惠特曼诗歌欣赏

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惠特曼诗歌欣赏

惠特曼的诗歌欣赏——太忙碌的蜘蛛

惠特曼(1819〜1892)美国诗人。他小时候生活穷困，只读了 学过排字，后来当过乡村教师和编辑。 对雇主剥削的论文和短评。

惠特曼的一生是反抗和叛逆的，他的诗歌更是如此。如果说艾略特的炸弹可以毁灭掉 古典诗歌地球一半的话，那么另一半就是由惠特曼来毁灭的。在那么久远的年代，惠特曼 就已经开始写散文诗，而且是极其口语化的散文体。个人以为，从现在的欣赏角度来说， 他的很多诗歌力量的确不足，但他开创了一个新鲜的时代，从这个角度来说，他的诗歌和 他的人生一样都很值得被欣赏。他的《最近紫丁香在庭院里开放的时候》和《哦，船长， 我的船长！》应该更被人熟悉，是写给林肯的。下面介绍他的另一首：

一只沉默而耐心的蜘蛛 一只沉默而耐心的蜘蛛，

我注意它孤立地站在小小的海岬上， 注意它怎样勘测周围的茫茫空虚， 它射出了丝，从它小小的身躯， 不断地从纱绽放出，不倦地加快速率。 而你——我的心灵，你站在何处， 被包围孤立在无限空间的海洋里，

不停地沉思、探险、投射、寻求可以连结的地方， 直到架起你需要的桥，直到下定你韧性的锚， 直到你抛出的游丝抓住了某处，我的心灵。

如果说艾略特更注重思考的话，惠特曼则更注重观察，他的诗歌就是他所观察到的美 国生活画卷。而上面这首诗就是描写一只蜘蛛在美国的生活，也是他心灵不知疲倦的探索。

正是由于内战时辛劳过度，惠特曼于

1873年患半身不遂，在病榻上捱过了近

20年

5年小学。他当过信差,

1841年以后，他在纽约开始当印刷工人，不久就改

当记者。几年以后，他成了一家较有名望的报纸《鹫鹰报》的主笔，不断撰写反对奴隶制， 反

1892年3月26日惠特曼在卡姆登病逝。他的人生就是这首诗歌的另一种翻译


If it can be generally stated that nineteenth-century European 'high' culture valued poetic discourse over the lecodified practices of everyday language, then Walt Whitman's Leaves of Grais an attempt to give everyday American linguistic usage poetic value. Whitman's poem includes discourse that does not comply with the traditions of European poetics but that is proclaimed nevertheleto be poetry in order to suggest that the liberal-democratic American state has a natural beauty equivalent to the most refined poem. Leaves demonstrates this national beauty by including a wide variety of utterances and observations in its epic project, even though this inclusivenealso implies a critique of the project that the work undertakes. The ambitious extent of this collection threatens the identity and distinctiveneof the literary text itself. Like a state with poorly defined borders and institutions, a work that intends to articulate such an inclusive democratic poetic voice challenges the necessary formal distinctivenethat would recognizably make it a form of literary discourse. The result is that Leaves must solicit the willing participation of its readers in order to realize the project that it undertakes. Whitman's poetry requires that the reader constantly renew its discourse by reinvesting it with new poetic meaning and, as a result, reaffirming it as the poetry of a flourishing, liberal American state[1].

The poem's cultural project is announced in 'Starting from Paumanok,' a piece that was originally titled 'Proto-Leaf' and that serves as a general introduction to the entire Leaves. In it, the poet takes his birthplace as his point of poetic departure and provides a list of the scarcely formed, raw materials from which the poem and nation are to be composed. He associates his personal vision with the growth of America, and this conjunction of individual, natural progreand nation building enables him to 'strike up for a New World': Victory, union, faith, identity, time,

The indissoluble compacts, riches, mystery,

Eternal progress, the kosmos, and the modern reports. This then is life,

Here is what has come to the surf-ace after so many throes and convulsions.

UNIVERSITY OF TORONTO QUARTERLY, VOLUME 64, NUMBER 2, SPRING 1995 How curious! how real!

Underfoot the divine soil, overhead the sun. See revolving the globe

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