港。统领着各处的疆土，广口瓶自身灰暗空荡。它的所予，不像鸟，不像树，和田纳西所有的一切完全不一样。•Actuallythispoemexplainstherelationshipbetweenartandthenaturalworld.Thejarchangeshowweperceivenature.•ThisisaboutthewhitemancomingtoTennesseeandstickingoutlikeajaronahill,buthavingdominionoverthewildnativesandplantsandcreatures,andtamingthem.Likethejar,thewhitemanputhimselfabovenature,anddidn'tgiveback.赏析：本诗的前两句对坛子和其摆放位置进行描写，想象奇特，令人惊诧！假如出于想象之中，必然是假设给读者一种重要事件的发生。接着，散乱的荒野有了中心，并被赋予了生命，一切全都向坛子涌来，秩序形成。换言之，坛子为荒野带来形式，秩序和意义。诗人可能在说，人所见的秩序是自己造就，他所生活的世界大多也是自己造就；好象又认为，“坛子”与周围的一切有所不同，它能发挥作用，但周围的事物对它有限制力。有人认为：坛子可能是艺术和想象力的象征，田纳西荒野是自然界的象征。其实又何止于此……读者尽可以去想象。但是，联系他的诗学主张，起码我们应该想到这象征了人类所有的重要思想观念。人类用自己的思想观念解释世界，诉诸组织形式，达成一定的社会形态并进而改造世界。须知：秩序、和谐是他的毕生所思所求！Reputationandinfluence:•Stevens'spoemscelebratethenaturalworldandviewthepoetastheonewhodiscoversharmonyintheworld'schaos.Inthiscelebration,muchofStevens’spoetryhasastrongsenseofnaturalelementsandprocesses.•AccordingtoStevens,thenaturalworld—howeverharshandconstrainingitcanbe—ishumankind’sonlysourceofcertainty,evenabovereligion.•InStevens’sview,theworldoutsideisinevitablytransformedwithineachperson’smindintosomethingapartfromtherealworld,intosomethingdifferentfrom“thingsastheyare.”•Theimagination‘srecompositionof“theeye'splainversion”ofthingsthenbecomeseachperson’sversionoftherealworld.•Stevensisquitepossiblythegreatestpoetofthe20thcentury.Hisneologistic（新词的使用者）andbeautifulwordsdefythelimitationsoftheconcreteworldandexploresthedepthsoftheimagination.•Andthefactthatheledaveryquiet,uneventfullifeinCT,whilecreatinghisgorgeouspoetrymakeshimevenmorefascinating.Ithinkhisreclusivelifestrengthenedhiswork,intensifiedit.Ifnotthegreatestpoetofthemall,hewascertainlythepurest.Hisinfluencewillforeverbefelt.