1、T.S. Eliot （1888-1965）,Thomas Stearns Eliot,A poet, dramatist, literary critic, and modernist.,Characteristics of Modernism in Literature,1. One characteristic of EnglishModernism is “the dehumanization of art“; 2. The modernist writers are mainly concerned with the inner being of an individual; 3.
2、Modernism is, in many aspects, areaction against realism,Life(p163),Birth and family background: born in a wealthy family of America, parents were well culturedEducation: received a good education when he was young, especially classical literature; studied in Harvard in 1906; studied in Paris and Ox
3、ford after getting his M.A. degree Marriage: suffered intensely, unhappy( working as a teacher and a bank clerk while composing poetry),1898 to 1905,1905,1906-1910,1911-1914,1910-1911,1915,Education,Literary Career,First period 1911 The Love Song of J. Alfred Prufrock J.阿尔弗雷德普鲁弗洛克的情歌the first master
4、piece of Modernism in English 1917 Prufrock and Other Observations 普鲁弗洛克及其他 First volume of poetry,Second period,1922 The Waste Land荒原: Eliots epochal masterpiece, a representative work of the High Modernism of the 1920s 1925 The Hollow Man透明人: the spiritual and emotional aridity of modern men，exhib
5、iting a pessimism,Third period,1930 Ash Wednesday圣灰星期三 1943 Four Quartets四个四重奏 Noble Prize for literature in 1948 Literary criticism: Selected Essays 1932, The Uses of Poetry 1933, On Poetry and Poets 1957, etc 1935-1958 verse plays: Murder in the Cathedral 大教堂中的谋杀,Four Quartets四个四重奏 根据贝多芬的四重奏乐曲结构而成
6、，四个地点 1)Burnt Norton (1936) 燃烧的诺顿玫瑰园遗址，三种时间 2)East Coker (1940) 东库克村庄，“在我的结束是我的开始 3)The Dry Salvages (1941) 干赛尔维其斯海边礁石，两重性 4)The little Gidding (1942) 小吉丁小教堂，生命短暂与永恒 抽象的手法，对历史、时间、人生的哲理思索,Poems,The Love Song of J. Alfred Prufrock (1911)杰阿尔弗雷德普鲁弗洛克的情歌 The Waste Land (1922) 荒原 Hollow Man (1925) 空心人 Ash
7、 Wednesday (1930) 圣灰星期三 Four Quartets (1943) 四个四重奏,DramasSweeney Agonistes(力士斯威尼) Murder in the Cathedral (大教堂凶杀案) The Corktail Party(鸡尾酒会) The Confidencial Clerk机要秘书,Critical essays The Sacred Wood圣林 Essays on Style and Order风格和秩序论文 Elizabethan Essays伊丽莎白时代论文集 Essays Ancient and Modern古今论文集 The Use
8、 of Poetry and the Use of Criticism 诗的用途和批评的效果 After Strange Gods陌生的神灵,艾略特是英美形式主义批评的鼻祖。“非个人化理论”“诗不是放纵感情，而是逃避感情；不是表现个性，而是逃避个性。”不断放弃自我体验才能表现更有价值的东西。“客观对应物”理论:主观抒情转化为客观象征，为思想与情感找到外在的象征物“相称物”。因此常把诗中人物置于戏剧性场景流露情感。,Themes,Death (four kinds of death) Sexuality Lost generation The modern society futile and
9、chaotic Religion War,His Aesthetic Views,1. A poem should be an organic thing in itself, a made object. Once it is finished, the poet will no longer have control of it. It should be judged, analyzed by itself without the interference of the poets personal influence and intentional elements and other
10、 elements. 2. Modern life is chaotic, futile,fragmentary, so poetry should reflect this fragmentary nature of life and this kind nature of life should be projected, not analyzed.,3. objective correlative:,A set of objects, a situation, a chain of events, formula in which the poet expresses his emoti
11、on and in which the fusion of intellect, feeling, and experience should be achieved. 4. The poet should draw upon tradition: use the past to serve the present and future( the past, present, future interrelate), borrow from authors remote in time, alien in language, diverse in interest, use the past
12、to underscore what is missing from the present.,Writing style,1.Eliots poetry was becoming noted for its fresh visual imagery, its flexible tone, and highly expressive rhythm. 2. Eliots poetry is difficult to read.a. For one thing the images and symbols seem very much disconnectedb. An obvious sourc
13、e of difficult lies in his learned quotations and allusions.,3. Eliot piles up a heap of images, visual, auditory, olfactory, and more for the readers to figure out what is being said. (Take an example of The winter Evening Settles Down) 4. Dramatic monologue( The Love Song of J. Alfred Prufrock ),5
14、.His poems are interesting also for its method of presentation. 6.T. S. Eliot modern experience is chaotic, irregular, and fragmentary, and it is the poets job to form new whole out of disparate experiences.,The Love Song of J. Alfred Prufrock (p166),This poem marked the start of Eliots career as on
15、e of the 20th centurys most influential poets. “Prufrock“ is about a lonely, timid middle-aged man who, lacking self-confidence, wants to propose marriage to a lady but is afraid to do so, and ultimately does not.,The Waste Land,T . S . Eliot,Brief introduction,The Waste Land is a 434-line modernist
16、 poem by T. S. Eliot published in 1922. It has been called “one of the most important poems of the 20th century.“ Despite the poems obscurityits shifts between satire and prophecy, its abrupt and unannounced changes of speaker, location and time, its elegiac but intimidating summoning up of a vast a
17、nd dissonant range of cultures and literaturesthe poem has become a familiar touchstone of modern literature.,二十世纪最有影响力的一部诗作。 当代著名诗人兼评论家阿伦塔特说第一次读荒原时，一个字也看不懂，不过他已意识到这是一首伟大的诗篇。 后来艾略特给诗加了多条注释。荒原是宣示著一战后西方文明的危机和传统价值观念的失落，反映了整整一代人理想的幻灭和绝望。,艾略特在自注中说：“这首诗不仅标题、构局，而且许多零散的象征都受魏士登女士论圣杯传说的那本书从仪式到传奇的启发，此书使我得益非浅在更
18、一般的意义上，我还得益于另一本人类学著作，一本深刻地影响了我们这一代的书，我指的是金枝”。,金枝引用大量材料，说明四季循环与许多有关神的诞生、死亡、复活的神话以及祭祀仪式有。渔王曾是植物神，岁末时人们哀悼他的死亡，春天大地复苏时庆祝他的复活。渔王统治的领地因受到诅咒而严重缺水，成为“荒原”，他本人也受了重伤，失去生育能力。因而在这里庄稼不能生长，牲畜不能繁殖。荒原一诗的题名就取自这一传说。,The Waste Land consists of five discontinuous segments, each composed of fragments incorporating multip
19、le voices and characters, literary and historical allusions, bits and pieces of contemporary life, myths and legends. The central theme-desperationAlthough it gestured toward religious belief ,The Waste Land was not an affirmative or religious poem; the desperate quest for regeneration in a cacophon
20、ous, desolate landscape remains unfulfilled.,荒原的主题,荒原是西方现代诗歌的一个里程碑，反映了一次大战之后西方世界整整一代人的幻灭感和绝望心理，也表现了艾略特本人的精神危机状态及其对走出荒原的渴望。“荒原”象征西方现代人的精神世界：失去信仰，浑浑噩噩，陷入迷惘、享乐和醉生梦死之中不可自拔；也象征了西方现代工业文明社会、都市的混乱和衰颓。,-disjointed structure,The Waste Land“ is notable for its seemingly disjointed structure, indicative of the
21、Modernist style of James Joyces Ulysses (which Eliot cited as an influence and which he read the same year that he was writing “The Waste Land“). In the Modernist style, Eliot jumps from one voice or image to another without clearly delineating these shifts for the reader. He also includes phrases f
22、rom multiple foreign languages (Latin, Greek, Italian, German, French and Sanskrit), indicative of Pounds influence.,Style -dramatic monologue,The style of the work in part grows out of Eliots interest in exploring the possibilities of dramatic monologue. This interest dates back at least as far as
23、The Love Song of J. Alfred Prufrock. Of course, “The Waste Land“ is not a single monologue like “Prufrock.“ Instead, it is made up of a wide variety of voices (sometimes in monologue, dialogue, or with more than two characters speaking).,-Allusions and quotations,The style of the poem overall is mar
24、ked by the hundreds of allusions and quotations from other texts (classic and obscure; “high-brow“ and “low-brow“) that Eliot peppered throughout the poem. In addition to the many “high-brow“ references and/or quotes from poets like Baudelaire, Shakespeare, Ovid, and Homer, Eliot also included a cou
25、ple of references to “low-brow“ genres. A good example of this is Eliots quote from the 1912 popular song “The Shakespearian Rag“ by lyricists Herman Ruby and Gene Buck. There were also a number of low-brow references in the opening section of Eliots original manuscript (when the poem was entitled “
26、He Do The Police in Different Voices“), but they were removed from the final draft after Eliot cut this original opening section.,艺术特色,首先，在现代题材的表面结构下，隐含着一个对应的神话结构。 其次，大量用典，旁征博引。其主要表现技巧为：直接引用传统作品片段以抒发诗情;修改并套用传统作品文句以表达思想;对照比较传统风范与现实堕落以突出主题。,第三，体现了诗人“非个人化”的创作主张。 第四，意象新奇怪诞，语言复杂多变，如“四月是残忍的一个月”、“长着孩子脸的蝙蝠”
27、等。 第五，蒙太奇手法和内心独白技巧。,Structure,荒原全文分五个部分：“死者葬仪”；“对弈”；“火诫”；“水里的死亡”；“雷霆的话”。,The five parts :1 The Burial of the Dead 2 A Game of Chess 3 The Fire Sermon 4 Death by Water 5 What the Thunder Said,“死者的葬仪”,第一章“死者的葬仪”共76行。这一章表现现代人的生活无异于出殡，而葬仪的意义又在于使死者的灵魂得救。 诗人用对比的手法写荒原上人们对春冬两季的反常心理，春暖花开的“四月”竟然是“最残忍的一个月”。,第二
28、章“对弈”，共96行。这一章通过引征莎士比亚、维吉尔、弥尔顿和奥维德的作品，将人类昔日的昌盛和今日的颓败加以对照，突出了现代人纵情声色、形同僵尸的可悲处境。这一部分着重写两个场景，结尾几行借用哈姆雷特中奥菲利亚在告别生活时的一段疯话（“明天见，太太，明天见，好太太，明天见，明天见”）影射现代西方女性已彻底堕落，不疯犹疯，虽生犹死。,“对弈”,“火诫”,第三章“火诫”，139行。这一章首先写泰晤士河畔的今昔，伦敦各种人物猥琐无聊的生活。 面对这种精神荒原，诗人指出：荒原人只有通过宗教，只有弃绝一切尘世的欲念，才能过一种有意义的生活。 标题“火诫”原是佛劝门徒禁欲，达到涅槃境界的意思。,“水里的死
29、亡”,第四章“水里的死亡”，仅10行。这一章写人欲横流带来的死亡。昔日腓尼基水手由于纵欲而葬身大海，今天无数的现代人仍然在人欲的汪洋大海中纵情作乐，他们的死亡已无法避免。,“雷霆的话”,第五章“雷霆的话”，共113行。这一章表达了吠陀经里的说教，规劝人们要施舍、同情、克制，这样才能得到平安。这是解救荒原的最后希望。 然而雷声过后，荒原依然如故，我们到底该怎么办？,The Waste Land引言,“NAM Sibyllam quidem Cumis ego ipse oculis meis vidi in ampulla pendere, et cum illi pueri dicerunt:
30、 Sebulla pe theleis; respondebat illa: apothanein thelo.“ (For Ezra Pound il miglior fabbro),有一次我亲眼看见库米的西比尔女巫吊在笼子里，当男孩们问她：“你想做什么？”她回答道：“我想死。”献给埃兹拉庞德更好的艺术家,根据希腊神话，古米的西比尔是女预言家，曾爱过她的太阳神阿波罗施予她预言的能力，但她忘记向太阳神要永恒的青春和健康。她被关在瓶中枯而不死，承受着巨大的精神痛苦。生与死之交替原本是宇宙发展与更新的客观规律，而西比尔违背了这一规律，她虽然实现了永生不死的愿望，但却生不如死，她对死亡的渴望反映出她
31、对生存现状的不满与厌倦。,I. Burial of the Dead,April is the cruellest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain. Winter kept us warm, covering Earth in forgetful snow, feeding A little life with dried tubers. Summer surprised us, coming over the
32、Starnbergersee With a shower of rain; we stopped in the colonnade, And went on in sunlight, into the Hofgarten,四月最残忍， 从死了的土地滋生丁香， 混杂着回忆和欲望， 让春雨挑动着呆钝的根。 冬天保我们温暖， 把大地埋在忘怀的雪里， 使干了的球茎得一点点生命。 夏天来得意外，随着一阵骤雨 到了斯坦伯吉西； 我们躲在廊下， 等太阳出来，便到郝夫加登,坎特伯雷故事集乔叟,四月时分，甜蜜的阵雨飘落， 穿越干旱的三月，浸透了万物的根部， 把强力酒精的每一根经络浸泡， 草木发芽，渐次生花； 西
33、风呼出甜美的气息， 席卷了荒地和林丘 嫩枝和嫩叶，青春的阳光 在白羊星座走了一半的历程， 无数小鸟通宵达旦睁着眼睛， 此时齐声歌唱（大自然骚扰着它们躁动不安）； 这时，人们渴望走上朝圣之路,17行：通过春天和冬天对比的描写，反映出荒原上已经没有生存的条件，即使是春天也依然是缺乏生机，毫无希望，人们挣扎在过去与未来的虚幻世界之中。,And drank coffee, and talked for an hour. Bin gar keine Russin, stamm aus Litauen, echt deutsch. And when we were children, staying at
34、 the arch-dukes, My cousins, he took me out on a sled, And I was frightened. He said, Marie, Marie, hold on tight. And down we went. In the mountains, there you feel free. I read, much of the night, and go south in the winter.,去喝咖啡，又闲谈了一点钟 。 我不是俄国人，原籍立陶宛，是纯德国种。 我们小时侯，在大公家做客， 那是我表兄，他带我出去滑雪撬， 我害怕死了。他说
35、，玛丽，玛丽， 抓紧了呵。于是我们冲下去。 在山中，你会感到舒畅。 我大半夜看书，冬天去到南方。,818行：诗人在此反映了上流社会人们的生活。艾略特提到两个具体地点：斯坦伯格西和哈夫珈屯，它们代表欧洲中部的现代荒原。“我不是俄国人”说明这些人都是一战后的一些“无根”(rootless)的流浪者，他们毫无目的地从北到南，四季到处游山逛水，或进咖啡馆和咖啡，闲聊往事，或在山里滑雪，或夜里读书，寒冬就到温暖的南方去过冬。这些都是当时欧洲社会上有闲阶级或流浪者们生活的方式和全部内容。他们精神空虚，毫无目的，生活无聊，只是沉浸在回忆之中。,What are the roots that clutch,
36、what branches grow Out of this stony rubbish? Son of man, You canot say, or guess, for you know only A heap of broken images, where the sun beats, And the dead tree gives no shelter, the cricket no relief, And the dry stone no sound of water. Only There is shadow under this red rock, (Come in under
37、the shadow of this red rock), And I will show you something different from either Your shadow at evening rising to meet you;,这是什么根在抓着，是什么树杈 从这片乱石里长出来？人子呵， 你说不出，也猜不着，因为你只知道 一堆破碎的形象，受着太阳拍击， 而枯树没有阴凉，蟋蟀不使人轻松， 干石头发不出流水的声音。只有 一片阴影在这红色的岩石下， （来吧，请走进这红岩石下的阴影） 我要指给你一件事，它不同于 你早晨的影子，跟在你后面走 也不象你黄昏的影子，起来迎你，,I wil
38、l show you fear in a handfull of dust. Frish weht der Wind Der Heimat zu Mein Irisch Kind, Wo weilest du? You gave me hyacinths first a year ago; They called me the hyacinth girl. -Yet when we came back, late, from the hyacinth garden,我要指给你恐惧是在一撮尘土里。 风儿吹得清爽，吹向我的家乡，我的爱尔兰孩子，如今你在何方？ “一年前你初次给了我风信子， 他们都叫
39、我风信子女郎。” 可是当我们从风信子花园走回，天晚了，,Your arms full and your hair wet, I could not Speak, and my eyes failed, I was neither Living nor dead, and I knew nothing, Looking into the heart of light, the silence. Oedund leer das Meer.,你的两臂抱满，你的头发是湿的， 我说不出话来，两眼看不见，我 不生也不死，什么也不知道， 看进光的中心，那一片沉寂。 荒凉而空虚是那大海。,Madame Sos
40、ostris, famous clairvoyante, Had a bad cold, nevertheless Is known to be the wisest woman in Europe, With a wicked pack of cards. Here, said she, Is your card, the drowned Phoenician Sailor, (Those are pearls that were his eyes. Look!) Here is Belladonna, the Lady of the Rocks, The lady of situation
41、s. Here is the man with three staves, and here the Wheel, And here is the one-eyed merchant, and this card,索索斯垂丝夫人，著名的相命家， 患了重感冒，但仍然是 欧洲公认的最有智慧的女人， 她有一副鬼精灵的纸牌。这里，说， 你的牌，淹死的腓尼基水手， （那些明珠曾经是他的眼睛。看！） 这是美女贝拉磨娜，岩石的女人， 有多种遭遇的女人。 这是有三根杖的人，这是轮盘， 这是独眼商人，还有这张牌,Which is blank, is something he carries on his bac
42、k, Which I am forbidden to see. I do not find The Hanged Man. Fear death by water. I see crowds of people, walking round in a ring. Thank you. If you see dear Mrs. Equitone, Tell her I bring the horoscope myself: One must be so careful these days.,是空白的，他拿来背在背上， 不许我看见。我找不到。 那绞死的人。小心死在水里。 我看见成群的人，在一个圈
43、里转。 谢谢你。如果你看见伊奎通太太， 就说我亲自把星象图带过去： 这年头人得万事小心呵。,Unreal City, Under the brown fog of a winter dawn, A crowd flowed over London Bridge, so many, I had not thought death had undone so many. Sighs, short and infrequent, were exhaled, And each man fixed his eyes before his feet. Flowed up the hill and down
44、 King William Street, To where Saint Mary Woolnoth kept the hours,不真实的城， 在冬天早晨棕黄色的雾下， 一群人流过伦敦桥，呵，这么多 我没有想到死亡毁灭了这么多。 叹息，隔一会短短地嘘出来， 每个人的目光都盯着自己的脚。 流上小山，流下威廉王大街， 直到圣玛丽乌尔诺教堂，在那里,With a dead sound on the final stroke of nine. There I saw one I knew, and stopped him, crying: Stetson! You who were with me
45、in the ships at Mylae That corpse you planted last year in your garden, Has it begun to sprout? Will it bloom this year? Or has the sudden frost disturbed its bed? O keep the Dog far hence, thats friend to men, Or with his nails hell dig it up again! You! hypocrite lecteur!-mon semblable,-mon frere!
46、,大钟正沉沉桥着九点的最后一响。 那儿我遇到一个熟人，喊住他道： “史太森！你记得我们在麦来船上！ 去年你种在你的花园里的尸首， 它发芽了吗？今年能开花吗？ 还是突然霜冻搅乱了它的花床？ 哦，千万把狗撵开，那是人类之友， 不然他会用爪子又把它掘出来！ 你呀，伪善的读者我的同类，我的兄弟！”,荒原是一首带有悲剧看法的诗，但它也是一个喜剧，一种讽仿，由于突然的切换，悲剧的色彩变成了插科打诨，既是对文学的嘲弄又是对文学的表现，感情总是服从于智力，抒情总是服从于怀疑，每一章节都在嘲讽和严肃之间构造了它自己的联系，由此产生了第三种风格，那就是妙趣横生的现代诗人的风格。,拼贴画的做法，把截然不同的情景并列
47、或连接，也受电影中蒙太奇的影响，它用各种零碎的片段表现现代城市的支离破碎，“我用这些碎片撑住了我的废墟。”,Influence “a classicist in art, a royalist in politics, and an Anglo-Catholic in religion.”,1.He was the most successful literary dictator in American literary history , who wielded the most decisive influence over literary development for a long time 2.A leader of the modernist movement in English poetry 3. A great innovator of new verse technique 4. Postmodernist poems,
