TEXT ONE
WHANG Boom Boom cast delicacy to the winds. Thus Ezra Pound in a letter to his father, urging the old man to help promote his first published collection. It might have been the poets manifesto.
Pound is as divisive a figure today as he was in his own lifetime. For some he was the leading figure of the Modernist movement who redefined what poetry was and could be; and who, in his role as cultural impresario, gave vital impetus to the literary careers of T.S. Eliot, James Joyce and Wyndham Lewis, among others. But for many Pound remains a freak and an embarrassment, a clinical nutcase and vicious anti-Semite who churned out a lot of impenetrable tosh before losing the plot completely.
During the second world war he broadcast pro-Fascist radio programmes from Italy and later avoided trial for treason at home only because he was declared insane. On his release from St Elizabeths Hospital near Washington, DC, he returned to Italy , where he died in 1972 aged 87.
David Moody, emeritus professor of English at York University, makes a strong case for Pounds generous energy and the disruptive, regenerative force of his genius . His approach is uncontroversial. He follows the poets progress chronologically from his childhood in Idaho still, at the time of his birth in 1885, part of the wild west to his conquest of literary London between 1908 and 1920. He marshals Pounds staggering output of poetry, prose and correspondence to excellent effect, and offers clear, perceptive commentary on it. He helps us to see poems, such as this famous, peculiarly haunting 19-syllable haiku, in a new light:
The apparition of these faces in the crowd:
Petals on a wet, black bough.
That Mr Moody is constantly being upstaged by the subject of his study is not surprising. Pound was one of the most colourful artistic figures in a period full of them.
According to Ford Madox Ford, who became a good friend of Pounds shortly after the bumptious young American arrived in London: Ezra would approach with the step of a dancer, making passes with a cane at an imaginary opponent. He would wear trousers made of green billiard cloth, a pink coat, a blue shirt, a tie hand-painted by a Japanese friend, an immense sombrero, a flaming beard cut to a point and a single large blue earring. W.B. Yeatss simple assessment was that: There is no younger generation of poets. E.P. is a solitary volcano.
A great merit of Mr Moodys approach is the space he gives to Pounds writings. It is love-it-or-hate-it stuff, but, either way, undeniably fascinating. All good art is realism of one kind or another, Pound said. Reconciling that tidy statement with practically any of his poems is hard work but, as Mr Moody shows over and over again, hard work that offers huge rewards. His first volume ends in 1920, with Pound quitting London in a huff, finally fed up after more than a decade of doing everything in his power to rattle the intellectual establishment with British insensitivity to, and irritation with, mental agility in any and every form . His disgraceful radio programmes and the full blooming of his loopiness lie ahead. So, too, do most of his exquisite Cantos.
新西兰中国留学生"买论文"
和自己交谈的力量
什么是抽象名词
邯郸学步
大学最严考勤
一生的学习
重庆209学生保送大学
韩国要求美国尽快调查前发言人性丑闻事件
菲总统府称将经适当渠道回应枪杀台湾渔民事件
聪明的狗
聪明的国王
ought to和had better的用法
何为不朽
shall的用法
学生应该脱口而出的英语口语
对等句子
大学英语话剧剧本
麻烦用英语怎么表达
简单的五字短语
校园英语短剧剧本
盘点十句常用的英语俚语
人生的回音
如何表达顺其自然
关于drop的短语
介词的省略
下午茶英语表达法
情态动词could can
英语话剧剧本
用英语应该怎么表达上当了
should的用法
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