The Red Wheelbarrow
诗歌鉴赏 2011-02-25 23:46:28 阅读392 评论0 字号：大中小 订阅
网络的确是个好东西，想到什么，便随意一搜，立刻就可以保存起来，前后不过一分钟，虽然可靠性和学术性并不那么严谨，可是生活，何必搞得那么死板？学亦是为生，于万象中偶有一得，不也是人生一快事？声明：以下内容，纯属转贴，留给自己随时看的。
so much depends
upon
a red wheel
barrow
glazed with rain
water
beside the white
chickens
——William Carlos Williams
红色手推车(袁可嘉译)
那么多东西
依靠
一辆红色
手推车
雨水淋得它
晶亮
旁边是一群
hershey白鸡
红色手推车 (郑敏译)
这么多
全靠
一辆红轮子的
手推车
因为雨水
汉译英词典而闪光
旁边是一群
白色的小鸡。
红色手推车 （飞白译）
很多事情越狱第三季剧情介绍
全靠
一辆红色
小车
被雨淋得
晶亮
傍着几只
白鸡
红色手推车(覃学岚译)xenos
第86届奥斯卡金像奖一群
白色的鸡雏旁
一辆
红色的手推车结束的英文
雨水中
晶莹闪亮
承载着
如许分量
红色手推车 （彭予译）
那么多东西
仰仗
这辆红色的
手推车运送acquisitive
bargaining雨水浇得它
浑身溜滑
hrb旁边有
沮丧英语几只白鸡
This poem can be infuriating becau on one hand it appears so guileless and simplistic. The problem is that you can’t take anything for granted, not even simplicity.
What are the first things you notice about the poem? Begin with what you know, or what you think you know. First, the poem is arranged in fairly consistent lines. The four units of the poem look somewhat alike. There is not any punctuation either. What was the poet’s intention? Was the shape an accident of the poet’s descriptive style? Was the lack of punctuation an oversight? Was the poet being careless or lazy? Was is that he just couldn’t think of any better words? Why is this poem so well known, so respected, so well liked?
Deni Levertov, in "Some Notes on Organic Form," says "there is a form in all things (and in our experience) which the poet can discover and reveal." But how does a poet ma
ke this discovery? One way is to pay clo attention to the sound and movement of the first words or lines that begin the act of writing, in which the object, mood, and experience that give ri to the poem will often be expresd through tone and rhythm. Do the words work together to create euphony, dissonance, or something in between? What are the weights and inherent durations of words and lines? The poet who is nsitive to this emerging form can give it full play as writing continues.
Robert Creeley, in "Notes Apropos 'Free Ver,'" us the analogy of driving to explain his approach to organic form in writing: "The road, as it were, is creating itlf momently in one’s attention to it, there, visibly, in front of the car." He implies that there may be more around the bend or beyond the horizon; but, like drivers, poets can only arrive at that possibility through careful attention to what is immediately apparent. Poets must follow the words, like the road, as they come.
When you read a poem, you must be both obrvant and patient. Look at the words and the lines as they emerge. What do you recognize? What looks or sounds interesting? Wai
t a little. Welcome surpris. As more of the poem reveals itlf, you may find an exhilarating momentum, recognizable patterns, or a merging of form and content that will carry you along.
So how does "The Red Wheelbarrow" unfold? A helpful exerci is to try to continue writing the poem yourlf. Double the length, either by repeating the theme or by adding a new riff about the images of the first eight lines. This is an experiential way of discovering what is noticeable about the poem. You will likely write in two line stanzas or couplets. Most of the cond lines of the couplets will consist of a single word. Many will have tho words be nouns, or two-syllable words. Aha! So you have already begun to notice how the poem is put together.
This brings us to the poem’s statement, its meaning. Many poems, especially nonnarrative poems, are difficult—if not impossible—to paraphra, especially after a first reading or a first listen. And expecting to find a meaning that’s obvious is often frustrating, as it may be here. Why does so much depend? So much what?
Artists often say that a work of art is about itlf and something el. In this way, a poem can be an ars poetica, a statement by the poet about poetry, about his or her beliefs about what poetry is and about what it does. Asking how this poem might be an ars poetica is a great way to further understand both the poem and Williams as a poet. What does the poem demonstrate about poetry? Well, certainly the features of style and form come up again. But the statement that the poem makes, the credo it reprents, is right there, too. Another way to ask the question might be, What does this poem value? Common things, clearly. The only objects in the poem are ordinary, enduring, and somehow esntial. The scene is rural, perhaps a farm. The chickens are not symbolic; they are white chickens that exist beside equally plain things of the world: a utilitarian barrow that is not exalted, but left out in the rain. And not an apocalyptic rain but a slow drizzle. Why does Williams choo this image, this scene? Why does so much of the poem depend on things so ordinary? Do the concrete things suggest a larger, more abstract idea?
It should be clear at this point that inquiry into earlier questions about form and technique
have yielded larger questions of interpretation. So let’s return for a moment to a question of form. All that’s left from the list of first impressions is the lack of punctuation. How would the lack of stops anywhere in the poem reinforce the idea that ordinary things are of great importance? What does grammar accomplish in any text? For one thing, it helps determine beginnings and endings, and for another, it works with conjunctions to reprent relationships among things, time, and ideas in the text. But in this poem, there is none of that. Why? Without the interruptions of commas and periods, the words flow together. They are not discrete parts but one whole unit, differentiated only by the space between couplet or stanza. But the pairing of lines ems to create a unity as well: four equal parts. So the "scene" is integrated further by the lack of any hierarchy impod by punctuation. The grammar remains, of cour.
