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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