中国古典诗学与英美现代诗学的共鸣(英文)

Resonance in Classical Chinese and Modern English and American Poetics

本文回顾了中国古典诗学和英国现代诗学的几个基本方面,以求对其进行比较从而达到更好的理解,分析了中国古典诗歌中意象和汉字对庞德的影响,阐明了中国古典诗学中的情景交融、休姆的"视觉和弦"、艾略特的"客观对应物"和庞德的"表意文字法"都表明了同一个观点:把意象作为一种表达新思想的工具,因为意象搭建了一座诗人和读者之间的桥梁。诗歌作为一种语言艺术,应该用新的表达方式来表现思想,作为一种想象艺术,应该将个人的思想融入客观对象中。对于诗人而言,他的创作过程是从无形的思想到有形的意象,而对于一个读者而言,他的创作性阅读过程则是从有形的意象到无形的思想。幸运的是,庞德从中国古典诗歌和表意文字中找到了挽救维多利亚晚期诗歌衰落的方法,给20世纪前10年的现代西方诗歌带来一股清风。笔者相信在21世纪还将有一个这样的中西方诗学的共鸣。

This essay reviews a few basic aspects of classical Chinese and modern English poetics with an intention to make them comparable and accessible.It also analyzes the impact of imagery in classical Chinese poetry and written characters on Ezra Pound.The essay elaborates that classical Chinese poetics on the integration of emotion and scene,T.E.Hulme＇s ＂visual chord,＂ T.S.Eliot＇s ＂objective correlative,＂ and Pound＇s ＂ideogrammic method＂ all suggest the use of imagery as a vehicle of expressing fresh ideas because imagery builds a bridge between a poet and his reader.Poetry,as an art of language,should present ideas in new modes of expression and,as an art of imagination,should dissolve personal ideas into impersonal objects.To a poet,the process of his creative writing is from the invisible idea to the visible image,but to a reader,the process of his creative reading is from the visible image to the invisible idea.It is fortunate that Pound turns to classical Chinese poetry and ideograms to find a way to cleanse the decadence of the late Victorian poetry and blow a fresh wind into the modern western poetry in the early 1910s.The author believes there is still a resonance in these poetics in the 21st century.