庞德‘意象主义

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浅谈庞德意象派诗歌的现代性内涵

浅谈庞德意象派诗歌的现代性内涵论文关键词：庞德意象派现代性论文摘要：庞德虽然从中国古典诗歌中汲取了重要的经验，但是，其诗歌更有着跟中国古典诗歌截然不同的现代性内涵。

庞德诗歌跟中国古典诗歌有相近的技巧，但更有着其独特的现代性想象和深切的现代性焦虑。

作为一个对诗歌现代性和无限可能性有着种种探索的诗人，庞德诗歌和中国古典诗歌的渊源关系并不能被简化地理解，也不能被简单地贴上意象派的标签。

众所周知，意象派代表人物庞德的诗歌跟中国古典诗歌有着密切的渊源关系：庞德作为意象派的首领人物，他对中国古典诗歌的认识得益于东方学家、诗人费诺罗萨(ErnestFenolosa)。

费诺罗萨将大量的日译汉诗译成了英语，但还没来得及整理出版就去世了。

当庞德得到费诺罗萨的遗稿时，他惊奇于中国人的伟大创举，宣称在中国文学里发现了“新希腊”。

庞德发现中国古典诗歌与以他为首的意象派的诗学原则十分吻合，于是，意象派诗人们掀起了一场翻译、学习中国古典诗歌的热潮。

中国诗歌强调含蓄、简约、朦胧、暗示等特征，跟意象派所主张的用“具体的意象来表达、简约、浓缩是诗歌最重要的特征”的观点非常契合。

中国诗歌几百年的艺术实践使庞德仿佛看到了一座大宝藏。

在他们被过度抒情的浪漫主义诗歌折磨得极其不堪的时候，意象叠加等中国诗歌艺术原则使他们看到了诗歌的新可能。

但是，如果一味强调这种继承关系，而忽略了意象派本身所具有的文化立场的话，可能是不得要领的。

所以，我们在理解庞德意象派诗歌和中国古典诗歌的关系时，既要承认渊源关系的存在，更有必要阐明庞德意象派诗歌独特的现代性内涵。

本文将从诗歌的技巧、内涵和诗人身份几个方面来比较庞德意象派诗歌对中国古典诗歌的创造性转化，从而凸显庞德意象派诗歌的现代性特征。

技巧：现代性的想象由于对中国古典诗歌的服膺，庞德诗歌中有着大量跟中国诗歌相似的意象，这让一些人以为庞德是中国诗歌的西方传人。

殊不知，即使是跟中国诗歌有着相同的意象、相近的技巧，庞德诗歌所呈现出来的现代性想象跟中国古典诗歌也是大异其趣的。

庞德《神州集》的意象主义重构

庞德《神州集》的意象主义重构庞德《神州集》的意象主义重构周平‘内容提要:本⽂认为,单纯地从翻译⾓度讨论庞德的《神州集》缺乏理论意义。

《神州集》是庞德诊释其“Maketi New”⼝号的重要范本,⽽⾮传统意义上的译著。

《神州集》不仅是意象主义思潮的产物,⽽且对进⼀步形成和发展意象主义⽂学思潮有重要作⽤。

在“翻译”中国古诗的过程中,庞德对原始资料进⾏了意象主义组合与重构。

他的重构原则明显受到弗诺罗萨对汉语语⾔和诗歌理解的影响,但更多则表现了作者⾃⼰对中诗的认识:即中国古诗的表现⼿法与意象主义诗歌美学思想⾼度契合。

由于他不是意在“准确”展现原诗的风格和意义,⽽是想通过重构,达到表现意象主义的美学意境,因此不可避免地造成了对原⽂风格和意义的曲解和破坏。

研究《神州集》,重要的是探讨这部作品与庞德⽂学思想和实践之间的联系,⽽不是作者的翻译技巧和中⽂⽔平。

关锐词:庞德;《神州集》;意象主义重构艾略特(T.5.lEoi t,1 8 8 8⼀ 91 65 )谈到意象派诗歌创始⼈庞德(E rzaPo u nd,81 58 ⼀91 27)时,曾称他“为我们时代发明了中国诗歌的⼈”(theinve n to r o f C h in e s ePo e t r y fo r our time)。

这⾥的“中国诗歌”是指庞德的《神州集》(aCthya,911 5 )。

艾略特的评说⾄少道出庞德《神州集》的两个重要特征。

第⼀,这部诗集不是传统意义上的“翻译”;第⼆,庞德的《神州集》是为现代⼈所作。

⽆疑,在艾略特眼⾥,《神州集》的价值正是在于庞德的“发明”及其对现代读者的意义,或者说《神州集》的原创性和现代性。

本⽂试图从⼀个中国读者的⾓度,再论《神州集》的原创性和现代性,及其与庞德⽂学思想,尤其是他早期所提倡的意象主义理想之间的关联性。

⼀、“Maekti Nwe”与《神州集》的问世庞德表达其⽂学思想的著名⼝号“Mkaetien w”包含了他诊释古典作品的重要原则。

庞德‘意象主义

庞德与意象主义“一个人与其在一生中写浩瀚的著作，还不如在一生中呈现一个意象。

”这是庞德对“意象”这个概念的阐释。

这句话，虽然偏激，但却可以理解。

因为其实他本人也无法做到。

庞德给“意象”下的定义是“在一刹那时间里呈现理智和情感的复合物”。

我的理解是，当“我”面对一个客体时，会产生“像什么”的冲动，然后跳出来一个词，构成一个比喻。

但比喻是有区分的，例如“美女像花”，那是通例的比喻，已经在语言体系里约定。

但大多数，作为一种修辞手法的比喻，它在应用中是有独特针对性的。

例如，“美丽的西施，就像是一朵盛开的鲜花”，这里“西施”是个别的，相异于“美女”的泛指。

所以后面的比喻，不能简单地写“像花”，而需要修饰和限定，是“盛开的”，是“鲜花”。

但这也只是个别化的比喻，它不是“意象”。

“意象”是“理智和情感的复合物”，所以，还得加入说出这句话的人的“理智和情感”。

虽然说，他可能已经表达了他的欣赏和赞美，但我觉得，这句话情感不够强烈，不够鲜明。

一般人也许没有问题，但是作为诗人来讲，显然就欠缺了，因为缺乏诗人的创造性，没有表现出诗人高于普通人感受的情感。

诗人之所以成为诗人，是因为他们是人群中最敏感最具激情的，所以，诗人应该会说“美丽的西施，就像是刚从枝头摘下的一朵鲜花”，那么这里“刚摘下的鲜花”，显然和西施的命运连结了起来，诗句就充满了一种穿透性，同时也将言外之意释放了出来。

这里的“鲜花”已经不同于前面充满欣赏和赞美的意思，更多的是借鲜花的美丽反衬出红颜薄命的悲情故事，以及诗人道德情感的抒发。

这种涵盖更广大更复杂的比喻，就有点接近庞德所说的“在一刹那时间里呈现理智和情感的复合物”。

但是，庞德并没有把“意象”概念说死，他从来没有指出过哪个是意象是哪个不是，他只是指出了隐藏在我们文字世界里的一条不是很清楚的道路，他认为诗人寻找和经过这样一条道路或者捷径，就能直接抵达文学世界或者诗歌的核心。

正由于他的不确定，或者说，他把“意象”刻意地提高到一个神圣的位置，以强调“意象”对于诗歌的重要性，所以，他才会感叹“还不如在一生中呈现一个意象”。

庞德：一生只呈现一个意象，胜于写出无数作品

庞德：一生只呈现一个意象，胜于写出无数作品伊兹拉·庞德（Ezra Pound），诗人和文学评论家，意象派诗歌运动的重要代表人物。

他和艾略特同为后期象征主义诗歌的领军人物。

他从中国古典诗歌、日本俳句中生发出“诗歌意象”的理论，为东西方诗歌的互相借鉴做出了卓越贡献。

T·S·艾略特在《荒原》的开头写下醒目的献辞：“ 献给伊兹拉·庞德 / 最卓越的匠人。

”《荒原》是在庞德大刀斧正下（删减了原稿的三分之一）面世的，为T·S·艾略特获诺贝尔文学奖起了不可替代的作用。

/ 回顾 /庞德作黄运特译人们对最近新诗的风格已谈得很多，这里让我冒昧作一个简要的概括和回顾。

1912年春或初夏，H.D.、理查德·奥尔丁顿和我经商议一致同意以下三条原则：1.直接处理无论是主观还是客观的“事物”。

2.绝对不用任何无助于呈现的词。

3.至于节奏：创作要依照乐句（musical phase）的排列，而不是依照节拍器的机械重复。

在趣味与嗜好上，我们三人还是有很多差别，但是同意以上三条，我们以为足称一个流派了。

......从此，有很多人，“加入”或“随从”本流派，撇开他们的优劣长短不说，他们丝毫没有认同以上第二条的意思。

显然自由体诗已变得跟它之前的乏弱的古体一样啰嗦冗长。

自由体诗暴露了其自身的缺陷。

遣词造句往往跟我们老头子们一样拙劣，甚至还没有后者的借口：塞进一些字词以凑足格律或完整嘈杂的音韵。

这些随从者的诗句是否有乐感，留待读者评断。

有时候我能在“自由体诗”里找到一种格律，跟冒牌斯温伯恩一样陈旧乏味，有时作者脑子里似乎一点音乐结构的概念都没有。

不过，总的来说，这片领域被开垦了是好事。

或许一些好诗已从这种新技巧中诞生，若真如此，则证明此技巧之合理。

批评不是画地为牢或制定禁律。

它是提供起点。

它可以使迟钝的读者警觉。

批评的闪光之处往往在于那些离散的语言。

“意象派”这个词第一次使用实在我给T·E·休姆的五首诗的脚注里，印在1912年秋我的《应对》的结尾。

庞德的意象主义与其译诗《华夏集》

加了营养及活力。关键词：庞德；意象主义；中国诗歌；《华夏集》
文献标志码：Ａ中图分类号：Ｉ１０６．２
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庞德与意象主义的形成

庞德与意象主义的形成的情绪，于是将诗稿销毁。

在一年后，庞德回忆起那日的地铁所见所感，终于写下了两行诗句，十四的单词，充满了活力与张力的诗句，其中的四个意象发人深省。

诗句原文如下：In a Station of the MetroThe apparition of these faces in the crowd;Petals on a wet, black bough.中文译文如下：人群中这些脸庞的出现 ,阴湿、黝黑树枝上的花瓣。

在短短的两行诗句中，出现了四个意象，分别为“脸庞”（face）、“花瓣”（petals）、“树枝”（bought）和“人群”（crowd）。

在全诗中，没有出现一个动词，但是正是这些名词，拼凑出了一个充满了动态感的画面，在读者的心中不断的叠加、揉合。

诗句中，标题的“Station of the Metro”在意象上为全诗做了铺垫，与诗中的四个意象进行综合联想。

庞德用阴湿的树枝暗喻地铁的环境和拥挤的人群，用花瓣代表自己看到了那些美丽的脸庞，四个印象之间两两相印，诗句中展现了一副融洽氛围的画面，这种意象表达显得十分干净利索。

庞德利用静态的表述，呈现了动态的美，读者在静态的词句中感受到了作者情感的表达，受诗句而产生的联想印象更加深刻。

而这也正是庞德的意象主义诗句所追求的目标，在静态的意象中，展现一个丰富的动态画面，受诗句影响而铭记于读者心中的诗句，正是意象派所提倡的意象主义。

庞德在《在地铁站》的创作中，历经了一年的推敲、深思，在销毁的那一百三十余行的手稿基础上，删去了一切与意象没有关联的动词，这个反而赋予了剩下的名词更加丰富的意义。

2、庞德在《在地铁站》中意象主义的运用《在地铁站》中，庞德将自己提倡的意象主义三原则运用的淋漓尽致。

例如，诗中的“黑”（black）一词，既代表着黑色的火车、黑色的铁轨、灰色的立柱、黑暗的地铁站、昏暗的环境、拥挤的人群的涌动的模糊感等等，一个单词承载了很多层次的韵味。

庞德意象派诗歌风格解析

庞德意象派诗歌风格解析摘要庞德是二十世纪初意象派的领导人，是现代主义文学代表人物。

他在现代诗歌界有深远影响，其意象诗的创作深入人心。

本文首先介绍了意象派的历史由来以及庞德在意象派诗歌发展过程中的地位；再结合意象派诗歌创作理论，指出意象派诗歌的共性；然后通过研读前人从传统修辞学角度对意象诗歌的研究以及庞德本人的诗歌创作理论，结合庞德最具代表性的几篇意象派诗歌这一具体语料，分析概括出庞德意象派诗歌的写作特色，即意象的使用、精炼的语言和音乐性的韵律，并举例证明其写作风格的特殊性；最后讨论了庞德意象派诗歌在国内外的影响。

关键词：意象派；庞德；意象；韵律ABSTRACTEzra Weston Loomis Pound was a major figure of the Modernist movement in the first half of the 20th century. He is generally considered the poet most responsible for defining and promoting a modernist aesthetic in poetry. This paper first introduces the history and the origins of Imagism and Pound‘s status in the process of Imagist Poetry development. It then combines with the creation theory of Imagist Poetry to point out the common characteristics of Imagist Poetry. And then by studying t heir predecessors‘research and Pound‘s own poetry theory, it analyses the writing characteristics of Pond‘s Imagist Poetry: the use of imagery, c oncise language and musical rhythm. And it uses examples to prove the specificity of these characteristics. It finally discusses the influence of Pound‘s Imagist Poetry in domestic and foreign literature.Keywords：Imagism;Ezra Pound; image; musical rhythmContents1. Introduction (1)2. Ezra Pound and Imagism (2)2.1 Ezra Pound (2)2.2Imagism ……………………………………………………………………...….. .43. Imagistic features of Pound's poetry (5)3.1 The use of Image (5)3.1.1 Image progress (6)3.1.2 Image superposition (8)3.1.3 Image juxtaposition (9)3.2 Concise Language (10)3.3 Musical Rhythm (11)4. Influence of Pound’s poetry (12)4.1 The impact on domestic literature (13)4.2 The impact on foreign literature (14)5. Conclusion (16)Acknowledgement. (17)Reference (18)1．IntroductionImagism was a movement in the early 20th-century Anglo-American poetry that favored precision of imagery, and clear, sharp language. The Imagists rejected the sentiment and discursiveness typical of much Romantic and Victorian poetry. This was in contrast to their contemporaries, the Georgian poets, who were by and large content to work within that tradition. Ezra Weston Loomis Pound was an American expatriate poet, critic and intellectual who was a major figure of the Modernist movement in the first half of the 20th century. He is generally considered the poet most responsible for defining and promoting a modernist aesthetic in poetry.[1]3His ownsignificant contributions to poetry begin with his declare of Imagism, a movement in poetry which derived its technique from classical Chinese and Japanese poetry-stressing clarity, precision, and economy of language, and foregoing traditional rhyme and meter in order to, in Pound's words, ―compose in the sequence of the musical phrase, not in the sequence of the metronome.‖[2]11As the father of Modernism, Ezra Pound plays an important role in Poetry modernization process. Therefore, we can get a clear understanding of imagism poems by studying Pound‘s poems and translation works. The thesis will focus on studying image to analysis Ezra Pound‘s poems. According to Pound's Imagist poems and other predecessors‘studi es of his works, this thesis will summarize the language characteristics of Pound‘s poetry and analysis his imagist poetry style, so as to provide some theoretical concept from the view of reading, understanding and appreciating modern English poetry, thus making it easier for Chinese readers to appreciate English poetry.The first part summarizes Ezra Pound‘s life and theoretical basis of Imagism. The second part, as analysis of Pound's poetry, departs into three parts—the use of image, concise language and musical rhythm. It introduces three kinds of combination of images, and uses Pound‘s poems to explain the combination of images. The third part is about the influence of Pound poetry on domestic and foreign literature2. Ezra Pound and ImagismAs the father of modernism which is the main stream of literature in the twentieth century, Ezra Pound definitely plays a predominant role in the evolution of modernist poetry. Its starting point is Imagism.Ezra Pound‘s Imagist theory is mainly based on the aesthetic theories proposed by W. B. Yeats, Ford Madox Ford and T. E. Hulme. Yeats is famous for a symbolist who emphasizes subjective conception and imaginative association，but this school tends to lapse into sentimentality; Ford is famous for an impressionist who emphasizes objective writing with clarity and precision, but this school tends to lapse into the level of description. Pound absor bs the strengths of Yeat‘s subjectivity and Ford‘s objectivity and finds a way to make natural objects convey subjective emotion by virtue of association of the mind.2.1 Ezra PoundEzra Pound(1885一1972)was born in Hally, Idaho, in October, 1885.Then he attended Hamilton College and the University of Pennsylvania，where he majored in romance Philology while reading through a large Portion of classical and European literature. Dissatisfied with the genteel tradition and Popular romanticism dominating the American literary tastes，Pound moved to Europe in1908一first to London，then to Paris，and finally to Rapallo, Italy. In 1909，Pound met W. B. Yeats and Ford Madox Ford. He was greatly influenced by these two and tried to combine Yeat‘s symbolism with Ford‘s i mpressionism. About the same period of time, Pound got in touch with T. E. Hulme and became interested in his Poetic theory.All these ideas became the theoretical basis of the well-known Imagist and V ortieist Movement. Later，inspired by American sinologi st Ernest Fenollosa‘s theory on the Chinese writing characters，Pound proposed the Ideogramic Method which was based on the chief principles of the Imagist and V orticist Movement. As the advocate and leader of the movement Pound exerted a great influence on the Imagist poetrywriters. Pound also attempted to combine poetry with music, painting and scu1pture.V ortieism was such a typical example.Ezra Pound is generally considered the poet most responsible for defining and promoting a modernist aesthetic in poetry. In the early teens of the twentieth century, he opened a seminal exchange of work and ideas between British and American writers, and was famous for the generosity with which he advanced the work of such major contemporaries as W. B. Yeats, Robert Frost, William Carlos Williams, Marianne Moore, H.D., James Joyce, Ernest Hemingway and especially T. S. Eliot. Pound also had a profound influence on Irish writers W. B. Yeats and James Joyce.Pound is not only a poet, but also a translator, essayist and literary critic. His own significant contributions to poetry begin with his promulgation of Imagism, a movement in poetry which derived its technique from classical Chinese and Japanese poetry which are stressing clarity, precision, and economy of language, and foregoing traditional rhyme and meter in order to, in Pound's words, ―compose in the sequence of the musical phrase, not in the sequence of the metronome.‖ His later work, for nearly fifty years, focused on the encyclopedic epic poem he entitled The Cantos, which was regarded as poetic masterpiece of the twentieth century. He is really an original and creative poet in the twentieth century, a literary giant who plays a prominent role in the development of modernist poetry.2.2 ImagismImagism was a poetic movement which flourished in London between 1910 and 1917 and had an enduring and pervasive influence on English-language poetry in the twentieth century.The Imagists published four annual anthologies from 1914to 1917, with a final anthology in 1930. They were led by Ezra Pound who first called them ―Les Imagists‖, choosing a French term to associate the group with the various French avant-garde movements which became the Roger Fry‘s influential Post-Impressionist exhibition in 1910. The group included Hilda Doolittle, John Gould Fletcher, Amy Lowell, Richard Aldington, and, marginally, D. H. Lawrence, but they had only a loose and shifting affiliation and it was mainly Pound‘s talents as a promoter and critic that gave a semblance of unity.Pound‘s favored spelling of Imagists was a gesture of homage to the first school ofmodern poets, the symbolists, whose best-known members were Baudelaire, Mallarme, Verlaine, and Rimbaud, but Pound criticized the French Symbolists as often as he praised them. The first principle of Imagism was ―Direct treatment of the thing‖[3]72, clearly in contrast to Mallarme‘s famous dictum that to name a thing was to take away half the pleasure and whereas Verlaine in his ―Art of Poetry‖advised an ―indefinite music‖. Pound spoke for an ―absolute rhythm‖, a rhythm that is in poetry which corresponds exactly to the emotion or shade of emotion to be expressed.Nonetheless, Pound‘s ascorbic but well-judged criticism of his contemporaries, his accurate sense of what was good in verse, and his own aphoristic brilliance, gave this small movement (which was not really even a movement outside of Pound‘s rhetoric) a formative role in defining the twentieth-century poet as someone who was in the intellectual avant-garde, purifying the language of the tribe, spurning flaccid and self-important and merely derived patterns of language use, and generally breaking with the idea of fixed metrical rules. Many of these principleswere clearly articulated in the essay ―Imagism‖ in Poetry (Mar ch 1913) which was offered as an interview-cum-report by F. S. Flint but shows the hand of Pound throughout. According to Flint, the three principles of Imagism were:―1. Direct treatment of the ―thing‖, whether subjective or objective.2. To use absolutely no word that did not contribute to the presentation.3. As regarding rhythm: to compose in sequence of the musical phrase, not in sequence of a metronome. ‖[4]12 In an essay ―A Few Don‘ts b y An Imagist‖ by Pound in the same issue offers a definition o f the Image as ―that which presents an intellectual and emotional complex in an instant of time‖[5]54, the key point being the com pression of intellectual and emotional experience into an instant. He goes on to offer his own set of ―Don‘ts‖: ―Use no supe rfluous word, no adjective, which does not reveal something.Don‘t use such an expression as ―dim land of peace”. It dulls the image. It mixes an abstraction with the concrete. It comes from the writer‘s not realizing that the natural object is always the adequate symbol.Go in fear of abstractions. Don‘t retell in mediocre verse what has already been done in good prose. Don‘t think a ny intelligent person is going to be deceived when you try to shirk all the difficulties of the unspeakably cliff cult art of good prose by chopping your composition into line. ‖[6]313. Imagistic Features of Pound's PoetryImagist poetry has three distinctive artistic characteristics. First, the Imagist poems request to convey the complex imagery directly, use sculpture and painting in the performance ofimagery. It objects to musical and mystery object to lyrics. It advances the ―Do not say‖ and ―Do not you narrative‖[6]9, only to show without comment. Second, the Imagist poems use concise language, no adjectives and qualifier, no decorative ―lace‖and flaunting words. It writes short lines, with imagery. Third, the Imagist poetry Images focus on the intrinsic rhythm of imagery combination, blend the imagery and the contained idea.3.1 The use of ImageThe word ―Image‖ used in the field of literature is derived from the theory of Chinese poetry. It is an important linguistic terms which have been widely used in Chinese poetry. Therefore, when people refer to ―image‖ in literature, it also refers to ―image‖ poetry. P oetry image is the basic constituent element of poetry. It is the soul and essence features of poetry, and it plays a vital role in poetry.Pound‘s work as poet, critic，editor，and promoter of the new style was crucial to its initial period，in the decade around the First World War，and what was most essential to his conception of what was truly modern was a single word: Image. Pound‘s best poems were assured achievement in the Imagist Movement when literature in English became recognizably modern. The modern revolution in literary style came from a main impulse一focus on the image.Aesthetic theorist and imagist poe t T. E. Hulme must be credited with the initial emphasis on the image，for he first formulated the doctrine that ―Images in verse are not mere decoration, but the very essence of an intuitive language.‖[7]79 But Hulme thought of himself as primarily a philosopher, using images as illustrations of ideas. While Pound was always primarilya poet，seeking philosophical justification for his intuitions;and it was Pound who pointed out the best working definition: ―An Image is that which presents an intellectual and emotional complex in an inst ant of time‖.[8]2It was also Pound who showed in practice how far this definition could be carried into the making of short and then longer poems. Pound emphasized the concentration of intellectual and emotional content possible in a poetic image, though it mirrored only a brief moment of experience. He took the image to be the poet‘s ―primary pigment‖and stressed the hardness, or concreteness, of sensory language, telling poets to ―Go in fear of abstractions‖. Besides concreteness, Pound stressed exactness of diction, the mot just of Flaubert, and clarity, and ―As regarding rhythm: to compose in the sequence of the musical phrase, not in the sequence of the metronome‖. Thus, along with the image emerged free verse, newly understood as an appropriate organic rhythm, suited to the mood of the individual poem.In short, Pound‘s Imagism was intended to carry symbolism forward towards a greater poetic realism, keeping the poet‘s vision always in touch with the world of his senses, holding firmly to the principle that truth should be visible in things, rather than in visible beyond them.As we all know ancient Chinese poetry and Japanese haiku had an important influence on Pound, especially the ancient Chinese poetry. Pound didn‘t just pay attention to the ?exotic surf ace‘ of the Chinese language but its linguistic nature and the abstract feelings that lie behind it. He not only translated lots of Chinese poems but also learned the useful and particular writing techniques. It can be seen clearly the imitation of the style of Chinese poetry from Pound‘ poems.In the following text I will focus on three types of combination of image--image progress, image superposition and image juxtaposition. These three modes of combination of image are very typical East or Chinese-style image, which is characterized by only using nouns rather than verbs. This image processing techniques in ancient poetry in China is nothing unusual or surprising. And they are also wildly used in Pound‘s poetry and become his representative features.3.1.1Image ProgressImage progress is a combination of images which structured in accordance with the objective rule. It is a common writing technique used by ancient Chinese poets.For example, the famous Chinese poetry《敕勒歌》：“敕勒川，阴山下，天似穹庐，笼盖四野。

《论文一埃兹拉庞德诗歌意象的特点及其形成原因》

埃兹拉庞德诗歌意象的特点及其形成原因1.介绍1.1.当我们谈到美国著名的诗人，翻译家埃兹拉庞德的时，我们总是会想到他的意象派诗歌。

的确，作为美国最有影响力的作家之一，美国现代诗歌个的大师---庞德，他一生最大的贡献就是他和他的同事共同发起了美国意象派诗歌的运动。

庞德是二十世纪美国意象派诗歌的先驱。

庞德出生在爱德华的一个普通工人家庭，之后在著名的宾夕法尼亚大学学习。

大学期间，庞德大量地学习了意大利和美国古典文学，同时，他也学习了法语，西班牙语等其他民族的语言。

不仅如此，庞德还拜访了很多国家，他的足迹走遍了欧洲大陆和美国，这对他了解各民族文化和文学起到了很大的帮助作用。

庞德他博览中西方书籍，同时也是一个知识渊博的天才。

但是尽管庞德是美国意象派诗歌的先驱，他的一生却著作很少。

仅有的几部如：The Spirit of Romance，The Garden，In a Station of the Metro等等。

此外，庞德还编辑了书籍Imagist poems。

在庞德一生的创作精力中，他的杰出著作：“诗篇”，花费了他的大部分精力和时间，因此，这部作品也成为了庞德最为重要的作品。

同时也是世界诗歌史上具有标志性的著作之一。

1.2.二十世纪美国诗歌的意象和意象主义在意象派眼中，意象究竟是什么呢？意象存在于所有的诗歌中，但在意象派眼中，意象被赋予的新的意义。

庞德将意象定义为一瞬间呈现出来的理智和情感的复合体。

这个复杂的概念就是在说，意象让我们在作诗之时，能够脱离时间和空间的限制，将自己的感情释放了出来。

意象是将诗人的感情听过一些其他的词汇和景象，比较模糊地，不能够分辨地，隐约地放在诗作当中。

而这些“其他的词汇”，必须能够很好地表达诗人的情感和想要抒发的情绪。

一个意象派诗人，必须能够让他的读者从他所写的意象中，体会他的情感和感情，而并不是平铺直叙的讲述过程。

而意象派诗歌的逻辑必须要清晰，最好的意象诗歌应当是一幅幅的画面。

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庞德与意象主义
“一个人与其在一生中写浩瀚的著作，还不如在一生中呈现一个意象。

”这是庞德对“意象”这个概念的阐释。

这句话，虽然偏激，但却可以理解。

因为其实他本人也无法做到。

庞德给“意象”下的定义是“在一刹那时间里呈现理智和情感的复合物”。

我的理解是，当“我”面对一个客体时，会产生“像什么”的冲动，然后跳出来一个词，构成一个比喻。

但比喻是有区分的，例如“美女像花”，那是通例的比喻，已经在语言体系里约定。

但大多数，作为一种修辞手法的比喻，它在应用中是有独特针对性的。

例如，“美丽的西施，就像是一朵盛开的鲜花”，这里“西施”是个别的，相异于“美女”的泛指。

所以后面的比喻，不能简单地写“像花”，而需要修饰和限定，是“盛开的”，是“鲜花”。

但这也只是个别化的比喻，它不是“意象”。

“意象”是“理智和情感的复合物”，所以，还得加入说出这句话的人的“理智和情感”。

虽然说，他可能已经表达了他的欣赏和赞美，但我觉得，这句话情感不够强烈，不够鲜明。

一般人也许没有问题，但是作为诗人来讲，显然就欠缺了，因为缺乏诗人的创造性，没有表现出诗人高于普通人感受的情感。

这里的“鲜花”已经不同于前面充满欣赏和赞美的意思，更多的是借鲜花的美丽反衬出红颜薄命的悲情故事，以及诗人道德情感的抒发。

这种涵盖更广大更复杂的比喻，就有点接近庞德所说的“在一刹那时间里呈现理智和情感的复合物”。

正由于他的不确定，或者说，他把“意象”刻意地提高到一个神圣的位置，
以强调“意象”对于诗歌的重要性，所以，他才会感叹“还不如在一生中呈现一个意象”。

那么，怎样使用意象写出绝妙的诗怎样展现意象无与伦比的魅力呢这也许是最重要的吧。

那么，不如来看看庞德的《地铁站上》这首标准的意象派诗，相信我们能有所感悟。

为了表达他在地铁车站出口处看到的“一张接一张的美丽的面孔”所引起的审美感触，他写了一首长达30行的长诗。

但经过一年半的思考和几度删改，最后只剩下这样两行：
人群中这些面孔幽灵一般地显现：
湿漉漉的黑色枝条上的许多花瓣。

(The apparition Of these faces in the crowd：
petals on a wet，black bough．)
从层次上看，这首诗虽短，但其仍可分为三个层面。

在文学话语的层面上，把人的面孔比作幽灵在中文和英文中都是反常的，而把“花瓣”这一美丽的语象与之组接在一起，也是不合常规的。

但这都是为了使文学话语成为阻拒性话语，这是用陌生化的手法故意增加读者阅读的难度，延长感知时间，增加文学话语的艺术魅力。

由文学话语层面，便可进入文学形象的层面。

其一，这首诗的整体形象是从地铁里走出的突然生机昂奋的人群，人群中特别是那些妇女儿童的面孔有一种令人震惊的美。

诗人为了表现这种美，就把它比喻为微雨中怒放的花朵。

显然这种形象一方面是生活中客观存在的，另一方面又是诗人眼中用诗意的形式美化和夸张了的，已不是生活本身，而是主客观统一的结合物，显示了文学形象的主观与客观相统一的特征。

其二，这种形象是一种艺术虚构，它并非指哪一时、哪一地的地铁车站，而是诗人根据自己的观察和体验所形成的一种假定性的存在。

然而，它又是真实的：它一方面是诗人真实的观察和真实的体验，另一方面这些形象又来自生活，可以使人们联想起生活。

这也恰恰体现了文学形象假定性与真实性相
统一的特征。

其三，对于这种形象，这种体验，不论是中国人或外国人，都能理解，都能欣赏。

因为这种形象或体验有一种较广泛的概括性，它虽然是诗人的个别性体验，但却反映了人类的某些共同的体验。

因此，它又显示了文学形象个别和一般相统一的特征。

其四，《在地铁车站》中的形象，作为文学形象，也具有确定性与不确定性相统一的特征。

地铁出口的人群，其中有着妇女和儿童美丽的面孔，这是确定的。

但这些面孔美丽到什么程度，作者只提供了像微雨中怒放的花朵和幽灵引起的震惊这样一些可以想象的要素。

这样，不同的读者便会根据自己的经验加以想象了，有古典文学修养的会想象成白居易描绘的“一枝梨花春带雨”，或者是江南春雨中的杏花；日本人也许会想象成微雨中的樱花；而欧洲人想象的自然是他们那里最美最美的什么花……显然这些又是极不确定的。

这些不确定因素，又使那些确定的因素表现得更充分，更完美，更富有诗意。

因此，确定性与不确定性因素就这样在文学形象中统一了起来。

当然，《在地铁车站》的意蕴层面也是十分丰厚的。

这首诗可以说是意象诗派的代表作。

透过该诗的形象层面，我们首先发现的是诗人被人的美丽面容所引起的激动；绞尽脑汁地锤炼语词、巧设比喻，是为了表达他对人的生命之美的礼赞，这种亢奋的情怀不是肤浅的偶然激动，而是来自诗人对理想的人性美的执着追求，即使是在最司空见惯、最纷乱拥挤的地铁车站，他也能发现人的美好和生命的艳丽。

显然，在这种情怀和执着的深处，跳动着一颗可贵的仁爱之心。

这是庞德心灵的最闪光、最感人之处。

因为他在以他的仁爱之心的全部真诚歌颂着生命，歌颂着人，歌颂着爱。

也许正是这个原因，尽管庞德一生干过许多荒唐的事，如充当过糟糕的历史学家、糊涂的经济学家、狂热的墨索里尼的信徒等，人们还是原谅了他。

最后，再来谈谈庞德对意象的创造和接受所作的心理分析，他精辟地指出，正是意象“这种‘复合体’的突然呈现给人以突然解放的感觉；不受时空限制的自由的感觉，一种我们在面对最伟大的艺术品时经受到的突然长大了的感觉。

”
庞德说：“意象在任何情形下都不只是一个思想。

它是一团，或一堆相交融
的思想，具有活力。

”因此，意象比语言含量更大、层次更高，更具独立性。

在审美经验中，总有许多难以用语言说出的东西，在那些无可名状的审美愉悦中，无论何种语言要描述它都是力不胜任的。

正如康德所说：“审美意象是指想像力所形成的某种形象呈现，它能引人想到许多东西，却又不可能由任何明确的思想或概念把它充分表达出来，因此也没有语言能完全适合它，把它变成可以理解的。

”
针对于此，我想在最后建议大家，意象的功能大大强于普通语词，其作用是一般语言所不可比拟的，它值得我们花心思去体味，学习和运用。

庞德第一本诗集《意象主义者》（1914）
注：转引自余虹、奠自佳编《欧美象征主义诗歌赏析》，长江文艺出版社，1983年，第4页。

文艺研究1988第3期
以上摘自《意象派诗选》[英]彼德.琼斯编裘小龙译
时代文学（双月上半月）2008第5期
《当代英美诗歌鉴赏指南》，李力、余石屹译，成都：四川人民出版社1987年版。

庞德《一位意象派者所提出的几条禁例》，
《诗艺》罗马/贺拉斯(Quintus Horatius Flaccus) 著，杨周翰译
人民文学出版社出版（1962年版，和亚里士多德的《诗学》并作一本）
以上摘自《意象派诗选》[英]彼德.琼斯编裘小龙译
[3] 陈明明：《从意象叠加到意象并置——试析埃兹拉庞德意象诗歌的创作技巧》，《西华师范大学学报》，2008年第2期。

[4] 杰夫特威切尔：《庞德的〈华夏集〉和意象派诗》，《外国文学评论》，1992年第2期。

[5] Ming Xie,Erza Pound and the Appropriation of the Chinese Poetry[M].London and New York:Garland Publishing,:229.
[6] 祝梁伟：《构建与反思——庞德翻译理论研究》，上海译文出版社，2005
年版。

[7] 格雷厄姆霍夫：《现代主义抒情诗》，《现代主义》，上海外语教育出版社，1992年版。

[8] 赵毅衡：《美国新诗运动中的中国热》，《读书》，1983年第9期。