There are also many famous books in the library ... I bought a lot ... but ... yours is a collection of poems, right, ..........? Sorry ... I didn't see it clearly.
I just took a closer look. It's hard to find
Secular anecdotes
Every time a stag clicks
Crossing Oklahama
A fire cat was creepy and blocked the road.
Wherever they go,
They all clattered past,
Until they become light.
The circular route turns sharply.
To the right-because
That fire cat
Or, until they are light.
The circular route turns sharply.
To the left-because
Fire cat.
The stag is ticking.
Fire cats jump and jump,
Left, right
and
Hair erect, blocking the road.
Later, the fire cat closed its bright eyes.
Fell asleep.
This is the opening of Stevens' first book of poetry, Organ, which is somewhat unexpected. The whole poem reads like a small fable, and its hero is a somewhat mysterious male animal-fire cat. We don't know what kind of cat a fire cat is. It doesn't look like an allusion, although harold bloom thinks he looks a bit like Blake's tiger. This animal once appeared in a poem by Hart Crane, a great American poet, "Pebbles sing, but fire cats abscond" (Bridge). Massimo Bacigalupo, Stevens' Italian translator, thinks that the fire of fire cat is the fire of poetry and alchemy, but some people think that fire cat is just the common name of American mountain lion. In any case, its hair stands on end. It must jump around like a flame, which can scare away other animals.
What is another animal (stag) in the poem is not clear, because the word can refer to different male animals, or it can be a ram or a rabbit. Considering the deer in Oklahoma, we will treat them as deer for the time being, and readers can of course use other animals instead.
The word "crossing" in the first section is over in English, which is very special here. Both Bloom and george steiner felt a little strange, while Eleanor Cook mentioned "Whenever a Buck clicks/crosses Oklahoma" and another poem entitled "Anecdote". In these two examples, the specific place names in the United States are infected with abstract meaning, and this meaning is greater than its practical significance. They seem to be manipulated at will in the hands of poets and easily enter an imaginary game. But that doesn't mean they have no practical significance. Before this poem was written 65,438 years ago, Oklahoma became the 46th state in the United States. It's remote and wild. If this poem is about a stag noisily crossing new york City, it is not an anecdote but a farce.
In this poem, the movements of the fire cat and the stag are very light, which is in harmony with the movements of the poem. In this poem, they become two sides of interaction and two poles of tension, which can be called "lovely symmetry". As a result, the fire cat fell asleep, and the stag did not explain where he went. If there is a nervous observer hidden in this poem, he stops when the fire cat sleeps, and his views on all this are reflected in the title of this poem.
Stevens reminds readers that "there is no symbolic meaning in Anecdotes of the World, but there are many statements about it." The painting assigned to it by Modernist magazine, which first published this poem, is a vague and abstract landscape painting, and there is no fire cat in the painting, which Stevens denied. What the poet wants is something very specific-"real animals, not primitive chaos". We might as well use the tiger in Blake's prints instead, because although the tiger is huge in the poem, it looks like a toy in the painting.
Yvor Winters, a critic, called Anecdotes of the World "a poem with the first Kubinashi meaning". The book Organ contains many profound and diverse works handed down from generation to generation, but it begins in such an understatement. Cook thinks that this is a rhetoric in itself and a wonderful statement about the rhetoric at the beginning.
A condemnation of swans
That soul, oh, geese, it's coming.
Park, far more than the noise of the wind.
Bronze rain from the sun
It marked the death of summer, and that time lasted.
Like a person, write down his last sentence in a daze.
Golden fantasy and Paphos cartoon,
Leave your white feathers to the moon.
Entrust your gentle movements to the air.
Look, the crow is already on the long street.
Oil the statue with their dirty things.
That soul, oh, geese, flies alone.
Go over your cold carriage and fly to the sky.
This is the second poem of the organ, which is in sharp contrast with Anecdotes on Earth. This short poem is obviously overweight, traditional steps and various rhetoric. For example, the phrase "endured during that time" in the fourth sentence imitates Shakespeare's syntax. The condemnation here refers to the specific style-the attack and abuse in literary language. There is no swan in this poem. The whole poem is about the flying souls of a flock of geese. Rain in the Sun should be golden in the western literary tradition. It was in this rain that Zeus went to see the imprisoned Princess Shen Jianing of Argos. When such rain turns bronze, summer disappears, and time seems to be writing strange last words. Paphos is an ancient city in the west of Cyprus, a city full of eroticism, belonging to the goddess of love, swans belonging to the bird of love, and of course related to Zeus. The result of writing the last sentence by time is to give the goose's feathers and movements to the moon and the air, or to say, it gives an autumn night scenery-the moon is white and the wind is clear. At this time, the speaker turned to the goose and watched the crow do evil. They dared to cover their heads with dung, and then he described the flight of the soul again-it was transcendent and could fly higher than any bird. According to legend, Cupid's carriage was flown by a swan. This poem blurs the gap between a swan and an ordinary goose and highlights the soul-Stevens rarely writes about the soul in his poems.
In Carolina
The lilacs in Carolina withered.
Butterflies have been dancing on the wooden house.
Newborns use their mother's voice
Interpret love.
Eternal mother,
How did this happen, your viper nipple?
Spit out honey now
That pine tree sweetens my body.
The white iris makes me beautiful.
19 17, Stevens wrote a poem called "The Source", and he later took out three chapters as independent short poems and included them in the Organ. This poem is one of them. After the confrontation between Anecdotes of the World and Gossip Swan, in Carolina, a short poem with nine lines created a fantastic poetic scene. In April and May, lilacs withered in North and South Carolina where butterflies were flying. The newborn baby in the wooden house is already in love with his mother. These descriptions are calm and wonderful. The poet sighed at the moment of fantasy in the change of seasons. At this time, why (or in what way) did Mother Eternal's viper nipple spit out honey instead of venom? The eternal mother here may be the embodiment of the eternal reproductive power of nature or the goddess of the earth. Anyway, her image is quite strange. The nipple is in the shape of a poisonous snake, which also implies the power of destruction. The last two italicized poems give the answer. The eternal mother makes me sweet through trees and flowers. In other words, "I" finally interprets love through the eternal mother language (beauty and sweetness in nature), and the whole poem has a fairly symmetrical meaning cycle. I finally become a newborn in nature, and the opening of the white iris gives the poem a pure atmosphere at the end.
Cook studied the etymology of this poem and pointed out that the word aspic in aspic nipple has many meanings, such as "bitterness" (Stevens used this word to mean aspic in other poems). In western literature, there are many language games about love made of sweetness and bitterness. The source of this game is of course Sappho, who is the first person to describe love as both bitter and sweet. Lewis carroll's Latin Class is a famous work in English literature. In terms of language games, Carol is the predecessor of many modern great poets, including Stevens. Cook also pointed out that this poem is related to Lilacs written by Whitman, which is easily associated with readers, because Whitman sang Dark Mother, Sweetness and Death in the poem When Lilacs Bloom in the Front Yard recently. Cook's genius is that she made a very creative guess: in this poem, Carolinas may refer to the place where carols are sung.
The humble naked girl set sail in spring.
She set sail, but not on a shell,
Go to the seaside the old-fashioned way.
But standing in the first place that was discovered by the thunder.
On the grass, flying in the light of Apollo.
Quietly, like another wave.
She was depressed, too.
There will be purple ornaments hanging between your arms.
She was tired of the salty harbor,
Longing for the deep sea
Roaring and roaring.
The wind blew her hand,
And a wet back.
Tell her to speed up.
She crossed the ocean.
In the ring, she touched the clouds.
However, in galloping and water lights,
This is a weak game.
There's a bubble on her heel-
The next day is different from this moment.
When a more golden naked woman
In the process of progress, it seems to be the center of the sea green festival.
In the deeper silence,
The washer of fate,
Across the fresh torrent, endless.
On the way back.
In this poem, the poet portrays two naked women in gorgeous and uncommon language, which can obviously arouse our association with Botticelli's The Birth of Venus. The first naked woman didn't stand on the huge petal-shaped shell like Venus in ancient times, but stood on the first water plant found at random; She is not as stable as Venus in the painting, but just like a wave; Botticelli's Goddess has a blank expression, and the humble naked girl is somewhat depressed. Stevens described how she crossed the sea in spring. When she touched the cloud, we found that she seemed to be no longer a weak woman standing on the grass, because she had drawn a circle in the sea and could play with the cloud. However, Stevens immediately told us that she was still playing a weak game. It is said that there is a bubble on her heel, which still connects her with Venus, because Cupid was born in the bubble. In fact, the previous description is to set off a "more golden naked woman" in the future. She is the cleaner of fate and the center of peace and progress at sea.
The meaning of this poem vacillates between clarity and vagueness. The reference to Botticelli's Venus is obvious, but it is not clear who these two naked women are. Another possibility is that the humble naked woman may have been born before Venus, and the naked woman behind her is Botticelli's Venus. If so, we will still face the problem of interpretation, because the last four sentences are very positive, which not only shape the image of the goddess in action but also open up a broad vision, which is not consistent with Botticelli's picture (except "like the center of the sea green festival"). More likely, the two naked women in the poem are the same person. When she set sail in spring, she was just a "humble naked girl". When summer came, she became a more golden and mature goddess. Bloom thinks this poem is a hymn to an American Venus full of Emerson spirit, which is a reasonable explanation, and Vendler also holds this view.
The title of the poem can be read as the first sentence of the poem, the action of humble naked woman (scud；; She is like a wave. She was driven by the wind, and her back was wet, which still meant she was like a wave. The language in the last section is quite strange, suggesting the purifying power of the waves or the goddess of the sea. In the last section, the first naked woman's movements scud (galloping) and scullion (meaning cleaner here) echo each other, hiding a more commonly used word scour (meaning both sailing and cleaning). Spick, used to describe rapids, is a very ambiguous word. According to Bloom, it comes from Dutch (Stevens' ancestors are Dutch), which means "spotless, clean and fresh".
A plan against giants
The first girl
When this plowman comes to nag,
Grind his rake,
I want to run ahead of him,
They exude the most civilized atmosphere.
From geraniums and unhealed flowers.
This will stop him.
The second girl.
I want to run ahead of him.
Pull up a piece of curved cloth full of colors
As small as caviar.
And that silk thread
Will make him feel ashamed.
The third girl.
Oh, there ... that poor guy!
I want to run ahead of him,
Gasped strangely.
He'll listen.
I want my lips to sound as beautiful as heaven.
In the guttural world.
This will destroy him.
The three girls in the poem are a bit like fairies or elves in fairy tales. They are naughty, but their ideas are cruel. The third girl said, "Oh, there it is … that poor guy!" " "The original is French (oh, la ... le pauvre). The giant's nagging (which also means stumbling) corresponds to the "throat world" in the last section. The three methods (fragrance, color and sound) used to deal with giants are both civilized and implicit. I wonder if they can work. Cook pointed out that many words in this poem echo Whitman's whispers about twenty-eight men taking a bath and dying in heaven in chapter 1 1 of Song of Me, such as puff (breathing), arch (bending into an arc), whisper (whispering) and Labs. In Cook's view, there may be a game between Stevens and Whitman, his predecessor in poetry. The problem is that both poets used these words. In Stevens' mind, who is the one who runs in front of each other and plays a prank? This interesting conjecture itself has the nature of a game.
Princess marina
Her balcony is sand.
It's palm trees, it's dusk.
She put the wrist movements
Into her brain.
Gorgeous gesture.
The creation of this night
The confusion of feathers
Into the sea
Sail trick
She's just hanging around.
Among thousands of wandering fans,
Share the sea
And night
When they wander around at will
Make a disappearing sound
The name of Princess Marina reminds readers that this is another fairy middleman, and Marina's roots remind us that she is the spirit of the sea and the common "place spirit" in romantic poetry; Infanta comes from Spanish, and the seascape depicted in the poem is probably on the Florida beach where Stevens often goes on vacation, where many Spanish sentiments and words are preserved. There is a fan in the word princess, which is also the prop of the whole poem.
The princess's balcony is a three-dimensional freehand brushwork space, and "sand", "palm tree" and "dusk" correspond to different dimensions of sea, "fan" and "night" respectively. The princess is silent in the changing light and the sound of the tide, and the movements of her wrists are varied, which makes the fans present all kinds of gorgeous ideas. With concrete and abstract brushwork, the poet shows a natural landscape full of supernatural breath: in the evening, the sound and light colors are quite dreamy, just like the gorgeous thoughts of the fairy princess. The third node shows that the princess is a "creation at night", and the confusion of her feathers in the sea breeze has turned into a trick of sailing with a very novel metaphor. Here is a language game. The sleep of the sail comes from the idiom "the dexterity of the hand, a trick that often deceives people", and "the trick of the sail" implies the way to turn the fan. In such rhetoric, the mysterious atmosphere of the fairy princess covers the natural landscape at the visual and lexical levels. The last two sections are climax and reverberation, and the wandering of the princess is contained in the posture of a fan. After reading this, we will feel that the artistic conception is very oriental. The princess of Spanish descent is very much like a Japanese geisha, with exquisite skills and symbolic significance. In a mysterious art, she shared the sea and night (the time and space of her existence), and the sea and night floated freely, making the whole poem go extinct.
According to the structural analysis of this poem by Helen Windler, the princess belongs to the sea and the terrace of night and nature. She has movements, thoughts, feathers and fans. The * * * pun on the possessive case and case of the whole poem was used 10 times:
Motive
Her wrist
Her thoughts
Feather of
This creature's
overnight
velar
Her fans
Oceanographic
overnight
Vendler thinks that this kind of continuous repetition expresses the semantic connotation of this poem syntactically, that is to say, all these rankings can use the preposition of, and there is no difference in scale and meaning. Stevens adopted such a parallel structure when expressing the harmonious state of nature.
Black rule
At night, by the fire,
The color of shrubs
The color of fallen leaves,
Repeat yourself,
Spinning around the room,
Just like the leaves themselves
Spinning in the wind.
Yes, but it's a thick hemlock color.
Stride in.
I remember the peacock's cry.
The color of their tail feathers
Like the leaves themselves.
Spinning in the wind,
In the evening breeze.
They cleaned the house,
When they fly over the branches of hemlock.
Fall to the ground.
I hear them.-Peacock.
That's a cry for dusk.
Or resist the cry of leaves-
Leaves are spinning in the wind,
Rotate, as in.
The flame in the fire,
Spin like a peacock's tail feather
Turn it to loud.
In a flame as loud as hemlock
Full of peacocks?
Or is that a cry for hemlock?
I looked out of the window.
How do planets gather?
Just like the leaves themselves
Spinning in the wind.
I saw how the night came.
Stride like the thick color of hemlock.
I feel scared.
I remember the peacock's cry.
After six poems, the first person finally appeared in the black rule: "I" meditated on sound and color when dusk turned into night, and finally felt a strong fear. The scene in the poem is a place where people rest and recall-an indoor fireplace, where experience and imagination gather and sweep the house, and the appearance of the last window and planet pushes all this into a vast space. This poem was written earlier than the first six poems (published in 19 16). The images in some sentences are relatively simple, but they go back and forth, which finally makes this poem more powerful and becomes a famous piece in Organ.
The title is "Black Rules", that is, the rules of night, which also implies the final extinction of the flame. The rotation of leaves in the wind hides the change of leaf color. In the process of rotation and repetition, neither color nor leaves are solid. There is only a fire in front of me. Maybe the flicker of the flame created the rotating color in my mind. However, the dark power of the dense iron shirt does not rotate, but strides forward on it. In this oppression, there are colorful cries-peacocks appear out of thin air, gather all the colors and turn away from customers. But what is the peacock crying about? The two questions give different directions and push several basic images to continue to rotate. At this time, "I" saw the gathering of planets outside the window and realized that the planet we live in is also spinning in it. In fact, like leaves, they will eventually be swallowed up by black. Fear broke out after the layers of sound and light were paved, and finally the peacock's cry seemed to reveal the human voice.
Helen Windler thinks this poem is the opposite of the previous one in structure. Princess Marina uses the same preposition to establish a coordinate structure. This poem uses various prepositions to express the possible relationship between nouns (of, in, like, by, over, from, to, against, as), but in the end these nouns are powerless to the external forces at night. Bloom pointed out that the black in this poem is contrary to the colors of fallen leaves depicted in Shelley's ode to the west wind, and the "self-repetition" of fallen leaves should be interpreted as "failure to repeat itself" because black is the ultimate law. If the peacock cries against the rotation of the leaves, then this crying is against "change", but the final result of change will be death, so the second question actually contains the first question. In the second question, the cry is aimed at the color of hemlock, which is the color of death. Bloom thinks that if this poem ends here, it will look like an imagist poetry exercise, and it will be a Shelley elegy absorbed into Laforge or the early Eliot model. However, the third section takes this poem to a higher level.
I looked out of the window.
How do planets gather?
Just like the leaves themselves
Spinning in the wind.
These four sentences echoed Coleridge's Ode to Sorrow. Coleridge saw the western sky outside the window before the storm, and his eyes were empty. What Stevens sees in his eyes is his own (and Shelley's) metaphor of fallen leaves. In Bloom's words, "great insight shrinks the universe into a metaphor", but then there is a completely different rhetoric:
I saw how the night came.
Stride like the thick color of hemlock.
I feel scared.
I remember the peacock's cry.
Here, "the strong color of hemlock" is used in a compound metaphor, and finally it comes at night, raising the rhetoric of the last few lines to a height close to the apocalypse. The last kind of fear comes from watching ("I saw how the night came"), which also contains the sounds in memory, which is separate from watching "I saw how the planets gathered outside the window". In Bloom's view, the most terrible thing about this poem is that the final result of the poet's internalization of foreign things is internalization of death. This is a profound view, but it is also chilling.
The colors and sounds in this poem are in a state of constant repetition. If the leaves fail to repeat themselves (as Bloom said), it means that the color is finally dominated by black; But "Peacock's Cry" is in an echoing state in the poem. When the poet realizes that black is approaching, this echo can still be reproduced, so the final question may be whether the "peacock's cry" can be repeated. Stevens gave a positive answer with another poem (about existence) before his death.
Snowman
People must have a winter heart.
Go and see the frost.
And pine branches covered with snow;
And it will be cold for a long time.
Gazing at the hairy juniper in the ice stubble,
And the distant sunshine in January
Large spruce; Didn't even think about it.
In the wind, in the sparse leaves,
Any sadness,
The land that makes this sound
Full of the same breath
In the same empty place
The wind blows for the listener, who listens in the snow,
Moreover, there is no self, ignoring things that don't exist.
Everything, staring at the emptiness there.
This poem is one of the most common works in Stevens' works collection. China readers are no strangers to the artistic conception in poetry. They can find some examples from our tradition to compare with it. When we see A Winter's Heart, we will naturally think of Jin Nong (Winter's Heart). The feeling in the last section is similar to Chen Ziang's "What do you think of me?" There is no beginning in the forest. "This" no beginning "comes from Zhuangzi's poem," Those who go to others will return to the land where the spirit has no beginning, and those who have no place will be grateful ",which is quite comparable to the last mental state of the snowman in this poem. In addition, many people in western Renye Fang like to interpret this poem with some popular Zen concepts.
But if we look at this poem carefully, we will find that there is a thorough coldness in this poem that is rare in China's poems. Eliot's Metaphysical Poet was published in the same month as this poem. Interestingly, what Stevens wrote here happened to be Eliot's unacceptable separation of feelings and emotions.
In fact, the whole poem only uses one sentence. After the semicolon of "Picea crassifolia", nine lines are completed in one breath, and there is an obvious pause between the third and fourth paragraphs of the translation. The first two sections are parallel structures. At first glance, they seem to be works of enjoying snow. If we develop it in an ordinary way, it is nothing more than whitewashing the natural scenery and the poet's mental state-when the snow fills the mountains and the pine and cypress are evergreen, the poet's self-esteem usually follows. But when Stevens started writing, it was extraordinary. The two verbs here show different levels of "look". "Seeing" is a meticulous observation, which implies that there is a clear boundary between the subject and the object of watching, while "seeing" has a strong subjective color, which implies the positive ecstasy of the viewer. Take a closer look at the nearby snow scene and stare at the snow scene in a broader field of vision. Then, the poem entered a continuous and decisive progress. First of all, it excludes the emotional reaction that people may cause in the wind of falling leaves, and the viewers in the first two sections become the listeners in the third section. The land where the sound was made was blown through by the strong wind, and the listener finally became a gazer. There is nothing in his eyes that is not here, only an empty hole without any artificial meaning. The last thing he stared at was "nothing". Let's go back to the first two sections. They seem to be covered by the following nine sentences, and the "white rule" of snow finally becomes transparent in the eyes of the gazer. It is difficult to translate the last two sentences of this poem into Chinese:
He didn't see anything
Nothing does not exist, and nothing exists.
The method used in translation is to break the "blind eye ... and stare at nothing behind". If translated in classical Chinese, it is probably "looking at nothing foreign", but it should be noted that this "foreign" is something outside this place. It is worth noting that what Stevens wrote here has always been nothingness, not something more metaphysical, so the original poem is more direct and powerful than the translation.
After reading this poem, we still have some doubts about the title: Is the "man" in the poem (a very vague one) and the "he" in the last poem a man in the snow or a snowman? "He" obviously has life, perception and brains, but it seems to be a snowman made of nothingness. Cook once again broke new ground. She said that snowmen are not afraid of cold. Like polar bears, snowmen have nothing to be sad about in winter. Eskimos and Indians have many legends about "transformation", just like this poem, which shows the moment when people are changing.
The poet himself thinks that the characters in this poem are "integrated with reality to understand and enjoy reality". In this poem, there is the first realm in the process of Stevens' poetry, that is, the object of consciousness is reduced to what he calls "the first idea" to avoid hallucinations and illusions. The second realm is a reflection on the first realm, and it is not suitable for human beings to live in it, because human beings living in the "first concept" will lack free will like animals living in their nature. The third realm is that the poet "re-imagines" the "first idea", reconstructs reality and self, and enters the highest fiction. The result of this highest fiction is not a poetic type, but a new reality, and its product is a new poetic self, which is fully reflected in Stevens' later works.
The cold temperament of the snowman in this poem sometimes appears in Stevens himself. Harold bloom often listened to Stevens' recitation when he was young. When the poet walked into the venue, Bloom suddenly felt that the temperature of the venue had dropped by 20 degrees.
Wallace Stevens, my uncle's monocle, translated and introduced Taoist Wang.
one
"Mother of the sky, queen of the clouds,
Oh, the scepter of the sun, the crown of the moon,
No, no, no, nothing
It's like the sharp edges of two words collide with each other. "
In this way, I mocked her with gorgeous poems.
Or am I mocking myself?
I wish I were a stone, but I have brains.
Thinking of the foam at sea, I let her go again
These bright bubbles sneak out.
Then, from the saltier well in my body.
Deep upwelling, syllables splashing.
two
Red bird, flying over the golden floor.
In the chorus of the wind, dense and feathered wings
He was looking for a seat in the rainbow bird-at that moment he found it.
He will turn around and set off a storm.
Should I flatten this wrinkled thing?
Say hello to a group of heirs, I am rich;
Because of this, I also say hello to spring.
The welcome choir sang a eulogy for me.
Spring will never cross the meridian again.
But you, however, are blessed by anecdotes,
Pretend to believe, a starry sky knowledge.
three
So, sitting on the mountain, Chi Pan, ancient.
China people dress up on the Yangtze River.
Shave their beards. Don't they want anything?
I don't want to play, the scale of history.
You know, the beauty of Gemo in Beichuan.
Explore the purpose of love in their talking braids
Do you remember the headdress towering in Bath Hot Springs?
Ah! Nature has not left a wisp of curly hair,
Did all the hairdressers live in vain?
Why, for these miserable ghosts.
Unfortunately, did you come from your sleep with clouds and temples confused?
four
Sweet and flawless, it seems to be the fruit of life.
All fell to the ground because of their own weight.
When you were Eve, now you are sour juice.
The happiness of an undeveloped, sweet orchard.
Apples, like all skulls, fit
Become a book that helps us understand the circle,
Its shape is as good as the skull.
Things that will rot and return to the land
But it has another feature: it becomes the fruit of love.
This is a book too crazy to read.
Unless you read it just to kill time.
five
High in the west, there is a raging star burning.
It was put here for the enthusiastic young man.
And sweet virgins around.
The intensity of love and the vitality of the earth.
* * * Use scale. Since I want to come,
The fast and powerful knocking sound of fireflies.
Another year.
But what about you? When your initial image
Show your connection with all the dust, please remember.
How can those crickets be in the sky?