摘要
Like her contemporaries, Marianne Moore is also overwhelmed by Chinese paintings, porcelains, philosophy and the like. Throughout her life, Moore is fascinated by Taoist aesthetics which initiated by Lao Tze and his follower Zhuangzi. At the beginning, Moore is fascinated by the Chinese flower and animal paintings pursuing a context of curiosity and outset to express her own dissatisfaction;With broadening the eyesight benefited from the relationship among other avant-garde painters, noted poets and editors, Moore is capable of creating a subtle harmony of opposites, a balancing of yin and yang, within the poems itself, the effect of which is beautiful, harmony and potentially transforming. In the last period of her poem-writing career, Moore turned to be versed in discussing and interpreting Tao.
Like her contemporaries, Marianne Moore is also overwhelmed by Chinese paintings, porcelains, philosophy and the like. Throughout her life, Moore is fascinated by Taoist aesthetics which initiated by Lao Tze and his follower Zhuangzi. At the beginning, Moore is fascinated by the Chinese flower and animal paintings pursuing a context of curiosity and outset to express her own dissatisfaction;With broadening the eyesight benefited from the relationship among other avant-garde painters, noted poets and editors, Moore is capable of creating a subtle harmony of opposites, a balancing of yin and yang, within the poems itself, the effect of which is beautiful, harmony and potentially transforming. In the last period of her poem-writing career, Moore turned to be versed in discussing and interpreting Tao.
出处
《海外英语》
2011年第6X期376-378,共3页
Overseas English
