埃兹拉·庞德与现代反挽诗:《致敬赛克斯图斯·普罗佩提乌斯》的抑郁哀悼心理
|
摘要
《致敬赛克斯图斯·普罗佩提乌斯》是埃兹拉·庞德对古罗马哀歌诗人普罗佩提乌斯《哀歌集》的创造性翻译。他继承了普罗佩提乌斯在爱情与政治主题上的犹豫,刻意混淆体裁分类,以表现自己对于挽诗(elegy)体裁属性的思考和对当时政局和战况的批判。庞德将原作情节与俄耳甫斯神话相联系,运用"鲜明的细节"(Luminous Detail)的写作技巧,修正性地复活了在原作中被普罗佩提乌斯抛弃的卿提娅,及被文学史遗忘的爱情哀歌体裁。他以坚持情欲、自怨自怜的方式表达抑郁哀悼心理,使该诗成了一首反英语挽诗补偿哀悼传统的现代反挽诗。
"Homage to Sextus Propertius"is Ezra Pound 's creative translation of Elegiae by the ancient Roman author Propertius. Pound inherits Propertius' s hesitation over love and politics – as to which should be the suitable subject matter--and develops it into a debate about poetic genres,a reflection on the nature of elegy and a criticism on contemporary war and politics.Pound compares the storylines in Elegiae to the myth of Orpheus,thus reviving—with the help of the Luminous Details— a modified version of the mistress Cynthia who,eventually abandoned by Propertius,represents the Latin love elegy which has long been forgotten by literary history. Pound's insistence on erotic cathexis and his self-pitying manner of speech demonstrates his melancholic mourning,thus defining this poem as a forerunner of modern anti-elegy which characteristically denounces traditional English elegy's compensatory mourning.
"Homage to Sextus Propertius"is Ezra Pound 's creative translation of Elegiae by the ancient Roman author Propertius. Pound inherits Propertius' s hesitation over love and politics – as to which should be the suitable subject matter--and develops it into a debate about poetic genres,a reflection on the nature of elegy and a criticism on contemporary war and politics.Pound compares the storylines in Elegiae to the myth of Orpheus,thus reviving—with the help of the Luminous Details— a modified version of the mistress Cynthia who,eventually abandoned by Propertius,represents the Latin love elegy which has long been forgotten by literary history. Pound's insistence on erotic cathexis and his self-pitying manner of speech demonstrates his melancholic mourning,thus defining this poem as a forerunner of modern anti-elegy which characteristically denounces traditional English elegy's compensatory mourning.
引文
Carpenter,Humphrey.1988.A Serious Character:The Life of Ezra Pound[M].Boston:Houghton Mifflin.
Freud,Sigmund.1915.Mourning and Melancholia[M]∥Strachey,James.The Standard Edition of the Complete Psychological Works of Sigmund Freud.Vol.14.London:Hogarth,237-58.
Froula,Christine.1983.A Guide to Ezra Pound’s Selected Poems[M].New York:New Directions.
Materer,Timothy,1991.The Selected Letters of Ezra Pound to John Quinn:1915-1924[M].Durham:Duke University Press.
Pound,Ezra.1965.A Lume Spento and Other Early Poems[M].London:Faber.
Pound,Ezra.1911.Canzoni[M].London:Elkin Mathews.
Pound,Ezra.1916.Gaudier-Brzeska:A Memoir[M].London:John Lane.
Pound,Ezra.1916.Lustra[M].London:Elkin Mathews.
Pound,Ezra.1919.Quia Pauper Amavi[M].London:Egoist.
Pound,Ezra.1973.Selected Prose 1909-1965[M].Ed.William Cookson.London:Faber.Propertius,Sextus.Elegiae.
Ramazani,Jahan.1994.Poetry of Mourning:The Modern Elegy from Hardy to Heaney[M].Chicago:University of Chicago Press.
Sacks,Peter M.1985.The English Elegy:Studies in the Genre from Spenser to Yeats[M].Baltimore:Johns Hopkins University Press.
普罗佩提乌斯.2010.哀歌集[M].王焕生,译.上海:华东师范大学出版社.
(1)题注称“第三卷第26首”,是因为庞德所用《哀歌集》版本并非如今通用的四卷本。
(1)挽诗和哀歌虽在英文中名称一致,但在形式和内容上却有着极大的不同。古希腊罗马时代的哀歌(希腊语,拉丁语elegia)特指一种双行体诗歌格律,由一行六音步和一行五音步组成,通过灵活变换节奏,形成优美的音韵并表达相应的情感。
(1)尽管“阿波罗”与“福波斯”均是太阳神的不同名号,庞德显然将他们区别对待。第五章中,他申明自己的创作来源并非来自阿波罗,因为早在第二章中他便已接受了来自福波斯的神谕。
Freud,Sigmund.1915.Mourning and Melancholia[M]∥Strachey,James.The Standard Edition of the Complete Psychological Works of Sigmund Freud.Vol.14.London:Hogarth,237-58.
Froula,Christine.1983.A Guide to Ezra Pound’s Selected Poems[M].New York:New Directions.
Materer,Timothy,1991.The Selected Letters of Ezra Pound to John Quinn:1915-1924[M].Durham:Duke University Press.
Pound,Ezra.1965.A Lume Spento and Other Early Poems[M].London:Faber.
Pound,Ezra.1911.Canzoni[M].London:Elkin Mathews.
Pound,Ezra.1916.Gaudier-Brzeska:A Memoir[M].London:John Lane.
Pound,Ezra.1916.Lustra[M].London:Elkin Mathews.
Pound,Ezra.1919.Quia Pauper Amavi[M].London:Egoist.
Pound,Ezra.1973.Selected Prose 1909-1965[M].Ed.William Cookson.London:Faber.Propertius,Sextus.Elegiae.
Ramazani,Jahan.1994.Poetry of Mourning:The Modern Elegy from Hardy to Heaney[M].Chicago:University of Chicago Press.
Sacks,Peter M.1985.The English Elegy:Studies in the Genre from Spenser to Yeats[M].Baltimore:Johns Hopkins University Press.
普罗佩提乌斯.2010.哀歌集[M].王焕生,译.上海:华东师范大学出版社.
(1)题注称“第三卷第26首”,是因为庞德所用《哀歌集》版本并非如今通用的四卷本。
(1)挽诗和哀歌虽在英文中名称一致,但在形式和内容上却有着极大的不同。古希腊罗马时代的哀歌(希腊语,拉丁语elegia)特指一种双行体诗歌格律,由一行六音步和一行五音步组成,通过灵活变换节奏,形成优美的音韵并表达相应的情感。
(1)尽管“阿波罗”与“福波斯”均是太阳神的不同名号,庞德显然将他们区别对待。第五章中,他申明自己的创作来源并非来自阿波罗,因为早在第二章中他便已接受了来自福波斯的神谕。