美国文学The-Modern-Period

TheModernPeriodThe1920’sTheeffectsoftheFirstWorldWarTheFirstWorldWar,believedbyAmericanstobe“thewartoendwars”,wasthefirstthatAmericanhadeverfoughtonforeignsoilanditledtobitterdisillusionment.ItshockedAmericanintellectualsoutoftheirinnocence,naivete,andoptimism.Atthesametime,thewarmarkedthebeginningofAmerica’suseofmassproductionmethodsandmoderntechnologywhichalteredthelifeofthewholenation.ThecomingoftheImageThenewagedemandedproperliteraryexpression.Between1912-1922therecameagreatpoetryboominwhichabout1000poetspublishedover1000volumesofpoetry.ImagismcameasareactiontothetraditionalEnglishpoeticswithitsiambicpentameter,itsverbosity,andextra-poeticpadding;butitserved,firstandforemost,tomeettheneedofexpressingthetemperoftheage.ThecomingoftheImageimageryWordpicture.Animageisamentalpictureorimpressionthatappearlstooneofthesenses.Animagecaninvolvesight,hearing,touch,taste,orsmell.对比概念：意境意象意境：触景生情，由景及情意象:由情及景山居秋暝空山新雨后，天气晚来秋。明月松间照，清泉石上流。竹喧归浣女，莲动下渔舟。随意春芳歇，王孙自可留。《致橡树》我如果爱你——绝不像攀援的凌霄花，借你的高枝炫耀自己：我如果爱你——绝不学痴情的鸟儿，为绿荫重复单调的歌曲也不止像泉源，常年送来清凉的慰籍；也不止像险峰，增加你的高度，衬托你的威仪。甚至日光。甚至春雨。不，这些都还不够！我必须是你近旁的一株木棉，做为树的形象和你站在一起。根，紧握在地下，叶，相触在云里。每一阵风过，我们都互相致意，但没有人听懂我们的言语。你有你的铜枝铁干，像刀，像剑，也像戟，我有我的红硕花朵，像沉重的叹息，又像英勇的火炬，我们分担寒潮、风雷、霹雳；我们共享雾霭流岚、虹霓，仿佛永远分离，却又终身相依这才是伟大的爱情，坚贞就在这里：不仅爱你伟岸的身躯，也爱你坚持的位置，脚下的土地。TheImagistpoemwastheinventionofasmallgroupofEnglishandAmericanpoetswhocametogetherinthefirstyearsofthe20thcenturytoworkoutsomenewwayofwritingpoetry.Themovementunderwentthreephasesinitsbriefandyetimmenselyimportanthistory.ItfirstbeganinLondonintheyears1908-1909.AyoungEnglishman,T.E.Hulme,foundedin1908aPoet’sClubwhichmetinSoloeveryWednesdaytodineanddiscusspoetry.Thesecondphaseofthemovementwastheperiodofsomethreeyears(1912-1914)whenEzraPoundtookoverandchampionedthenewpoetry.SomethinglikeanImagistmanifestocameoutin1912inwhichPoundandFlintlaiddownthreeImagistpoeticprinciples:(1)Directtreatmentofthe“thing”,whethersubjectiveorobjective;(2)Touseabsolutelynowordthatdoesnotcontributetothepresentation:and(3)Asregardingrhythm,tocomposeinthesequenceofthemusicalphrase,notinthesequenceofametronome.ThethirdphaseofImagism(1914-1917)camewhenAmyLowelltookoverfromPoundandpushedthemovementintotheperiodof“Amygism”asPoundcalledit.EzraPound(1885-1972)PoundwasborninHailey,Idaho,andbroughtupinPennsylvania.HestudiedRomancelanguagesatHamiltonCollegeandtheUniversityofPennsylvania.In1908hesailedtoEuropeandpublishedhisfirstbookofpoetryinVenice.ThenarrivinginLondon,hecameintocontactwithT.E.HulmeandhisPoets’Club,andlaterfoundedImagism.HehelpedtostartthecareerofsomeBritishandAmericanwriterswholaterbecameveryfamous;insomecasesheshapedandeditedtheirearlyworkswithexcellentcriticaltaste.WhileinLondonhebeganwritingtheCantoswhichhecontinuedforthenextthirtyyears.1920movetoParis1924movetoItaly1930sbecomeasupporterofMussoline1945arrested1946confinedfor12yearsinahospital1958released;returnedtoItalyHisworksHewrote70booksofhisown,andhecontributed,aseditor,to70booksofotherwriters.Hewrote1500articles.HismajorworkofpoetryistheCantos,alongpoemwhichhewrotebetween1915-1945.InaStationoftheMetroTheapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.这几张脸在人群中幻影般闪现，黑黑的树枝上花瓣数点。雨中黄叶树，灯下白头人。玉容憔悴泪阑珊，梨花一枝春带雨。The“Metro”istheundergroundrailwayofParis.Inthisbriefpoem,Poundusesthefewestpossiblewordstoconveyanaccurateimage,accordingtotheprinciplesofthe“Imagists”.Hetriestorenderexactlyhisobservationofhumanfacesseeninanundergroundrailwaystation.Heseesthefaces,turnedvariouslytowardlightanddarkness,likeflowerpetalswhicharehalfabsorbedby,halfresisting,thewet,darktextureofabough.Theword“apparition”,withitsdoublemeaning,bindsthetwoaspectsoftheobservationtogether:1.apparitionmeaning“appearance”,inthesenseofsomethingwhichappears,orshowsup;somethingwhichcanbeclearlyobserved.2.apparitionmeaningsomethingwhichseemsrealbutperhapsisnotreal;somethingghostlywhichcannotbeclearlyobserved.T.S.Eliot(1888---1965)Born---intheUnitedStatesEducation---atHarvardUniversity•metEzraPound,whointroducedhimtoseveralmodernistpoets•marriedVivienHaigh-WoodworkedatLloyd’sBankhadanervousbreakdown;recuperatedinMargateandLausanne,SwitzerlandNobelPrize,1948“aroyalistinpolitics,aclassicistinliterature,andanAnglo-Catholicinreligion”ObjectiveCorrelative“Theonlywayofexpressingemotionintheformofartisbyfindingthe‘objectivecorrelative’,inotherwords,asetofobjects,asituation,achainofeventswhichshallbetheformulaofthatparticularemotion;suchthatwhentheexternalfacts,whichmustterminateinsensoryexperience,aregiven,theemotionisimmediatelyevoked.”hisworkTheLoveSongofJ.AlfredPrufrock(1911)TheWasteLand(1922)MurderintheCathedral(1935)ForImyselfsawwithmyowneyestheSibylofCumaehanginginacage,andwhentheBoyscriedtoher,Sibyl,whatdoyouwant?SheusedtoreplyIwanttodie.RobertFrost(1874---1963)罗勃特·弗洛斯特lifePulitzerPrize1961PresidentKenedy’sinaugurationForty1912EglandStoppingbyWoodsonaSnowyEveningWhosewoodstheseareIthinkIknowHishouseisinthevillage,though;HewillnotseemestoppinghereTowatchhiswoodsfillupwithsnow.MylittlehorsemustthinkitqueerTostopwit