懂英语的进!我在学英文诗,能告诉我讲的什么吗?
发布网友
发布时间：2022-05-06 10:33
共3个回答
热心网友
时间：2022-05-27 23:57
如果我在我的妻子正在睡觉
和孩子和凯瑟琳
睡觉
和太阳是一个flame-white阀瓣
在绸薄雾
闪亮的树木,上面
如果我在我的北房间
全裸跳舞,不三不四的
在我的镜子
我的衬衫挥动圆了我的头
唱轻声对自己说:
“我寂寞、孤独的。
我生来是孤独的,
我是最好的!”
如果我很羡慕我的胳膊,我的脸,
我的肩膀,侧面,臀部
再次,*绘制
谁说我不会
我的家庭的幸福的天才吗?
OK
作者简介：
传记
[编辑]
威廉斯出生于新泽西,一个社区附近的帕特森。[1]他的父亲威廉·乔治·威廉姆斯是英国移民,和他的母亲,Raquel海伦(艾莲娜)Hoheb出生在Mayaguez、波多黎各。他参加了公立学校在1896年,当时说直到送往酒庄Lancy瑞士日内瓦附近,Lycee在法国巴黎,Condorcet两年,霍拉斯•曼中学到了纽约。然后,在1902年,他进入了宾夕法尼亚大学医学院。在他在宾大成了朋友,威廉·庞德Hilda 37(最好称为H.D.)和画家查尔斯Demuth。这些友谊的成长和热爱,影响了他的诗歌。他收到了他在1906年,医学博士在接下来的四年中,实习在纽约,在国外旅行和研究生(例如,在那里他莱比锡大学的研究儿科)。他最著名的诗,”之间的墙”发表之后。
后面的翅膀
医院,在那里一无所有
将增长谎言炉渣吗
在发光的破碎
一个绿色的瓶子
楼主要给我分哟！！！！！！！！！！！！！
热心网友
时间：2022-05-28 01:15
Biography
[edit] Early years
Williams was born in Rutherford, New Jersey, a community near the city of Paterson.[1] His father, William George Williams was an English immigrant, and his mother, Raquel Hélène (Elena) Hoheb was born in Mayagüez, Puerto Rico. He attended a public school in Rutherford until 1896, then was sent to study at Château de Lancy near Geneva, Switzerland, the Lycée Condorcet in Paris, France, for two years and Horace Mann School in New York City. Then, in 1902, he entered the University of Pennsylvania Medical School. During his time at Penn, Williams became friends with Ezra Pound, Hilda Doolittle (best known as H.D.) and the painter Charles Demuth. These friendships influenced his growth and passion for poetry. He received his M.D. in 1906 and spent the next four years in internships in New York City and in travel and postgraate studies abroad (e.g., at the University of Leipzig where he studied pediatrics). His famous poem, "Between Walls" was published then:
the back wings of the
hospital where nothing
will grow lie cinders
In which shine the broken
pieces of a green bottle
He returned to Rutherford in 1910 and began his medical practice, which lasted until 1951. Most of his patients knew little if anything of his writings; instead they viewed him as a doctor who helped deliver their children into the world. It was estimated that Williams delivered 2,000 babies in the Rutherford area between 1910 and 1952. [2] Today, Rutherford is home to a theater, "The Williams Center," named after the poet.
[edit] Career
Although his primary occupation was as a doctor, Williams had a full literary career. His work consists of short stories, poems, plays, novels, critical essays, an autobiography, translations and correspondence. He wrote at night and spent weekends in New York City with friends - writers and artists like the avant-garde painters Marcel Duchamp and Francis Picabia and the poets Wallace Stevens and Marianne Moore. He became involved in the Imagist movement but soon he began to develop opinions that differed from those of his poetic peers, Ezra Pound and T. S. Eliot. Later in his life, Williams toured the United States giving poetry readings and lectures.
During the First World War, when a number of European artists established themselves in New York City, Williams became friends with members of the avant-garde such as Man Ray, Francis Picabia and Marcel Duchamp. In 1915 Williams began to be associated with a group of New York artists and writers known as "The Others." Founded by the poet Alfred Kreymborg and by Man Ray, this group included Walter Conrad Arensberg, Wallace Stevens, Mina Loy, Marianne Moore and Duchamp. Through these involvements Williams got to know the Dadaist movement, which may explain the influence on his earlier poems of Dadaist and Surrealist principles. His involvement with The Others made Williams a key member of the early modernist movement in America.
Williams disliked Ezra Pound's and especially T. S. Eliot's frequent use of allusions to foreign languages and Classical sources, as in Eliot's The Waste Land. Williams preferred to draw his themes from what he called "the local." In his modernist epic collage of place, Paterson (published between 1946 and 1958), an account of the history, people, and essence of Paterson, New Jersey, he examined the role of the poet in American society. Williams most famously summarized his poetic method in the phrase "No ideas but in things" (found in his poem "A Sort of a Song"). He advocated that poets leave aside traditional poetic forms and unnecessary literary allusions, and try to see the world as it is. Marianne Moore, another skeptic of traditional poetic forms, wrote Williams had used "plain American which cats and dogs can read," with distinctly American idioms.
One of his most notable contributions to American literature was his willingness to be a mentor for younger poets. Though Pound and Eliot may have been more lauded in their time, a number of important poets in the generations that followed were either personally tutored by Williams or pointed to Williams as a major influence. He had an especially significant influence on many of the American literary movements of the 1950s: poets of the Beat Generation, the San Francisco Renaissance, the Black Mountain school, and the New York School. He personally mentored Charles Olson, who was instrumental in developing the poetry of the Black Mountain College and subsequently influenced many other poets. Robert Creeley and Denise Levertov, two other poets associated with Black Mountain, studied under Williams. Williams was friends with Kenneth Rexroth, the founder of the San Francisco Renaissance. A lecture Williams gave at Reed College was formative in inspiring three other important members of that Renaissance: Gary Snyder, Philip Whalen and Lew Welch. One of Williams's most dynamic relationships as a mentor was with fellow New Jerseyite Allen Ginsberg. Ginsberg claimed that Williams essentially freed his poetic voice. Williams included several of Ginsberg's letters in Paterson, stating that one of them helped inspire the fifth section of that work. Williams also wrote introctions to two of Ginsberg's books, including Howl. Williams sponsored unknown poets such as H.H. Lewis, a radical Missouri Communist poet, who he believed wrote in the voice of the people. Though Williams consistently loved the poetry of those he mentored, he did not always like the results of his influence on other poets (the perceived formlessness, for example, of other Beat Generation poets). Williams believed more in the interplay of form and expression.
[edit] Poetry
Williams' most anthologized poem is "The Red Wheelbarrow", considered an example of the Imagist movement's style and principles (see also "This Is Just To Say"). However, Williams, like his associate Ezra Pound, had long ago rejected the imagist movement by the time this poem was published as part of Spring and All in 1923. Williams is more strongly associated with the American Modernist movement in literature, and saw his poetic project as a distinctly American one; he sought to renew language through the fresh, raw idiom that grew out of America's cultural and social heterogeneity, at the same time freeing it from what he saw as the worn-out language of British and European culture.
Williams tried to invent an entirely fresh form, an American form of poetry whose subject matter was centered on everyday circumstances of life and the lives of common people. He then came up with the concept of the variable foot evolved from years of visual and auditory sampling of his world from the first person perspective as a part of the day in the life as a physician. The variable foot is rooted within the multi-faceted American Idiom. This discovery was a part of his keen observation of how radio and newspaper influenced how people communicated and represents the "machine made out of words" (as he described a poem in the introction to his book, The Wedge) just as the mechanistic motions of a city can become a consciousness. Williams didn’t use traditional meter in most of his poems. His correspondence with Hilda Doolittle also exposed him to the relationship of sapphic rhythms to the inner voice of poetic truth:
"The stars about the beautiful moon again hide their radiant shapes, when she is full and shines at her brightest on all the earth"—Sappho.
This is to be contrasted with a poem from Journey To Love titled "Shadows":
"Shadows cast by the street light
under the stars,
the head is tilted back,
the long shadow of the legs
presumes a world taken for granted
on which the cricket trills"
The breaks in the poem search out a natural pause spoken in the American idiom that is also reflective of rhythms found within jazz sounds that also touch upon Sapphic harmony. Williams experimented with different types of lines and eventually found the "stepped triadic line", a long line which is divided into three segments. This line is used in Paterson and in poems like "To Elsie" and "The Ivy Crown." Here again one of Williams' aims is to show the truly American (i.e., opposed to European traditions) rhythm which is unnoticed but present in everyday American language. Stylistically, Williams worked with variations on free-form styles, notably developing and utilising the triadic line as in his lengthy love-poem Asphodel, That Greeny Flower[3].
热心网友
时间：2022-05-28 02:50
如果我当我的妻子睡觉
以及婴儿和凯瑟琳
正在睡觉
而太阳是一个火焰，白盘
在丝绸薄雾
上述的光辉树木， -
如果我在北房间
舞蹈赤裸，荒唐
在我的镜子
我的衬衫挥舞着我的头轮
轻轻地唱我自己：
“我很孤独，寂寞。
我是天生的孤独，
我是最好的！“
如果我佩服我的胳膊，我的脸，
我的肩膀，大桶，臀部
再次提请*色彩， -
谁不说我不
我的家庭幸福天才？
以下是作者简介：
威廉卡洛斯威廉斯（1883年至1963年）
在卢瑟福出生，威廉卡洛斯威廉斯（1883至1963年）花了他的家乡新泽西几乎他的整个生活。他是一名医生，诗人，小说家，散文家和剧作家。与庞德和HD，威廉斯是一个诗人意象运动的领导，经常对美国科目和主题写道。虽然他的职业生涯最初是由其他诗人所掩盖，成为威廉姆斯车队的20世纪50年代和60年代垮掉的一代灵感。
