[意象派诗歌]意象派
意象派诗歌
意象派诗歌意象派诗歌，也被称为象征主义诗歌，是20世纪早期重要的一个文学运动。
它起源于法国，并迅速蔓延至欧洲和其他地区。
意象派诗歌强调通过自由联想和感官体验来传递感情和意义，而非传统的逻辑线索或明确的形象。
本文将介绍意象派诗歌的背景、特点以及其在文学史上的影响。
意象派诗歌运动的兴起可以追溯到19世纪末的法国。
实际上，意象派诗歌最早的先驱可以追溯到早期的象征主义诗人，例如包括西蒙娜·韦伊、阿瑟·隆泽及亚瑟·朗布尔的作品。
这些诗人通过使用隐喻、比喻和象征手法来表达深层的情感和意义，寻求一种非常规的艺术表达方式。
意象派诗歌的核心思想是通过感官体验来传递深层的情感和意义。
诗人通过刺激读者的感官，诸如视觉、听觉、嗅觉和触觉，唤起读者内心深处的共鸣。
他们使用生动的形象、色彩以及各种感官的描述，来创造一种身临其境的体验。
这种直观的艺术表达方式，使意象派诗歌具有强烈的感染力，能够深深地触动读者的心灵。
与传统的诗歌相比，意象派诗歌更加注重语言的灵活性和多样性。
诗人通过使用非常规的词汇、句法和节奏结构，打破了传统诗歌的束缚。
这种自由的表达方式使得意象派诗歌充满了神秘感和魔力，读者可以自由地解读其中的含义，并从中获得某种启发。
意象派诗歌的影响不仅仅局限于诗歌领域，它还对其他艺术形式，例如绘画、音乐和戏剧产生了深远的影响。
例如，许多画家通过使用象征主义和隐喻来表达复杂的情感和意义。
音乐家也受到意象派诗歌的启发，通过音乐的旋律和声音来传递抽象的意义。
此外，戏剧也受到意象派诗歌的影响，一些剧作家试图通过情节的模糊性和符号的使用，来传达更深层次的思考。
虽然意象派诗歌运动在20世纪初逐渐式微，但它的影响却长久地延续至今。
意象派诗歌的创新思想激发了更多的诗人和艺术家去探索非传统的艺术表达方式。
它开启了一扇窗户，让人们得以探索人类内心最深处的情感和意义。
综上所述，意象派诗歌是一场重要的文学运动，它强调通过感官体验来传递情感和意义。
第4章 意象派诗歌
✓ 作为历史见证人的弗林特记录下了这一场轰轰烈烈的诗歌运动
✓ 庞德和美国女诗人艾米·罗威尔则分别是前后期的核心人物。
✓ 艾略特、劳伦斯、乔伊斯、威廉斯等著名诗人一度被纳入意象派 中，他们曾写过一些典型的意象派诗歌，但各自又转向了艺术探 索的其他方向。
在《意象派诗选》的序言中，庞德为意象派的写作又补充了三条 新原则：（１）用普通的语言写诗，但遣词造句必须准确；（２） 鼓励用自由诗的体裁；（３）完全自由地选择题材。
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二、意象派诗歌的创作原则
以创造明确、简洁、直觉的意 象为中心的诗学观决定了意象 派的诗歌题材大多偏重细小平 凡的事物，创作意境以瞬间感 悟、闲情逸致为主，在寻常的 事物中发现美。
这与浪漫主义强调“诗歌是强烈情感的自然流露”的 审美趣味背道而驰，也为后期象征主义和后现代主义 各种诗歌思潮的创新开辟了道路。
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二、意象派诗歌的创作原则
1913年《诗刊》第６期发表了弗林特撰写的《意象主义》，正式 宣布了意象派的三原则：
美国意象派诗学思想研究
1. 对于所写之“物”，不论是主 观的还是客观的，要用直接处理 的方法; 2. 决不使用任何对表达没有作用 的字; 3. 关于韵律：按照富有音乐性的 词句的先后关联，而不是按照一 架节拍器的节拍来写诗。
✓ 1908年，一心肩负着刷新现代诗歌和艺 术的历史使命的美国诗人庞德来到伦敦， 加入了休姆—弗林特团体。庞德后来声 称，1911年，在位于英国伦敦教堂路十 号门前饰有绿色徽章的屋子里，诞生了 意象主义。
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休姆 庞德
一、现代主义诗歌的起点：意象派
不过，作为现代主义潮流中最早的新诗运动，意象派的正式活动 期并不长，从1914年第一部意象派诗选出版，标志着这一运动的 开始，一直延续到1917年第四本意象派诗选出版。
意象派诗歌与绘画
意象派诗歌与绘画意象派诗歌与绘画摘要：意象派是20世纪初期兴起于美、英的一个诗派，意象派诗歌短小、简练、形象鲜明，在主题的表现上强调用有质感、凝练的艺术形象来表现对象，因此与绘画有着千丝万缕的联系，意象派诗歌不仅体现了诗歌的语言美，也为我们呈现出一幅幅风格各异的画作。
关键词：意象派、意象、绘画意象派是继象征派之后，在20世纪初期兴起于美、英的一个诗派。
意象派主张以简洁的意象取代一切，它反对古典主义的严谨，也反对浪漫主义的华丽，它弃绝描写和阐明而强调把诗人的感受和情绪全部隐藏到具体的意象后面。
意象就是诗的本体和灵魂。
1912年，诗人埃兹拉·庞德、托马斯·休姆、理查德·奥尔丁顿、希达尔·杜立特尔等人在伦敦发起意象诗运动，提出意象派诗歌创作的三原则：（1）直接描绘主观的或客观的“事物”；（2）决不使用无助于表达的任何词语；（3）关于节奏，依附于音乐性词语的顺序、而不是依照节拍的顺序进行写作。
意象派反对19世纪“丁尼生式”诗歌中抽象的道德训诫与浮华之风，反对任何解释和说明，主张用鲜明的意象，直接表达诗人的感受与体验；反对矫揉造作、堆砌词藻、无病呻吟的风尚，主张言简意赅，剔除与意象无关的任何多余的成分，力求使诗具有艺术的凝炼和客观性。
意象派以柏格森的直觉主义为自己的理论基石。
这种哲学认为理性只能看到事物的实用性，而听凭直觉便可洞悉事物的独特性。
艺术家表现事物的独特性，必须使用直觉的语言手段。
在这种理论指引下，意象派诗歌在主题的表现上强调用有质感、凝练的艺术形象来表现对象，不把意象当作装饰，而把意象本身视为语言，与诗人的情思融为一体，因此意象派诗歌短小、简练、形象鲜明，往往一首诗只有一个意象或几个意象，但是，视觉效果强烈，阅读意象派诗歌，便有如欣赏一幅幅风格各异的画作。
一、《在地铁站里》与重影画庞德的《在地铁站里》是意象派诗歌的里程碑式的作品，它来自于庞德在地铁站里偶然得到的灵感。
意象派诗歌和诗歌的意象
意象派诗歌和诗歌的意象意象派诗歌与诗歌的意象想象一下，你走进了一个充满诗意的世界，那里有彩虹般的色彩、风中摇曳的树叶和流淌在空气中的音乐。
这个场景就像是一首意象派诗歌，充满了想象力和情感。
今天，我们就来聊聊意象派诗歌和诗歌中的意象。
让我们来谈谈意象派诗歌。
意象派诗歌是一种强调感觉和直觉的诗歌形式，它追求的是内心的真实感受，而不是外在的客观描述。
想象一下，当你读到一首诗，你会感受到什么？是画面感还是情感共鸣？这就是意象派诗歌的魅力所在。
它们就像一面镜子，映照出我们内心深处的情感世界。
那么，诗歌中的意象又是什么呢？简单来说，意象就是诗人通过具体的事物来表达抽象的思想或情感。
比如，“月亮”就是一个常见的意象，它既可以代表寂寞和思念，也可以象征希望和梦想。
在诗歌中，意象往往具有多重含义，需要读者去细细品味和解读。
举个例子，李白的《静夜思》中写道：“床前明月光，疑是地上霜。
”这里的“床前明月光”就是一个典型的意象。
它不仅仅是指夜晚的月光，更是一种孤独和思乡之情的象征。
当我们读到这句话时，可能会联想到一个人静静地坐在窗前，看着窗外的明月，心中涌起一股对故乡的思念。
这种情感是非常细腻且深刻的，只有通过意象才能更好地传达出来。
除了李白，我们还可以从其他诗人的作品中找到许多富有意象的诗句。
比如，王维的《山居秋暝》中有一句“空山新雨后，天气晚来秋。
”这里，“空山”和“新雨”都是意象，它们共同构成了一幅宁静而美丽的山水画卷。
再比如，杜甫的《春望》中写道：“国破山河在，城春草木深。
”这里的“国破”和“城春”都是意象，它们共同表达了一种对国家命运的忧虑和对和平生活的向往。
总的来说，意象派诗歌和诗歌中的意象都是非常有趣且富有魅力的艺术形式。
它们能够帮助我们更好地理解和感受诗歌中所蕴含的情感和思想。
如果你对诗歌感兴趣，不妨多读一些经典作品，尝试去发现其中的意象之美。
相信你会发现更多的惊喜和感动。
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。
意象派诗歌的特点
意象派诗歌的特点1. 意象派诗歌的背景与起源意象派诗歌是20世纪初兴起的一种文学流派，起源于法国。
这种诗歌形式深受印象派绘画的影响，追求感官的直接呈现和个体的内心体验。
意象派诗歌的特点包括：直观、感官、隐喻和个体化。
2. 意象派诗歌的直观表现意象派诗歌注重直观的表达，将形象生动地展示在读者面前。
诗人通过文字的描绘，使读者能够感知到物体的存在、声音的回响以及气味的弥漫。
这种直观的表现方式使诗歌具有强烈的视觉感和身临其境的感受。
3. 意象派诗歌的感官体验意象派诗歌追求感官上的真实体验，通过诗人对色彩、声音、味道、触感等感官细节的描写，使读者能够身临其境地感受到诗歌中所表达的情感和美感。
这种感官上的体验使诗歌具有强烈的感染力和共鸣力。
4. 意象派诗歌的隐喻含义意象派诗歌在表达外在世界的同时，也融入了内心的情感与思考。
诗人常常使用隐喻手法，通过对外在物象的比喻和象征，表达内在世界的意义和哲学思考。
这种隐喻的运用使诗歌富有深度和内涵。
5. 意象派诗歌的个体化表达意象派诗歌强调个体的内心体验和独特的情感表达。
诗人通过诗歌表达自己的情感和体验，使读者能够在诗歌中感受到诗人独特的思考和情感。
这种个体化的表达使诗歌具有强烈的个人风格和魅力。
5.1 意象派诗歌的情感表达意象派诗歌中的情感表达丰富多样，既包括兴奋、愉悦的情感，也包括忧伤、孤独的情感。
诗人通过对感官细节和隐喻的运用，将自己的情感内心世界展现在诗歌中，使读者能够与诗人产生情感共鸣。
5.2 意象派诗歌的思考与感悟意象派诗歌常常通过对自然、生活和人性的观察与思考，表达诗人对人生和宇宙的独特见解。
诗人通过隐喻和象征等修辞手法，将自己的思考与感悟融入诗中，与读者进行心灵的对话。
结语意象派诗歌以其直观、感官、隐喻和个体化的特点在文学史上占有重要地位。
它追求感官的直接呈现，通过色彩、声音、味道和触感的描绘带给读者直观和身临其境的感受。
同时，意象派诗歌也注重隐喻和象征的运用，通过外在物象的比喻表达内心的情感与思考。
意象派和意象派诗歌
意象和意象派诗歌一、意象的解读意象，是客观的“象”映入诗人的大脑，再渗透诗人主观的“意”的色彩作出能动的反馈，是创造诗歌意境与构成诗歌形象的基本要素。
它大体上可分为六大类：实体意象、虚幻意象、事态意象、自然力意象、时间意象和空间意象。
但是，在具体的诗作创作过程中，诗人们会根据诗歌的选题、构思、立意、表达等创作意图，对一连串的意象进行筛选、拼接与组合，总而创造出千姿百态的诗歌形象，形成风格迥异的诗歌意境。
其中，意象叠加“super position”就是由意象派的领袖庞德创造出的一个术语，他在《漩涡主义》一文中提到：“这种单意诗（指日本俳句）是一种意象叠加形式。
也就是说，它是一个思想放在另一个思想之上。
”具体而言，意象叠加是指两个意象之间，在以重叠交加的方式、相辅相成地结合在一起之后，再创造出一个不同于未叠加之前的两个原有意象的新的意象或意境。
因此。
意象叠加是诗歌创造新的意象或意境的一种重要方法，是诗歌形象化的一个重要手段。
庞德的《地铁车站》即是意象叠加的佳作。
此外，像诗人H·D·的《花园》（其一）“你多清晰，噢玫瑰，刻在岩石中的玫瑰”，这里诗人就将玫瑰设置在岩石之上，使得玫瑰和岩石叠加在一起，似乎很容易就让人想起悬崖峭壁上野百合或者是从石头中迸出来的小草形象，这就给美丽的玫瑰增添了一种坚硬之美、一种力量之美，同时，也使岩石赋予了柔和的姿态。
这也许就是意象叠加之下创造出的新的意象的含义。
如果说，意象的叠加间接上增强了诗中意象的密度，丰富了诗的意境，那么，意象的密聚则是更为直接的将一连串互相密切关联的事象或物象以紧缩复句的形式压缩在简洁的诗行里，从而使诗句更为凝练丰富、表现力更强。
在这意象派者的创作中也是可以详见的，诗人H·D·的《道路神》（其二）“这条白色的溪流/虽然细小/从杨树荫影覆盖的山岭/流下了田野……小树上的苹果/因为太阳绝望地/从海雾中挣扎了出来/粗大的树枝/长着小叶的树枝……”在这里，诗人并列描写了溪流、苹果、树枝等意象这些自然意象整合在一起并不需要过多的粉饰就可以自然的呈现出一幅画面，因为它整首诗就是意象，在一条流动着溪水的道路上，长满了苹果树和其他树木，微风吹拂下摇曳的树枝向着路人招手。
经典意象派诗歌
经典意象派诗歌
《在地铁车站》
这几张脸在人群中幻景般闪现；
湿漉漉的黑树枝上花瓣数点。
《重量》
她把带血的头颅／放在生命的天平上／让所有的苟活者／都失去了重量。
李修炎《镜子》
历史的镜子最公平／如果你害怕它／将它一摔，碎了——／它也将变成千万双眼睛……
林蓝四行诗《伞》
当你向别人／敞开心扉的时候／别人却在想／如何握住你的把柄
《足球》
本以为自己十分圆滑／不想被他人踢得伤痕累累。
《秋雾》艾米.洛厄尔
那是蜻蜓还是枫叶？
轻轻地降下，栖息在水面上。
《火精灵》威廉斯
我老了。
你在炉火傍取暖吧！
而我坐在那火焰的中心，牙齿打颤
我到哪儿去乞取安适呢？。
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[意象派诗歌]意象派
意象派篇(一):现代诗歌主要的五种表现手法
现代诗歌的表现手法比古典诗歌更加丰富更加复杂，但关键手法或基本手法也不多，主要有象征、意象、反讽、冷抒情、小说化等。
象征
想象和象征是诗的最基本特征。
诗与文、古诗与新诗修辞手法的最大区别是象征，遗憾的是传统或以往的修辞学基本上不提象征或几句话一代而过。
象征是个外来语，源出希腊语，意为接合，即用一事物代替另一事物。
象征作为一种艺术思潮，在西方文学史中出现过两次，一次是中世纪，泛神论者爱留根纳认为艺术即象征，因而一切艺术作品都具有表层意义和象征意义两个层次：另一次是19世纪末20世纪初出现的象征主义，波特莱尔、兰波、马拉美、魏尔伦、叶芝、艾略特是其代表人物。
马拉美认为，诗就是启示，就是梦幻，就是神秘，就是通过象征去展示心灵的状态，艺术品是用象征体镌刻出来的思想。
波特莱尔认为，外部世界是虚假而不真实的，只是彼岸世界的反光，在“我们的世界”后面存在着更为真实的“另一个世界”，只有人的内心才有“最高真实”，只有诗人才能运用象征去体悟这最高的真实。
因此，通过象征去表现内心真实，揭示外界事物与内心世界的感应契合，深入到“混沌而深邃的统一体中”，达到物我一致的境界成为象征主义自觉的艺术追求。
立普斯把艺术中的移情现象称之为美的象征。
象征相近于汉语中的兴、暗喻、借喻、隐喻、暗示等。
象征能最充分表现诗的象外之象、韵外之致、味外之旨，也即诗的含蓄美、朦胧感、神秘性、陌生化。
象征的对象是观念、感情与看不见的事物，象征的媒介是某种意象，象征的方法是间接的而非直接的，这就打破了诗歌直抒胸臆的单一与浅显，使诗充满了多义与歧义。
但是，象征使诗走向晦涩甚至成了谜语则背离了诗的美感。
前卫诗歌主要指现代派或后现代派，与非前卫诗歌的象征手法区别在于前者是整体象征，后者往往是局部象征。
象征还可分为人物象征、景物象征、事
件象征等。
象征主义是西方现代派文艺出现最早、影响最大的文艺流派。
1857年出版的法国象征派先驱波特莱尔的诗集《恶之花》是其代表作品之一。
象征主义力图摆脱自然主义对外界事物机械地摹仿，努力从客观具体感知的事物来暗示主观世界。
要求用恍惚迷离的神秘联想形成象征对应物，从而作为沟通两个世界的媒介，个人主义、神秘主义色彩浓厚。
象征主义是瑞典18世纪神秘主义哲学家斯威登堡“感应说”在诗歌创作上的反映。
象征主义大师马拉美说：“指明一物件，便剥夺了一首诗的最大乐趣；因为诗的乐趣在逐渐流露。
”后有人把此句概括为“说出是破坏，暗示才是创造。
”成了象征主义的名言。
荣格认为象征是艺术意象背后的原始意象。
只有把象征与原型紧密联系起来，才能真正提示出象征的本质。
象征是原型的外在化显现，原型只有通过象征来表现自己。
象征所要表达的所谓“未知领域的东西”是深藏在集体无意识中的原型。
人类的历史就是不断地寻找更好的象征。
中国新诗也受到象征主义的影响，20世纪二三十年代曾出现象征派，李金发、戴望舒是代表人物。
20世纪八十年代朦胧诗对外是汲取了象征主义和意象主义两大的乳汁成长起来的。
朦胧诗后，中国先锋诗歌的象征手法表现为冷抒情或反抒情。
意象
意象最早出现在刘勰《文心雕龙》：“独照之匠，窥意象而运斤，此盖驭文之首术，谋篇之大端。
”
庞德说：“一个意象就是在一刹那时间里呈现理智和情感的复合物的东西。
”
意象主义，是20世纪初英美诗歌的一个流派和诗歌运动。
诗人庞德等在吸收中国古典诗歌的基础上，形成了意象派。
意象派的另一个重要诗人理查德·阿尔丁顿在《意象主义诗人》（1915年）序言中对意象主义有较细的阐释：1.运用日常会话的语言,但要使用精确的词；2.创造新的节奏；3.在题材选择上允许绝对的自由；4.呈现一个意象(因此
我们的句子叫意象主义)；5.写出硬朗、清新的诗，决不要模糊的或无边无际的诗；6.最后，我们大多数人都认为凝炼是诗的灵魂。
（见漓江出版社1986年版《意象派诗选》）。
中国诗歌的意境说在某种程度上说就是包含了西方诗歌的象征主义与意象主义。
差别在于意境说是中国古典诗歌美学的集大成者，是艺术表现方法，更是艺术表现目的，且意境说是意象说的发展和深化；象征主义与意象主义是西方现代诗歌美学的标志，但主要是艺术表现方法，而非艺术表现目的，意象主义直接来源于中国古典意象说。
意境是我国诗歌创作的重要理论和审美观念。
指诗歌作品中所描绘的生动形象的生活图景与诗人强烈丰富的思想感情融合一致而形成的一种情景交融的艺术境界。
它能使读者通过想象和联想，如身入其境，在思想和感情上受到感染。
也可理解为意象交融之后达到的境界，为意境，即诗境，也即诗。
或者说诗就是有意境的精美文字。
诗的意境是物与我、情与景、虚与实的有机交融，是诗的艺术构思和艺术创作过程的结果。
有无意境和意境的高下，是衡量诗歌作品成败优劣的重要审美标准。
意境不同于一般的意与象的结合、情与景的交融，它是一种具有特殊美学内容的艺术形象。
一是“境生象外”，意境不止于形象本身所已经具体描绘出来的那一部分，还要通过联想与想象，使审美感受扩展到形象的具体描绘所比喻、象征、暗示的那些部分，也即“象外之象”。
二是“思与境偕”，化景物为情物，即景外之景。
而且这“象外之象”、“景外之景”往往是只可意会难以言传的。
艺术就是主客观的结合，艺术创作就是主观与客观的互相引爆。
其先后、轻重、主次、结合、变化的不一样，就是艺术的万紫千红。
古今中外莫不如此。
反讽
反讽，即传达与公认或表面的意思不同或相反的意思，往往还有嘲讽的意味。
有时，反讽会使我们想到相声、小品、魔术、笑话、寓言甚至神话，相关
还有梦呓、疯话、傻话、酒话，还有公园、动物园、旅游、晚会、同学会。
我们还可以想到好玩、幽默、荒诞，这一切西方称为喜剧。
钱钟书的幽默代表了东方文化新智境，不露痕迹的幽默，是大智大慧大觉大悟，这会使我们感到生活和生命原来是这么轻松愉快甚至好玩，从而再感叹生命和生活真的是多么美好，让一切沉重、悲壮见鬼去吧，像孩子一样生活或像游戏一样生活，才是人生的至境。
我曾在文中称伊沙为喜剧诗人。
时下网络上翻云覆水的下半身、垃圾派诗人如沈浩波、尹丽川、皮旦、徐乡愁、李磊、管上、管党生等大多是反讽的高手。
小说化
以事入诗，和小说家抢饭吃，我曾坚决反对这种诗歌的自杀式袭击行为，现在这种立场仍没有变。
一批知识分子诗人或学院诗人差一点以事把中国刚走步的先锋诗引入坟场。
为什么又把此单独提出来，因为此阴魂仍未散去，还有人在失去了激情、失去了想象之后，仍以此为生，可怕又可笑的是，一些天真幼稚者以为此就是先锋。
于坚诗歌的小说化或抒事化倾向是明显的，也不时遭人非议。
好在他没有失度，没有把诗消亡在事中。
一些步其后尘者，就把经念歪了，以事代诗或以事害诗了。
现在诗坛又出现了一种与小说化同样可怕危险的非诗化写作倾向——自然主义或日记体的写作倾向，原因仍是诗人在失去了激情和想象之后对诗的垂死挣扎。
有人这样写并不可怕，可怕的是一些成名诗人这样写，又让一些天真幼稚者以为此就是先锋。
还美其名日大智若愚、平淡如水。
失去智慧，失去灵光，只存记录，最多是散文，诗已死亦。
冷抒情
冷抒情，也有称零度抒情的，实质是不要抒情甚至反抒情，近似于白描手法。
具体，客观，冷静，好像是机器在拍照。
把个人感情的爱恨、浓淡、远近排除在外。
这应是主观的客观化或客观的客观化。
于坚的拒绝隐喻，也是冷抒情。
杨黎非非时期的作品如《怪客》、《高处》是冷抒情的标本式作品。
冷抒情
的结果，使抒情差点成了诗的敌人。
其实，冷抒情的结果是抒情又多了一种抒情。
[现代诗歌主要的五种表现手法]。