佳句赏析"Whatisthenameofthatcolor?thespeakerofBerck-PlageasksassheseestheearthintowhichPercyKeywillbelowered.Sheanswersherselfinanothersuccessionofnounphrases,thistimeimagesofpost-traumaticaftermath:Oldbloodofcakedwallsthesunheals,/Oldbloodoflimbstumps,burnthearts.Iftheimmediatearteryspurtofthebloodjetispoetry(Kindness),thentheseimagesofoldbloodonhealedwalls,oldbloodofearlieramputations(suchasPlath’sfather’s),andcalcinedheartsfromafirenowcold,tellusthatPlathseesthepossibilityofastylethatisnotapresent-tenseoutburstresemblingajetfromalivingwoundbutastylethatismorediagnostic,moremeasured,speakingafterthefactaboutthecakedwalls,thestitchedstump,thecharredheart..."

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海伦·文德勒

最后一眼，最后一言

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“What is the name of that color?” the speaker of “Berck-Plage” asks as she sees the earth into which Percy Key will be lowered. She answers herself in another succession of noun phrases, this time images of post-traumatic aftermath: “Old blood of caked walls the sun heals, / Old blood of limb stumps, burnt hearts.” If the immediate artery spurt of the blood jet is poetry (“Kindness”), then these images of old blood on healed walls, old blood of earlier amputations (such as Plath’s father’s), and calcined hearts from a fire now cold, tell us that Plath sees the possibility of a style that is not a present-tense outburst resembling a jet from a living wound but a style that is more diagnostic, more measured, speaking after the fact about the caked walls, the stitched stump, the charred heart...

——海伦·文德勒《最后一眼，最后一言》

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上一句：Plath’sstylisticresponsetoPercyKey’sdeath,asIhavesaid,istoinventanimpersonalstyle.Whatdoesapieceofthatstylefeellike?NotonlyhasitputasidethosepiercingI’sinfavorofobjectivedescription,ithasalsoputaside(forthemostpart)theexcitablequestionsandexclamationsthatnormallyattendPlath’sanxiety-riddenI.Withthecourageofshuttingup,thetongueofthepoemhasbeenquieted.

下一句：WheninWordsPlathrepresentstheeyeregardingthepool,itnolongerviewsitsnarcissisticimage,asinGigolo,butratherperceivestheordainingconditionsoffate.TheobjectivityofregardinWords,asinBerck-Plage,arisesfromPlath’sadoptionofaviewthatispost-traumatic,evenposthumous,butitisapointofviewtenaciouslymaintainedaslongasthepoetisalive.ItcoolstheeyeandslowsthepacefromAriel’srapiditytowater’sslowdescent;itallowsdrynessaswellastears;itdemandsabovealladispassionatediagnosisofhowthingsstand.

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1、How was Plath—without ruining her poems—to retain authentic features of her imagination, such as the symbols of melodrama and violence absorbed from her childhood literary matrix of legends, fairy tales, and catastrophic myths from Bluebeard to Dracula? Plath’s later interesting revisions of these theatrical dramatis personae created them as ambiguous characters, so that the melodrama is generated by a conflict in which no clear moral discrimination can be made between protagonist and antagonist. Plath herself could only rarely play the part of an innocent victim; she felt more honest, in her most conspicuously staged poems, when playing the man-eating Lady Lazarus pitting her obscene striptease against her voyeuristic audience, or the vampire-killing daughter vanquishing the vampire paren... 2、“What is the name of that color?” the speaker of “Berck-Plage” asks as she sees the earth into which Percy Key will be lowered. She answers herself in another succession of noun phrases, this time images of post-traumatic aftermath: “Old blood of caked walls the sun heals, / Old blood of limb stumps, burnt hearts.” If the immediate artery spurt of the blood jet is poetry (“Kindness”), then these images of old blood on healed walls, old blood of earlier amputations (such as Plath’s father’s), and calcined hearts from a fire now cold, tell us that Plath sees the possibility of a style that is not a present-tense outburst resembling a jet from a living wound but a style that is more diagnostic, more measured, speaking after the fact about the caked walls, the stitched stump, the charred heart... 3、The preeminent question life asked of Stevens was whether the sublime was livable.Steven's sense of the world became one of extreme relativity, and an almost killing skepticism arose in him about his own statements, even those most deeply felt. "The things that we build or grow or do are so little when compared to the things that we suggest or believe or desire"......it is perhaps only the necessary linear form of poetry which prompts us to interpret poems more allegorically than we normally do the visual arts and forces us to see a poem as a problem secreting its own resolutions....the poem finds a middle ground of tone which is neither grand nor satiric, but may be called evaluative: ...I pursuedAnd still pursue, the origin and courseOf love, but until now I never knewThat f... 4、the "awful but cheerful" activities of the world include the acts by which man domesticates his surroundings, even if those surroundings are purely mechanical, like the filing station or the truck in Brazil painted with "throbbing rosebuds".The definition of life in the conversion of the strange to the familial, of the unexplored to the knowable, of the alien to the beloved.No domesticity is entirely safe. As in the midst of life we are in death, so , in Bishop's poetry, in the midst of the familiar, and most especially there, we feel the familiar as the unknowable. "I lost two cities, lovely ones. And vaster,some realms I owned, two rivers, a continent...the art of losing's not too hard to masterthough it may look like (Write it!) like disaster.""A moose has come out of/ the i...

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原作者：海伦·文德勒

海伦·文德勒作品：《自然的部分，我们的部分》

海伦·文德勒简介：

【作者简介】海伦·文德勒（Helen Vendler，1933—2024）美国诗歌评论家，哈佛大学亚瑟·金斯利·波特校级教授。她关于诗人和诗歌的论著不胜枚举，所涉诗人广及莎士比亚、狄金森到希尼、毕肖普等，多获赞誉。代表作有《自然的部分，我们的部分》《约翰·济慈的颂歌》《打破风格》《诗人的成年》《看不见的倾听者》《花朵与漩涡》《大海，飞鸟和学者》等。【译... (更多)

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