考研英语阅读中英全文对照版 (10)

UNITELEVENTEXTONE“WHANG—Boom—Boom—castdelicacytothewinds.”ThusEzraPoundinalettertohisfather,urgingtheoldmantohelppromotehisfirstpublishedcollection.Itmighthavebeenthepoet'smanifesto.Poundisasdivisiveafiguretodayashewasinhisownlifetime.ForsomehewastheleadingfigureoftheModernistmovementwhoredefinedwhatpoetrywasandcouldbe;andwho,inhisroleasculturalimpresario,gavevitalimpetustotheliterarycareersofT.S.Eliot,JamesJoyceandWyndhamLewis,amongothers.ButformanyPoundremainsafreakandanembarrassment,aclinicalnutcaseandviciousanti-Semitewhochurnedoutalotofimpenetrabletoshbeforelosingtheplotcompletely.Duringthesecondworldwarhebroadcastpro-FascistradioprogrammesfromItalyandlateravoidedtrialfortreasonathomeonlybecausehewasdeclaredinsane.OnhisreleasefromStElizabeth'sHospitalnearWashington,DC,hereturnedtoItaly(“Americaisalunaticasylum”),wherehediedin1972aged87.DavidMoody,emeritusprofessorofEnglishatYorkUniversity,makesastrongcaseforPound's“generousenergy”andthe“disruptive,regenerativeforceofhisgenius”.Hisapproach(unlikePound's)isuncontroversial.Hefollowsthepoet'sprogresschronologicallyfromhischildhoodinIdaho—still,atthetimeofhisbirthin1885,partofthewildwest—tohisconquestofliteraryLondonbetween1908and1920.HemarshalsPound'sstaggeringoutputofpoetry,proseandcorrespondencetoexcellenteffect,andoffersclear,perceptivecommentaryonit.Hehelpsustoseepoems,suchasthisfamous,peculiarlyhaunting19-syllablehaiku,inanewlight:Theapparitionofthesefacesinthecrowd:Petalsonawet,blackbough.ThatMrMoodyisconstantlybeingupstagedbythesubjectofhisstudyisnotsurprising.Poundwasoneofthemostcolourfulartisticfiguresinaperiodfullofthem.AccordingtoFordMadoxFord,whobecameagoodfriendofPound'sshortlyafterthebumptiousyoungAmericanarrivedinLondon:“Ezrawouldapproachwiththestepofadancer,makingpasseswithacaneatanimaginaryopponent.Hewouldweartrousersmadeofgreenbilliardcloth,apinkcoat,ablueshirt,atiehand-paintedbyaJapanesefriend,animmensesombrero,aflamingbeardcuttoapointandasinglelargeblueearring.”W.B.Yeats'ssimpleassessmentwasthat:“Thereisnoyoungergenerationofpoets.E.P.isasolitaryvolcano.”AgreatmeritofMrMoody'sapproachisthespacehegivestoPound'swritings.Itislove-it-or-hate-itstuff,but,eitherway,undeniablyfascinating.“Allgoodartisrealismofonekindoranother,”Poundsaid.Reconcilingthattidystatementwithpracticallyanyofhispoemsishardworkbut,asMrMoodyshowsoverandoveragain,hardworkthatoffershugerewards.Hisfirstvolumeendsin1920,withPoundquittingLondoninahuff,finallyfedup—aftermorethanadecadeofdoingeverythinginhispowertorattletheintellectualestablishment—with“Britishinsensitivityto,andirritationwith,mentalagilityinanyandeveryform”.Hisdisgracefulradioprogrammesandthefullbloomingofhisloopinesslieahead.So,too,domostofhisexquisiteCantos.参考译文：“砰砰——隆隆——隆隆——把精致扔到风中。”在EzraPound在写给父亲的一封信中，他要求这位老人帮助自己宣传第一本出版诗集。而这可能就是这位诗人的宣言。Pound在他的时代里是一个有争议的人物，直至今日仍然如此。对于一些人来说，他是现代主义运动的领导人，他重新定义了什么是诗歌及诗歌应该如何等问题。而作为文化发起人，他大力推进了T.S.Eliot、JamesJoyce和WyndhamLewis等人的文学事业。但是，对于许多人来说，Pound还是一个怪诞的人、一个让人窘迫的人、一个疯子、一个反对闪族人的恶人，在他的阴谋彻底流产前还说了许多不可理喻的疯话。二战期间,他播放了来自意大利的亲法西斯电台节目,而后因被诊断为为疯子才在家躲了叛国罪的审讯。当他从华盛顿特区附近的圣伊丽莎白医院被放出来时，他就回到了意大利（“美国是疯子收容所”）,在那里他活到了87岁,于1972年去世。DavidMoody是约克大学的英语文学教授,他找到了强有力的证据证明Pound“充沛的能量”和“他天才的分裂性的再生力量”。与Pound不同的是，他的方法是没有争议的。他先是按年代追溯这位诗人从艾达荷州的童年（1885年他出生时，艾达荷州还是拓荒前的美国西部）到他于1908年至1920年征服了伦敦文学界的经历。Moody整理了Pound令人惊愕的诗歌集、散文和信件，还加了有条理、有洞察力的评论。他帮助我们用一种新的眼光来读诗，比如下面这首著名的、令人难以忘怀的19音节悱句：人群中这些面容的出现，在黑色、潮湿树枝上的花瓣。一点都不奇怪Moody先生一直以他所研究的主题而自豪。在充满艺术家的年代里，Pound是最多彩的艺术家之一。FordMadoxFord在这个傲慢的美国年轻人到达伦敦后不久就成为了他的好朋友，Ford说：“Ezra常踱着舞步过来，而且还用拐杖为假想敌开路。他常穿绿色的布裤，一件粉色上衣，一个日本朋友手绘的领带，一顶特大的宽边帽，火红的胡须修到一点,还戴着一个很大的蓝色耳环。”W.B.Keats的简单评价是：“没有更年轻的一代诗人了，Pound是个孤独的火山。”Moody先生研究的最大特点就是他给Pound作品留的空间。这是个“爱他或恨他”的故事，但是不管如何，那迷人的色彩是不容置疑的。“所有好的艺术都是一种或另一种的现实。”Pound说。将他的任何诗歌与整齐的陈述协调起来确实难度较大，但是Moody先生一次又一次地证明了，难度越大的工作，回报就越多。他的第一本书写到1920年，Pound一怒之下离开了伦敦，在用尽自己力量震动知识界的十年后，他终于厌倦了“英国对于精神活力的任何形式都不在乎、甚至感到恼火”。他不光彩的电台节目以及他的疯狂展现了出来。还有他杰出诗歌的大部分。TEXTTWONotallmodernobserversofByzantiumhavebeensowillingtoassociatethecityontheBosphoruswithuniversalismorculturalbreadth.WhileByzantium'sratinghasrisenrecently,ithasnotentirelyshakenoffthecriticismsdishedoutinthe18thand19thcenturies,includingthedevastatingverdictofWilliamLecky,anIrishhistorian,whoin1869describedtheByzantineempireas“themostthoroughlybaseanddespicableformthatcivilisationhasyetassumed.”EvenByzantium'smoderndefendershavetendedtosetouttheircaseinqualifiedterms,stressingtheempire'srelationshiptootherhistoricaldevelopments.Someseeitasaconnectinglinebetweenclassicalantiquityandthemodernworld;others,particularlythosewhothinkthatcivilisationsaredoomedperpetuallytoclash,stresstheempire'sroleasabulwarkagainstIslam,withoutwhichEuropeasawholewouldhaveturnedMuslim.OthersagainseeitasacatalystfortheEuropeanRenaissance,especiallyafterHellenictalentwasfreedfromByzantinedogmatism.JudithHerrin,aprofessoratKing'sCollegeLondon,setsouttoshowthattherearefarbetterreasonstostudyandadmirethecivilisationthatflourishedformorethanamillenniumbeforetheconquestofConstantinoplein1453,andwhoselegacyisstilldiscerniblealloversouth-eastEuropeandth