T.S.Eliot艾略特ThomasStearnsEliot(1888-1965)•American-Englishpoet,playwright,literarycritic,andeditor•aleaderofthemodernistmovementinpoetryinsuchworksasTheWasteLand(1922)andFourQuartets(1943)Modernism现代派•Time:thebeginningofthe20thcentury,particularlyintheyearsfollowingWorldWarI.•Fields:artandarchitecture,design,literature,music,dance,paintingandothervisualarts•Itwasaculturalmovementofartistsanddesignerswhorebelledagainstlate19thcenturyacademicandhistoricaltradition,andembracedtheneweconomic,socialandpoliticalaspectsoftheemergingmodernworld.CharacteristicsofModernisminLiterature1.OnecharacteristicofEnglishModernismisthedehumanizationofart;2.Themodernistwritersaremainlyconcernedwiththeinnerbeingofanindividual;3.Modernismis,inmanyaspects,areactionagainstrealismBirthandEducation•BornonSept26.1888inSt.Louis,Missouri,theyoungestofsevenchildrenofanoldNewEnglandfamily.•EducatedatHarvardUniversityin1906andobtainedaB.A.andM.A.inphilosophy3yearslater.•StudiedattheSorbonneinParisandatOxfordUniversity•From1911to1914backatHarvardreadingIndianphilosophyandstudyingSanskrit(梵文)EnglandLife•SettledinLondonin1914•In1914metandbeganacloseassociationwiththeAmericanpoetEzraPound(庞德).•inJune1915marriedVivienonimpulse•Afterthewar,wrotenomoremajorpoetry,turningentirelytohisplaysandtoliteraryessay•servedasdirectorofLondonpublisher,Faber&Faber,from1925untilhisdeathin1965.•In1922Eliotfounded,andforseventeenyears,editedtheliteraryjournal,Criterion(标准).NobelPrize•In1927,EliotbecameaBritishsubjectandaboutthesametimeenteredtheAnglican(英国国教)Church.•In1938Vivienwascommittedtoamentalhospital.•in1948awardedboththeOrderofMerit(功绩勋章)andtheNobelPrizeforliteratureforhisFourQuartets(四个四重奏).•By1950hisauthorityhadreachedthatofSamuelJohnsonorSamuelTaylorColeridge.Eliotdescribedhimselfas:•aroyalistinpolitics•政治上的保皇党,•anAnglo-Catholicinreligion•宗教上的英国天主教徒,•aclassicistinart•文学上的古典主义者。conservatism保守主义HisAchievementsAsaPoet:TheLoveSongofJ.AlfredPrufrock(1915)《J.阿尔弗雷德·普鲁弗洛克的情歌》PrufrockrevealedEliot'searlystyle,mixinghumorandpessimism.TheWasteLand(1922)《荒原》expressedhishorroratthespiritualturmoil(混乱)ofmodernEurope.HollowMan(1925)《空心人》AshWednesday(1930)《圣灰星期三》ismoretraditional,andwithitsreligiousemphasis,morehopefulthanhispreviouswork.FourQuartets(1943)《四个四重奏》•Hispoetrynotedforitsfreshvisualimagery(意象),itsflexibletoneandhighlyexpressiverhythm.•difficulttoread;imagesandsymbols;disconnected;learned(博学的)quotations(引用)andallusions(暗示)•“Eliot’spoetrysaidmoreaboutthemodernchaosinfiftyorsixtylinesthanallthesocialcriticsandtheirvolumesputtogether”.----ArchibaldMacLeishAsaDramatist:•MurderintheCathedral(1935)《大教堂中的谋杀》•TheFamilyReunion(1939)《家庭聚会》•TheCocktailParty(1950)《鸡尾酒会》•TheConfidentialClerk(1954)《机要秘书》•TheElderStatesman(1958)《老政治家》AsaLiteraryCritic:“impersonaltheory”or“thetheoryofimpersonalityandobjectivity”非个人化理论(客观化理论)Depersonalization•Principleofobjectivecorrelative(客观相关原则):usingrelatedobjects,situations,events,allexternalfacts,toexpressemotions.•Traditionandpersonaltalents:theessenceofEliot’sthoughtliedintheinteractionbetweenthepast,thepresentandthefuture.CollectionsofHisCriticEssays:TheSacredWood神木EssaysonStyleandOrder风格及秩序论文集ElizabethanEssays伊丽莎白论文集EssaysAncientandModern古今文集TheUseofPoetryandtheUseofCriticism诗歌的用途和评论的用途AfterStrangeGods拜异教之神TheLoveSongofJ.AlfredPrufrock《J.阿尔弗雷德·普鲁弗洛克的情歌》•“Prufrockisaboutalonely,timidmiddle-agedmanwho,lackingself-confidence,wantstoproposemarriagetoaladybutisafraidtodoso,andultimatelydoesnot.•Thethemes:Prufrockianparalysis,temporalrepetitionandanxiety,fragmentation,debasementandhell•这首诗的主题是普鲁弗洛克式的麻痹,现世生活的重复、焦虑、分裂、贬质及地狱。AppreciationofTheWasteLand•Eliot’sepochal(划时代的)masterpiece,arepresentativeworkoftheHighModernismofthe1920s•themanifesto(宣言)ofthe“LostGeneration”(迷惘的一代)TheWasteLand•searchforregeneration(重生),apoemonthethemeofthesterility(贫瘠)andchaosofthecontemporaryworld.•5segments,fragmentswithdifferentvoicesandcharacters•Inthe433lineofthepoemareincludedquotationsfrom,allusions(暗示,提及)to,orimitationsofsome35differentwriters,aswellasseveralpopularsongsandpassagesin6foreignlanguages,includingSanskrit.•Hardtounderstandwithoutdetailedannotations(注释)FiveParts•“TheBurialoftheDead”死者的葬礼•“TheGameofChess”对弈•“TheFireSermon”火诫•“DeathbyWater”水里的死亡•“WhattheThunderSaid”雷霆的话FiveParts•“TheBurialoftheDead”representstherebirthofthelandafterthebarrenwinter•“TheGameofChess”presentsacontrastbetweenthesplendorofthepastandthesqualorofmodernlife.•“TheFireSermon”vignettesofthesordidnessofmodernlife.•“DeathbyWater”thevisionofadrownedPhoeniciansailorwhoatleastdiesbywater,notthirst.•“WhattheThunderSaid”representsthedecayofmodernEuropethroughsymbolsoftheGraillegend.•ThepoemconcludeswithquotationsfromtheUpanishads,itslastword,threetimerepeated,being“Shanitih”,meaning“thepeacewhichpassethunderstanding”.APRIListhecruellestmonth,breedingLilacsoutofthedeadland,mixingMemoryanddesire,stirringDullrootswithspringrain.第一章《死者的葬仪》,将西方社会描绘为万物萧瑟,生机寂灭的荒原。春天原本该万物复苏,生意盎然,而在诗人的笔下,现代文明的象征――伦敦却是一片枯萎的荒原。在这没有生气的栖息之所,人不生不死,虽生犹死,心中唯有幻灭和绝望,眼前的世界只泛滥着海一样的情欲。在这令人窒息的现实中充斥着庸俗卑下的人欲,死亡的阴云浓浓地罩在了西