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斯托勒是一位被忽略的现代主义诗人,他1908年出版的《幻觉的镜子》含有英国最早的自由诗理论;他在休姆的“形象俱乐部”活动期间,曾经领导过意象的试验和讨论。在意象主义起源的争论中,弗林特出于斯托勒在自由诗和意象上的贡献,将其视为意象主义诗人的先驱。但弗林特的观点遭到了庞德的强烈反对。庞德依据精确美学以及意象主义的组织标准,认为斯托勒与意象主义没有关系。庞德对斯托勒的理解是片面的,他未能注意到斯托勒倡导的古典主义诗学的核心正是精确性;而且,这种诗学的立场在于反对浪漫主义的夸张和新奇的风格,尊重传统而非个性。综合来看,斯托勒的诗学确实与意象主义美学相近。当代批评家大多接受了弗林特的观点,将其视作意象主义诗人。但是这些批评家由于固守狭隘的成见,机械地用意象主义的原则来解释斯托勒,反倒重新模糊了斯托勒的诗学价值。在肯定斯托勒的先驱者地位之后,需要将斯托勒与意象主义再次分割开,以全面理解这位孤独的现代主义诗人。
Stoller is a neglected modernist poet. His “Mirror of Illusion,” published in 1908, contains the earliest theory of liberal poetry in England. He led the image during Hume’s “Image Club” Test and discussion. In the controversy of the origins of imagery, Flint, out of Stolle’s contribution to free verses and images, sees it as the forerunner of the imagist poets. But Flint’s point of view was strongly opposed by Pound. Pound based on precise aesthetics and the standards of the organization of imagery, that Stolle and imagery has nothing to do. Pound’s understanding of Stolle was one-sided. He failed to notice that the core of classical poetics advocated by Stoller was precisely the accuracy. Moreover, this poetic position resisted the exaggeration and novelty of romanticism Style, respect for tradition rather than personality. Taken together, Stoler’s Poetics is indeed similar to the Aesthetics of Image. Most contemporary critics accept Flint’s point of view as a poet of imagism. However, these critics, stubbornly narrowly prejudiced, mechanically interpreted Stolle with the principle of imagery, and instead re-blurred Stolle’s poetic value. After affirming Storr’s pioneer status, Stoller needs to be separated from the imagination once again in order to fully understand the lonely modernist poet.