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《荒原》作为现代诗歌至尊的具有说服力的理由是美学的,因为它将不断更新的隐喻和象征毫无保留地砸到读者面前,从而代替了阅读中传统的“清醒、平庸但朴实的精神”。但诗作百年,“解读”业已前赴后继,艾略特的原始意图虽不可测,但文本却已经承受了来自后来者、尤其是后现代诸流派的理论淬炼和批判攻势,并亲历了自身美学系统的摇摇欲坠、气息奄奄。颇值得玩味的地方在于,艾略特再也没能用荒原的手法创作后来的诗歌;但恰恰是这首他自己口中的“个人的、完全无足轻重的对生活不满的发泄”“通篇只是有节奏的牢骚”的发泄之作、这一在批评家口诛笔伐中陷入“形式上的混乱”“模仿性形式谬见”的结构欠缺、语言残缺的争议之作,竟然获得了比其他的语言寻常正规又无比精确的作品(如《四首四重奏》)更恒久的生命力。现代主义在艾略特的身上遗留下的最璀璨的胜果就是《荒原》,现在看来,竟也不知幸或不幸。
The persuasive ground of “wasteland” as the supreme modern poem is aesthetically pleasing to the world, because it constantly replaces metaphors and symbols with readers in the face of renewed reservations, replacing the traditional “awake, mediocre but earthy spirit”. However, since the first century of poetry, “Interpretation” has gone on and on. Although Eliot’s original intention was unpredictable, the text has already endured the theoretical quenching and critical offensive by latecomers, especially the postmodernist schools, and witnessed himself Aesthetics system crumbling, breath dying. What deserves so much to be pampered is that Eliot was no longer able to create later verses in the wilderness; but it was precisely in his own mouth that “the personal, completely insignificant dissatisfaction with life” The article is only a rhythmic grievance, which is a controversial piece of controversy about the lack of structure and linguistic intrusion in the criticism of the critics’ “formal confusion” and “imitative forms” Gains more lasting vitality than other languages that are more regular and less precise than other languages (such as the “Four Quartets”). The most brilliant victory left by Eliot in modernism is the “wasteland,” which now seems unfortunate or unfortunate.