查尔斯·赖特风景诗中的视觉艺术——以《奇克莫加》为例

The Visual Features in Charles Wright's Landscape Poetry Based on Chickamauga

查尔斯·赖特是近年来逐渐走入评论家视野的美国当代重要作家,2014年获美国桂冠诗人称号,其诗歌创作具有鲜明的个人特色。赖特在《奇克莫加》的风景诗中大量融入绘画元素和技巧,使其风景诗与绘画——尤其是现代派绘画——具有明显的一致性。其风景诗借意象、色彩、线条对自然景物进行白描式刻画,并偏重沉默、孤独与静思的视觉效应,而留白等绘画技巧转化为赖特诗歌中"以缺失凸显存在"的书写策略,并进而形成其"少即多"的创作原则,以此实现了诗歌意境的最大化延展;同时,赖特通过画家之"眼"灵视自然景物,借风景描绘实现联想式的诗歌结构布局,以外在风景观照内心世界,强调诗歌作为"灵魂建构"的功能性,以独特的意象式叙述使其诗歌成为灵魂的风景画。

Named Poet Laureate of the United States in 2014, Charles Wright（1935-） is acclaimed as one of the most important American contemporary poets, and has attracted increasing attention from the critics during the recent years for his originality and individuality. His landscape poetry, especially those in Chickamauga, is presented with quite a number of painterly elements and techniques, which render his poetry more closely related to paintings, or more precisely, modern paintings. Wright＇s landscape poetry portrays nature with the help of images, color and lines in the way similiar to line drawings, aiming to achieve a visual effect of silence, loneliness and tranquil meditation, while such painterly techniques as the ＂Blank Space＂ help to formulate Wright＇s writing strategy of ＂highlighting existence via absence＂, which can be further recognized as his writing principle of ＂less is more,＂ serving to maximize the artistic conception in his poetry. Meanwhile, Wright extends a vision of natural landscape through the ＂eye＂ of a painter, aiming to bring out an associative structure and layout in his poetry by means of landscape depiction, by which he presents his inner world and illustrates poetry＇s function as ＂a construction of mind.＂ With its distinctive imagistic narrative, Wright makes his poetry a landscape painting of the mind.