庞德意象主义诗歌分析
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。
埃兹拉·庞德及其意象派诗歌译作——《送孟浩然之广陵》简评
埃兹拉·庞德及其意象派诗歌译作——《送孟浩然之广陵》简评埃兹拉庞德（1899-1977）是20世纪美国最著名的现代诗人之一，他创作的诗歌构思丰富，内容多元，风格独特，他创作的诗歌被称为“意象派诗歌”，它以联想、抽象和夸张手法为主，拟喻、比兴、象征和联想并置，具有极强的表现力，使人们被其离奇的想象力和对事物的独特思考方式所引导，它充满了诗人的超现实的梦想，使人们在沉思中发现更多的新意义。
此外，埃兹拉庞德也是一位杰出的诗歌翻译家，他不仅探究和研究古典诗歌的译法，而且在古典诗歌的译作中也凸现出他的诗化风格。
其中最为突出的是他对孟浩然的《送孟浩然之广陵》的译作，译者庞德以自己的独特的艺术手法，将孟浩然的古典诗歌准确地译成了现代诗歌，赋予了原诗特点的同时，突出了诗歌的思想内容。
庞德的译文落实了典型的意象派风格，他在译文中突出的是“联想”，并结合“抽象”和“夸张”手法，使诗歌充满了密密麻麻的联想，充分展示了诗人对事物的独特思考方式。
他将原诗中“山河收豆萁苗”翻译成“山形如山下向仙藤/河添河，长河收豆和苗。
”翻译时，庞德采用了逐句翻译，使用抽象和夸张同时，以极大的灵活性将它塑造为一幅图，将孟浩然的古典诗歌幻化出了现代的意味。
此外，庞德的译文也充满了超现实的梦想，他将原诗的主题思想放大、变形，隐喻地把“淡雅”改写成了“那空气如金，穹窿穿越/如拂尘轻落，淡雅滋润/空气中萤火虫灿烂之光/如醇酒滋润，淡雅滋润”，将“滋润”这一抽象概念以诗意的形式展现，让读者对“淡雅”有更深入的理解。
最后，庞德的译文将原诗的思想内容表达的准确而精辟，最终将孟浩然的古典诗歌译成了精美的现代诗歌，让人们在沉思中发现更多的新意义，也将埃兹拉庞德的意象派诗歌完美的展现出来。
埃兹拉庞德不仅是20世纪最优秀的现代诗人，也是一位杰出的诗歌翻译家，他对孟浩然的《送孟浩然之广陵》的译作凸现出他的诗化风格，它以联想、抽象和夸张手法为主，并置，具有极强的表现力，使人们被其离奇的想象力和对事物的独特思考方式所引导，它充满了诗人的超现实的梦想，使人们在沉思中发现更多的新意义。
《在地铁车站》的意象特征
《在地铁车站》的意象特征《在地铁车站》作为庞德的非常具有代表性的诗歌作品，以最精练的语言传达了最丰富的含义，成为意象派的经典之作。
本文将以这首诗歌为切入点，简略探讨以庞德为代表的意象派诗人创造的审美意象的特征。
描绘了诗人在熙熙攘攘的地铁站中突然发现几张美丽的面孔时的愉悦的心情，呈现出一种平和、舒缓的意境。
形式上采用自由诗体，使用隐喻的修辞手法，将眼前的美好事物同湿湿的、黑亮的树枝上的花瓣联想在了一起。
最开始，这首诗歌庞德创作了三十行，后来缩短到十五行，最终精简到两行。
他的创作思想恰巧与绝对不使用无益于表现的词的创作原则相吻合。
有些批评家们认为该诗过于简练，以致影响了其意义的完整性。
事实上完整的意义不并在于词语数量的多少，而在于词语传达意义的精确性，而此首诗最大的成功之处恰恰在于——用最少的词语表达了最丰富的内容。
在这首诗里面没有一个动词，诗中包含的是名词、形容词、介词等。
尽管这样，读者还是能够发现诗中蕴涵的完美的意象，如脸庞，花瓣，树枝等。
因此，意象派诗人对意象的直接处理是其创作的又一大特点，对于庞德而言，他用最简洁、浓缩的语言表达出了最直接的意象。
在这首诗中，除了面庞与花瓣的并置，还有树枝与人群的并置，四个不同的意象形成了四个不同的画面，既相互映衬又相互联系。
黑色的树枝与黑压压的人群衬托美丽的面庞与花瓣，诗人在地铁站里能发现美丽的事物而感到十分愉悦，以意象并置手法取得了有效的对比效果，使读者能从朦胧的背后发现清晰的意象。
意象的陌生化。
意象，诗人庞德在1913年曾定义为“瞬间情感与理性的复合物”。
优秀的艺术，他认为应该是“ 精确的艺术，使韵律也能精确的表达相应的感情”。
因而意象派诗人提倡一种精神描写物象的主张,是表达思想感情的内外在形象精确的符合于生活实际。
此外他们倡导的意境理论本质上是一种东方品位理论,意境创造与鉴赏主要依赖于东方内倾超越式的无限意象生成心理。
所谓“陌生化”，是作家观察生活和表现生活的一个总原则，倾向于不用习见的称谓。
A pact赏析
A pact赏析《A Pact》是美国诗人埃兹拉·庞德（Ezra Pound）于1909年创作的一首诗歌。
这首诗展现了人类心灵间纯净、血肉相连的情感联系，并呼吁人们共同努力争取和平与和谐。
下面是对这首诗的赏析和相关参考内容。
首先，我们来分析《A Pact》的节奏和格律。
这首诗采用了四行一节的自由体格式，没有遵循严格的押韵规则，但仍然展现了一种音乐般的节奏感。
诗的整体结构流畅而有力，以短小的句子和重复的音节、辅音为特征。
这种诗歌形式反映了庞德在作品中常用的“意象集中法”（Imagism），通过简洁而强烈的语言来表达他的思想和感受。
其次，我们来探讨《A Pact》中蕴含的主题和意义。
这首诗的核心主题是和谐与团结。
庞德通过描绘两个人之间的契约，表达了对人类情感联系的渴望。
他不仅关注个体之间的纽带，也关注整个人类社会的团结。
诗中的“你和我”反复呼唤着一个共同目标的实现，即人类敞开心扉，相互理解、尊重和支持。
庞德试图通过强调这种联系来建立一种美好的和谐状态，传达出对世界和平的渴望。
在这首诗中，庞德使用了大量的形象描写和隐喻，增强了诗歌的表现力。
例如，“斑点”（blots）和“斑驳的灰绿色”（mottled grey-green）都是庞德对人类复杂情感的隐喻，显示了人类世界的多样性和独特性。
而“一细小而脆弱的音符”（one thin and fragile note）则象征了和谐与平衡的善良力量，这个音符需要每个人的共同努力来维持并传递。
通过这些隐喻和形象描写，庞德将抽象的理念与具体的形象结合起来，使诗歌更具感染力和思考价值。
此外，我们还可以从历史和文化的角度来理解《A Pact》的意义。
这首诗创作于20世纪初，这个时期正值世界各国的政治和社会变革。
庞德在诗中表达了一种对战争、暴力和破坏的反思，并向人们敲响警钟，告诫大家要共同努力，争取和平与和谐。
这种倡导和呼吁充满了人道主义的思想，对于那个时代来说具有重要的意义。
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。
河商之妻 庞德意象分析
河商之妻庞德意象分析庞德对意象主义的探索，始于他对诗歌改革和振兴的渴望。
他对19世纪末20世纪初维多利亚时代那种充满说教、赘言、过分修饰、讲究格律的诗风十分不满，将其视为“一个相当混乱、充满感伤、矫饰文风的时期”。
在此文风笼罩下的诗歌日渐衰落，并逐渐被读者所抛弃。
庞德决心“将诗歌提高到散文水平。
”而要振兴诗歌，庞德认为，必须进行“好的写作”，他对好的诗歌创作的标准定义为：“远离废话、更加理性、深刻、接近骨头、越像花岗岩越好，力量蕴藏在内部，是其自身的能被解读的能力(这种能力正是诗歌的力量所在)，而不是通过喧闹的修辞、华丽的辞藻使它显得有力。
不让无用的形容词影响它的力度。
它应该是简朴、直接、能自如抒发感情的。
”可以看到，庞德认为的好诗歌应该是简洁、清晰、含蓄而又深刻的。
他认为这种好的写作并非人人都可以轻易达到。
在他眼中，诗人无“业余”和“专业”之分，只有“内行”和“外行”之别。
而将二者区分开来的是是否掌握诗歌创作的“技法”，“一种能将意思精确传送以至令人拍案叫绝的手段。
”为了掌握这种技法，以达到“好的创作”，庞德积极探索有效的创作技法，最终形成了意象主义的创作主张。
众所周知，庞德是美国２０世纪最杰出的诗人之一，他的译笔非常流畅，优美动人，在英美诗坛取得了成功．而我们探讨的正是艾滋拉，庞德的经典作品之一，《致河商妻子的一封信》，从形式上讲，该诗属于一首自由体诗，从结构上讲，该诗共有五节，在内容上也即我们全篇讨论的重点，以商人之妻的爱情和离别为题材，通过商人之妻的独白，回忆了她与丈夫从儿时的两小无猜，到新婚的懵懂羞涩，直至婚后温馨甜蜜的生活，抒发了其对已远出经商丈夫的无限思念与深深的爱恋。
该诗丝丝入扣地描写出古代女子温柔细腻、缠绵婉约的感情，以及这位妻子对丈夫的忠贞与不屈不饶的爱情。
诗歌最后一句“早晚下三巴，预将书报家。
相迎不道远，直至长风沙。
”女主人公最终还是忍不住无声地对远在千里之外的丈夫发出了真情的呼唤，呼唤丈夫的回来，无论丈夫什么时候回家，一定要事先捎个信来，让妻子知道，哪怕是远到七百里外的“长风沙”，她也会义无返顾地欣然前去迎接。
美国意象派著名诗人埃兹拉·庞德十句诗
美国意象派著名诗人埃兹拉·庞德十句诗在20世纪早期，美国文坛出现名噪一时的意象派诗歌运动，其中埃兹拉·庞德是最具代表性的诗人之一，他的地位能够与诺贝尔文学奖获得者艾略特比肩。
他在诗歌创作中融入我国古典诗歌元素以及日本俳句，为东西方诗歌的融合做出巨大贡献。
今天，我们就来欣赏美国著名诗人埃兹拉·庞德的十句诗，体会诗歌背后的深意。
埃兹拉·庞德出生于美国，在美国大学读历史、古典文学专业。
他曾先后四次赴欧洲，并一度成为伦敦文坛一位举足轻重的人物。
在英国、法国、意大利，他不断追求和探索诗歌创新道路，研习普罗旺斯文明，古希腊罗马文明，拉丁文话等，从中吸取养分，成为当时诗坛举足轻重的人物，备受推崇和尊敬。
意象主义诗歌理论的形成是埃兹拉·庞德的一大贡献，尤其在意象主义运动的前期，他扮演了不可替代的角色。
他打出意象主义旗号，招兵买马，扩大影响，并发表第一部意象主义诗集。
在他的主张下，意象主义诗歌形成短小、硬朗、节奏自由、语音口语化为特色的文学特质，又彰显曲折玩味的艺术意境，以求得对事物真谛的理解。
值得一提的是，埃兹拉·庞德对意象主义有着更深的阐述，他认为意象不单纯表现出诗人的思想，它是经过过滤后，用文字展现出能量。
另外，他认为，意象是诗人的“染料”，因而让诗歌能够与其他文学形式相通，同时彰显出诗歌独特的艺术特质。
再有，意象派诗歌反对浪漫主义情感上的泛滥，以营造出诗歌的独特品行。
虽然他不怎么懂中文，但他是一位虔诚的中国文化的追随者，他也将中国介绍到西方的一位重要人物之一。
他喜欢中国诗词，推崇儒家经典，曾多次公开表示：中国诗就是一个宝库，对他自身而言，中国诗就好比希腊之于文艺复兴。
不过，因为埃兹拉·庞德不懂中文，他才会对博大精深的中国文化加以想象，这也成为其备受争议，名誉扫地的根源。
埃兹拉·庞德翻译过一部诗集《华夏集》，他从一百五十余首诗中，筛选出19首，其中“诗仙”李白的诗就包含12首，可见他对后者的崇拜。
庞德的诗歌
庞德的诗歌
埃兹拉·庞德（Ezra Pound）是美国著名的意象派诗人，他的诗歌以独特的意象表达和形式技巧而著称。
在他的诗歌中，他大量运用了东方文化元素，尤其是中国古典诗歌的影响。
下面我们来欣赏两首庞德的诗歌：
1.《在地铁站内》：
几张脸在人群中幻景般闪现，
湿漉漉的黑树枝上花瓣数点。
这首诗以地铁站内的人群和湿漉漉的黑树枝上的花瓣为意象，展现了现代都市生活中的瞬间美感。
庞德将人脸与花瓣、地铁人群与黑树枝相互对照，形成了一种底片叠印般的传神效果。
2.《在一个地铁车站》：
人群中这些幻影般闪现的面庞，
湿而黑的树枝上花瓣片片。
这首诗同样是庞德的经典之作，以简短的两行诗描绘了地铁站内的人群和树枝上的花瓣。
通过这种形式，庞德成功地捕捉到了现代都市生活的韵味和东方美学意境。
庞德的诗歌以意象派手法为特点，强调诗人对生活场景的敏锐捕捉和独特表达。
他的诗歌风格独具一格，为美国诗歌的发展做出了重要贡献。
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2.强调要与原文人物的思绪情感契合 所谓的重视原文意境以及原文人物的思想感情,并 非只是原作文字层面上的对等或忠实,而是与原作意境, 氛围上的情感对等。在对中国古诗的翻译过程中,庞德 并没有使用古英语,而是采用了当时最盛行的现代词汇 和音译汉语,这不得不说是庞德为还原原文意境,寻求 情感对等而采取的策略。
THANK YOUFra bibliotek最后,庞德肯定了中国传统的兴喻结构和暗示联想 方法,更是庞德对表意文字理论的很好实践。
三.庞德意象翻译中遵循的多元视角
(一)翻译是对原作的部分批评
在汉诗翻译中,庞德一直秉持“翻译是对原作的部分批评”的态度, 对原作讲行“诠释性翻迳” （二）翻译是以原作为母体的再创 作 庞德以中国古典诗为素材进行意象转译 , 将主人翁或诗人的情 感幻化为自己的爱恨情仇,所以他翻译出来的诗歌更像是自己的新 诗创作。
首先,庞德认为汉字有象形和表意的特点,故而它最能 贴切表达具体事物,甚至可以把汉字直接当做最现成 的文字意象。
其次 , 蒙太奇手法也是庞德表意文字理论不可或缺 的一部分。蒙太奇 , 即通俗意义上的拼接剪辑手法。
再者,表意文字是对自然的反映。不管是中国古典 诗词还是西方文学,自然一直是诗歌创作里经久不 衰的主题。庞德更是把自然作为诗歌语言的创作 动力,并将其列为表意文字理论的重要组成部分。
（三）翻译是对原作的语势转移
提出的“漩涡”一词就是对语势的重视 , 对动态意象的崇 尚。正是因为有语势观因素的介入,才决定了庞德选择什么样 的文本进行翻译。
庞德对中国古诗的翻译中,我们不难看出他放弃了白朗宁式 戏剧独白模式,由叙事模式转到意象并列 ,散片并置的会意集合 结构模式 , 并让这种模式进入他的意象诗学的核心部分。庞德 运用叠词叠句,意象并列,散片并置以致产生了类似中国传统叠 韵复沓的声韵美,所以庞德的翻译处处显现中国诗艺的技巧。
Ｔhe implication of Ezra Pound’s translations of Chinese poetry
一.庞德翻译中国古诗的意象理论
他准确捕捉到中国古典诗隐而不露的精神内涵 , 在翻译过程中 将渗透主体审美情感的意象凸显,将中国古典诗推崇的意境美发挥 的淋漓尽致。庞德如此应景抒情的翻译自然会有意象诗学方面的 理论支撑,使得他对意象与情感的互动关系得以顺畅的表达。
（一）．明亮具体理论( Luminous detai1)--寻求感情对等 1.是指翻译的意象必须形象具体,避免晦涩生硬,要生动呈现 在此,庞德强调细节、单个词、碎片意象的清晰翻译。其 实在对中国古典诗的翻译过程中,庞德一直强调关注细节或具 体意象的呈现,而并非文本的表面意义。在庞德看来,韵律和 措辞在阐释客观物象时,总是比简洁具体的意象描绘稍逊一筹。 所以为了凸显意象呈现的优越性,庞德不惜牺牲句法来衬托意 象
In a Station of the Metro The apparition of these faces in the crowd; Petals on a wet, black bough.
地铁车站 人群中这些面庞的闪现； 湿漉的黑树干上的花瓣。（赵毅衡）
二.表意文字法理论
为了凸显汉诗翻译中的文学与诗歌特征,庞德利用 了费诺罗萨关于汉字的理论 ,尤其是对汉字的表意特 征进行了大胆的想象与创译。表意文字法最早是由研 究中国古典诗歌的费诺罗萨提出的。