论文总字数：42370字

摘 要

意象派是20世纪一些英美诗人发起的文学运动，是当时盛行于西方世界的象征主义文学运动的一个分支。其宗旨是要求诗人以鲜明、准确、含蓄和高度凝练的意象生动及形象地展现事物，并将诗人瞬息间的思想感情溶化在诗行里。在中国，意象说在理论和实践上也经历了漫长的发展过程。在中文诗歌和英文诗歌里，意象主义是一种特别相近的诗歌表达，后因其简明和意味深长的特征而备受欣赏。

众所周知，美国诗人埃兹拉·庞德的《在地铁车站》和中国作家马致远的《天净沙·秋思》分别是中西方意象主义诗歌的典型代表。本论文将欣赏国内外意象主义诗歌的魅力，从不同的角度深刻分析两首诗的异同。在意象主义的运用上，两首诗有四个相似点。第一，语言简约而深刻。第二，色彩和意象相融。第三，动静景结合。第四，两首诗都有独特的韵律和节奏。至于不同点，大体上分为三点。第一，庞德的《在地铁车站》用的是意象叠加手法，而马致远的《天净沙·秋思》用了意象并置手法。第二，色彩使用的差异。《天净沙·秋思》的色彩清淡，而《在地铁车站》的色彩鲜明、显眼。第三，中诗意象大多为递相沿袭性，而英诗多讲究直觉性。

本论文将帮助读者了解中西方意象主义的概念，起源和发展，带领读者欣赏马诗和庞诗中意象主义运用的相似和不同，进而让读者领略意象主义诗歌的无穷魅力。

关键词：《在地铁车站》 《天净沙·秋思》 意象主义 相似和不同

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1. Introduction

Poems of imagism are often appreciated because of its conciseness and meaningfulness. Imagism is a very close poetry expression in Chinese and American poetry. As we all know, Ezra Pound’s In a Station of the Metro and Ma Zhiyuan’s Tune: Sunny Sand Autumn Thoughts are both classics of imagist poems. They serve as a link between past and future in American and Chinese literature, and contribute a lot to the development of imagery poems. The former is a representative work in American imagist poetry, and the latter is always considered as a masterpiece in Chinese imagist poetry.

Ezra Pound, as the imagist poet and the representative of the American Modernism, was influenced by the Chinese poetry and devoted himself into it. He (1916) claimed that “the image is a putting-into-words of the emotional, intellectual and concrete stuff that one experiences in any given moment.” In a Station of the Metro is a typical poem which can express Pound’s idea of imagery clearly. It was written and published in 1913 in the literary magazine Poetry, when the First World War was coming. Everyone at that time was under the horrific shadow of the war. This poem was an observation from the poet of the human faces seen in a Paris’s subway station in which the faces turned variously toward light and darkness. Pound (1916) suggested that the faces of the individuals in the metro were best put into a poem not with a description but with an “equation”. The poem was reprinted in Pound’s collection Lustra in 1917, and again in the 1926 anthology Personae: The Collected Poems of Ezra Pound, which compiled his early pre-Hugh Selwyn Mauberley works. Like other modernist artists in the period, Pound found inspiration in Japanese art, but the tendency was to re-make and to meld cultural styles rather than to copy directly or slavishly.

Ma Zhiyuan was a Chinese poet and celebrated playwright, a native of Dadu (present-day Beijing) during the Yuan Dynasty. He was a famous composer of the Yuan Sanqu (a type of verse). Among his achievements was the development and popularizing of the Sanqu lyric type of classical Chinese poetry forms. His XiaoLing (one type of Yuan opera) was considered dramatic and unique in Chinese classical poetry. The poem

Tune: Sunny Sand Autumn Thoughts from the book “Dong-Li-Yue-Fu” was the most widely known in his Sanqu poems. He could describe a profound picture of beauty which leads a person to endless aftertastes through just drawing the outline of the scenery. As the most outstanding masterpiece among his creations, Tune: Sunny Sand Autumn Thoughts greatly shows the beauty of imagism.

2. Literature Review

2.1 Imagism

2.1.1 Origin and definition

Imagism is the beginning of Modernism in America and Britain. Although in ancient China, many poems containing images emerged, there wasn’t a term describing this kind of writing style. Therefore, imagism firstly appeared in the West.

The origins of Imagism are found in two poems, Autumn and A City Sunset (1909) by T. E. Hulme. These were published in January 1909 by the Poet’s Club in London. Hulme was a student of mathematics and philosophy who had set up the club to discuss his theories of poetry. Imagism leaders one after another were T. E. Hulme (1908-1909), died in the First World War, then Ezra Pound (1912-1914), then Amy Lowell (1914-1917).

The movement was flourished in the U.S and England between 1909 and 1917. It was a literary movement launched by British and American poets early in the 20^th century in reaction against Victorian sentimentalism that advocated the use of free verse, common speech patterns, precise presentation of images, and clear concrete images. Li Zhimin (2005) analyzed and commented on Pound’s concept of “image”. About the definition of “image” put by Pound, Li (2005) said Pound’s first definition of “image” only described a sort of function of “image”, i.e. an image could arouse some intellectual and emotional response in the mind. Pound’s second and third definition of “image” insist that an image is of more than one idea, being active and endowed with energy.

2.1.2 Features and tenets

Imagism has the following four features. First, it breaks away from traditional poetic convention, follows free verse, and demands freedom in expression; second, it uses language of common people, always uses exact words, not cliché words, even invents new( the poem should and must invent); third, absolute freedom in the choice of subject; four, concrete, clear image. Zhou Yunzeng (1995) concluded that there were three main features of imagery version, which were objectivity it showed, conciseness of language, and musicality in rhythms. Wang

Wenjuan (2006) also simply explored three general features of American imagery poems: special images, concise and succinct language, and rhythms imbued with musicality, which was much same as what Zhou Yunzeng summarized.

In traditional poem, image is a means, but here, image is the end, the purpose. Poet of Imagist does not use image as an ornament, and image itself is the speech and the end. The imagist poems just present us pictures with images, but no ideas. In later years, the Imagist poem also uses images to convey ideas but don’t express ideas in an abstract way.

There are three tenets of the Imagism, first, direct treatment of the "thing", whether subjective or objective. Second, to use absolutely no word that does not contribute to the presentation. Third, as regarding rhythm: to compose in sequence of the musical phrase, not in sequence of the metronome.

2.1.3 Development- Three phases

The development of imagism followed three phases. It first began in London in the years 1908-1909, and T. E. Hulme was the leader who founded in 1909 a Poet’s Club to discuss poetry. The second phase was the period of some three years 1912-1914 when Ezra pound took over and championed the new poetry. And something like Imagist manifesto came out in 1912 in which Pound and Flint laid down three Imagist poetic principles: a) Direct treatment of the “thing” whether subjective or objective; b）To use absolutely no word that does not contribute to the presentation; c) As regarding rhythm, to compose in the sequence of the musical phrase, not in the sequence of a metronome. The third phase of Imagism 1914-1917 when Amy Lowell took over from Pound and pushed the movement into the period of “Amygism”. After 1917, Imagism ceased to a movement.

2.1.4 Significance

Despite the movement's short life, Imagism would deeply influence the course of modernist poetry in English. Richard Aldington (1941) wrote: "I think the poems of Ezra Pound, D.H., Lawrence, and Ford Madox Ford will continue to be read. And to a considerable extent T. S. Eliot and his followers have carried on their operations from positions won by the

Imagists." The rejection of conventional verse forms in the nineteen-twenties owed much to the Imagists repudiation of the Georgian Poetry style. The influence of Imagism can be seen clearly in the work of the Objectivist poets, who came to prominence in the 1930s under the auspices of Pound and Williams. The Objectivists worked mainly in free verse. Imagism influenced a number of poetry circles and movements. With the Imagists Free verse became a discipline and acquired status as a legitimate poetic form.

2.2. Previous Studies on Imagism in In a Station of the Metro

“IN A STATION OF THE METRO

The apparition of these faces in the crowd

Petals on a wet, black bough.” (E. Pound 1913)

Ezra Pound, the great imagist poet and scholar, the representative of the American Modernism, was born in Hailey, Idaho. He was famous for advocating free meter and a more economical use of words and images in poetic expression. He was also one of the leaders of the Imagist Movement of poetry. In the early teens of the twentieth century, he opened an exchange of works and ideas between British and American writers. Besides, he also made a prominent contribution to enhancing the culture communication between the east and west. Some of his poems are used for reference of classical Chinese and Japanese Poetry.

As we all know, Pound led the famous movement--Imagist Movement and put out the image. What is the image? An image is defined by Pound (from Gaudier-Brzeska, 1916) as that which presented an intellectual amp; emotional complex in an instant of time, “a vortex or cluster of fused ideas” “endowed with energy”. Liu Baoan (2004) centered on how this poem embodied the theories of imagism and symbolized the great achievements of imagism, and on that this poem signified the climax of imagery poem and this movement.

There are only 14 words in the whole poem. Yu Zhijie (2012) gave a thorough analysis of the function of color in this poem. Yu said, “Not only add concreteness and directness to the image, color also support the theme and the atmosphere of the poem directly.” Yu thought that color, as a part making up image, played a much positive role in Pound’s Imagist poems by

defining the image to be more concrete and reinforcing the theme directly. It is very novel to analyze the poem from the perspective of color. Wu Yanhong (2013) studied the tension in this poem to explore the energy in language. She said, “What In a Station of the Metro tells is beyond description, the 14 words telling a lot more than just 14 words can tell in the hand of language master Pound.” Indeed, the images in this poem give us the interior meaning. Qin Chenghua (2006) tried to fully probe into the images concerned in the poem. Qin thought the highly symbolic and suggestive language as well as the rich connotations showed the characteristics of an imagist poem. He said there were only two images, apparition of faces and petals on black bough.

2.3. Previous Studies on Imagism in Tune: Sunny Sand Autumn Thoughts

Chinese original poem: 天净沙·秋思

马致远

枯藤老树昏鸦，

小桥流水人家，

古道西风瘦马，

夕阳西下，

断肠人在天涯。(Z. Y. Ma Yuan Dynasty)

Translated by Xu Yuanchong: Tune: Sunny Sand

Autumn Thoughts

Over old trees wreathed with rotten vines fly evening crows;

Under a small bridge near a cottage a stream flows;

On an ancient road in the west wind a lean horse goes.

Westward declines the sun;

Far, far from home is the heartbroken one. (Y. C. Xu 2013)

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