在作为诗人的漫长一生中,斯蒂文斯一次又一次回到济慈的颂歌《秋颂》。那些回归的历史为现代艺术家提供了如何重新使用文学材料的经典范例。在现代艺术中我们已经习惯了此种处理,尤其在绘画和雕塑方面。贡布里奇曾经指出艺术家是如何再生产的,不是他们看见的,而是他们看见的与已经存在于他们心灵中的某种先在草图的混合。对于斯蒂文斯来说,济慈的颂歌提供了一个无法抗拒的先在模型;斯蒂文斯围绕着这首颂歌反复沉思。就我的理解,他 In his long life as a poet, Stevens returned to Keats’s carol “Autumn Song” again and again. Those returning to history provide classic examples of how modern artists can re-use literary material. We are accustomed to such treatment in modern art, especially in the area of ​​painting and sculpture. Gonbridge once pointed out how artists reproduce, not what they see, but what they see in combination with some sort of first sketches that already exist in their hearts. For Stevens, Keats’s carols provide an irresistible precedent model; and Stevens ponders over the carols. In my understanding, he