yuèdòuhā tè · kè lāi 'ēn Hart Cranezài诗海dezuòpǐn!!! | |||
tā de zuì zhòng yào de zuò pǐn héng héng dān xíng běn de cháng shī《 qiáo》 héng héng yòng mí kuáng de yǔ yán zhǎn xiàn liǎo yī gè guān yú měi guó lì shǐ hé jīng shén de zhòng yào xìng de páng dà huàn xiàng。 xiàng 'ài lüè tè yī yàng， kè lāi 'ēn zhì lì yú yùn yòng xiàn dài gōng yè huà dū shì zhōng de jǐng guān lái chuàng zào qiáng yòu lì de xīn de wén xué yǔ mǎ。
kè lāi 'ēn cóng xiǎo shòu jī dū jiào kē xué pài jiào yì yǐng xiǎng hěn shēn， ér zì jǐ yòu shì tóng xìng liàn， xù jiǔ chéng pǐ， jù shuō wéi yī de yì xìng liàn jīng lì shì yǔ péng yǒu mǎ kǎo mǔ · kǎo lì（ 1898-1989《 liú fàng zhě guī lái》 de zuò zhě） de qián qī， jīhū dào liǎo tán hūn lùn jià de chéng dù， rán 'ér tā zài 1932 nián 4 yuè 26 rì wǔ shí guò hòu zài fó luó lǐ dá zhōu wài de chuán shàng tiào hǎi zì shā， shī tǐ cóng wèi zhǎo dào。
kè lāi 'ēn de fù qīn zài 1912 nián tuī chū LifeSavers táng guǒ， cóng cǐ shēng yì yuè zuò yuè fā dá， tā fù qīn xī wàng tā jiāng lái yòu yī tiān néng gòu jiē shǒu jiā zú qǐ yè， rán 'ér tā què yào zuò yī gè shī rén。 tā gāo zhōng bì yè hòu jiù piào zài niǔ yuē， gěi zài jiā xiāng kè lì fū lán de fù qīn xiě xìn， xī wàng zhè gè táng guǒ shāng néng gòu lǐ jiě tā zhuī qiú yì shù de yì yì。 dāng rán， zhè yàng de xìn shì hěn nán xiě， xìn de jié wěi qí zhōng yòu zhè me yī duàn huà： “ zài wǒ shōu bǐ zhī jì， wǒ qí yuàn nín néng yòu xiá sī kǎo héng xiǎng xiàng jǐn jǐn wèile chún cuì rè zhōng yú chéng jiù mǒu zhǒng měi 'ér láo zuò， -- zhè zhǒng měi de chéng guǒ huò xǔ nán yǐ shòu mài， yì bù néng zēng jiā qí tā shāng pǐn zhī xiāo liàng， rán 'ér cǐ nǎi rén yǔ rén zhī jiān de jiāo liú， rén lèi lǐ jiě yǔ qǐ méng zhī jiān de niǔ dài héng cǐ nǎi zhēn zhèng láo zuò de yì yì suǒ zài。 rú ruò nín néng jù cǐ sī kǎo， dìng dāng lǐ jiě wǒ wéi hé wěi suí yī kē 'àn dàn de xīng chén， zhī dào wǒ shí fēi chī yú。 wǒ zhī suǒ qiú， zhǐ zài wéi hòu rén liú xià mí yòu jià zhí zhī wù， ér cǐ děng zhuī qiú zì huì yào qiú wǒ zuò chū yī dìng de xī shēng， yǐ biàn shí xiàn zì jǐ nèi zài de zhí dé fèng xiàn zhī wù。 wèicǐ mù biāo， wǒ jiāng zuò chū yī qiē kě néng de xī shēng。 ”
tā shēng qián zhǐ chū bǎn liǎo liǎng běn shī jí héng héng《 bái sè lóu qún》（ 1926） hé《 qiáo》（ 1930）。
ràng wǒ men cóng tā de shī gē jiǎo dù qù lǐ jiě zuò zhě：
hā tè · kè lāi 'ēn
HartCrane
1899 héng héng 1932
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……… zhī dào wǒ men mí shàng liǎo
nà shēn shēn de jīng qí， wǒ men de gù tǔ………
héng héng《 dà qiáo》
hā tè · kè lāi sī de shī yǔ“ nà shēn shēn de jīng qí， wǒ men de gù tǔ” shì nà yàng dì xié diào， yīn cǐ， suī rán tā de zuò pǐn zài měi guó yǐ wài guǎng wéi chuán sòng， dàn tā de fēng gé réng míng xiǎn dì bǎo liú zhe gè rén hé mín zú de tè sè。 tā zài chāo yàn zhù yì de chuán tǒng zhōng fā zhǎn， dàn wú fǎ guò yī zhǒng dùn shì de shēng huó。 tā de mǔ qīn shì yī gè dǔ xìn jī dū jiào de kē xué jiā， duì tā de zǎo nián shēng huó yòu hěn dà yǐng xiǎng。 tā yǐn dǎo tā xiāng xìn gè rén zhù yì jīng shén yīnggāi gāo yú jū cì yào dì wèi de wù zhì shì jiè， bìng qǐ tú tōng guò huàn xiǎng huò dé yī zhǒng jī běn xiàn shí。 tā zài jīng shén shàng zuò liǎo nǔ lì， dàn zài xíng tǐ shàng tā réng bèi jìn gù zài zhè jū yú dì 'èr wèi de shì jiè shàng。 tā méi yòu huá 'ěr dùn hú [1]； yīn cǐ xiàn rù liǎo yī gè cán kù de xīn lǐ máo dùn zhī zhōng， tā suǒ shòu de zhèng guī jiào yù hěn yòu xiàn， shí qī suì shí jiù tà rù liǎo dào chù dōushì shī yè de shè huì。 tā de fù mǔ fēn jū hěn zǎo。 tā zì jǐ shì gè tóng xìng liàn zhě， ér qiě shì jiǔ chéng xìng。 tā shí 'ér lè guān， shí 'ér gǎn dào jí dù jué wàng， zhè zhǒng zì xiāng máo dùn de qíng kuàng zhí dào tā sān shí sān suì zì shā zhī qián (1932) réng méi yòu dé dào jiě jué。
tā de shū xìn suī rán hěn shǎo shè jí guó jiā dà shì， dàn zhù yào tán de shì wén xué fāng miàn de shì。 zhèng shì zhè zhǒng qiáng liè、 bù xiè de sī xiǎng zhuī qiú， cái shǐ tā de shī chōng mǎn liǎo xǔ duō ( yòu shí shì xiāng hù chōng tū de ) yǐn yù。 zài lìng yī gè jué wàng dào lái zhī qián， tā sì hū bù gù yī qiē dì zhuī qiú zhe shēng mìng hèshī。
hā tè · kè lāi sī chū shēng zài 'é hài 'é zhōu de gài léi cì wéi lè， shì jiā zhōng de dú shēng zǐ。 tā de fù mǔ hěn fù yòu， dàn zài tā shí suì de shí hòu biàn lí yì liǎo。 tóng nián shí dài tā hěn xǐ huān huàn xiǎng， ér qiě xǐ huān dǎ bàn dé yī guān chǔ chǔ。 tā yī shēng dū wèi wàng jì tā zài《 guì gé shān》 yī shī zhōng chēng zhī wéi“ duì lí yì shuāng qīn de zǔ zhòu”。 shí qī suì nà nián tā lí kāi liǎo 'é hài 'é zhōu kè liè fó lán de xué xiào。
kè lāi sī zài xiào qī jiān jiù yǐ kāi shǐ xiě shī。 zài tā bǎo cún xià lái de zuì zǎo de shī zuò zhōng， yǐn yù hé yì xiàng hěn duō。 zhè jì shì tā jiào chéng shú zuò pǐn de lì liàng zhī suǒ zài， yě shì qí huì sè nán dǒng de yuán yīn。
dà dì de mài bó zhōng fèi téng de rǔ xuè
jiǔ jiǔ dì， mò mò dì， fèn lì zhèng duàn zhè cǎo mù de
yāo dài……
kè lāi sī gān guò jǐ nián zá huó， céng zài niǔ yuē zuò guò diàn yuán， zuò guò guǎng gào zhuàn gǎo yuán děng děng。 zhè xiē bù chēng xīn de gōng zuò tā gānde dōubù jiǔ。 zài cǐ qī jiān， tā céng dú zì huò xié tóng mǔ qīn dào 'ōu zhōu， gǔ bā děng dì lǚ xíng。 1919 nián， huán jìng pò shǐ tā jiē shòu liǎo fù qīn zài 'ā kè lún de yī jiā shāng diàn gěi tā de yī fèn gōng zuò。 tā yǔ fù qīn gēn běn hé bù lái， suǒ yǐ zhè gè gōng zuò yě méi yòu qiān duō jiǔ。
1920 nián tā zhōng yú dìng jū niǔ yuē， xiǎng zài yínháng jiā 'ào tuō · kǎ 'ēn de zàn zhù xià， nǔ lì kào xiě shī wéi shēng。 1923 nián tā wán chéng liǎo dì yī bù zhòng yào de cháng shī《 xiàn gěi fú shì dé hé hǎi lún de hūn lǐ》， hòu lái shōu rù tā de dì yī bù shī jí《 bái sè jiàn zhù》 (1926) zhōng。 wèile shǐ tā néng gòu xiě chū《 dà qiáo》 yī shī， kǎ 'ēn céng jiè qián gěi tā。 kè lāi sī dào gǔ bā fù jìn de sōng shù dǎo zhù liǎo jǐ gè xīng qī， xiě chū liǎo yī xiē hěn yōu měi de shū qíng shī。 zhè xiē shī chéng wéi《 dà qiáo》 de zhòng yào zǔ chéng bù fēn。 zài liǎng gè jué wàng de nián tóu zhōng， tā yī gè zì dōuméi xiě， jiē zhe yòu dào jiù jīn shān hé fǎ guó dù guò liǎo yī gè qiàn shōu de jì jié。 1929 nián qiū fǎn huí měi guó hòu， tā quán píng zhe gè rén de yì zhì 'ér bù shì líng gǎn， wán chéng liǎo《 dà qiáo》。 1931 nián tā huò dé liǎo gǔ gēn hǎi mǔ yán jiū jī jīn， fù mò xī gē zhǔn bèi xiě yī bù yòu guān méng tài zǔ mǎ [2] de shǐ shī， dàn zhè shí tā jīhū jiāng láng cái jìn， jīng shén miàn lín zhe quán miàn bēng kuì。 tā xiě liǎo jǐ shǒu duǎn shī， zǔ chéng liǎo《 xī bù yào 'ài： yī shù dǎo》 hé《 pò liè de tǎ》：
dài líng de shéng suǒ zài lí míng zhuài lái liǎo shàng dì
bǎ wǒ fàng kāi fǎng fó wǒ diū luò liǎo yī gè
mò rì de sāngzhōng héng héng chí chú zài dà jiào táng zhōng de yǒng dào shàng
cóng shēn yuān dào yé sū shòu nán xiàng， cóng dì yù zǒu chū de jiǎo bù
yuè zǒu yuè bīng liáng。
jìn guǎn tā 1932 nián tóu yī cì yǔ yī gè nǚ rén zhèng shì jié hūn， dàn tā de shī bài gǎn yǐ bù kě wǎn huí。 1932 nián 4 yuè 27 rì， zài mò xī gē huí měi guó de tú zhōng， tā cóng 'ào lǐ zhā bā hào kè lún shàng tóu shuǐ zì jìn liǎo。
cóng tā de zǎo qī shī gē zhōng kě yǐ kàn chū， tā duì suō shì bǐ yà， wéi bó yǐ jí mǎ luò de yǔ yán dū fēi cháng shú xī。 zhè duì tā hòu qī yōu xiù de yǐn yù fēng gé yǐng xiǎng hěn dà。 fǎ guó shī rén yú lè · lā fú gé yǐ jí tā shǐ yòng de fěng yù yǔ qì duì tā yě hěn yòu xī yǐn lì。 tā fān yì liǎo lā fú gé de《 yuàn gē jí》。 zhè wèi xiàng zhēng pài dà shī duì tā de yǐng xiǎng zài《 zhuó bié lín》 hé《 hēi shǒu gǔ》 zhōng biǎo xiàn dé fēi cháng míng xiǎn。 tā zài《 zhuó bié lín》 zhōng xiě dào：
wǒ men jìn xíng liǎo shì zhōng de tiáozhěng，
duì zhè zhǒng suí yì de 'ān wèi gǎn dào mǎn yì
jiù xiàng fēng 'ér huǎn huǎn dì
zài hěn kuān chǎng de kǒu dài lǐ chén jī。
rán 'ér tā jiān chí de dào lù shì lè guān de， tā yòng zhān mǔ shì yī shì shí qī de fēng fù yǔ yán kěn dìng liǎo 'ài lüè tè zài《 huāng yuán》 zhōng duì shēng huó suǒ zuò de quán bù fǒu dìng。 1923 nián tā zài yī fēng xìn zhōng xiě dào：“ wǒ bǎ 'ài lüè tè zuò wéi yī gè xiàng zhe wán quán bù tóng fāng xiàng qián jìn de chū fā diǎn。 jiù tā de qíng kuàng lái shuō， tā de bēi guān zhù yì shì shí fēn hé hū qíng lǐ de， dàn shì wǒ yào jìn kě néng dì yùn yòng wǒ néng cóng tā nà lǐ xué dào de zhī shí yǔ jì qiǎo， zhì dìng yī gè gèng wéi lè guān huò zhě ( jiǎ rú wǒ bì xū zài yī gè huái yí de shí dài zhè yàng shuō de huà ) gèng lìng rén táo zuì de mù biāo。”
kè lāi sī de xīn lǐ xiàng dǎo， dàn hái shì fēng gé xiàng dǎo， shì huì tè màn。
shì de， huì tè màn
chóngxīn jǔ qǐ bù fá， xiàng qián jìn bù tíng liú
bù hěn kuài， yě bù tū rán héng héng bù， jué bù yào cóng nǐ hū zhōng
sòu kāi wǒ de shǒu
huì tè màn héng héng
jiù zhè yàng héng héng
méi 'ěr wéi 'ěr gěi tā de qǐ fā shì duì dà hǎi hé dà hǎi xíng xiàng de dà liàng xiàng zhēng xìng shǐ yòng。 zài《 bái sè jiàn zhù》 de《 háng hǎi》 zǔ shī zhōng tā bǎ zhè gè xíng xiàng yòng dé hěn yòu lì：
héng héng rán 'ér yǒng héng zhè wěi dà de shùn jiān，
nà wú biān de hóng shuǐ， suí fēng jī dàng，
xiàng jǐn duàn yī yàng xíjuǎn……
zài《 fú shì dé hé hǎi lún de lián yīn》 zhōng， tā cǎi yòng yòu yì shí de lè guān zhù yì fāng fǎ qù shí xiàn tā chāo yuè wù zhì shì jiè de hóng wěi mù biāo。 quán shī de sān gè bù fēn yòng xiàn dài yǔ yán miáo huì fú tǔ dé“ wǒ zì shēn de xiàng zhēng， fù yòu shī yì huò xiǎng xiàng lì de yǒng héng rén wù” shǐ zhōng zhōng shí yú hǎi lún“ zhè měi de huà shēn”。 zhè shǒu shī sì hū zài jí bù lì de tiáo jiàn xià， zài xiǎn zhù de lè guān zhù yì qì fēn zhōng， dá dào liǎo gāo cháo：
gé wài dì zàn sòng zhè xiē nián tóu， tā men
yì huī fā de liúxiě de shǒu， shēn zhǎn bìng qiě fǎn fù qiāo dǎzháo shāng dù
xiǎng xiàng lì kuà yuè guò jué wàng，
chāo yuè liǎo jiāo yì、 cí yǔ hé qí dǎo。
yǔ yán、 jié gòu hé xíng xiàng dū huì sè nán dǒng。 kè lāi sī zài《 zǒng mù biāo hé zǒng lǐ lùn》 zhè piān lùn wén zhōng， shì tú jiě shì zhè zhǒng yǔ yán jié gòu hé xíng xiàng。 tā de qǐ tú shì yào zài gǔ diǎn jīng yàn hé“ wǒ men dāng jīn zhè gè fèi téng、 hùn luàn de shì jiè zhōng de bù tóng xiàn shí zhī jiān dā qǐ yī zuò qiáo liáng， yīn cǐ wǒ fā xiàn ‘ hǎi lún ’ chéng zuò zhe jiē chē， rén men xiàng tā qiú hūn hé yǐn yòu tā de jiǔ shén jié huān yàn bèi zhuǎn yí dào yī zuò yòu jué shì yuèduì bàn zòu de dà dū shì wū dǐng huā yuán lǐ。 wǒ rèn wéi tè luò yī xiàn luò de‘ jìng huà’ kě yǐ tóng zuì jìn zhè cì shì jiè dà zhàn zhōng de‘ jìng huà’ xiāng tí bìng lùn。” tā wéi yǔ yán hé 'àn yù de huì sè biàn hù， shuō zhè shǒu shī de jié gòu“ jiàn lì zài 'àn yù luó ji” de yòu jī yuán lǐ shàng。 yán xià zhī yì shì shuō， àn yù de lì liàng shèng yú luó ji sī wéi， yīn wéi tā bǐ luó ji sī wéi gèngzhíjiē。 tā jǐyǔ wǒ men mǒu zhǒng tǐ yàn， ér bù shì yī zhǒng sī xiǎng。 àn yù yòu zhe zì shēn de luó ji， yǔ sī wéi luó ji jié rán bù tóng。 wèicǐ， tā yǐn yòng liǎo zhè shǒu shī zhōng de yī gè lì zǐ， jiě shì shuō“ yī jià fēi jī de sù dù yǔ gāo dù” yòng“ xùn sù yí dòng” de yì niàn lái 'àn shì yào hǎo dé duō， yīn wéi tā yě 'àn shì chū liǎo fēi jī hé fēi xíng sù dù yǔ jìng zhǐ lóng qǐ de dì qiú zhī jiān de fǎn chèn。” tā zài lùn wén de jié wěi shuō：“ yǔ yán jiàn lì qǐ gāo tǎ yǔ qiáo liáng， dàn běn shēn què shǐ zhōng zhào lì dì liú dòng biàn huà zhe。” tā de zhè xiē jiě shì yòu qǐ fā xìng， dàn méi yòu jiě jué xíng xiàng yōng sài zhè yī jī běn wèn tí， ér qiě kè lāi sī méi yòu tí jí tīng jué xié zhèn (auralresonance) de wèn tí。 tīng jué xié zhèn suī rán bù zhòng shì jiě shì， dàn guàn chuānzhuó quán shī， gěi liǎo zhè shǒu shī nà pà shì zuì nán dǒng de dì fāng yī zhǒng zhěng tǐ lián guàn gǎn， àn shì zhe lìng rén táo zuì de mù biāo。
《 bái sè jiàn zhù》 zhōng de《 háng hǎi》 shì yóu liù shǒu shī zǔ chéng de zǔ shī， tā jiāng dé chū yī gè chāo yàn de jié lùn héng héng“ zhè gè shì jiè shàng ／ méi yòu yī yàng dōng xī xiàng zhè yàng。” zuì hòu yī duàn shì gē sòng héng héng chū shén rù huà bì xū bù shòu shí jiān yǔ xiàn shí shì jiè de xiàn zhì， dàn tā yīnggāi shì xuán xué de， zài xiǎng xiàng de shì jiè zhōng bèi biàn xíng：
zhè yòu xíng de cí， shì tā zhuā zhù
chén jìng xià lái de liǔ shù， gù dìng zài qí zhōng。
zhè shì bù lù shēng sè de huí dá
qí kǒu yīn zhǐ yòu cóng gào bié huà zhōng cái néng tīng chū。
《 dà qiáo》 duì kè lāi sī de zhòng yào xìng zài tā de xìn zhōng jiǎng dé hěn qīng chǔ。 tā cóng lì shǐ hé wén huà de fàn wéi lǐ yǔ《 āi niè 'ā sī jì》 [3] zuò bǐ jiào，“ tā zhì shǎo shì yī shǒu yòu shǐ shī zhù tí de jiāo xiǎng qū”，“ qí jié gòu yǔ《 huāng yuán》 tóng yàng fù zá。” yòu xiē pī píng jiā rèn wéi zhè shì yī shǒu gōng chéng hào dà dàn méi yòu yì yì de làng màn gù shì。 bù guò kè lāi sī zuì zhōng de shī rén dì wèi xiǎn rán bì xū gēn jù zhè yī shǒu shī lái zuò pàn duàn。 díquè， kè lāi sī zì jǐ yě xī wàng zhè yàng zuò。
zhè shǒu shī de bù fēn jié wěi shì shì xiān jiù xiě hǎo de。 kè lāi sī duì zhè shǒu shī de gòu sī zǎo yǐ chéng zhú zài xiōng。 tā bǎ zhè shǒu shī dāng zuò“ měi guó” de yī gè“ shén mì de zōng hé tǐ”。“ lì shǐ yǔ shì shí、 dì diǎn děng děng， yī qiēdōu bì xū zhuǎn huà chéng jīhū kě yǐ dān dú qǐ zhù tí zuò yòng de chōu xiàng xíng shì。” bù lǔ kè lín dà qiáo chéng wéi xī wàng hé wèi lái， měi guó zǒu xiàng“ ā tè lán tí sī [4]” de xiàng zhēng。 zhè gè lǚ chéng chóngxīn huàn qǐ měi guó lì shǐ chuán shuō zhōng de rén wù yǔ dì diǎn。 gē lún bù、 bō kǎ hóng dá sī [5]、 ruì pǔ、 fán · wēn kè 'ěr、 huì tè màn、 méi 'ěr wéi 'ěr、 ài lún · pō hé qí tā rén wù dōuzài shī zhōng chū xiàn。“ suì dào” yī duàn biǎo xiàn de shì zài dào dá míng liàng de 'ā tè lán tí sī zhī qián de huàn miè gǎn hé nà zhǒng chuán shuō zhōng shǐ shī shì de xià dì yù，“ héng héng yī shǒu gē， yī zuò huǒ zhī qiáo！ tā shì zhōng guó má……？ zài《 xù shī： zhì bù lǔ kè lín dà qiáo》 zhè shǒu shī zhōng， kè lāi sī shí jiàn liǎo tā zài《 xiàn dài shī gē》 yī wén zhōng tí chū de yuán zé：‘ chú fēi jī qì rén shī， jiù xiàng shù mù nà yàng zì rán dì rù shī， fǒu zé shī gē jiù wán quán shī qù liǎo dāng dài de gōng yòng。” dì yī duàn《 huān yíng mǎ lì yà》 jǐn jiē zài shì tú jiāng jī qì yǐn rù shī de《 xù shī》 zhī hòu。 zài zhè yī duàn zhōng， kě yǐ kàn dào gē lún bù shòu dào jiāng dōng fāng yǔ xī fāng jié hé wéi yī tǐ de lǐ xiǎng de gǔ wǔ， cóng xī lù dào dá liǎo zhōng guó：“ nà lǐ shì lí míng héng héng／ hē， wǒ men de yìn dù wáng guó jiù mù yù zài
dì 'èr duàn《 bō hā tǎn de nǚ 'ér》 shì 'ā měi lì jiā de xiàng zhēng xìng“ shēn tǐ”。 zài zhè yī duàn zhōng， chún jié de bō kǎ hóng dá sī lòumiàn liǎo， xià shǔ de wǔ gè fēn duàn dū miáo xiě de shì cóng niǔ yuē mòluò de wù zhì zhù yì zǒu xiàng lǐ xiǎng huà de xī fāng， cóng xiàn zài zǒu xiàng guò qù ( yǐ jí wèi lái ) de xíng xiàng。 zài zhè gè guò chéng zhōng， zhù rén gōng bō kǎ hóng dá sī de qíng rén róng wéi yī tǐ。 tōng guò tā zài huǒ xíng zhù shàng de xī shēng， tā huò dé liǎo xīn shēng， yǐ jìn xíng jīng shén shàng de lǚ xíng：“ bāo guǒ zài nà duī huǒ zhōng， wǒ kàn jiàn gèng duō de shǒu hù rén xǐng lái／ héng héng hū yǐn hū xiàn， jí páo shàng shān lēng xiàng yī gǔ cháo liú。”
dì sān duàn《 duǎn páo》 jiǎng dào shí jiǔ shì jì kāi wǎng zhōng guó de nà zhǒng kuài sù fān chuán：“ pī bō zhǎn làng， chuán dǐ kāi chū lǜ sè de cǎo dì／ suǒ zài fēng de jī líng lǐ， tā mendōu xiàng dōng fāng xíng shǐ。” dì sì duàn zhù yào shì xiě fēi xíng yuán shì shuǐ shǒu de jiē bān rén：“ chuān guò míng liàng de qíng kōng、 zhǎn kāi zhe， wèi céng shuì mián／ chì bǎng jiǎn cái zhe guāng míng zuì hòu de biān yuán。”
dì wǔ duàn zhōng yòu yǐ nǚ rén， jí“ měi guó de shēn tǐ” wéi zhù tí de《 sān shǒu gē》。 dì liù duàn《 guì gé shān》 yòng de shì zìzhuàn xìng de cái liào， āi tàn xīn yīng gé lán jīng shén de mòluò：“ zhè lǐ céng shì‘ xī wàng zhī xiāng’。”
zài《 suì dòng》 zhōng， xiàng dì yù de chén jiàng xiàng zhēng xìng dì miáo huì wéi xiàng niǔ yuē dì xià tiě dào de chén jiàng。“ shuí de tóu lú zài gǔ qǐ de tiě tiáo shàng yáo bǎi？ shuí de shēn tǐ yán zhe lǎo tiě guǐ mào yān？” shòu zhé mó de líng hún yě tóng yàng yīn wéi shì niǔ yuē de shì mín 'ér shòu dào zǔ zhòu， tiān tiān jīng shòu zhe cháng guī de wǔ rǔ。 zhè yī duàn de jié wěi mó fǎng liǎo 'ài lüè tè：
wǒ men jí dù tòng kǔ de wěn， nǐ jù jí，
hē， huǒ zhī zǐ
jù jí héng héng
zhè shǒu shī xiàng wài bù mō suǒ qián jìn， zǒu dào liǎo lù tiān zhōng， ér qiě zài zuì hòu yī duàn《 ā tè lán tí sī》 zhōng， dà qiáo wán gōng liǎo：
hē， nǐ gāng huà liǎo de rèn shí， tā de kuà yuè
tóu rù yún què huí guī de líng qiǎo qū yù；
zài tā shéng suǒ kě jí de fàn wéi nèi
chéng shuāng chéng duì dì zài dān gè de dié yǒng zhōng gē chàng…………
yóu yú《 dà qiáo》 lì tú dá dào shǐ shī xiào guǒ， suǒ yǐ tā yī zhí shì yīng wén zhōng zuì nán dǒng de yī shǒu shī。 suī rán tā yòu quē xiàn， tè bié shì jīng guò yī duàn nán chǎn qī hòu， hā tè kè lāi sī nǔ lì xiě chéng de mǒu xiē duàn luò， rú《 yìn dì 'ān nà》、《 hā tè lā sī jiǎo》 hé《 guì gé shān》， lǐ xiǎng zhù yì hé lè guān zhù yì de kuáng xǐ wǎng wǎng hěn yòu lì， jìn guǎn yòu shí hěn qiānqiǎng。 zài měi guó shī gē zhōng hěn nán zhǎo chū yǔ zhī pǐ dí de duì shǒu。 zhè shì yī bù yòu quē xiàn de jié zuò。 shǐ shī hé làng màn de chōng dòng sì hū yòu fēn qí。 zhè shǒu shī de cháng dù zhǐ chì bǔ yī qiān xíng， quē xiàn shì yán zhòng de： huì sè、 jiáo róu zào zuò， yě xǔ zài bù zì rán de lè guān zhù yì zhōng yòu mǒu zhǒng chéng dù de bù chéng shí。 dàn shì yī jīng lǎng dú， zhè shǒu shī zài jié zòu shàng biàn yòu nà zhǒng lǐ xiǎng shì de xióng xīn bó bó de zhāng lì， hái yòu duì zhè yī cháng shì de jià zhí de jiān dìng xìn niàn。
héng héng yī shǒu gē， yī zuò huǒ zhī qiáo： shì zhōng guó má，
cǐ shí lián mǐn chén jìn zhe qīng cǎo， cháng hóng tào zhù liǎo
nà tiáo shé， xióng yīng zài yè zǐ jiān………？
yìng dá lún chàng de dī yǔ zài tiān kōng zhōng yáo yè。
kè lāi sī zài tā shēng mìng de zuì hòu liǎng nián zhōng jīhū zài méi yòu xiě chū shénme shī lái，《 dà qiáo》 bǎ tā de jīng lì xiāo hào dài jìn liǎo。 bù guò《 pò liè de tǎ》 tí chū liǎo yī gè jiān ruì de wèn tí。
wǒ qīng tù liǎo wǒ de huà yǔ。 rán 'ér tā shì fǒu tóng yì yǔ
jìzǎi zhe nà gè kōng zhōng fǎ tíng de jūn zhù
qí gǔ wéi dà dì dù shàng tóng sè， zài shāng hén lǐ xiě xià
shì chè de shèng yù， céng fā shì gěi yú xī wàng yī yī què biàn chéng liǎo jué wàng？
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[1] měi guó chāo yàn zhù yì zhě suō luó shí jiàn tā chāo yàn zhù yì lǐ xiǎng de dì fāng。 héng héng yì zhě
[2] méng tài zǔ mǎ (montczuma： 1466 héng 1520) mò xī gē yìn dì 'ān qiú cháng。 xī bān yá zhēng fú gāi dì shí bèi fú， fù wáng wèi hòu bèi tóng zú rén shā sǐ。 héng héng yì zhù
[3] gǔ luó mǎ shī rén wéi jí 'ěr de zhù míng shǐ shī。 héng héng yì zhù
[4] chuán shuō zhōng céng zài zhí bù luó tuó dà xī yáng xī bù cún zài guò de dǎo yǔ huò lù dì。 héng héng yì zhù
[5] bō kǎ hóng dá sī： (1595--1617) měi guó yìn dì 'ān rén qiú cháng bō hā tǎn de nǚ 'ér。 jù shuō céng yuán jiù guò yīng guó zhí mín zhù yì lǎo yuē hàn ． shǐ mì sī． hòu yǔ yī bái rén chéng qīn。 héng héng yì zhù
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zuò zhě： qióng sī fān yì： tānɡ cháo lù xiào： lixiaoshi zhì zuò： è rén gǔ zhū lóu zhuǎn tiē qǐng zhù míng
Life and work
Born in Garrettsville, Ohio, Hart Crane’s father, Clarence, was a successful Ohio businessman who had made his fortune in the candy business with chocolate bars. He originally held the patent for the Life Saver, but sold his interest to another businessman right before the candy took off. Crane’s mother and father were constantly fighting, and in 1916 they divorced. It was shortly thereafter that Hart dropped out of high school and headed to New York City. Between 1917 and 1924 he moved back and forth between New York and Cleveland, working as an advertising copywriter and a worker in his father’s factory. From Crane's letters, it appears that New York was where he felt most at home, and much of his poetry is set there.
Crane was gay and associated his sexuality with his vocation as a poet. Raised in the Christian Science tradition of his mother, he never ceased to view himself as a pariah in relation to society. However, as poems such as "Repose of Rivers" make clear, he felt that this sense of alienation was necessary in order for him to attain the visionary insight that formed the basis for his poetic work.
Throughout the early 1920s, small but well-respected literary magazines published some of Crane’s lyrics, gaining him, among the avant-garde, a respect that White Buildings (1926), his first volume, ratified and strengthened. White Buildings contains many of Crane’s best lyrics, including "For the Marriage of Faustus and Helen," and a powerful sequence of erotic poems called "Voyages," written while he was falling in love with Emil Opffer, a Danish merchant mariner.
"Faustus and Helen" was part of a larger artistic struggle to meet modernity with something more than despair. Crane identified T. S. Eliot with that kind of despair, and while he acknowledged the greatness of The Waste Land, he also said it was "so damned dead," an impasse, and a refusal to see "certain spiritual events and possibilities." Crane’s self-appointed work would be to bring those spiritual events and possibilities to poetic life, and so create "a mystical synthesis of America." This ambition would finally issue in The Bridge (1930), where the Brooklyn Bridge is both the poem’s central symbol and its poetic starting point.
The Bridge received poor reviews for the most part, but much worse than that was Crane’s sense of failure. It was during the late '20s, while he was finishing The Bridge, that his drinking, always a problem, got notably worse.
While on a Guggenheim Fellowship in Mexico in 1931-32, his drinking continued while he suffered from bouts of alternating depression and elation. His only heterosexual relationship - with Peggy Cowley, the soon to be ex-wife of his friend Malcolm Cowley - who joined Crane in the south when the Cowleys agreed to divorce, occurred here, and "The Broken Tower," one of his last published poems, emerges from that affair. Crane still felt himself a failure, though, in part because he recommenced homosexual activity despite his relationship with Cowley. Just before noon on 27 April 1932, while onboard the steamship SS Orizaba[1] heading back to New York from Mexico - right after he was beaten up for making sexual advances to a male crewmember, which may have appeared to confirm his idea that one could not be happy as a homosexual - he committed suicide by jumping into the Gulf of Mexico. Although he had been drinking heavily and left no suicide note, witnesses believed Crane's intentions to be suicidal, as several reported that he exclaimed "Goodbye, everybody!" before throwing himself overboard.
His body was never recovered. A marker on his father's tombstone in Garrettsville includes the inscription, "Harold Hart Crane 1899-1932 LOST AT SEA".[2]
Poetics
Crane's critical effort - like Keats and Rilke - is most pronounced in his letters: he corresponded regularly with Allen Tate, Yvor Winters, and Gorham Munson, and shared critical dialogues with Eugene O'Neill, William Carlos Williams, E. E. Cummings, Sherwood Anderson, Kenneth Burke, Waldo Frank, Harriet Monroe, Marianne Moore, and Gertrude Stein.
Most serious work on Crane begins with his letters, ____select____ions of which are available in many editions of his poetry; his letters to Munson, Tate, Winters, and his patron, Otto Hermann Kahn, have been particularly valuable. Even his two most famous stylistic defenses emerged from correspondences: his Emersonian "General Aims and Theories" (1925) was written to urge Eugene O’Neill’s critical foreword to White Buildings, then passed around among friends, yet unpublished during Crane's life; and the famous "Letter to Harriet Monroe" (1926) was part of an exchange for the publication of "At Melville's Tomb" in Poetry.
The 'Logic of Metaphor'
As with Eliot's "objective correlative," a certain vocabulary haunts Crane criticism, his "logic of metaphor' being perhaps the most vexed. His most quoted formulation is in the circulated, if long unpublished, "General Aims and Theories":
As to technical considerations: the motivation of the poem must be derived from the implicit emotional dynamics of the materials used, and the terms of expression employed are often ____select____ed less for their logical (literal) significance than for their associational meanings. Via this and their metaphorical inter-relationships, the entire construction of the poem is raised on the organic principle of a 'logic of metaphor,' which antedates our so-called pure logic, and which is the genetic basis of all speech, hence consciousness and thought-extension.[3]
There is also some mention of it, though it is not so much presented as a critical neologism, in his letter to Harriet Monroe: "...The logic of metaphor is so organically entrenched in pure sensibility that it can't be thoroughly traced or explain outside of historical sciences, like philology and anthropology...."[4]
L. S. Dembo's influential study of The Bridge, Hart Crane's Sanskrit Charge (1960), reads this 'logic' well within the familiar rhetoric of the Romantics:
The 'logic of metaphor' was simply the written form of the 'bright logic' of the imagination, the crucial sign stated, the Word made words.... As practiced, the logic of metaphor theory is reducible to a fairly simple linguistic principle: the symbolized meaning of an image takes precedence over its literal meaning; whether or not the vehicle of an image makes sense, the reader is expected to grasp its tenor.[5]
Difficulty
The publication of White Buildings was delayed by Eugene O'Neill's struggle (and eventual failure) to articulate his appreciation for a foreword to it; and many critics since have used Crane's difficulty as an excuse for a quick dismissal.[6] Even a young Tennessee Williams, then falling in love with Crane's poetry, could "hardly understand a single line--of course the individual lines aren't supposed to be intelligible. The message, if there actually is one, comes from the total effect....".[7]
It was not lost on Crane, then, that his poetry was difficult. Some of his best, and practically only, essays originated as encouraging epistles: explications and stylistic apologies to editors, updates to his patron, and the variously well-considered or impulsive letters to his friends. It was, for instance, only the exchange with Harriet Monroe at Poetry when she initially refused to print "At Melville’s Tomb" that urged Crane to describe his "logic of metaphor" in print.[8] But describe it he did, then complaining that:
If the poet is to be held completely to the already evolved and exploited sequences of imagery and logic--what field of added consciousness and increased perceptions (the actual province of poetry, if not lullabies) can be expected when one has to relatively return to the alphabet every breath or two? In the minds of people who have sensitively read, seen, and experienced a great deal, isn’t there a terminology something like short-hand as compared to usual description and dialectics, which the artist ought to be right in trusting as a reasonable connective agent toward fresh concepts, more inclusive evaluations?[9]
Monroe was not impressed, though she acknowledged that others were, and printed the exchange alongside the poem: "You find me testing metaphors, and poetic concept in general, too much by logic, whereas I find you pushing logic to the limit in a painfully intellectual search for emotion, for poetic motive."[10] In any case, Crane had a relatively well-developed rhetoric for the defense of his poems; here is an excerpt from "General Aims and Theories":
New conditions of life germinate new forms of spiritual articulation....the voice of the present, if it is to be known, must be caught at the risk of speaking in idioms and circumlocutions sometimes shocking to the scholar and historians of logic. [11]
More recently, Allen Grossman has given a much respected guest lecture at the University of Chicago, "On communicative difficulty in general and 'difficult' poetry in particular: the example of Hart Crane's The Broken Tower."[12]
The 'Homosexual Text'
Recent queer criticism has pointed out that it is particularly difficult, perhaps even inappropriate, to read many of Crane's poems - "The Broken Tower," "My Grandmother’s Love Letters," the "Voyages" series, and so on - without a willingness to look for, and uncover, homosexual meanings in the text. Tim Dean argues, for instance, that the obscurity of Crane's style owes itself partially to the necessities of being a semi-public homosexual - not quite closeted, but also, as legally and culturally necessary, not open:
The intensity responsible for Crane’s particular form of difficulty involves not only linguistic considerations but also culturally subjective concerns. This intensity produces a kind of privacy that is comprehensible in terms of the cultural construction of homosexuality and its attendant institutions of privacy.... [13]
Thomas Yingling, arguing from a more essentialist viewpoint, articulates yet another problem with the traditional, New Critical and Eliotic readings of Crane, arguing that the "American myth criticism and formalist readings" have "depolarized and normalized our reading of American poetry, making any homosexual readings seem perverse."[14] Even more than a personal or political problem, though, Yingling argues that such biases obscure much of what the poems make clear; see, for instance, the last lines of "My Grandmother's Love Letters" from White Buildings, a haunting description of estrangement from the norms of (heterosexual) family life:
Yet I would lead my grandmother by the hand
Though much of what she would not understand;
And so I stumble. And the rain continues on the roof
With such a sound of gently pitying laughter.
And Brian Reed, an emerging critic of Crane deeply interested in Crane's homosexuality, has made contributions to a project of critical reintegration: though sympathetic, Reed notes that an overemphasis on the sexual biography of Crane's poetry can, of course, also be damaging to a broad appreciation.[15] He has, on a less formal scale, also contributed a study of Crane's famous gay lyrical series, "Voyages," to the Poetry Foundation.[16]
Influence
Crane has long been admired among poets, often passionately so. Some poet-critics have been ambivalent — one thinks of Yvor Winters’s famous turnabout, reviewing The Bridge in Poetry — but even the turning-aways have a tone of affectionate critique: Winters’s review grants Crane’s status of a "poet of genius" as a matter of course, even if he goes on to say that the poem augurs for a "public catastrophe."[17] Indeed, Crane was admired, if sometimes cautiously, by much of the Greenwich Village and New England crowd: Allen Tate and Eugene O’Neill, of course, but also Kenneth Burke, Edmund Wilson, E. E. Cummings, and William Carlos Williams. And though some of his sharpest critics are well known — Marianne Moore, Ezra Pound, and a few others — Moore did publish his work, as did T. S. Eliot, who, moving even further out of Pound's sphere, may have borrowed some of Crane's imagery for Four Quartets.[18]
Over the next two generations, Jack Kerouac and Allen Ginsberg read The Bridge together,[19] John Berryman wrote him one of his famous elegies, and Robert Lowell published his "Words for Hart Crane" in Life Studies (1959): "Who asks for me, the Shelley of my age, / must lay his heart out for my bed and board." Perhaps most adoringly, Tennessee Williams wanted to be "given back to the sea" at the "point most nearly determined as the point at which Hart Crane gave himself back...".[20]
Such important affections have made Crane even more of a "poet’s poet," and much of Poet’s Bookshelf, a recent anthology of short, personal essays by contemporary poets, is marked through with debts to him. Thomas Lux offers, for instance: "If the devil came to me and said 'Tom, you can be dead and Hart can be alive,' I'd take the deal in a heartbeat if the devil promised, when arisen, Hart would have to go straight into A.A."[21]
Beyond poetry, Crane's suicide inspired several works of art by noted artist Jasper Johns, including "Periscope" and "Diver," and a painting by Marsden Hartley called "Eight Bells' Folly, Memorial for Hart Crane."
Bibliography
Published by Crane
White Buildings (1926) ISBN 0-87140-179-7
The Bridge (1930) ISBN 0-87140-025-1
Compilations of Letters and/or Poems
The Complete Poems of Hart Crane, Marc Simon, ed. New York: Liveright (1986; Centennial edition with intro. by Harold Bloom, 2000) ISBN 978-0-87140-178-9
O My Land, My Friends: The ____Select____ed Letters of Hart Crane. intro. and commentary by Langdon Hammer, forward by Paul Bowles. New York: Four Walls Eight Windows (1997) ISBN 978-0-941423-18-2
Hart Crane: Complete Poems and ____Select____ed Letters, Langdon Hammer, ed. New York: The Library of America (2006) ISBN 978-1-931082-99-0.
Hart Crane and Yvor Winters: Their Literary Correspondence. Thomas Parkinson ed. and commentary. Berkeley: University of California Press (1978)
Biographies
Mariani, Paul. The Broken Tower: A Life of Hart Crane. New York: W.W. Norton & Company (1999) ISBN 0-393-32041-3
Untrecker, John. Voyager (1969)
____Select____ed Criticism
Corn, Alfred. 'Hart Crane's "Atlantis,"' The Metamorphoses of Metaphor. Viking (1987)
Dean, Tim. ‘Hart Crane’s Poetics of Privacy,’ American Literary History 8:1 (1996)
Dembo, L. S. Hart Crane’s Sanskrit Charge: A Study of The Bridge. Ithaca, New York: Cornell University Press (1960)
Gabriel, Daniel. Hart Crane and the Modernist Epic: Canon and Genre Formation in Crane, Pound, Eliot and Williams. New York: Palgrave Macmillan (2007)
Grossman, Allen. ‘Hart Crane and Poetry: A Consideration of Crane's Intense Poetics With Reference to “The Return,”’ ELH 48:4 (1981)
----. ‘On communicative difficulty in general and “difficult” poetry in particular: the example of Hart Crane's “The Broken Tower,”’ Poem Present lecture series at The University of Chicago. (2004)
Hammer, Langdon. Hart Crane & Allen Tate: Janus-Faced Modernism. Princeton, NJ: Princeton University Press (1993)
Herman, Barbara. ‘The Language of Hart Crane,’ The Sewanee Review 58 (1950)
Lewis, R. W. B. The Poetry of Hart Crane: A Critical Study. Princeton, NJ: Princeton University Press (1967)
Pease, Donald. ‘Blake, Crane, Whitman, and Modernism: A Poetics of Pure Possibility’, PMLA 96:1 (1981)
Ramsey, Roger. ‘A Poetics for The Bridge,’ Twentieth Century Literature 26:3 (1980)
Reed, Brian. ‘Hart Crane’s Victrola,’ Modernism/Modernity 7.1 (2000)
----. Hart Crane: After His Lights. Tuscaloosa, AL: University of Alabama Press (2006)
Riddel, Joseph. ‘Hart Crane's Poetics of Failure,’ ELH 33 (1966)
Rowe, John Carlos. ‘The “Super-Historical” Sense of Hart Crane’s The Bridge,’ Genre 11:4 (1978)
Schwartz, Joseph. Hart Crane: A Reference Guide. Boston: G.K. Hall & Co. (1983)
Snediker, Michael. "Hart Crane’s Smile," Modernism/modernity 12.4 (2005)
Trachtenberg, Alan. Brooklyn Bridge: Fact and Symbol, 2nd ed. Chicago: University of Chicago Press (1979)
Unterecker, John. "The Architecture of The Bridge," Wisconsin Studies in Contemporary Literature 3:2 (1962)
Winters, Yvor. "The Progress of Hart Crane," Poetry 36 (June 1930)
----. In Defense of Reason. New York: The Swallow Press and William Morrow (1947)
Yannella, Philip R. ‘“Inventive Dust”: The Metamorphoses of “For the Marriage of Faustus and Helen,” Contemporary Literature 15 (1974)
Yingling, Thomas E. Hart Crane and the Homosexual Text: New Thresholds, New Anatomies. Chicago: University of Chicago Press (1990)
Notes
^ Mariani 1999 p. 421
^ Untrecker, John. Voyager (1969)
^ Hammer 1997 p. 163
^ Hammer 1997 p. 166
^ Dembo, L. S. Hart Crane's Sanskrit Charge (1960) p. 34
^ See article on White Buildings
^ Lyle Leverich. Tom: The Unknown Tennessee Williams (1995) p. 162
^ Mariani p. 191
^ Hammer 1997 p. 281
^ Hammer 1997 p. 282
^ Hammer 2006 p. 164
^ Allen Grossman (2005). On communicative difficulty in general and 'difficult' poetry in particular: the example of Hart Crane's The Broken Tower. GENWI. Retrieved on 2008-04-11.
^ Tim Dean. "Hart Crane's Poetics of Privacy," American Literary History 8:1 (1996) p. 84
^ Thomas Yingling. Hart Crane and the Homosexual Text: New Thresholds, New Anatomies. p. 3
^ Brian Reed. Hart Crane: After His Lights (2006)
^ Brian Reed on 'Voyages': http://www.poetryfoundation.org/archive/feature.html?id=180083
^ 'The Progress of Hart Crane,' Poetry 36 (June 1930) pp. 153-65
^ Lee Oser. T. S. Eliot and American Poetry. Columbia, MO: University of Missouri Press (1998) pp. 112-14.
^ Haw, Richard. The Brooklyn Bridge: A Cultural History (2005) p.175. Also, see the Literary Kicks article, linked below.
^ Leverich, Lyle. Tom: The Unknown Tennessee Williams (1997) pp. 9-10
^ Poets Bookshelf p. 126
See also
Walt Whitman (a hero to Crane)
Harold Bloom (literary critic inspired by Crane)
Modernist poetry in English
Poetry of the United States
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