求埃茲拉龐德的意象派詩歌英文原文（最好是中英雙語版的），不要純中文譯本。越多越好，多謝啦。

《在一個地鐵車站》是美國詩人龐德的作品。這首詩在西方現代文學史上占有重要地位，它把詩歌從19世紀陳舊的寫作手法和抒情習慣中擺脫出來，給現代文學帶來了啟示。埃茲拉·龐德後來成了為意象派詩人的領袖。

誰有意象派英文的詩集或其下載地址，要英文版的，最好有中英對照的，謝謝！

外研社有一套中英互譯的詩歌，裏麵囊括了很多英詩詩人的著作，您不妨查一下

美國意象派詩人主張的詩歌創作原則有哪些

美國意象派詩歌運動的先驅龐德正是受到了象形表意的漢字和充滿意象的中國古代詩歌的深刻影響，決心革新英詩，成為文學活動的中心人物。他與奧爾丁頓，杜利特爾等人於1912年提出意象派詩歌創作三原則（1）直接描繪主觀的或客觀的“事物”；（2）決不使用無助於表達的任何詞語；（3）關於節奏，依附於音樂性詞語的順序，而不是依照節拍的順序進行寫作。在他的倡導下，意象新詩運動蓬勃發展，湧現了如桑德堡，洛威爾，威廉斯等眾多優秀的意象派詩人。

求各位大神幫忙啊，萬分感謝！寫兩首英文詩，關於學校食堂的，要求一首5-6行，一首2-3行，意象派的詩歌！

The noodles and rice

your are my life

I only your!

麵條和米飯

我的生命之源

我隻有你們

Followed the fragrance of the food

I came to the front of you

Hunger makes me crazy

So de稜icious food

Thank god!

循著食物的香氣

我來到了你的麵前

饑餓使我瘋狂

能夠有如此美味

我感謝上蒼

英語水平不高，隨寫

西方意象派詩歌是什麼時期形成的

意象派的產生最初是對當時詩壇文風的一種反撥。首先，在19世紀後期英國文壇，象征主義、唯美主義與浪漫主義結成一體，形成新浪漫主義。意象派是在其基礎上演變而 柏格森成的。到20世紀初，傳統詩歌，尤其是浪漫主義、維多利亞詩風蛻化成無病呻吟、多愁善感和倫理說教，隻是“對濟慈和華茲華斯模仿的模仿”。龐德及其意象派提出“反常規”“革新”地進行詩歌創作的主張。其次，20世紀初柏格森熱流行，這是自叔本華以來非理性主義哲學思想在文學界影響的延伸。意象派的開創者休姆就直接受教於柏格森。柏格森的直覺主義、生命哲學全盤為意象派所接受，成為其主要的理論依據和哲學基礎。意象派詩特別強調意象和直覺的功能。同時，象征主義詩歌流派為意象派開創了新詩創作新路，尤其是詩的通感、色彩及音樂性，給意象派以極大的啟發。

什麼是意象派詩歌？有哪些特點？

請移步百度百科：意象派

意象派（Imagists）是1909年至1917年間一些英美詩人發起並付諸實踐的文學運動，它是當時盛行於西方世界的象征主義文學運動的一個分支。其宗旨是要求詩人以鮮明、準確、含蓄和高度凝煉的意象生動及形象地展現事物，並將詩人瞬息間的思想感情溶化在詩行中。它反對發表議論及感歎。意象派的產生最初是對當時詩壇文風的一種反撥，代表人物是埃茲拉·龐德。

為什麼說龐德的地鐵車站是最經典的意象派詩歌

《在一個地鐵車站》是美國詩人龐德的作品。這首詩在西方現代文學史上占有重要地位，它把詩歌從19世紀陳舊的寫作手法和抒情習慣中擺脫出來，給現代文學帶來了啟示。埃茲拉·龐德後來成了為意象派詩人的領袖。

詩歌原文

"In a Station of the Metro"(Ezra Pound)

The apparition of these faces in the crowd;

Petals on a wet, black bough.

譯文

這些臉在人潮中明滅

朵朵花瓣落在

濕潤的黑粗樹枝上

（陳彧慜譯〈在一個地鐵車站〉）

作者一瞬間的捕捉，濃縮了整個世界。在大千世界裏掙紮的人們，每個人都是獨立的個體，他們依附自己而存在。近乎相同的表情讓他們擁有了一樣的麵孔，一成不變的堅守著固有的生存原則，躲在偽裝的外殼裏，如幽靈般虛無的靈魂在堅強、冷漠、自私與無奈中墮落、沉淪。

急···求詩歌賞析。。。英文的。。。

Ezra Pound

In a Station of the Metro

The poem was first published in 1913 and is considered one of the leading poems of the Imagist tradition. Written in a Japanese haiku style, Pound’s process of deletion from thirty lines to only fourteen words typifies Imagism’s focus on economy of language, precision of imagery and experimenting with non-traditional verse forms. The poem is Pound’s written equivalent for the moment of revelation and intense emotion he felt at the Metro at La Concorde, Paris.

The poem is essentially a set of images that have unexpected likeness and convey the rare emotion that Pound was experiencing at that time. Arguably the heart of the poem is not the first line, nor the second, but the mental process that links the two together. "In a poem of this sort," as Pound explained, "one is trying to record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective." This darting takes place between the first and second lines. The pivotal semi-colon has stirred debate as to whether the first line is in fact subordinate to the second or both lines are of equal, independent importance. Pound contrasts the factual, mundane image that he actually witnessed with a metaphor from nature and thus infuses this “apparition” with visual beauty. There is a quick transition from the statement of the first line to the second line’s vivid metaphor; this ‘super-pository’ technique exemplifies the Japanese haiku style. The word “apparition” is considered crucial as it evokes a mystical and supernatural sense of imprecision which is then reinforced by the metaphor of the second line. The plosive word ‘Petals’ conjures ideas of delicate, feminine beauty which contrasts with the bleakness of the ‘wet, black bough’. What the poem signifies is questionable; many critics argue that it deliberately transcends traditional form and therefore its meaning is solely found in its technique as opposed to in its content. However when Pound had the inspiration to write this poem few of these considerations came into view. He simply wished to translate his perception of beauty in the midst of ugliness into a single, perfect image in written form.

It is also worth noting that the number of words in the poem (fourteen) is the same as the number of lines in a sonnet. The words are distributed with eight in the first line and six in the second, mirroring the octet-sestet form of the Italian (or Petrarchan) sonnet.

Emily Dickinson

I Heard a fly buzz-when I died

The death in this poem is painless, yet the vision of death it presents is horrifying, even gruesome. The appearance of an ordinary, insignificant fly at the climax of a life at first merely startles and disconcerts us. But by the end of the poem, the fly has acquired dreadful meaning. Clearly, the central image is the fly. It makes a literal appearance in three of the four stanzas and is what the speaker experiences in dying.

The room is silent except for the fly. The poem describes a lull between "heaves," suggesting that upheaval preceded this moment and that more upheaval will follow. It is a moment of expectation, of waiting. There is "stillness in the air," and the watchers of her dying are silent. And still the only sound is the fly's buzzing. The speaker's tone is calm, even flat; her narrative is concise and factual.

The people witnessing the death have exhausted their grief (their eyes are "wrung dry" of tears). Her breathing indicates that "that last onset" or death is about to happen. "Last onset" is an oxymoron; "onset" means a beginning, and "last" means an end. For Christians, death is the beginning of eternal life. Death brings revelation, when God or the nature of eternity becomes known. This is why "the king / Be witnessed in his power." The king may be God, Christ, or death; think about which reading you prefer and why.

She is ready to die; she has cut her attachments to this world (given away "my keepsakes") and anticipates death and its revelation. Are the witnesses also waiting for a revelation through her death? Ironically the fly, not the hoped-for king of might and glory, appears. The crux of this poem lies in the way you interpret this discrepancy. Since the king is expected and the fly appears, are they to be associated? If the fly indicates the meaning of death, what is that meaning?

Does the fly suggest any realities of death--smell, decay? Flies do, after all, feed on carrion (dead flesh). Does this association suggest anything about the dying woman's vision of death? or the observers' vision? Is she-- are they--seeing the future as physical decay only? Does the fly's fulfilling their expectations indicate that death has no spiritual significance, that there is no eternity or immortality for us? There are other interpretations of the fly. The fly may stand for Beelzebub, who is also known as lord of the flies. Sometimes Beelzebub is used as another name for Satan; sometimes it refers to any devil; in Milton's Paradise Lost, Beelzebub is Satan's chief lieutenant in hell. If the King whom the observers and/or the speaker is waiting for turns out to be the devil, is there still irony? How is the meaning of the poem affected by this reading? For example, does the poem become more cheerful? What would Dickinson be saying about eternity? Can the poem support more than one of these interpretations of the fly?

What is the effect of the fly being the only sign of life ("buzz") at the end of the poem? To extend this question, is it significant that the only sign of vitality and aliveness in the entire poem is the fly?

For literal-minded readers, a dead narrator speaking about her death presents a problem, perhaps an unsurmountable problem. How can a dead woman be speaking? Less literal readers may face appalling possibilities. If the dead woman can still speak, does this mean that dying is perpetual and continuous? Or is immortality a state of consciousness in an eternal present?

"I heard a fly buzz when I died" is one of Emily Dickinson's finest opening lines. It effectively juxtaposes the trivial and the momentous; the movement from one to the other is so swift and so understated and the meaning so significant that the effect is like a blow to an emotional solar plexus (solar plexus: pit of the stomach). Some readers find it misleading because the first clause ("I heard a fly buzz") does not prepare for the second clause ("when I died"). Is the dying woman or are the witnesses misled about death? does the line parallel their experience and so the meaning of the poem?

Walt Whitman

O Captain, My Captain

In "O Captain, My Captain", Whitman uses line length and word choice to represent a wide range of emotion from joy to sorrow. The poem begins with the narrator feeling overjoyed because the "fearful trip is done," (Whitman 1). Whitman displays this feeling of joy with words that imply same. Examples of these choice words are prize, won, bells, people all exulting. These words give the reader a feeling of excitement and accomplishment. Soon, however, the mood swings from enthusiasm to sorrow once the narrator realizes that the Captain is dead. Whitman makes the change from joy to sorrow seamlessly, a skill that only few possess. As the mood swings, Whitman's word choice changes accordingly. He begins using words such as pale, no pulse nor will, and fearful words that generally have the feeling of sorrow. Whitman uses line length and line repetition to set the tone of the poem, and also to make the reader see the true meaning. The first line of each of the three sections begins with Captain, and the section ends with "fallen cold and dead". The purpose of Whitman beginning each section with Captain is to remind the reader that the focus remains on the Captain and nothing else, while the purpose of placing "fallen cold and dead" at the end of each section is to, at first, to inform the reader of what is to come, while later it's purpose is simply to remind the reader of the tragedy. Whitman uses line repetition often, and mostly for the purpose of clarification. Whitman also uses line length to further the tone of the poem. In the beginning of the poem when the mood is joyful, the line length goes from long to short representing, at first, the feeling of enthusiasm, but then growing shorter to represent a panicked feeling. Whitman used line length and word choice masterfully in the poem "O Captain, My Captain", resulting in a roller coaster of feelings for the reader.

詩歌的意象？

什麼是詩歌的意象？詩歌意象是什麼意思？推薦給你以下內容：

（詩歌由意象構成、具備多義性、豐富的想象力、強烈的抒情性、高度的概括性、凝煉的語言）

意象一詞是中國古代文論中的一個重要概念。古人以為意是內在的抽象的心意，象是外在的具體的物象；意源於內心並借助於象來表達，象其實是意的寄托物。中國傳統詩論實指寓情於景、以景托情、情景交融的藝術處理技巧。詩歌創作過程是一個觀察、感受、醞釀、表達的過程，是對生活的再現過程。

意象的運用自然因人、物、時、情的不同而不同。總體觀之，營構意向的方法可分為三類：賦、比、興。

賦，即平時所說的直寫其事，某一物象在作者看來已經具備了能夠表達他的情感的特質，便直接加以運用，使這一個意象直射出感情來。

比，即我們常說的打比喻，通過不同的方式將作者的感情比做它物，或明喻，或暗喻，或象征，把自己的情思直接喻為人或物，使之具有人或物的特征。

興，就是“先言他物以引起所詠之詞也”。興必須依附於某一事物，要有一個能引起興的具象，然後使這個具象滲透進作者的感情，從而營造一種意境。

詩歌鑒賞的三個層麵?

一般來講文學作品都有三個層麵，即語言層麵、意象層麵和意蘊層麵。詩歌鑒賞也要從這三個層麵入手。?

語言層麵：毫無疑問，詩有很強的直覺性。詩歌語言高度概括、凝練，極富意蘊，它常常違背一般的語法規範，比一般的文學語言具有更強的陌生感，詩行間常留下許多空白，顯示出很強的跳躍性。正是這種跳躍性，才容納了詩歌更豐富的意象，從而在非常有限的篇幅裏，構築出使人耳目一新的詩歌意蘊。

意象層麵：意象與美育有著不解之緣，具有美的意象的詩，才能給讀者以美感。能否創造出新穎獨特的美的意象，是衡量詩歌成功與否的標誌之一。意象的形成主要用賦、比、興這三種方法，但隻有用那些表麵極不相關而實際又有聯係的事物的意象或比喻，才能準確、有效地表現自己，根據這個原則產生的意象才能有驚人的離奇、新鮮和驚人的準確。

意蘊層麵：伴隨著意象在腦海的形成和語音節奏感的刺激，讀者已經產生了初步的美感，但是如何突破意象表層去體悟詩的意象內蘊即詩的意蘊，是詩歌鑒賞成敗的關鍵。詩的意蘊一般包括審美意蘊和智性意蘊。

意象派是20世紀初最早出現的現代詩歌流派，1908~1909年形成於英國，後傳入美蘇。代表人物有：休姆、龐德、艾米和葉賽寧等。

意象派的產生最初是對當時詩壇文風的一種反撥。首先，在19世紀後期英國文壇，象征主義、唯美主義與浪漫主義結成一體，形成新浪漫主義。意象派是在其基礎上演變而成的。到20世紀初，傳統詩歌，尤其是浪漫主義、維多利亞詩風蛻化成無病呻吟、多愁善感和倫理說教，隻是“對濟慈和華茲華斯模仿的模仿”。龐德及其意象派提出“反常規”“革新”地進行詩歌創作的主張。其次，20世紀初柏格森熱流行，這是自叔本華以來非理性主義哲學思想在文學界影響的延伸。意象派的開創者休姆就直接受

問題：什麼是詩歌意象？詩歌意象是什麼意思？

教於柏格森。柏格森的直覺主義、生命哲學全盤為意象派所接受，成為其主要的理論依據和哲學基礎。意象派詩特別強調意象和直覺的功能。同時，象征主義詩歌流派為意象派開創了新詩創作新路，尤其是詩的通感、色彩及音樂性，給意象派以極大的啟發。

由於意象派詩人大多經曆了象征詩歌創作，所以理論界也有人將意象派看做象征主義的分支，實際上意象派和象征主義詩歌有極大的本質差異。意象派不滿意象征主義要通過猜謎形式去尋找意象背後的隱喻暗示和象征意義，不滿足於去尋找表象與思想之間的神秘關係，而要讓詩意在表象的描述中，一刹那間地體現出來。主張用鮮明的形象去約束感情，不加說教、抽象抒情、說理。因此意象派詩短小、簡練、形象鮮明。往往一首詩隻有一個意象或幾個意象。雖然，象征主義也用意象，兩者都以意象為“客觀對應物”，但象征主義把意象當做符號，注重聯想、暗示、隱喻，使意象成為一種有待翻譯的密碼。意象派則是“從象征符號走向實在世界”，把重點放在詩的意象本身，即具象性上。讓情感和思想融合在意象中，一瞬間中不假思索、自然而然地體現出來。

另外，從詩歌意象的內在形式看，意象派受日本俳句和中國古詩的影響。意象派詩歌革新，首先是從模仿學習日本俳句開始的。中國的古詩完全浸潤在意象之中，是純粹的意象組合，如柳宗元《江雪》：“千山鳥飛絕，萬徑人蹤滅。孤舟蓑笠翁，獨釣寒江雪。”王維《使至塞上》：“大漠孤煙直，長河落日圓。”馬致遠《秋思》： “枯藤老樹昏鴉，小橋流水人家，古道西風瘦馬。夕陽西下，斷腸人在天涯。”中國詩歌完全由意象主導，貫穿全詩，猶如一幅掛於眼前的圖畫，情景交融，物與神遊。中國魏晉唐代詩人的這種表現意象而不加評價的詩風，正與意象派主張相吻合。龐德從漢語文學的描寫性特征中，看到了一種語言與意象的魔力，從而產生對漢詩和漢字的魔力崇拜，長詩《詩章》中多處夾著漢字，以示某種神秘意蘊，主張尋找出漢語中的意象，提出英文詩創作中也應該力圖將全詩浸潤在意象之中。

意象派詩歌在創作中表現出的鮮明的藝術特征主要有三點。

第一，意象派要求詩歌直接呈現能傳達情意的意象，以雕塑和繪畫的手法表現意象，反對音樂性和神秘性的抒情詩，提出“不要說”“不要夾敘夾議”，隻展現而不加評論。龐德概括意象詩的定義為：“意象是在一瞬間呈現出的理性和感情的複合體。”如中國著名的僅有一個字的現代小詩《生活》：“網。”讓讀者在一刹那間感悟到生活的全部內涵。再如艾米的代表作《中年》：“仿佛是黑冰，/被無知的溜冰者，/劃滿了不可解的漩渦紋，/這就是我的心被磨鈍了的表麵。”詩歌在 “黑冰”“漩渦紋”“磨鈍了的表麵”等意象的顯示中，瞬間傳遞出隻可意會、不能言傳的詩人對人到中年茫然無奈的內心感受。

第二，意象派詩歌的語言簡潔明了，不用沒有意義的形容詞、修飾語，去掉裝飾性的花邊，反對賣弄詞藻，詩行短小，意象之間具有跳躍性。如龐德翻譯李白《古風》中“驚沙亂海日”一句為：“驚奇。沙漠的混亂。大海的太陽。”其中雖不免誤譯，但語言的簡潔明快也可見一斑。再如美國著名意象派詩人威廉斯的《紅色手推車》：“很多事情/全靠/一輛紅色/小車/被雨淋得晶亮/傍

求問象征主義詩歌和意象派有哪些區別

區別在於象征主義更多使用聲音意象；意象派更多使用視覺意象（當然魏爾論也使用過視覺意象,這種劃分是相對的）

In a Station of the Metro

The apparition of these faces in the crowd;

Petals on a wet, black bough.

這幾張臉在人群中幻景般閃現；

濕漉漉的黑樹枝上花瓣數點.

《在地鐵站內》僅兩行、14個字,是一首單一意象詩（one-image poem）.它是龐德根據在巴黎協和廣場地鐵站的印象寫成的.詩雖短,但詩人最後落筆定稿前經過相當一段時間的醞釀和推敲.

在地鐵站龐德眼前閃過一張張美麗的臉.在歸途中,這些臉在他眼前反複出現,直到最後他們逐漸變成了一片片彩色印花色底.這時他產生了一個念頭,要作出一幅純粹表現色彩的斑斑點點的非寫實主義的畫,但他不會作畫,隻能以詩代之.詩的兩行互相依存.apparition是幻象、幽靈,使人們聯想到來來往往的乘客的一張張臉.第二行的petal花瓣則傳遞了美的信息.這一信息由於有深色而又帶濕氣的樹枝的反襯而變得突出鮮明了,同時也給人以模糊重疊之感,意境也就更豐滿了.

此詩酷似19世紀法國印象主義畫派作品,如反複誦讀,讀者能勾畫出一幅色彩豐富的畫麵.與此同時也會發現詩歌在音的處理上很巧妙.第一行的〔p〕音與第二行的〔p〕音遙相呼應,但其中一個隻構成非重讀音節；兩行末尾均有〔au〕音,隻是前者有輔音〔d〕,後者沒有.第二行中〔e〕音的重複等都加強了這首短詩的音樂感.以濕潤的黑色樹枝上掛著的花瓣來比喻他眼前所閃現的臉反映出詩人令人折服的想象力.

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