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本文回顾了中国古典诗学和英国现代诗学的几个基本方面,以求对其进行比较从而达到更好的理解,分析了中国古典诗歌中意象和汉字对庞德的影响,阐明了中国古典诗学中的情景交融、休姆的“视觉和弦”、艾略特的“客观对应物”和庞德的“表意文字法”都表明了同一个观点:把意象作为一种表达新思想的工具,因为意象搭建了一座诗人和读者之间的桥梁。诗歌作为一种语言艺术,应该用新的表达方式来表现思想,作为一种想象艺术,应该将个人的思想融入客观对象中。对于诗人而言,他的创作过程是从无形的思想到有形的意象,而对于一个读者而言,他的创作性阅读过程则是从有形的意象到无形的思想。幸运的是,庞德从中国古典诗歌和表意文字中找到了挽救维多利亚晚期诗歌衰落的方法,给20世纪前10年的现代西方诗歌带来一股清风。笔者相信在21世纪还将有一个这样的中西方诗学的共鸣。
This article reviews several basic aspects of classical Chinese poetics and modern poetics in the United Kingdom in order to compare them for a better understanding of the impact of images and Chinese characters on Pound in Chinese classical poetry. The blend of scenes in poetics, Hume’s Visual Chord, Eliot’s Objective Correspondence, and Pound’s Ideogram method all point to the same view: A tool for expressing new ideas because images build a bridge between poets and readers. As a linguistic art, poetry should express its thoughts in new ways of expression. As an art of imagination, poetry should incorporate personal thoughts into objective objects. For the poet, his creative process is from invisible thoughts to tangible images, while for a reader, his creative reading process is from the visible image to the invisible thought. Fortunately, Pound found a way to save the decline of late Victorian poetry from Chinese classical poetry and ideographic writing, bringing a fresh air to the modern Western poetry of the first decade of the 20th century. I believe there will be one such resonance of Chinese and Western poetics in the 21st century.