T.S.分析艾略特的传统和个人才华

T.S.艾略特的论文传统和个人才华was first published as an anonymous piece in利己主义者,,,,a London literary review, in September and December 1919 and subsequently included by Eliot in his first collection of essays,神圣的木头,1920年出版。它继续对文学经典,个人艺术家和创造性想象力的相互关系的思想产生真正的影响,这是对其价值的评论。无论如何,艾略特能够在这篇相对简短的文章中放开(几乎超过3,000个单词),几乎用每个句子包裹着用声明,在任何其他演示的情况下,这些声明可能需要更加阐述和更有说服力的辩护。

概要

尽管这些真实的美德和论文应得的,但传统和个人才华相当宽松,甚至可能是随意建造的,值得考虑其提示的力量,而不是其组织的精确度。In essence, the essay proposes a series of key concepts that would subsequently become germane, for one thing, to readings of Eliot’s own poetry and that would also eventually become the root if not the immediate source for major critical approaches with regard to modernism in general and the methodology of New Criticism in particular. In addition to exploring the question of the relationship between the tradition—that is, works already preexisting in a national or even multicultural body of literature—and any one poet in particular (that is, “the individual talent”), Eliot also delves into and, so, makes pronouncements on the relationship between the poet as a person and the poet as a creative intellect.

最后,他也评论说,应该认为文学作品的数量或多大,以表达诗人的个性,诞生了非人格化的诗歌理论。在英国浪漫主义者的诗歌上相对艰难,其中最长的人,William Wordsworth,,,,had been dead nearly 70 years by 1919 and whose subjective, expressive approach toward the writing of poetry still wielded excessive sway over both the composition and the reading of poetry, Eliot’s efforts to found in principle in what would later become known as the impersonal school of poetry can hardly be scanted or overlooked. While his essay may not have initiated the powerful reaction to romanticism that is now thought of as literary modernism, the essay certainly gave that movement voice and a clear agenda.

为了与分析方法保持一致,艾略特围绕各种分离问题结构了他的中心论点。具体而言,正如不久的将来会更详细地研究的那样,分离的质量和程度的问题可能存在或可能不存在于过去的文学或创造的传统之间,而个体生活诗人在内部创造tradition’s most current or ongoing moment. Eliot also considers the degree and quality of separation necessary between that living poet as a fully rounded person (what he calls—perhaps a bit too colorfully—the “man who suffers”) and those aspects of that individual’s intellectual choices and other selective processes that result in the making of an actual work of literature (what he calls the “mind which creates”). Finally, Eliot takes into consideration the degree and quality of separation that is necessary between, on the one hand, the artist as an individual whose utterances may be thought to express a personality and, on the other hand, the semblance of personality that is, or can be, expressed in the work without any need for reference to the author’s own personality.

很明显,这里的术语有很大的重叠和混乱,以及涉及写作行为(涉及创建文本的行为)的事项之间的某些重叠,以及阅读的行为,因为它是因为它是一个涉及预先存在文本的过程是完全不同的方法。然而,这篇文章的中央前提及其持续的批判价值本质上是艾略特的论点,即创作过程是一个非人格化的过程,尽管许多读者倾向于坚持用诗人来确定一首诗的演讲者。考虑到这一中心前提,应该揭开艾略特在类似主题上的许多声明。

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活人和传统

艾略特(Eliot)通过直接解决论文的表面上的话题,传统与个人才华之间的关系,开始了他的演讲。在他的开场论点中,似乎最明显的观点当然是最突出的,最明显的是,传统在任何时候都完成了整个整体,其中包括所有作者的所有作者,单个作者都创造了新作品。那么,传统是一个连续性,这一点是文章更大胆的立场之一。It may seem by now to stand to reason that the living practitioners of any one discipline add to and, so, shape and alter the accumulated store of their predecessors’ efforts—that, in other words, these past efforts live in a present that is continuously transforming itself into new efforts that then themselves become the efforts of the past, and so on.

Though such a position may sound reasonable and justified, Eliot’s taking that position, as his feeling the need to defend it to his readers should readily attest, flew in the face of the conventional wisdom to that time and that had been in place virtually from the beginnings of the European Renaissance. According to that wisdom, the ancients, meaning the classical writers of Greece and of Rome—荷马,索菲克斯,塞内卡,维吉尔,奥维德以及其他人 - 巨大的巨人,他们高耸的现代后代,因此将自己描述为侏儒。

以较旧的方式进行辩论,现代人虽然绝不能够比他们的古老的欲望更好或更明智,但仍然具有能够建立和改善那些古代人留下的模式的优势。的确,除了在其领域的卓越外,经典一词还意味着特定类型或类型的作品中的代表性原型 - 史诗,戏剧,抒情诗等。为了完成隐喻,如果古人是巨人和现代的侏儒,那些侏儒就可以站在古人的肩膀上,并以这种方式(但这只有这种方式)就可以了。

艾略特(Eliot)牢固地反对任何在旧,过去和现在之间的冲突和竞争方面弥补传统的概念。与艾略特(Eliot)在撰写文章之前不久,艾略特(Eliot)与长期死亡和长期死亡和活着的艺术家之间的战斗关系的较旧观念形成鲜明对比。最近已经发现了数千年的历史,可以谈论欧洲的思想,这些思想一路上几乎没有丢弃其永恒的创造传统,好像实际上没有任何接缝,也没有任何冲突将现在与过去分开的冲突,来自现代的古人,或者是另一种艺术品。相反,只有恒定的语句和重述流,调整和更改并随着每个新声音的添加并添加到混音时,并重新恢复自身。因此,艾略特(Eliot)断言,除非他们发展了他所说的历史意义,否则诗人不能在25岁之后写作,那就是他所说的那样,而不是过去的那种意义,而是它的存在。

It is at this point that Eliot’s argument takes a sudden, or at least unanticipated, turn by suggesting that the more perfect they are, the more artists express not their own personal lives and points of view so much as contribute to that living stream of creative endeavor. This abrupt turn makes much logical sense, however. Having just redefined the nature of tradition, one half of his title, Eliot is now obligated to define what he means by the individual talent, the other half.


创造的非人格性

To explain his position on this score, Eliot introduces a simile drawn from chemistry, in which the mind of the individual artist is likened to a catalyst. As such, it allows disparate experiences to combine in new patterns that then form the work of art, like the chemical compound that results from the introduction of the necessary catalyst into the presence of the elements to be combined. While the catalyst initiates and enables the chemical reaction, or poetic process, to take place, resulting in the new compound or poetic composition, the catalyst itself is not otherwise affected and certainly, for all intents and purposes, is unchanged by the event. In other words, poetic composition is an impersonal process, engaging the poet’s creative and critical faculties but not necessarily any more of his or her personal life than, say, the chemical reactions that take place in the laboratory personally involve the chemist.

直到今天,诗人在诗歌中涌入他们的灵魂。艾略特(Eliot)并非如此,但事实并非如此。尽管这听起来像是对创作过程的描述,但艾略特(Eliot柏拉图神圣的疯狂。威廉·华兹华斯(William Wordsworth抒情民谣(尽管有一些进一步的资格,艾略特后来将引用)。华兹华斯的想法似乎很清楚:诗歌是个人情感的一种表达,除非诗人在诗歌中表达他们,否则诗人无法再包含。

艾略特(Eliot)试图通过提出创意行为像其他任何建设性行动一样努力并意识到这一主张,因此是可以完全看出的,因此可以完全看待它的发展,而不是它出现的传统,而不是in terms of the individual poet’s life and experiences. So, then, Eliot can further claim, legitimately for his purposes—which are to separate the poet from the poem and thus give primacy not to personality but to poetry—that poetry is not an expression of but an escape from personality, not a turning loose of but an escape from emotion (emphasizing a bit too coyly in his closing remark that only those who know what personality and emotions are would understand why one would want to escape from them).

但是,正如哈姆雷特(Hamlet)所说的那样,这个想法将被“扫描”或审查,因为似乎一定是,如果读者对艾略特的话语接受艾略特,那么艾略特暗示最好的诗歌是逃避现实的,因为个性和情感是有力的危险事物应该不惜一切代价避免其表达。实际上,这不是艾略特的意义。艾略特(Eliot)试图提出一个完全不同的模型,即诗歌应关注的内容以及人们应该如何关注诗歌。正是在他对诗歌作为个人表现力和情感艺术的普遍思维方式的攻击中,他试图提出的诗歌,而不是诗歌是逃避现实的,但是一首诗是通过构造过程和有意识的选择来使经历的经验语言,因此,作为一种自我指出,仅此而已。

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关键评论

Debates over whether artists in any medium of expression produce out of and, so, comment only on their own personal experiences or whether they can instead express universal and thus objectified human situations are as old at least as柏拉图sRepublic以及他的对话“离子”。在里面Republic,柏拉图通过他的喉舌苏格拉底(Socrates)著名地掠夺了理想社区的所有诗人,因为在他看来,他们不会公开和真诚地讲普遍的真理。相反,他们要么隐藏在面具后面,即他们的角色,要么只是为自己说话。在“离子”中,柏拉图同样认为,诗人只是神圣真理的媒介,它们在其他地方起源,因此诗歌无非就是一种神圣的疯狂。无论哪种方式,柏拉图都将诗人和诗歌视为一种特殊情况,很难分类或讨论。结果他可能还做什么,柏拉图建立了一种长期的传统,即诗人与诗之间的关系是一条棘手的传统。

The fact is, however, that Eliot composed the essay in question while he was still relatively young—just turned 30—and not only was he at the time also a relative unknown himself, but the essay was published anonymously. It is more likely, then, that it is the forcefulness, confidence, and clarity with which the central ideas of the essay are expressed that account for its enduring celebrity. It has been argued that the very anonymity that Eliot was able to maintain as he penned his thoughts and opinions on such a weighty and controversial literary question as the source of original poetic impulses might account for that tone of sublime authority in which Eliot conducts his presentation. One is inclined to share ideas more expansively and without fear of easy contradiction or challenge when the source of those ideas can be anyone and, so, becomes that powerfully impersonal force, the expert.

这并不能摆脱艾略特作为崭露头角的文学评论家的最终成就。为了补充说,就像艾略特(Eliot)在他的文章中所做的那样,甚至是另一个句子或段落,更不用说另一页,在关于诗人之间的关系,文化和诗歌之间的持续辩论中,这是一项成就,而艾略特可能永远不会到达这样的成就是基于他在中年早期取得的一位信件的巨大声誉。相反,这是想法本身的力量。艾略特使诗歌成为重要的事情。


Another way to put it is to say that poetry is an abstract construct rather than any sort of personal statement and that its “meaning” then can be found in how it is put together rather than in what it is necessarily “saying.” If readers imagine that a poem is nothing more than personal expression, for instance, then poetry wins or loses its authority on the basis not of its own qualities but of matters entirely exterior and thus extraneous to the poem. The poet’s beliefs and attitudes and habits and foibles, not as readers know them but as they become known by the hearsay of gossip and rumor, scholarship and biographies, become more important than his or her poetry. That is a self-evidently absurdist posture. Lost in the process of adhering to the notion that a poem is nothing more or less than prettified self-expression is, of all things, the poem as a thing all its own, the way a flower or stone or bird is all its own thing and not what would be made of it by making it something other than itself.

这种感知艾略特的“非人格诗歌理论”的方式将使读者立即回到他在论文开幕页面上对传统作为活着的文化力量所置于的重要性。艾略特认为,诗歌的强度不是取决于诗意过程的强度,而是取决于“艺术过程的强度”。诗人没有表达的个性,而是一种“特殊的媒介”,可以与之合作,“印象和经验以特殊和意外的方式结合在一起。”

如果可以看到他们以自己的术语强调艺术的表达,而不是仅仅是对特定诗人的个性和情感的扩展,那么他的观点就得到了很好的选择。然后,可以看待,被视为,赞赏,甚至批评艺术品,而不是说出读者的作者的生命和时代,好像文学仅是二流的,或者至少不那么严格历史或社会科学,但就其普遍的抽象而言,它以语言的具体术语以及艾略特后来称为艺术情感的方式揭示。他坚持认为,这些不是任何一个人的情绪,无论他或她的个性多么有趣,而是普遍的人类经验,这些经验概括为那些富有诗意的背景和构造,这些诗歌和构造形成了无休止的新个人的传统才能继续写作。

艾略特(Eliot)进一步坚持认为,当个人才能不是为了表达自己的个性而写作时,它会写得最好,而是为了不断地塑造这种传统,无论该个人才华是否知道它。(自然,艾略特会争辩说,任何渴望实践艺术努力的人都应该不断地了解其传统。)传统和个人才华,艾略特(Eliot)认为,个人才华应该知道他或她对传统的义务,并且知道人们必须吸收传统。正是一个永无止境的圈子,在一个永无止境的圈子中,没有任何位置,尽管它们的丰富品种是由非人格性诗歌过程的强度传播的,但无疑是艺术的原始材料,但这只是这样。




类别:文学批评,,,,俄罗斯乌克兰比分直播

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