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目錄
龐德 Ezra Pound (1885~1972) 

詩詞《在地鐵車站》   《在地鐵站內 In a Station of the Metro》   《詠嘆調 Aria》   《HIS METRIC AND POETRY》   《合同 bargain》   《舞姿》   《少女 miss》   《為選擇墓地而作的頌詩》   《普羅旺斯晨歌》   《詠嘆調 aria》   更多詩歌...

庞德
意象派運動主要發起人。第一次世界大戰後,遷居巴黎。二次大戰期間他公開支持法西斯主義,戰爭結束後,他被美軍逮捕,押回本土等候受審。後因醫生證明他精神失常,再加上海明威和弗羅斯特等名人的奔走說項,他衹被關入一傢精神病院。1958年,龐德結束了12年的精神病院監禁,重返意大利居住,直至去世。主要作品有《面具》(1909)、《反擊》(1912)、《獻祭》(1916)、《休·西爾文·毛伯萊》(1920)和《詩章》(1917-1959)等。

1885年10月30日出生於美國愛達荷州的海利鎮。在去歐洲以前,他在賓夕法尼亞州立大學就學,在那裏攻讀美國歷史、古典文學、羅曼斯語言文學。兩年後,他轉至哈密爾頓大學(Hamilton College)學習,1906年獲碩士學位。1898年龐德首次赴歐,以後於1902年,1906年及1908年先後共四次去歐洲。1908年定居倫敦,以後一度成為倫敦文壇上舉足輕重的人物。

1908年龐德的第一部詩集《燈火熄滅之時》(A Lume Spento)在意大利威尼斯自費出版。1909年,他的詩集《人物》(Personae)在倫敦出版。1910年他的文集《羅曼斯精神》(The Spirit of Romance)出版。文集內容主要是他的早期譯作及他歷年來學術研究的成果和見解。龐德在他早期詩作中就顯示出獨創精神和淵博的學識,1912年他成為芝加哥小型雜志《詩歌》駐倫敦通訊員。1914年他與多蘿西·莎士比亞(Dorothy Shakespeare)結婚。

1915年龐德發表了他根據東方學者芬諾洛薩(Fenollosa)的遺稿而譯成的中國古詩英譯本《中國》(Cathay)及兩個日本戲劇集。在倫敦期間他發表的另外兩部著作是:《嚮塞剋斯圖斯·普羅佩提烏斯致敬》(Homage to Sextus Propertivs,1919)和《休·賽爾溫·毛伯利》(Hugh Selwyn Mauberley,1920)。1921年龐德移居巴黎,1924年遷居意大利熱那亞東南的拉巴洛。

在巴黎和倫敦期間除了繼續從事創作外,他發掘和扶植人才,與歐美文學界人士廣為交遊,為打破英美文學,尤其是英美詩歌的沉寂局面,為促進美國文學的“復興”作出了獨特的貢獻。他和雕塑傢、畫傢、音樂傢都有廣泛的聯繫,對歐美各國現代主義思潮的形成和發展都起了相當重要的作用。龐德在1914年至1916 年間與愛爾蘭詩人葉芝(W.B.Yeats)交往很密切。他敬佩葉芝,以葉芝為師。葉芝也在一定程度上受到他的影響。龐德曾幫助詹姆斯·喬伊斯(James Joyce)出版《青年藝術傢的肖像》,(A Portraitof the Artist as a Young Man)和《尤利西斯》(Ulysses),幫助艾略特整理刪節《荒原》(The Waste Land)的初稿,並嚮出版社推薦出版。他在巴黎結識並幫助海明威,幫他出版了第一本書。

意象派是1909年至1917年間一些英美詩人發起並付諸實踐的文學運動,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嘆。龐德在倫敦期間與希爾達·杜利特爾(Hilda Doolittle),理查德·奧爾丁頓(Richard Aldington)建立起了沙竜,並得到不少人的支持,其中有勞倫斯(D.H.Law-renoe),威廉·卡羅斯·威廉斯(William Carlos Williams)等,1902年龐德確定了意象派(imagism)這一名稱,1913年3月歸納了意象派的幾點禁例。龐德曾主編意象派刊物《自我中心者》(TheEgoist),並於1913年編選了第一本意象派詩選。象本世紀初許多喧囂一時的西方文藝界流派一樣,意象派沒有盛行多久就被拋棄了。代之而起的是漩渦派(Vorticism),但漩渦派作為一種主張,和者甚寡,其影響很微弱。漩渦派的創作重點在於表現力量而不再是展現圖象。龐德和漩渦主義的支持者在1914—1915年間辦了一份雜志《風暴》(Elast)。他在創作中也遵循了漩渦派的一些主張。

在1924年離開巴黎後到第二次大戰前夕龐德的註意力由文學創作逐步轉嚮資本主義的政治經濟問題。在文學創作的同時,他寫了一些社會批評方面的文章;討論貧睏與繁榮、戰爭與和平、失業與高利貸等問題,同時也對物質主義和工業主義帶來的人們心靈腐化問題進行了抨擊。令人難以理解的是這些問題的研究最後竟使龐德走上了反猶太主義,為墨索裏尼的法西斯國傢社會主義唱贊歌的道路。

第二次世界大戰時,龐德在羅馬電臺發表了數百次廣播講話,抨擊美國的戰爭行動,攻擊羅斯福的作戰政策,贊揚墨索裏尼,鼓吹墨索裏尼的治國政策能促成一個沒有貪婪和高利貸的社會。

龐德因上述原因於1943年被控叛國罪,1944年為美軍所俘,監禁在意大利比薩(Pisa)俘虜營中,1945年他被押往華盛頓受審,以後他被宣佈神經失常而免於受審。從那時起的十幾年龐德是在精神病院中度過的。在被關押期間龐德繼續翻譯孔子的著作,並寫出《詩章》第71—84章,即《比薩詩章》(The Pisan Cantos)。1949年這部作品獲得了由美國國會圖書館頒發、由艾略特參加作評委的博林根詩歌奬(Bollingen Prize for Poetry),此事一度在美國引起很大爭議。

1958年經過阿奇博爾德·麥剋利什(Archibald McLeish)、羅伯特·弗羅斯特(Robert Frost),歐內斯特·海明威(ErnestHemingway)的斡旋,龐德未經審判而被取消叛國罪,返回意大利。1972年11月病逝於威尼斯。

在龐德獲釋的前後,他的一些作品繼續得到發表。這些作品包括《埃茲拉·龐德書信集》(Letters of Ezra Pound,1907—1941),《文學論文集》(Literary Essays)1954年出版,《文選》(__Select__edProse 1909—1965),1973年出版。

龐德在現代詩歌界影響深遠。1948年諾貝爾奬得主,大詩人T·S·艾略特的著名長詩《荒原》的副題就是:“獻給埃茲拉·龐德,最卓越的匠人”,該詩曾得利於龐德的親自修改。

龐德在促進中西文化交流方面作了很大努力。他的意象派作品中汲取了某些日本詩歌如俳句詩的寫作形式及特點。他在長詩《詩章》中闡述孔子學說,在1915年出版的《中國》中收集並翻譯了十幾首中國古詩。龐德不太懂中文,他的譯作是由日譯本轉譯的。龐德還曾譯過《大學》、《中庸》、《論語》等。在翻譯過程中龐德得到了華盛頓一些專傢學者的幫助,剋服了各種睏難。儘管人們可以對譯文進行各種指摘,但龐德畢竟作了前所未有的嘗試。除了翻譯中國作品外,龐德也譯過包括日本、希臘、意大利文學等多種語言的外國文學作品。就此而言,龐德也是一個有成就的翻譯傢。

龐德最著名的作品,要屬意象派名作《在地鐵站內》


Ezra Weston Loomis Pound (Hailey, Idaho Territory, United States, October 30, 1885 – Venice, Italy, November 1, 1972) was an American expatriate poet, critic and intellectual who was a major figure of the Modernist movement in early-to-mid 20th century poetry.

Pound was the driving force behind several Modernist movements, notably Imagism and Vorticism.

Early life

Pound was born in Hailey, Idaho Territory, to Homer Loomis and Isabel Weston Pound. His grandfather was the Lieutenant Governor of Wisconsin Thaddeus C. Pound. When he was 18 months old, his family moved to the suburbs of Philadelphia. He studied for two years at the University of Pennsylvania, then transferred to Hamilton College, where he received his Ph.B. in 1905. He then returned to Penn, completing an M.A. in Romance philology in 1906.

During his studies at Penn, he met and befriended William Carlos Williams and H.D. (Hilda Doolittle), to whom he was engaged for a time. H.D. also became involved with a woman named Frances Gregg around this time. Shortly afterwards, H.D. and Gregg, along with Gregg's mother, went to Europe. Afterward, Pound taught at Wabash College in Crawfordsville, Indiana, for less than a year, and left as the result of a minor scandal. In 1908 he traveled to Europe, settling in London after spending several months in Venice.

London



The cover of the 1915 wartime number of the Vorticist magazine BLAST.Pound's early poetry was inspired by his reading of the pre-Raphaelites and other 19th century poets and medieval Romance literature, as well as much neo-Romantic and occult/mystical philosophy. After moving to London, the influence of Ford Madox Ford and T. E. Hulme encouraged Pound to cast off overtly archaic poetic language and forms and begin to remake himself as a poet. Pound believed William Butler Yeats was the greatest living poet, and befriended him in England. Pound eventually became Yeats' secretary, and soon became interested in Yeats's occult beliefs. During World War I Pound and Yeats lived together at Stone Cottage in Sussex, England, studying Japanese, especially Noh plays. They paid particular attention to the works of Ernest Fenollosa, an American professor in Japan, whose work on Chinese characters fascinated Pound. Eventually, Pound used Fenollosa's work as a starting point for what he called the Ideogrammic Method. In 1914, Pound married Dorothy Shakespear, an artist, and the daughter of Olivia Shakespear, a novelist and former lover of W. B. Yeats.

In the years before the First World War, Pound was largely responsible for the appearance of Imagism, and contributed the name to the movement known as Vorticism, which was led by Wyndham Lewis. These two movements, which helped bring to notice the work of poets and artists like James Joyce, Wyndham Lewis, William Carlos Williams, H.D., Jacob Epstein, Richard Aldington, Marianne Moore, Rabindranath Tagore, Robert Frost, Rebecca West and Henri Gaudier-Brzeska, can be seen as central events in the birth of English-language modernism. Pound also edited his friend T. S. Eliot's The Waste Land, the poem that was to force the new poetic sensibility into public attention.

In 1915, Pound published Cathay, a small volume of poems that Pound described as “For the most part from the Chinese of Rihaku (Li Po), from the notes of the late Ernest Fenollosa, and the decipherings of the professors Mori and Ariga.". The volume includes works such as The River Merchant's Wife: A Letter and A Ballad of the Mulberry Road. Unlike previous American translators of Chinese poetry, who tended to work with strict metrical and stanzaic patterns, Pound offered readers free verse translations celebrated for their ease of diction and conversationality. Many critics consider the poems in Cathay to be the most successful realization of Pound's Imagist poetics. Whether the poems are valuable as translations continues to be a source of controversy. Neither Pound nor Fenollosa spoke or read Chinese proficiently, and Pound has been criticized for omitting or adding sections to his poems which have no basis in the original texts though many critics argue that the fidelity of Cathay to the original Chinese is beside the point. Hugh Kenner, in a chapter entitled "The Invention of China" in his The Pound Era contends that Cathay should be read primarily as a book about World War I, not as an attempt at accurately translating ancient Eastern poems. The real achievement of the book, Kenner argues, is in how it combines meditations on violence and friendship with an effort to "rethink the nature of an English poem". These ostensible translations of ancient Eastern texts, Kenner argues, are actually experiments in English poetics and compelling elegies for a warring West.

The war shattered Pound's belief in modern western civilization and he abandoned London soon after, but not before he published Homage to Sextus Propertius (1919) and Hugh Selwyn Mauberley (1920). If these poems together form a farewell to Pound's London career, The Cantos, which he began in 1915, pointed his way forward.

Pari

In 1920, Pound moved to Paris, where he moved among a circle of artists, musicians, and writers who were revolutionizing the whole world of modern art. He was friends with notable figures such as Marcel Duchamp, Tristan Tzara, Fernand Leger and others of the Dada and Surrealist movements. He was also good friends with Basil Bunting and Ernest Hemingway, whom Pound asked to teach him to box. (Hemingway would later write, in A Moveable Feast, "I was never able to teach him to throw a left hook.") He continued working on The Cantos, writing the bulk of the "Malatesta Sequence," which introduced one of the major personas of the poem. The poem increasingly reflected his preoccupations with politics and economics. During this time, he also wrote critical prose and translations and composed two complete operas (with help from George Antheil) and several pieces for solo violin. In 1922 he met and became involved with Olga Rudge, a violinist. Together with Dorothy Shakespear, they formed an uneasy ménage à trois which was to last until the end of the poet's life.

Italy

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Ezra Pound's annotations on his copy of James Legge's translation of the Book of Poetry (Shih Ching), in the Sacred Books of the East.On 10 October 1924, Pound left Paris permanently and moved to Rapallo, Italy. He and Dorothy stayed there briefly, moving on to Sicily, and then returning to settle in Rapallo in January 1925. In Italy he continued to be a creative catalyst. The young sculptor Heinz Henghes came to see Pound, arriving penniless. He was given lodging and marble to carve, and quickly learned to work in stone. The poet James Laughlin was also inspired at this time to start the publishing company New Directions which would become a vehicle for many new authors.

At this time Pound also organized an annual series of concerts in Rapallo, where a wide range of classical and contemporary music was performed. In particular this musical activity contributed to the 20th century revival of interest in Vivaldi, who had been neglected since his death. Pound made his first trip back home to the U.S. in many years in 1939, on the eve of World War II, and considered moving back permanently, but in the end he chose to return to Italy. Aside from his political sympathy with the Mussolini regime, Pound had personal reasons for staying. His elderly parents had retired to Italy to be with him, and were in poor health and would have difficulty making the trip back to America even under peacetime conditions. He also had an Italian-born daughter by his mistress Olga Rudge: Mary (or Maria) Rudge was a young woman in her late teens who had lived in Italy her whole life and who might have had difficulty relocating to America (even though she had American as well as Italian citizenship).

Pound remained in Italy after the outbreak of World War II, which began more than two years before his native United States formally entered the war in December 1941. He became a leading Axis propagandist. He also continued to be involved in scholarly publishing, and he wrote many newspaper pieces. He disapproved of American involvement in the war and tried to use his political contacts in Washington D.C. to prevent it. He spoke on Italian radio and gave a series of talks on cultural matters. Pound believed that economics was the core issue at hand. Specifically, his talks were largely about usury and the notion that representative democracy has been usurped by bankers' infiltration of governments through the existence of central banks, which made governments pay interest to private banks for the use of their own money. He maintained that the central bank's ability to create money out of thin air allowed banking interests to buy up American and British media outlets to sway opinion in favor of the war and the banks. Pound was not the first prominent American to make this assertion; for example New York City Mayor John Hylan had publicly said the same thing back in 1922 when he said "these international bankers control the majority of the magazines and newspapers in this country." Pound believed that economic freedom was a prerequisite for a free country. Inevitably, he touched on political matters, and incorporated antisemitism into his denunciations of the war.



Ezra Pound - May 26, 1945.It is not clear if anyone in the United States ever actually heard his radio broadcasts, since Italian radio's shortwave transmitters were weak and unreliable, though it is clear that his writings for Italian newspapers (as well as a number of books and pamphlets) did have some influence in Italy. The broadcasts were monitored by the Foreign Broadcast Monitoring Service of the United States government, and transcripts, now stored in the Library of Congress, were made of them. Pound was indicted for treason by the United States government in 1943.

On July 10, 1943, the Allied forces landed in Sicily and rapidly began to overrun the southern part of Italy. On July 25, 1943 King Victor Emmanuel III summoned Mussolini and dismissed him as the premier of the Kingdom of Italy. Upon leaving the palace, Mussolini was arrested and sent to Gran Sasso, a mountain resort in central Italy (Abruzzo). About two months after he was stripped of power, Mussolini was rescued by the Germans in Operation Oak and relocated to the north, where he declared himself the President of the new Salò Republic. Pound played a significant role
in cultural and propaganda activities in the new republic, which lasted till the spring of 1945. On May 2, 1945, he was arrested by Italian partisans, and taken (according to Hugh Kenner) "to their HQ in Chiavari, where he was soon released as possessing no interest." The next day, he turned himself in to U.S. forces. He was incarcerated in a United States Army detention camp outside Pisa, spending 25 days in an open cage before being given a tent. Here he appears to have suffered a nervous breakdown. He also drafted the Pisan Cantos in the camp. This section of the work in progress marks a shift in Pound's work, being a meditation on his own and Europe's ruin and on his place in the natural world. The Pisan Cantos won the first Bollingen Prize from the Library of Congress in 1949.

St. Elizabeth

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After the war, Pound was brought back to the United States to face charges of treason. The charges covered only his activities during the time when the Kingdom of Italy was officially at war with the United States, i.e., the time before the Allies captured Rome and Mussolini fled to the North. Pound was not prosecuted for his activities on behalf of Mussolini's Saló Republic, evidently because the Republic's existence was never formally recognized by the United States. He was found incompetent to face trial by a special federal jury and sent to St. Elizabeths Hospital in Washington, D.C., where he remained for 12 years from 1946 to 1958. His insanity plea is still a matter of controversy, since in retrospect his activities and his writings during the war years do appear to be those of a sane person. Treason is potentially a capital offense. Pound's controversial insanity plea is mirrored by the fate of Norwegian author and collaborator Knut Hamsun, who was dubbed insane by embarrassed authorities despite evidence in the form of subsequent published material to the contrary.

Following his release, Pound was asked his opinions on his home country. He famously quipped: "America is a lunatic asylum." Subsequently he returned to Italy, where he remained in exile until his death in 1972.

E. Fuller Torrey believed that Pound was given special treatment by colluding authorities, specifically Winfred Overholser, the superintendent of St. Elizabeths. According to Torrey, Overholser admired Pound's poetry and allowed him to live in a private room at the hospital, where he wrote three books, received visits from literary figures and enjoyed conjugal relations with his wife. The reliability of Torrey’s allegations has been questioned; other scholars have presented Overholser as behaving solely in a humane way to his famous patient, without allowing him special privileges. At St. Elizabeths, Pound was surrounded by poets and other admirers and continued working on The Cantos as well as translating the Confucian classics.

Pound was also frequently visited by his protegé, a Library of Congress researcher named Eustace Mullins. Pound commissioned Mullins to write a book about the history of the Federal Reserve and to tell it like a detective story. Pound believed that the bankers in charge of the Federal Reserve and their associates in the Bank of England were responsible for getting the United States into both World Wars, in an effort to drive up government debt beyond sustainable levels (the national debt did indeed rise astronomically because of the wars). The book, Secrets Of The Federal Reserve, charges that bankers hide behind the screen of the central banks and pull political strings to drive countries into the war, creating immense profits for themselves as the principal beneficiaries of wartime debt. Pound advocated an abandonment of the current system of money being created by private bankers. He favored government issued currency with no interest to pay, preventing the need for an income tax and national debt, much like the system used by the Pennsylvania Colony from 1723 to 1764, a system which provided more economic stability than any other 40-year period in American history.
Pound argued that his views on money aligned with those of Thomas Jefferson, as well as with Benjamin Franklin's Colonial Scrip.

Pound was also befriended there by Hugh Kenner, whose The Poetry of Ezra Pound (1951) was highly influential in causing a reassessment of Pound's poetry. Other scholars began to edit the Pound Newsletter, which eventually led to the publication of the first guide to The Cantos, Annotated Index to the Cantos of Ezra Pound (1957). Pound had many friends and admirers among his fellow poets, like Elizabeth Bishop, who recorded her response to Pound’s situation in the poem "Visits to St. Elizabeth's," and Robert Lowell, who visited and corresponded extensively with Pound. The artist Sheri Martinelli, meanwhile, is believed to have inspired the love poetry in Cantos XC–XCV. Both William Carlos Williams and Louis Zukofsky were among Pound's visitors, as was Guy Davenport, who subsequently wrote his Harvard dissertation on Pound's poetry (published as Cities on Hills in 1983), and the Colonial French nonfigurative painter René Laubies, the first translator of the work of Pound into French (Cantos et poèmes choisis / Ezra Pound, Paris: P.J. Oswald, 1958. 77 pages). In his Portraits et Aphorismes (2001) Laubies writes that he did not remember having any "difficulties returning to visit Pound at the Asylum of St. Elisabeths." He asked Pound whether the surroundings obstructed him: "Not at all, they are the only acceptable Americans." When Laubies told Pound that he was born in Saigon: "Ah, that's why! Only Europeans with a master key to the Suez Canal are worth something...." Charles Olson was a frequent visitor (Pound wrote in a note to his attorney that "Olson saved my life" by providing sane conversation. Olson eventually became disgusted with Pound's anti-Semitic statements and stopped his visits. Pound was finally released after a concerted campaign by many of his fellow poets and artists, particularly Robert Frost and Archibald MacLeish. He was still considered incurably insane, but not dangerous to others.

Rudd Fleming, a professor at the University of Maryland, visited Pound often. They collaborated on a translation of Sophocles' Electra, which was published by Princeton University Press in 1989. Fleming stated, when asked about Pound's anti-semitism, that Pound considered it a mistake.
A statement from Pound's foreword to a collection of his prose writings (written on July 4th, 1972) would seem to support Fleming's assertion: "In sentences referring to groups or races 'they' should be used with great care. re USURY: I was out of focus, taking a symptom for a cause. The cause is AVARICE."

Death



Grave of Pound on the cemetery island of San Michele, Venice.On his release, Pound returned to Italy continuing work on The Cantos. In 1972, two days after his 87th birthday, Pound died in Venice, where he is buried.

Poetry

Pound's The Cantos contains music and bears a title that could be translated as The Songs—although it never is. Pound's ear was tuned to the motz et sons of troubadour poetry where, as musicologist John Stevens has noted, "melody and poem existed in a state of the closest symbiosis, obeying the same laws and striving in their different media for the same sound-ideal - armonia."

In his essays, Pound wrote of rhythm as "the hardest quality of a man's style to counterfeit." He challenged young poets to train their ear with translation work to learn how the choice of words and the movement of the words combined. But having translated texts from 10 different languages into English, Pound found that translation did not always serve the poetry: "The grand bogies for young men who want really to learn strophe writing are Catullus and François Villon. I personally have been reduced to setting them to music as I cannot translate them." While he habitually wrote out verse rhythms as musical lines, Pound did not set his own poetry to music.

In 1919, when he was 34, Pound began charting his path as a novice composer, writing privately that he intended a revolt against the impressionistic music of Claude Debussy. An autodidact, Pound described his working method as "improving a system by refraining from obedience to all its present 'laws'..." With only a few formal lessons in music composition, Pound produced a small body of work, including a setting of Dante's sestina, "Al poco giorno," for violin. His most important output is the pair of operas: Le Testament, a setting of François Villon's long poem of that name, written in 1461; and Cavalcanti, a setting of 11 poems by Guido Cavalcanti (c. 1250–1300). Pound began composing the Villon with the help of Agnes Bedford, a London pianist and vocal coach. Though the work is notated in Bedford's hand, Pound scholar Robert Hughes has been able to determine that Pound was artistically responsible for the work's overall dramatic and acoustic design.

During his years in Paris (1921–1924), Pound formed close friendships with the American pianist and composer George Antheil, and Antheil's touring partner, the American concert violinist Olga Rudge. Pound championed Antheil's music and asked his help in devising a system of micro-rhythms that would more accurately render the vitalistic speech rhythms of Villon's Old French for Le Testament. The resulting collaboration of 1923 used irregular meters that were considerably more elaborate than Stravinsky's benchmarks of the period, Le Sacre du Printemps (1913) and L'Histoire du Soldat (1918). For example, "Heaulmiere," one of the opera's key arias, at a tempo of quarter note = M.M. 88, moves from 2/8 to 25/32 to 3/8 to 2/4 meter (bars 25–28), making it difficult for performers to hear the current bar of music and anticipate the upcoming bar. Rudge performed in the 1924 and 1926 Paris preview concerts of Le Testament, but insisted to Pound that the meter was impractical.

In Le Testament there is no predictability of manner; no comfort zone for singer or listener; no rests or breath marks. Though Pound stays within the hexatonic scale to evoke the feel of troubadour melodies, modern invention runs throughout, from the stream of unrelenting dissonance in the mother's prayer to the grand shape of the work's aesthetic arc over a period of almost an hour. The rhythm carries the emotion. The music admits the corporeal rhythms (the score calls for human bones to be used in the percussion part); scratches, hiccoughs, and counter-rhythms lurch against each other—an offense to courtly etiquette. With "melody against ground tone and forced against another melody," as Pound puts it, the work spawns a polyphony in polyrhythms that ignores traditional laws of harmony. It was a test of Pound's ideal of an "absolute" and "uncounterfeitable" rhythm conducted in the laboratory of someone obsessed with the relationship between words and music.

After hearing a concert performance of Le Testament in 1926, Virgil Thomson praised Pound's accomplishment. "The music was not quite a musician's music," he wrote, "though it may well be the finest poet's music since Thomas Campion.... Its sound has remained in my memory."

Robert Hughes has remarked that where Le Testament explores a Webernesque pointillistic orchestration and derives its vitality from complex rhythms, Cavalcanti (1931) thrives on extensions of melody. Based on the lyric love poetry of Guido Cavalcanti, the opera's numbers are characterized by a challenging bel canto, into which Pound incorporates a number of tongue-in-cheek references to Verdi and a musical motive that gestures to Stravinsky's neo-classicism. By this time his relationship with Antheil had considerably cooled, and Pound, in his gradual acquisition of technical self-sufficiency, was free to emulate certain aspects of Stravinsky. Cavalcanti demands attention to its varying cadences, to a recurring leitmotif, and to a symbolic use of octaves. The play of octaves creates a surrealist straining against the limits of established laws of composition, history, physiology, reason, and love.

Pound's statement, "Rhythm is a FORM cut into TIME," distinguishes his 20th century medievalism from Antheil's SPACE/TIME theory of modern music, which sought pure abstraction. Antheil's system of time organization is inherently biased for complex, asymmetric, and fast tempi; it thrives on innovation and surprise. Pound's more open system allows for any sequence of pitches; it can accommodate older styles of music with their symmetry, repetition, and more uniform tempi, as well as newer methods, such as the asymmetrical micro-metrical divisions of rhythm created for Le Testament.

Legacy

Because of his political views, his support of Mussolini, his opposition to central banking (The Federal Reserve, The Bank of England...) and the charge of anti-Semitism, Pound acquired many enemies throughout the second half of the twentieth century. Historians and scholars generally agree, however, that he played a vital role in the modernist revolution in 20th century literature in English. The location of Pound—as opposed to other writers such as T. S. Eliot—at the center of the Anglo-American Modernist tradition was famously asserted by the critic Hugh Kenner, most fully in his account of the Modernist movement titled The Pound Era. The critic Marjorie Perloff has also insisted upon Pound's centrality to numerous traditions of "experimental" poetry in the 20th century. As a poet, Pound was one of the first to successfully employ free verse in extended compositions. His Imagist poems influenced, among others, the Objectivists. The Cantos and many of Pound's shorter poems were a touchstone for Allen Ginsberg and other Beat poets; Ginsberg made an intense study of Pound's use of parataxis which had a major influence on his poetry. Almost every 'experimental' poet in English since the early 20th century has been considered by some to be in his debt.

As critic, editor and promoter, Pound helped shape the careers of some of the 20th century's most influential writers. These writers include W. B. Yeats, T. S. Eliot, James Joyce, Wyndham Lewis, Robert Frost, William Carlos Williams, H.D., Marianne Moore, Ernest Hemingway, D. H. Lawrence, Louis Zukofsky, Basil Bunting, George Oppen, and Charles Olson. Immediately before the first world war Pound became interested in art when he was associated with the Vorticists (Pound coined the word). Pound did much to publicize the movement and was instrumental in bringing it to the attention of the wider public (he was particularly important in the artistic careers of Henri Gaudier-Brzeska and Wyndham Lewis).

As a translator, Pound did much to introduce Provençal and Chinese poetry to English-speaking audiences. For example, he helped popularize major poets such as Cavalcanti and Du Fu. He revived interest in the Confucian classics and introduced the West to classical Japanese poetry and drama (e.g. the Noh). He also translated and championed Greek, Latin and Anglo-Saxon classics and helped keep these alive for poets at a time when classical education and knowledge of Anglo-Saxon was in decline. In the early 1920s in Paris, Pound became interested in music, and was probably the first serious writer in the 20th century to praise the work of the long-neglected Italian composer Antonio Vivaldi and to promote early music generally. He also helped the early career of George Antheil, and collaborated with him on various projects. Pound was also interested in mysticism and the occult, but biographers have only recently begun to document his work in those fields. Leon Surrette wrote extensively of Pound's involvement in mysticism in The Birth of Modernism.

__Select__ed work

Pound's works by year published (with links to years-in-poetry pages; cities are location first editions published):

Wikisource has original works written by or about:

Ezra PoundWikiquote has a collection of quotations related to:

Ezra Pound1908 A Lume Spento, poems (Venice)

1908 A Quinzaine for This Yule, poems (London).

1909 Personae, poems (London)

1909 Exultations, poems (London)

1910 Provenca, poems (Boston)

1910 The Spirit of Romance, essays (London)

1911 Canzoni, poems (London)

1912 Ripostes, poems (London)

1912 The Sonnets and ballate of Guido Cavalcanti, translations, (London)

1915 Cathay, poems / translations

1916: Gaudier-Brzeska. A Memoir (London)

1916 Certain noble plays of Japan: from the manuscripts of Ernest Fenollosa, chosen and finished by Ezra Pound, with an introduction by William Butler Yeats.

1916 "Noh", or, Accomplishment: a study of the classical stage of Japan, by Ernest Fenollosa and Ezra Pound.

1916 "The Lake Isle", poem

1916 Lustra, poems.

1917 Twelve Dialogues of Fontenelle, translations

1918: Pavannes and Divisions, prose (New York)

1919 Quia Pauper Amavi, poems (London)

1918 Pavannes and Divisions, essays

1919 The Fourth Canto, poems

1920 Umbra, poems and translations (London)

1920 Hugh Selwyn Mauberley, poems (London)

1921 Poems, 1918–1921, poems (New York)

1922 The Natural Philosophy of Love, by Rémy de Gourmont, translations

1923 Indiscretions, essays

1923 Le Testament, one-act opera

1924 Antheil and the Treatise on Harmony, essays (Paris)

1925 A Draft of XVI Cantos, poems (Paris)

1926 Personae: The Collected Poems of Ezra Pound (New York)

1927 Exile, poems

1928 A Draft of the Cantos 17–27, poems

1928 __Select__ed Poems, edited by T. S. Eliot (London)

1928 Ta hio, the great learning, newly rendered into the American language, translation

1930 A Draft of XXX Cantos, poems (New York)

1930 Imaginary Letters, essays

1931 How to Read, essays

1933 ABC of Economics, essays

1933 Cavalcanti, three-act opera

1934 Eleven New Cantos: XXXI-XLI, poems (New York)

1934 Homage to Sextus Propertius, poems (London)

1934 ABC of Reading, essays

1935 Make It New, essays

1936 Chinese written character as a medium for poetry, by Ernest Fenollosa, edited and with a foreword and notes by Ezra Pound

1936 Jefferson and/or Mussolini, essays

1937 The Fifth Decade of Cantos, poems (London)

1937 Polite Essays, essays

1937 Digest of the Analects, by Confucius, translation

1938 Culture, essays

1939 What Is Money For?, essays

1940 Cantos LII-LXXI, poems

1944 L'America, Roosevelt e le Cause della Guerra Presente, essays

1944 Introduzione alla Natura Economica degli S.U.A., prose

1947 Confucius: the Unwobbling pivot & the Great digest, translation

1948 The Pisan Cantos, poems (New York)

1950 Seventy Cantos, poems

1951 Confucian analects, translator

1953: The Translations of Ezra Pound, translations (London)

1955 Section: Rock-Drill, 85–95 de los Cantares, poems (Milan)

1956 Sophocles: The Women of Trachis. A Version by Ezra Pound, translation (London)

1959 Thrones: 96–109 de los Cantares, poems (Milan)

1968 Drafts and Fragments: Cantos CX-CXVII, poems

__Select__ed posthumous works and edition

1975: The Cantos (London)

1975: __Select__ed Poems, 1908-1959, poems (London)

1976: Collected Early Poems (New York)

1997 Ezra Pound and Music, essays

2002 Canti postumi, poems

2003 Ego scriptor cantilenae: The Music of Ezra Pound, operas/music

See also

Modernist poetry in English

Further reading

Sieburth, Richard, ed. Ezra Pound, Poems and Translations (Library of America, 2003) ISBN 978-1-93108241-9

Bacigalupo, Massimo (1980). The Forméd Trace: The Later Poetry of Ezra Pound. New York: Columbia University Press.

Bischoff, Volker (1991). Ezra Pound and Criticism 1905–1985: A Chronicle Listing of Publications in English. Orono, Maine: National Poetry Foundation

Bush, Ronald. "Art Versus the Descent of the Iconoclasts: Cultural Memory in Ezra Pound's Pisan Cantos" in Modernism/Modernity 14.1 (January 2007), 71–95.

Carpenter, Humphrey (1988). A Serious Character: The Life of Ezra Pound. Boston: Houghton Mifflin.

Fisher, Margaret (2002). Ezra Pound's Radio Operas. Boston: The MIT Press.

Fisher, Margaret (2005). The Recovery of Ezra Pound’s Third Opera: Collis O Heliconi; settings of poems by Catullus and Sappho. Emeryville: Second Evening Art.

Hughes, Robert (2004). Complete Violin Works of Ezra Pound. Emeryville: Second Evening Art.

Hughes, Robert and Fisher, Margaret(2003). Cavalcanti: A Perspective on the Music of Ezra Pound. Emeryville: Second Evening Art.

Ingman, Michael (1999). "Pound and Music" in The Cambridge Companion to Ezra Pound Ed. Ira Nadel. Cambridge: Cambridge University Press.

Kenner, Hugh (1973). The Pound Era. Berkeley: University of California Press.

Laubies, René (1958). Cantos et poèmes choisis / Ezra Pound; traduction de René Laubies. Paris: P. J. Oswald, 77 pages.

Longenbach, James (1991). Stone Cottage: Pound, Yeats and Modernism. New York, Oxford: Oxford University Press.

Oderman, Kevin (1986). Ezra Pound and the Erotic Medium. Durham, N. C.: Duke University Press.

Perelman, Bob (1994). The Trouble with Genius: Reading Pound, Joyce, Stein, and Zukofsky. Berkeley, CA: University of California Press.

Redman, Tim (1991). Ezra Pound and Italian Fascism. Cambridge: Cambridge University Press.

Stock, Noel (1970). Life of Ezra Pound. London: Routledge & Kegan Paul

Stevens, John (1986). Words and Music in the Middle Ages. Cambridge: Cambridge University Press.

Surette, Leon (1994). The Birth of Modernism: Ezra Pound, T. S. Eliot, W. B. Yeats, and the Occult. McGill-Queen's University Press.

Thomson, Virgil (1966). Virgil Thomson. New York: Alfred A. Knopf.

Hilary Clarke, The Fictional Encyclopaedia: Joyce, Pound, Sollers (1990) Taylor & Francis.

Furia, Philip (1984). Pound's Cantos Declassified. ISBN 0271003731.

Note

^ http://www.wisconsinhistory.org/odd/archives/001381.asp

^ Monroe, Harriet (1913). "Poetry". (Chicago) Modern Poetry Association. p. 123.

^ Ezra Pound: Translations (New York: New Directions 1963), p.187

^ The Pound Era (New York: New Directions, 1971), p.199

^ Ira B. Nadel (editor), The Cambridge Companion to Ezra Pound, page xxii. Cambridge University Press, 1999. ISBN 0-521-64920-X

^ Flory, Wendy Stallard. "Pound and Antisemitism." The Cambridge Companion to Ezra Pound. Ed. Ira B. Nadel (Cambridge University Press, 1999) ISBN 0-521-64920-X, ISBN 0-521-43117-4

^ "Milestones", Time Magazine, December 19, 1994. Retrieved on 2007-07-22.

^ "http://www.pbs.org/wgbh/pages/frontline/shows/crime/trial/other.html". pbs.org. Retrieved on February 25, 2008.

^ Mitgang, Herbert. "Researchers dispute Ezra Pound's insanity. New York Times, October 31, 1981. Retrieved on February 25, 2008.

^ Hamsun, Knut, Paa gjengrodde stier (Gyldendal Norsk Forlag, 1949). ISBN 82-05-16389-8, translated as On Overgrown Paths

^ Richard Douthwaite. Government-Produced Money (Chapter 3) in The Ecology of Money. Retrieved on 2007-06-01.

^ Rod Jellema "Rod Jellema on Ezra Pound" in Beltway: A Poetry Quarterly. Retrieved on 2007-06-04

^ Pound, Ezra. Ezra Pound: __select__ed prose 1909-1965. New Directions, 3. ISBN 0-8112-0574-6.

^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af Ackroyd, Peter, Ezra Pound, Thames and Hudson Ltd., London, 1980, "Bibliography" chapter, p 121
龐德 Pangde (2~219) 涼州南安狟道
龐德(2世紀-219年),亦作龐悳令明,涼州南安狟道(今甘肅省天水市武山縣四門鎮)人;東漢末年名將,武藝出衆、膽烈過人,原屬馬超父子,後於建安二十年(215年)隨張魯歸順曹操。官至立義將軍關門亭侯,死後曹丕壯候

 

生平

早年

當時涼州刺史耿鄙委任治中程球,程球為貪官,士人怨之。

漢靈帝中平元年(184年)十一月,鬍人北宮伯玉先零羌人聯合起兵反叛漢,朝廷欲討伐叛亂。耿鄙徵馬騰為軍從事,統領部隊,龐德為郡吏州從事。初平年間,追隨軍司馬馬騰,攻擊反叛羌氐,徵戰有功,升遷至校尉。

果敢善戰

獻帝建安七年(202年),曹操討伐袁譚黎陽,其弟袁尚求救,袁譚遣河東太守郭援並州刺史高幹南匈奴單於呼廚泉等略取河東,曹操使鍾繇關中諸將徵討之。龐德隨馬騰之子馬超拒郭援、高幹於平陽,龐德為先鋒,進攻郭援、高幹,大破其軍,親自斬下郭援首級呼廚泉高幹投降。龐德因功官拜中郎將、封都亭侯

建安十年(205年),張白騎作叛於弘農,龐德復隨馬騰往徵,破叛軍於東西餚山之間。每次交戰,龐德常陷陣卻敵,勇冠馬騰軍隊。後馬騰被徵為衛尉,龐德便留屬馬超

跟隨多主

建安十八年(213年),龐德跟隨馬超起兵反曹操,被打敗後,隨馬超奔漢中依附張魯。馬超因受張魯部將排擠而轉投劉備,龐德仍追隨張魯。後曹操攻漢中,張魯投降,龐德也跟着歸順曹操。曹操久聞龐德勇猛善戰,於是任命他為立義將軍,封關門亭侯,邑三百戶。

授命叱敵

建安二十三年(218年)十月,侯音衛開等人據宛城造反,龐德跟隨曹仁攻陷宛城,次年(219年)正月,斬侯、衛二人,後遂屯駐樊城,討伐關羽。因龐德堂兄龐柔時在漢中,樊城衆將懷疑龐德的忠誠。龐德為表清白,常說:“我受國恩,義在效死。我欲身自擊羽。今年我不殺羽,羽當殺我。”後龐德親自和關羽交戰,射中關羽額頭。龐德時常騎白馬,關羽軍便稱龐德“白馬將軍”,甚為忌憚。

曹仁使龐德屯駐北十裏。後因戰況不利,曹操派於禁率領七軍援救樊城,適逢接連十餘日大雨,漢水暴漲,水高五至六丈,龐德、於禁與諸將避水上堤。關羽乘機領水軍攻之,以大船包圍四面射嚮堤上。龐德被甲持弓,嚮關羽軍射箭,箭無虛發。將軍董衡、部麯將董超等欲投降,皆被龐德處斬。自早晨力戰至中午,關羽愈攻愈急,箭矢耗盡,以短兵接戰。龐德對督將成何說:“吾聞良將不怯死以苟免,烈士不毀節以求生,今日,我死日也。”龐德愈戰愈勇,然而水浸愈盛,當場的約三萬兵馬皆被迫投降。龐德與麾下將領一人,五伯二人,遂乘小船欲逃往曹營。但小船翻覆,弓矢皆失,龐德抱船落入水中,為關羽所生擒。

以死示忠

其後於禁投降,龐德卻直立而不跪,關羽嚮龐德勸降,說:“卿兄在漢中,我欲以卿為將,不早降何為?”龐德駡關羽說:“竪子,何謂降也!魏王帶甲百萬,威振天下。汝劉備庸纔耳,豈能敵邪!我寧為國傢鬼,不為賊將也。”遂為關羽所殺。曹操得悉後為之流涕,嘆息說:“吾知(於)禁三十年,何意臨危處難,反不如龐德邪!”封其二子為列侯。曹丕即位,遣使往龐德墓,賜壯侯

家庭

堂兄弟

  • 龐會等兩人在龐德死後被魏文帝曹丕封為關內侯,邑各百戶。數十年後,龐會跟隨鍾會鄧艾出徵蜀漢,破成都,為其父報仇而屠滅關傢後裔。(此說真實性有待商榷。王隱所著《蜀記》錯謬之處、所在多有,裴鬆之謂其不然:此事有傷陰德,亦錯失為將之道。彼時各為其主,羽不得已而殺德,何其會能因而滅盡關氏?大節虧失,徒污其父義名耳。)

評價

  • 曹操:“吾知三十年,何意臨危處難,反不如龐德邪!”
  • 陳壽:“龐德授命叱敵,有周苛之節。”
  • 曹丕:“昔先軫喪元,王蠋絶脰,隕身徇節,前代美之。惟侯式昭果毅,蹈難成名,聲溢當時,義高在昔,寡人湣焉,謚曰壯侯。(魏文帝:曹丕即魏王位後,就派使者到龐惪的墳墓前賜他謚號,策書說“從前先軫喪命,王蠋自縊,為保全自己的節操而獻出生命,古人贊美他們。衹有您顯示出果敢剛毅,赴難成名,名揚當世,節義高過往昔,我非常的哀憐啊,賜謚號為“壯侯”。)”
  • 傅玄《乘輿馬賦》:“馬超破蘇氏塢,塢中有駿馬百餘匹,自超以下懼爭取肥好者。將軍龐德獨取一騧馬,形陋既醜,衆笑之。其後馬超戰於渭南,逸足電發,追不可遞,衆乃服。”
  • 王應麟:“寧為國傢鬼,不為賊將”,則有魏樊城之龐德。“寧為國傢鬼,不為羌賊臣”,則有晉河南之辛恭靖。之人也,英風勁氣,如嚴霜烈日,千載如生。其視叛臣要利者,猶犬彘也。
  • 羅貫中:威武不能屈,節操不能改。生當立金鑾,死尚披鐵鎧。烈烈大丈夫,垂名昭千載。南安龐令明,日月競光彩。
  • 毛宗崗:關公初欲與馬超比試,而今與馬超之部將爭鋒,是與戰馬超無異也。馬超既與關公為一傢,而龐德乃與關公死戰,是亦與戰馬超無異也。以關公敵馬超,猶未為損重;而以龐德鬥馬超,毋乃為背主乎?其後既不肯背曹操而降關公,其初何以背馬騰而降曹操?故龐德之死,君子無取焉。
  • 李贄:龐德舁櫬而行,志已必不兩立,非彼即此,定當一傷.此亦丈夫圖事之法也。天下事衹有成敗兩途;成則為王,敗則為寇,此定理也,何必畏首畏尾以取笑天下乎?如龐德者,真丈夫圖事之樣子也,可取可取。雲長欲降龐德,龐德不降。兩兩丈夫,俱堪敬服。
  • 鐘敬伯:將軍戰死沙場,幸也。龐德舁櫬而行,何哉!天下成敗兩途,原不並立,其有死無二,百折不回,須眉丈夫,决不可無此壯志。

藝術形象

三國演義

小說中,龐德與馬岱馬超的左右手兼智囊。

  • 在西涼聯合進攻的時候,與馬岱作為馬超手下參戰而登場。西涼軍合共二十萬兵馬,進軍長安。鍾繇不敵馬岱而進長安城堅守,當時城固而不能攻下,龐德嚮馬超獻策:“長安城堅固難以攻下,但是城裏的水質和土壤不適合耕種和使用所以一般物資都是從城外運輸。城中也沒有柴。現在圍城十天,士卒和平民都沒有物資支援。衹要我們收兵,城內一定會有人出來運糧。再派人混在運糧兵中,可以裏應外合。”馬超用其計而退兵,果然鍾繇派人出城砍柴打水,五天後馬超軍又來犯,鍾繇收人歸城又閉城不出。三更時分城門被混入城中的龐德軍放火,鍾繇弟鍾進趕至救援,措手不及而被龐德斬於馬下。龐德斬下城門鎖和軍校,放大軍進城,鍾繇退守潼關。
  • 在〈第五十八回〉和〈第五十九回〉的潼關之戰中,與馬岱連戰曹軍,最終失敗並隨馬超投奔張魯,但馬超請命前往葭萌關大戰到投嚮劉備的期間,龐德卻臥病不能隨行而留在漢中。
  • 在〈第六十七回〉中,張魯受到曹操進攻漢中,衆將不能敵而驚慌。張魯部屬閻圃提議讓龐德出戰,張魯大喜,龐德被命後參戰。曹操聽聞龐德之勇,想得到龐德,派出張郃夏侯淵徐晃許褚四將;欲以車輪戰之法耗其體力。龐德無懼,逐一與之單挑,四將略戰而退並稱贊其武藝。一戰之後,曹操更想得到龐德,商議怎樣令他投降,賈詡建議賄賂貪得無厭的楊鬆,並以詐敗計引龐德入曹軍營寨,在夜更時分突襲營寨。事情和賈詡部署一樣,張魯看了楊鬆的書簡,說龐德被曹操賄賂,張魯憤怒誓要斬龐德。閻圃勸諫,張魯責令龐德:“你明日不勝,處斬。“龐德抱着悲痛退下。第二天,許褚詐逃,龐德追至,但中了陷阱掉進坑裏被活捉。曹操親自鬆綁招降,龐德回想張魯的不仁而投降。
  • 歸曹後的期間,曾參與逍遙津之戰漢中之戰,但陳壽的《三國志》僅有龐德歸順後被任命為立義將軍,封關門亭侯,並無後續。
  • 到〈第七十四回〉的樊城之戰前,曹操提及故主馬超和其從兄龐柔,龐德親口說明其殺嫂一事來交代和龐柔恩已斷,與馬超各事其主,舊義已絶,並且帶着一口棺材去和關羽戰鬥。拯救在樊城的曹仁時,命為於禁的副將,在救援中途被小說人物周倉在水中擒獲,最後與史實無差。

影視

動漫遊戲

註釋

  1. ^ ‘惪’是“德”的古字,直心為德。
  2. ^ 讓...顯明而為人所知。古人取名字,“名”與“字”互相呼應,龐‘德’,字‘令明’(使道德顯明)。
  3. ^ 《三國志·魏武紀》:(建安二十三年)鼕十月,宛守將侯音等反,執南陽太守,劫略吏民,保宛。初,曹仁討關羽,屯樊城,是月使仁圍宛。 二十四年春正月,仁屠宛,斬音。
  4. ^ 《三國志·吳主傳》:會漢水暴起,羽以舟兵盡虜禁等步騎三萬送江陵,惟城未拔。
  5. ^ 賜謚召策文:“昔先軫喪元,王蠋絶脰,隕身徇節,前代美之。惟侯式昭果毅,蹈難成名,聲溢當時,義高在昔,寡人愍焉,謚曰壯侯。”
  6. ^ 三國志36·關羽傳》引註《蜀記》曰:龐惪子(龐)會,隨鍾(會)、鄧(艾)伐蜀,蜀破,盡滅關氏傢。
  7. ^ 太平御覽·897◎獸部九○馬五
  8. ^ 張郃先出,戰了數合便退。夏侯淵也戰數合退了。徐晃又戰三五合也退了。臨後許褚戰五十餘合亦退。龐德力戰四將,並無懼怯。
  9. ^ 〈第六十八回 甘寧百騎劫魏營 左慈擲杯戲曹操〉:卻說陳武與龐德大戰,後面又無應兵,被龐德趕到𠔌口,樹林叢密;陳武再欲回身交戰,被樹株抓住袍袖,不能迎敵,為龐德所殺。
  10. ^ 〈第七十二回 諸葛亮智取漢中 曹阿瞞兵退斜𠔌〉:(魏)延棄弓綽刀,驟馬上山坡來殺曹操。刺斜裏閃出一將,大叫:“休傷吾主!”視之,乃龐德也。德奮力嚮前,戰退魏延,保操前行。
  11. ^ 龐德聞之,免冠頓首,流血滿面而告曰:“某自漢中投降大王,每感厚恩,雖肝腦塗地,不能補報;大王何疑於德也?德昔在故鄉時,與兄同居,嫂甚不賢,德乘醉殺之;兄恨德入骨髓,誓不相見,恩已斷矣。故主馬超,有勇無謀,兵敗地亡,孤身入川,今與德各事其主,舊義已絶。德感大王恩遇,安敢萌異志?惟大王察之。”

參考文獻

  • 《三國志 魏志第十八 之閻溫傳》和《魏志 三少帝紀第四/ 齊王芳/ 正始四年》記為龐德
中國東漢末年武將龐德
  龐德(170—219)字令明,東漢末年南安狟道(今甘肅隴西東南)人。曹操部下重要將領。官至立義將軍、關門亭侯。謚曰壯侯。有一子龐會。
歷史傳記
  龐德,字令明,南安狟道(今甘肅隴西東南)人。謚曰壯,三國時魏國名將。少為郡吏州從事。初平中,從馬騰擊反羌叛氐。數有功,稍遷至校尉。建安中,太祖討袁譚、尚於黎陽,譚遣郭援、高幹等略取河東,太祖使鐘繇率關中諸將討之。德隨騰子超拒援、幹於平陽,德為軍鋒,進攻援、幹,大破之,親斬援首。拜中郎將,封都亭侯。後張白騎叛於弘農,德復隨騰徵之,破白騎於兩餚間。每戰,常陷陳卻敵,勇冠騰軍。後騰徵為衛尉,德留屬超。太祖破超於渭南,德隨超亡入漢陽,保冀城。後復隨超奔漢中,從張魯。太祖定漢中,德隨衆降。太祖素聞其驍勇,拜立義將軍,封關門亭侯,邑三百戶。侯音、衛開等以宛叛,德將所領與曹仁共攻拔宛,斬音、開,遂南屯樊,討關羽。親與羽交戰,射羽中額。時德常乘白馬,羽軍謂之白馬將軍,皆憚之。仁使德屯樊北十裏,會天霖雨十餘日,漢水暴溢,羽乘船攻之,德與麾下將一人,五伯二人,彎弓傅矢,乘小船欲還仁營。水盛船覆,失弓矢,獨抱船覆水中,為羽所得,立而不跪。羽勸德降,德怒駡之,遂為羽所殺。太祖聞而悲之,為之流涕,封其二子為列侯。文帝即王位,謚曰壯侯。
  演義概況魏將。初為西涼馬騰帳前心腹校尉,時太祖擒殺騰於許昌,子超誓報父仇,親攻長安,德與馬岱並為左右折衝。德獻策籌畫,陷長安,親斬魏將鐘進。後太祖親徵超、韓遂於渭南,遂以德為先鋒,循河與戰,中計遭圍;德奮勇步鬥,破敵突陣救遂,又殺曹仁將曹永,奪其馬護遂而走,其悍勇遂知名。及超兵敗,德隨入漢陽,保守冀城;旋即隨超奔漢中張魯。後超降蜀,德因病未隨,太祖攻漢中,魯功曹閻圃勸魯用德敵曹。太祖素聞德驍勇,以計擒之;德思魯不仁,亦願拜降。太祖待德甚厚,德亦數衛之於危難。後仁為蜀將關羽圍於樊城,德為徵西都先鋒,隨徵西將軍於禁引軍赴救。其時諸將皆以德兄柔、故主超均在蜀,素疑德;德遂奮意力鬥羽父子,又箭射羽,深為羽所忌憚。然禁懼其立功,加以製肘。魏軍敗,德誓死不降,為羽所殺。太祖聞知此事甚為傷悲,為之流涕。
歷史年表
  龐德少年時任郡吏及州從事。
  東漢獻帝初平年間(公元190—193年)龐德從馬騰進擊反叛的羌、氐等外族,數有戰功,遷至校尉。
  建安七年(公元202年)曹操討袁譚、袁尚於黎陽,袁譚遣郭援、高幹等略取河東,曹操便使鐘繇率關中諸將以討逆。
  建安八年(公元203年)龐德時隨馬騰之子馬超,拒戰郭援、高幹於平陽;龐德為軍中先鋒,進攻郭援、高幹,大破其軍,更親斬郭援首級。(《魏略》曰:龐德親手斬得一顆首級,不知這便是郭援。戰罷之後,衆人皆指郭援已死而不能得其首。然而龐德於晚後方纔於弓鞬中取出一顆頭顱,由於郭援是鐘繇之甥,因此鐘繇見其首而哭。龐德便嚮鐘繇賠罪,鐘繇道:“郭援雖是我甥,但他始終是國賊。卿又何須賠罪?”)於是龐德拜中郎將,封都亭侯。後張白騎作叛於弘農,龐德復隨馬騰往徵,破叛軍於東西餚山之間。每次交戰,龐德常陷陣卻敵,勇冠馬騰軍隊。後馬騰被徵為衛尉,龐德便留屬馬超。
  建安十七年(公元212年)曹操破馬超於渭南,龐德便隨馬超逃入漢陽,保守冀城。
  建安十九年(公元214年)龐德又隨馬超投奔漢中,從屬張魯。
  建安二十年(公元215年)曹操平定漢中,龐德隨衆投降。曹操素聞其驍勇,拜龐德為立義將軍,封關門亭侯,邑三百戶。
  建安二十四年(公元220年)侯音、衛開等在宛城作叛,龐德領軍與曹仁共攻拔宛城,斬侯音、衛開,遂南屯於樊城,以討關羽。樊城諸將以為龐德之兄龐柔時在漢中,對龐德頗有猜疑。龐德常道:“我身受國恩,義在效死。我欲親身自擊關羽。今年我不殺他,他亦必殺我。”後來龐德與關羽交戰,引箭射中關羽前額。其時龐德常乘白馬,關羽軍皆謂之白馬將軍,對他甚為忌憚。曹仁使龐德屯兵於樊城以北十裏,正值天降霖雨十餘日,漢水暴溢,樊城下平地積水五六丈之深,於是龐德與諸將皆避水上堤。此時關羽乘船攻擊魏軍,以大船四面發箭射嚮堤上。龐德被甲持弓,箭不虛發。將軍董衡、部麯將董超等欲降關羽,盡被龐德收斬。龐德自平旦力戰至日過中,關羽攻勢漸急,箭矢用盡,雙方短兵接戰。龐德謂督將成何道:“我聞良將不怯死以苟免,烈士不毀節以求生,今日是我的死日。”於是意怒惡戰,氣概愈壯,然而水浸太盛,魏軍吏士皆降。龐德與麾下將一人、伍伯二人,收弓帶矢,乘小船欲還曹仁本營。不過暴水太盛,小船因而覆沒,弓矢盡失,龐德獨抱船覆於水中,為關羽所擒,被解回蜀營立而不跪。關羽便道:“卿兄今在漢中,我正欲以卿為將,為何不早降?”龐德大駡關羽道:“竪子,何謂投降!魏王帶甲兵百萬,威振天下。你們的劉備衹是庸纔而已,豈能敵魏王啊!我寧為國傢鬼,也不為賊將。”結果龐德為關羽所殺。曹操聞知此事甚為傷悲,為之流涕,於是封其二子為列侯。
  魏文帝黃初元年(公元221年)曹丕即王位,遣使前往龐德墓塚賜謚,策曰:“昔先軫喪元,王蠋絶脰,隕身徇節,前代美之。惟侯式昭果毅,蹈難成名,聲溢當時,義高在昔,寡人愍焉,謚曰壯侯。”又賜其子龐會等四人爵關內侯,邑各百戶。
  齊王芳正始四年(公元243年)立義將軍龐德從祀於太祖廟庭。
歷史評價
  文帝賜謚策曰:“昔先軫喪元,王蠋絶脰,隕身徇節,前代美之。惟侯式昭果毅,蹈難成名,聲溢當時,義高在昔,寡人愍焉,謚曰壯侯。”(《三國志魏書十八龐德傳》)
  陳壽評曰:“龐德授命叱敵,有周苛之節。”(《三國志魏書十八二李臧文呂許典二龐閻傳》)
白馬將軍
  龐德(?——219),字令明,漢魏之際南安郡獂道人。青年時代為郡府吏員,接着升為州衙從事。東漢獻帝時天下大亂,軍閥勢力興起,隴西一帶被馬騰占有,士馬強盛,號令西陲。約在初平年間(190一一193) 龐德投奔馬騰帳下。在平定羌民的徵伐中,他屢立戰功,被提升為校尉。建安年間 (196——220),馬騰率涼州兵團進入關中,並與袁紹勢力展開較量。他跟隨騰子馬超徵戰平陽,抵禦袁將郭援、高幹,在馬上親斬郭援首級,又被提升為中郎將,封都亭侯。張白騎在弘農反叛時,他隨馬騰討伐,大破自騎於兩淆間。每次出徵常衝鋒陷陣,勇冠涼州三軍。曹操在渭南大敗馬超後,隨馬超退回隴右根據地,保衛軍政中心冀城 (治今甘𠔌)。當地豪強薑、楊、趙、龐諸大姓配合曹操,斷丁馬超後路,使其進退維𠔌。為形勢逼迫,馬超選擇了投靠漢中張魯的計策。曹操經略漢中時,張魯主動投誠,龐德與衆將歸降。曹操見其撓勇異常,授官立義將軍,封關內亭侯,食邑三百戶。
  建安二十四年(218),他率隴西兵屯紮樊城,協助曹仁力挫關羽。兩軍對壘期間,常騎白馬馳騁奔殺,曾一箭射中關羽面額,威風八面,故蜀軍士兵都十分地驚怕,稱他為“白馬將軍”。時值暴雨季節,漢水泛濫,樊城一帶平地積水五六丈,曹軍被迫與敵軍水戰。他率諸將與關羽殊死搏鬥,箭嫉射盡,又短兵相接。而他格鬥益怒,膽氣愈壯,而洪水浸盛,蜀軍的圍攻更加猛烈。於是他對天起誓說:“吾聞良將不怯死以苟免,烈士不毀節以求生,今日我死日也。”這時,手下將士大多投降,而他獨乘小舟往來衝蕩,因浪高舟翻,弓箭漂失,被蜀軍擒獲。關羽敬重他的剛毅威武,以封將勸降,但他卻怒目不跪,並高聲斥駡:“竪子,何謂降也! 魏王帶甲百萬,威震天下。汝劉備庸纔耳,豈能敵耶?我寧為國傢鬼,不為賊將也。”於是被關羽所殺。氣節豪邁,骨鍍棱梭,遂稱一代名將。
後人敬仰
  曹操聽到龐德事跡,感動得淚流不己,下令封他的兩個兒子為列侯。曹丕登基後,派使臣到襄陽墓地致祭賜溢,褒揚他“惟侯式昭果毅,蹈難成名;聲溢當時,義高在昔。”溢壯侯。又在太祖陵廟的墻壁上繪製樊城大戰故事,上有“關羽戰剋,龐德憤怒、於禁降服”等場面。
  乾隆《隴西縣志·拾遺》記載:“白馬將軍廟,舊在城東赤山頂,世傳將軍為漢之李廣,凡巫祝必祀之,小兒有疾病,祈禳輒驗,雨踢亦禱。”縣志纂修者徵引民間說法以為該廟奉祀李廣,但也沒有加以肯定。經筆者再三推考,認為該廟當奉祀壯侯龐德,理由有三:其一,李廣乃西漢名將,史傳號稱“飛將軍”,從未有他“騎自馬”或有“白馬將軍”稱號的記錄。其二,本縣民間所稱“白馬將軍廟”僅此一處,而自古及今榮膺此號的隴右武將僅龐德一人,別無另選。其三,赤山即今紅山,為當年曹魏南安郡與隴西郡的界山,山下即古赤亭;登高遠眺,正南10多裏王傢新莊即是南安郡治獂道城所在。這裏是龐德任“郡吏”、踏上軍事徵途的起點。他盡忠後,得到朝延很高的禮遇褒揚,其故裏獂道縣也應有專祠紀念,而紅山頭祠宇以“白馬將軍”命名,正是地方官府及民衆對其欽佩有加永志不忘的表徵。因年代久遠,百姓的記憶産生差誤,或因封建時代尊劉貶曹正統觀念思想影響,該廟的主神位發生置換,纔有廟宇奉祀李廣的演化。 隴西的近鄰武山縣的大部,漢魏時代屬獂道轄地。武山縣志記載,在今四門鄉新莊村有龐德墓,立有墓碑,還有龐傢花園、 龐德上馬石等遺跡。2000年4月,四門鄉政府在該村洛禮公路旁重新竪立“龐德故裏”碑。
美國意象派作傢龐德
  龐德(1885-1972),意象派運動主要發起人,現代文學領軍人物。1885年10月30日出生於美國愛達荷州的海利鎮。先後就讀於賓西法尼亞州立大學和哈密爾頓大學。1908年移居英國。受芬諾洛薩(Fenollosa)的影響開始意想派創作。1921年遷居巴黎。在巴黎和倫敦期間除了繼續從事創作外,他發掘和扶植人才,與歐美文學界人士廣為交遊,為打破英美文學,尤其是英美詩歌的沉寂局面,為促進美國文學的“復興”作出了獨特的貢獻。他和雕塑傢、畫傢、音樂傢都有廣泛的聯繫,對歐美各國現代主義思潮的形成和發展都起了相當重要的作用。後來龐德開始探索一些社會問題,如貧睏、文藝的衰落等等,遺憾的是這些探索使他開始仇視現代工商業社會並最終走上了反猶主義,而且使其成為墨索裏尼狂熱的支持者。二戰期間他強烈抨擊美國的政策,戰爭結束後,他被美軍逮捕,押回本土等候受審。後因醫生證明他精神失常,再加上海明威和弗羅斯特等名人的奔走說項,他衹被關入一傢精神病院。1958年,龐德結束了12年的精神病院監禁,重返意大利居住,直至去世。
  龐德是葉芝(W.B.Yeats)的學生。詹姆斯·喬伊斯(James Joyce)的摯友,艾略特的同學,海明威的老師,且對他們有很大的幫助很影響。此4人均為現代派大傢。很遺憾,也許是因為政治原因,龐德始終沒有獲得諾貝爾奬。
  龐德主要作品有《面具》(1909)、《反擊》(1912)、《獻祭》(1916)、《休·西爾文·毛伯萊》(1920)和《詩章》(1917-1959)等。他的意象派作品中汲取了某些日本詩歌如俳句詩的寫作形式及特點。他在長詩《詩章》中闡述孔子學說,在1915年出版的《中國》中收集並翻譯了十幾首中國古詩。此外龐德還曾譯過《大學》、《中庸》、《論語》等。
美國法學家羅斯科·龐德
  生平
  (Roscoe Pound,1870年--1964年)是美國20世紀著名法學家。1870年,龐德出生於美國內布拉斯加州的Lincoln。龐德在內布拉斯加大學(University of Nebraska-Lincoln)學習植物學,分別於1888年和1889年獲得學士和碩士學位。1889年,他到哈佛大學法學院學習,一年後轉到西北大學法學院,在那裏讀完了法律學位。他返回內布拉斯加州開業當律師,繼續他的植物學研究。1898年,他在內布拉斯加大學獲得了植物學博士學位。
  1903年,龐德成為內布拉斯加大學法學院院長。1910年,他開始在哈佛任教,並於1916年成為哈佛大學法學院的院長。 他是“社會學法學”運動的奠基人,美國法律現實主義運動的早期代表人物,該運動主張更加實用地並依據公共利益來解釋法律,並側重於實際發生的法律過程,反對當時美國法學界盛行的法律實證主義。 他有力批判了當時美國最高法院以Lochner v. New York (1905)案為代表的有關“合同自由”的判例。龐德後來反對該運動,並在其生命的後期成了對法律現實主義的著名批判者。
  美國法學家,社會學法學派的主要代表之一。出身於法官家庭。曾任律師、內布拉斯加州最高法院上訴委員會委員、內布拉斯加大學法學院院長。1907年起先後在西北大學、芝加哥大學和哈佛大學執教。1916年起任哈佛大學法學院院長達20年之久。第二次世界大戰後曾任中華民國時期國民黨政府司法部和教育部顧問。主要著作有《社會學法學的範圍和目的》(1911~1912)、《法哲學導論》(1922)、《法製史闡述》(1923)、《法和道德》(1924)、《通過法律的社會控製》(1942)、《法的任務》(1944)、《正義來自法律》(1951)和《法理學》(5捲集,1959)。最後一書是他過去著作的概述。龐德學說的思想淵源主要是實用主義哲學、美國L.F.沃德(1841~1913)和E.A.羅斯(1866~1951)的社會學以及R.von耶林的新功利主義法學。他在《社會學法學的範圍和目的》中曾提出社會學法學派的6點綱領,以後又擴大為下列8點:①研究法律制度、規則和學說的實際社會效果。②為立法準備而進行社會學的研究。③研究使法律規則發生實效的手段。④研究法律方法:對司法、行政和立法等活動進行心理學研究以及對理想進行哲學研究。⑤對法律史進行社會學的研究。⑥重視對法律規則的個別適用,即合理和公平地解决每一案件。⑦在普通法係國傢設立司法部的作用應主要在於研究法律的作用。⑧以上各點宗旨都在於使法律目的更有效地實現。 從強調實現法的目的、法的效果這一前提出發,龐德認為法是一種社會工程,一種社會控製的工具。法的目的和任務在於最大限度地滿足、調和相互衝突的利益。利益是法律保護的基本因素,權利是法律上被保護的利益。為了實現這些任務,就必須正確地對各種利益進行分類:①個人利益,其中又包括人格、家庭關係和物質三方面的利益。②公共利益,包括國傢作為法人在維護其人格和物質方面以及作為社會利益捍衛者的利益。③社會利益,其中包括一般安全、社會組織安全、一般道德、社會資源、一般進步以及個人生活等各方面的社會利益。
  由於法的目的和任務在於調和相互衝突的利益,就必須對這些利益進行評價,從而也就要有藉以評價的價值準則。龐德在20世紀初曾提出文明社會在私法方面的五個方面的法律前提,主要是關於保護人身財産安全、所有權、履行契約義務和過失行為責任;在40年代,他又補充了有關勞動和其他社會立法的三個方面的前提;他認為20世紀法的理想圖畫是:一方面促進個人主動精神,另一方面實現社會合作。
  龐德認為法的發展經歷了如下五個階段:①原始的法,如《漢穆拉比法典》,其目的在於謀求和平,防止血親復仇;②嚴格的法,如羅馬法和英國中世紀的法,其目的在於法的確定性和統一性;③17、18世紀的衡平法和自然法,其目的在於以道德觀念改正上一階段法律形式的嚴格性;④成熟的法,如英美19世紀的法,其目的不僅在於確定性,而且在於謀求一切人的平等和安全; ⑤社會化的法,即19世紀後期開始的西方各國的法,目的在於使社會化觀念進入法的領域。在1959年的《法理學》一書中,他又補充了一個論點:下一階段的法是世界法,今後法學家的迫切任務可能是提出局部性立法和行政同世界統一的普遍法律原則之間的關係。早在1947年,他就呼籲建立"新的萬民法"或"世界範圍的法律秩序"。
  龐德是20世紀西方各國,尤其是美國法學界最有權威的法學家之一。他所代表的社會學法學長期來在美國法學中占有主導地位。
  作品選
  《法理學概述》(Outlines of Lectures on Jurisprudence),1914年
  《普通法的精神》(The Spirit of the Common Law),1921年
  《法與道德》(Law and Morals),1924年
  《美國刑事公正》(Criminal Justice in America),1930年。
英文解釋
  1. n.:  Ezra Pound
近義詞
壯候