庞德《诗章》的赋格结构模式研究

On the Fugue as a Shaping Structure of The Cantos by Ezra Pound

《诗章》的整体结构究竟是什么,一直是学界争论的话题,也是庞德自己想要弄清的问题。从庞德的有关论述可以发现,他曾企图用赋格作《诗章》的基本结构,而《诗章》的文本也确实具有赋格的基本特征。在谋篇布局上,《诗章》的丰富性、碎片性、跳跃性、开放性,连同其内在的统一性,都艺术地再现了赋格的主题、答题、对题及其循环往复的结构特点。在意象塑造上,《诗章》的众多意象不但是声诗、形诗、理诗的具体内容,也是赋格的宏观结构与微观结构的诗化再现。在主题呈现上,《诗章》的三大主题群也都各有自己的主题、答题和对题,表现着对赋格的继承、充实与突破。

The overall structure of The Cantos is both a huge debate that puzzles the critical world and a heavy pressure that troubled Ezra Pound himself. A rough survey of Pound＇s statements scattered in his various writings reveals that the fugue was intended as a shaping structure of The Cantos whose underlying features, as the poem now stands, are largely decided accordingly. Such a structure imprints the format of The Cantos, denoting the exuberance, abruptness, fragmentation, openness, and conceptual integrity of the entire poem by an artistic reproduction of the fugue in terms of its subjects, answers and countersubjects. This shaping structure also helps to classify the tangling images of The Cantos into what Pound calls melopoeia, phalopoeia and logopoeia, all in relation to the maximal and minimal structures of the fugue. Penetrating into the themes of The Cantos, this shaping structure works to confirm the convention of three fundamental ideas, each displaying its subjects, answers and countersubjects, and each illuminating a continuation, an enrichment and a breakthrough of the fugue.