论《诗章》中的黑人形象隐喻与美国历史书写
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摘要
黑人形象最早出现在《诗章》第21章,而这一章恰恰是首次引入美国历史主题的章节。庞德在这个美国历史时刻开始的部分,书写了一种颇有悲喜剧意味的"非洲性在场"。事实上,庞德不但在《诗章》中书写了黑人,而且打造了一条"黑人的后廊",把各种黑人形象齐聚在包罗万象的《诗章》文本空间。黑人形象之所以能够走进庞德的诗歌,和庞德试图书写一部美国"秘密历史"的理想密切相关。这部"秘密历史"是个人的、边缘的、多元的。黑人形象在庞德的诗歌中是奴隶制和种族主义的提喻,是白人黑暗的自我投射,是边缘人的复杂身份的象征,也是现代人矛盾身份的隐喻。黑人作为心理、社会、政治和文学符号对庞德的现代主义叙述视野和文学成就至关重要。
Black images first appear in Cantos XXI, the very Canto in which the motif of American history is presented for the first time. In this part of The Cantos where his reference to American history surfaces, Pound delineates a tragicomic "Africanist Presence." In fact, Pound not only wrote about blacks in The Cantos, but also created "the back corridors" for them, so that different types of blacks crowded into the vast space of this inclusive poetic text. The reason that black images could find their way into Pound's poems has a lot to do with his ideal of writing a "secret history" of America that would be personal, marginal, and multiple. In The Cantos, black image is the synecdoche for slavery and racism, the self-reflection of the darkness of the White, the symbol of the complex identity of the marginal man, and the metaphor of modern man's conflicting identity. Therefore, as psychological, social, political and literary signs, blacks are essential to Pound's modernist narrative perspective and literary accomplishment.
Black images first appear in Cantos XXI, the very Canto in which the motif of American history is presented for the first time. In this part of The Cantos where his reference to American history surfaces, Pound delineates a tragicomic "Africanist Presence." In fact, Pound not only wrote about blacks in The Cantos, but also created "the back corridors" for them, so that different types of blacks crowded into the vast space of this inclusive poetic text. The reason that black images could find their way into Pound's poems has a lot to do with his ideal of writing a "secret history" of America that would be personal, marginal, and multiple. In The Cantos, black image is the synecdoche for slavery and racism, the self-reflection of the darkness of the White, the symbol of the complex identity of the marginal man, and the metaphor of modern man's conflicting identity. Therefore, as psychological, social, political and literary signs, blacks are essential to Pound's modernist narrative perspective and literary accomplishment.
引文
Bacigalupo,Massimo.“Pound as Critic.”The Cambridge Companion to Ezra Pound,edited by Ira B.Nadel,Cambridge UP,1999,pp.188-203.
Bell,Bernard W.Bearing Witness to African American Literature:Validating and Valorizing Its Authority,Authenticity,and Agency.Wayne State UP,2012.
Bernstein,Michael Andre.The Tale of the Tribe:Ezra Pound and the Modern Verse Epic.Princeton UP,1980.
Burke,Peter.“The New History:Its Past and Its Future.”New Perspectives on Historical Writing,edited by Peter Burke,The Pennsylvania State UP,2001,pp.1-24.
Chace,William M.The Political Identities of Ezra Pound&T.S.Eliot.Stanford UP,1973.
Cookson, William. A Guide to the Cantos of Ezra Pound. Croom Helm, 1985.
---, editor. Selected Prose of Ezra Pound, 1907-1941. Faber and Faber, 1950.
卢波米尔·道勒齐尔:《虚构叙事与历史叙事:迎接后现代主义的挑战》,《新叙事学》,戴卫·赫尔曼主编,马海良译,北京大学出版社,2002年,第177—204页。[Dolezel, Lubomir.“Fictional and Historical Narrative:Meeting the Postmodernist Challenge.” Narratologies,edited by David Herman, translated by Ma Hailiang, Peking UP, 2002, pp. 177-204.]
Dunbar,Erica Armstrong.“George Washington,Slave Catcher.”New York Times,16 Feb.2015,www.nytimes.com/2015/02/16/opinion/george-washington-slave-catcher.html.Accessed 18 Mar.2019.
DuPlessis,Rachel Blau.Genders,Races and Religious Cultures in Modern American Poetry 1908-1934.Cambridge UP,1994.
Ellison,Ralph.Shadow and Act.Vintage,1995.
Flory,Wendy Stallard.“Confucius against Confusion:Ezra Pound and the Catholic Chaplain at Pisa.”Ezra Pound and China,edited by Qian Zhaoming,U of Michigan P,2003,pp.143-62.
Gallagher,Catherine and Stephen Greenblatt.Practicing New Historicism.U of Chicago P,2000.
Gottschild,Brenda D.Digging the Africanist Presence in American Performance:Dance and Other Contexts.Praeger,1998.
Green,Costance McLaughlin.The Secret City:A History of Race Relations in the Nation’s Capital.Princeton UP,1967.
Hatlen,Burton.“Ezra Pound,New Masses,and the Cultural Politics of Race Circa 1930.”Ezra Pound and African American Modernism,edited by Michael Coyle,The National Poetry Foundation,2001.157-84.
Huang,Yunte.“Was Ezra Pound a New Historicist:Poetry and Poetics in the Age of Globalization.”Foreign Literature Studies,vol.28,no.6,Dec.2006,pp.28-44.
琳达·哈琴:《后现代主义诗学:历史·理论·小说》。李杨、李锋译,南京大学出版社,2009年。[Hutcheon,Linda.A Poetics of Postmodernism:History,Theory,Fiction.Translated by Li Yang and Li Feng,Nanjing UP,2009.]
蒋洪新:《庞德研究》。上海外语教育出版社,2014年。[Jiang Hongxin.Ezra Pound Studies.Shanghai Foreign Language Education Press,2014.]
Kearns,George.Guide to Ezra Pound’s Selected Cantos.Rutgers UP,1980.
Kelly,Lionel.“Personal History in The Cantos.”Ezra Pound and History,edited by Marianne Korn,The National Poetry Foundation,1985,pp.119-34.
Korn,Marianne.Preface.Ezra Pound and History,edited by Marianne Korn,The National Poetry Foundation,1985,pp.7-14.
Makin,Peter.Ezra Pound’s Cantos:A Casebook.Oxford UP,2006.
Marsh,Alec.“Letting the Black Cat Out of the Bag:A Rejected Instance of‘American-Africanism’in Pound’s Cantos.”Ezra Pound and African American Modernism,edited by Michael Coyle,The National Poetry Foundation,2001,pp.125-42.
乌里·玛戈琳:《过去之事,现在之事,将来之事:时态、体式、情态和文学叙事的性质》,《新叙事学》,戴卫·赫尔曼主编,马海良译,北京大学出版社,2002年,第89-113页。[Margolin,Uri.“Of What Is Past,Is Passing,or to Come:Temporality,Aspectuality,Modality,and the Nature of Literary Narrative.”Narratologies,edited by David Herman,translated by Ma Hailiang,Peking UP,2002,pp.89-113.]
Molho,Anthony and Gordon S.Wood,editors.Imagined Histories:American Historians Interpret the Past.Princeton UP,1998.
Nielsen,Aldon Lynn.“Ezra Pound and‘The Best-Known Colored Man in the United States’.”Ezra Pound and African American Modernism,edited by Michael Coyle,The National Poetry Foundation,2001,pp.143-56.
North,Michael.The Dialect of Modernism:Race,Language,and Twentieth-Century Literature.Oxford UP,1994.
Oppen,George.“Interview with L.S.Dembo.”Contemporary Literature,vol.10,no.2,Spring 1969,pp.159-77.
Pearlman,Daniel.The Barb of Time:On the Unity of Ezra Pound’s Cantos.Oxford UP,1969.
Pound,Ezra.The Cantos.Faber and Faber,1975.
---.“I Cease Not to Yowl”:Ezra Pound’s Letters to Olivia Rossetti Agresti.Edited by Demetres P.Tryphonopoulos and Leon Surette,U of Illinois P,1998.
---.“An Introduction to the Economic Nature of the United States.”Selected Prose 1909-1965,edited by William Cookson,New Direction,1975,pp.167-86.
---.Literary Essays.Edited by T.S.Eliot,New Directions,1954.
---.Personae:The Shorter Poems of Ezra Pound.Edited by Lea Baechler and A.Walton Litz,New Directions,1990.
庞德:《庞德诗选--比萨诗章》。黄运特编译,漓江出版社,1998年。[---.Pisan Cantos.Edited and translated by Huang Yunte,Lijiang Press,1998.]
---.Selected Letters of Ezra Pound and William Carlos Williams.Edited by Hugh Witemeyer,New Directions Publishing Corporation,1996.
Preda,Roxana.Ezra Pound’s(Post)Modern Poetics and Politics:Logocentrism,Language,and Truth.Peter Lang,2001.
Rachewiltz,Mary de.“Afterword:Ubi Cantos,Ibi America.”A Poem Containing History:Textual Studies in The Cantos,edited by Lawrence S.Rainey,U of Michigan P,1997,pp.267-74.
Redman,Tim.Ezra Pound and Italian Fascism.Cambridge UP,1991.
Ricoeur,Paul.Time and Narrative,Vol.I.Translated by Kathleen McLaughlin and David Pellauer,U of Chicago P,1984.
Ross,Dorothy.“Grand Narrative in American Historical Writing:From Romance to Uncertainty.”American Historical Review,vol.100,June 1995,pp.651-77.
Sicari,Stephen.Modernist Humanism and the Men of 1914:Joyce,Lewis,Pound,and Eliot.The U of South Carolina P,2011.
Surette,Leon.A Light from Eleusis:A Study of Ezra Pound’s Cantos.Oxford UP,1979.
Terrell,Carroll F.A Companion to the Cantos of Ezra Pound.U of California P,1993.
王卓:《黑与白的“变脸”:论“黑脸喜剧”的历史嬗变及文化悖论》,《外国文学》第5期,2016年9月,第12-20页。[Wang Zhuo.“‘Face Ex/Changing'between Black and White:On Historical Transformation and Cultural Paradox of Blackface Minstrelsy.”Foreign Literature,no.5,Sept.2016,pp.12-20.]
--:《论丽塔·达夫新作<穆拉提克奏鸣曲>的历史书写策略》,《外国文学评论》第4期,2012年11月,第161-177页。[---.“On Rita Dove’s Historical Writing Strategy in Sonata Mulattica.”Foreign Literature Review,no.4,Nov.2012,pp.161-77.]
--:《多元文化视野中的美国族裔诗歌研究》。中国社会科学出版社,2015年。[---.A Study of Ethic American Poetry from the Multicultural Perspectives.China Social Sciences Press,2015.]
Webb,Lillian Ashcraft.About My Father’s Business:The Life of Elder Michaux.Greenwood Press,1981.
海登·怀特:《评新历史主义》,《新历史主义与文学批评》,张京媛主编,北京大学出版社,1997年,第95-108页。[White,Hayden.“New Historicism:A Comment.”New Historicism and Literary Criticism,edited by Zhang Jingyuan,Peking UP,1997,pp.95-108.]
Williams,David Park.“The Background of‘The Pisan Cantos’.”Poetry,vol.73,no.4,Jan.1949,pp.216-21.Wilson,Peter.A Preface to Ezra Pound.Longman,1997.
Yenser,Thomas,editor.Who’s Who in Colored America,1941-1944.6th ed.,Baton Rouge Sunday Advocate,1970.
(1)对此波顿·海特伦(Burton Hatlen)的理解有一定代表性。波顿·海特伦(Burton Hatlen)认为,庞德与诸如《新大众》(New Masses)等期刊的联系可能有助于我们理解庞德总是使用“nigger”这个词的原因。在盖特勒(Gellert)收集的黑人歌曲中,黑人都用nigger这个词。庞德可能想,如果黑人自己都用的话,那为何白人不能用?庞德长期的欧洲生活可能让他对这一个词的种族歧视的含义不甚了解。阅读诸如《新大众》(New Masses)期刊获得的信息就是这个词只是一个方言口语的表达,是Negro的另一个说法(See Burton Hatlen,“Ezra Pound, New Masses, and the Cultural Politics of Race Circa 1930,” p.178)。
(2)参阅霍文利:《佛罗伦萨共和国的衰亡》,经济科学出版社,2013年。
(3)详情参阅Linda Allen Bryant, I Cannot Tell a Lie:The True Story of George Washington’s African American Descendants. Universe, 2001.
(4)详情参阅Annette Gordon-Reed, The Hemingses of Monticello:An American Family. W. W. Norton&Company, 2009.
Bell,Bernard W.Bearing Witness to African American Literature:Validating and Valorizing Its Authority,Authenticity,and Agency.Wayne State UP,2012.
Bernstein,Michael Andre.The Tale of the Tribe:Ezra Pound and the Modern Verse Epic.Princeton UP,1980.
Burke,Peter.“The New History:Its Past and Its Future.”New Perspectives on Historical Writing,edited by Peter Burke,The Pennsylvania State UP,2001,pp.1-24.
Chace,William M.The Political Identities of Ezra Pound&T.S.Eliot.Stanford UP,1973.
Cookson, William. A Guide to the Cantos of Ezra Pound. Croom Helm, 1985.
---, editor. Selected Prose of Ezra Pound, 1907-1941. Faber and Faber, 1950.
卢波米尔·道勒齐尔:《虚构叙事与历史叙事:迎接后现代主义的挑战》,《新叙事学》,戴卫·赫尔曼主编,马海良译,北京大学出版社,2002年,第177—204页。[Dolezel, Lubomir.“Fictional and Historical Narrative:Meeting the Postmodernist Challenge.” Narratologies,edited by David Herman, translated by Ma Hailiang, Peking UP, 2002, pp. 177-204.]
Dunbar,Erica Armstrong.“George Washington,Slave Catcher.”New York Times,16 Feb.2015,www.nytimes.com/2015/02/16/opinion/george-washington-slave-catcher.html.Accessed 18 Mar.2019.
DuPlessis,Rachel Blau.Genders,Races and Religious Cultures in Modern American Poetry 1908-1934.Cambridge UP,1994.
Ellison,Ralph.Shadow and Act.Vintage,1995.
Flory,Wendy Stallard.“Confucius against Confusion:Ezra Pound and the Catholic Chaplain at Pisa.”Ezra Pound and China,edited by Qian Zhaoming,U of Michigan P,2003,pp.143-62.
Gallagher,Catherine and Stephen Greenblatt.Practicing New Historicism.U of Chicago P,2000.
Gottschild,Brenda D.Digging the Africanist Presence in American Performance:Dance and Other Contexts.Praeger,1998.
Green,Costance McLaughlin.The Secret City:A History of Race Relations in the Nation’s Capital.Princeton UP,1967.
Hatlen,Burton.“Ezra Pound,New Masses,and the Cultural Politics of Race Circa 1930.”Ezra Pound and African American Modernism,edited by Michael Coyle,The National Poetry Foundation,2001.157-84.
Huang,Yunte.“Was Ezra Pound a New Historicist:Poetry and Poetics in the Age of Globalization.”Foreign Literature Studies,vol.28,no.6,Dec.2006,pp.28-44.
琳达·哈琴:《后现代主义诗学:历史·理论·小说》。李杨、李锋译,南京大学出版社,2009年。[Hutcheon,Linda.A Poetics of Postmodernism:History,Theory,Fiction.Translated by Li Yang and Li Feng,Nanjing UP,2009.]
蒋洪新:《庞德研究》。上海外语教育出版社,2014年。[Jiang Hongxin.Ezra Pound Studies.Shanghai Foreign Language Education Press,2014.]
Kearns,George.Guide to Ezra Pound’s Selected Cantos.Rutgers UP,1980.
Kelly,Lionel.“Personal History in The Cantos.”Ezra Pound and History,edited by Marianne Korn,The National Poetry Foundation,1985,pp.119-34.
Korn,Marianne.Preface.Ezra Pound and History,edited by Marianne Korn,The National Poetry Foundation,1985,pp.7-14.
Makin,Peter.Ezra Pound’s Cantos:A Casebook.Oxford UP,2006.
Marsh,Alec.“Letting the Black Cat Out of the Bag:A Rejected Instance of‘American-Africanism’in Pound’s Cantos.”Ezra Pound and African American Modernism,edited by Michael Coyle,The National Poetry Foundation,2001,pp.125-42.
乌里·玛戈琳:《过去之事,现在之事,将来之事:时态、体式、情态和文学叙事的性质》,《新叙事学》,戴卫·赫尔曼主编,马海良译,北京大学出版社,2002年,第89-113页。[Margolin,Uri.“Of What Is Past,Is Passing,or to Come:Temporality,Aspectuality,Modality,and the Nature of Literary Narrative.”Narratologies,edited by David Herman,translated by Ma Hailiang,Peking UP,2002,pp.89-113.]
Molho,Anthony and Gordon S.Wood,editors.Imagined Histories:American Historians Interpret the Past.Princeton UP,1998.
Nielsen,Aldon Lynn.“Ezra Pound and‘The Best-Known Colored Man in the United States’.”Ezra Pound and African American Modernism,edited by Michael Coyle,The National Poetry Foundation,2001,pp.143-56.
North,Michael.The Dialect of Modernism:Race,Language,and Twentieth-Century Literature.Oxford UP,1994.
Oppen,George.“Interview with L.S.Dembo.”Contemporary Literature,vol.10,no.2,Spring 1969,pp.159-77.
Pearlman,Daniel.The Barb of Time:On the Unity of Ezra Pound’s Cantos.Oxford UP,1969.
Pound,Ezra.The Cantos.Faber and Faber,1975.
---.“I Cease Not to Yowl”:Ezra Pound’s Letters to Olivia Rossetti Agresti.Edited by Demetres P.Tryphonopoulos and Leon Surette,U of Illinois P,1998.
---.“An Introduction to the Economic Nature of the United States.”Selected Prose 1909-1965,edited by William Cookson,New Direction,1975,pp.167-86.
---.Literary Essays.Edited by T.S.Eliot,New Directions,1954.
---.Personae:The Shorter Poems of Ezra Pound.Edited by Lea Baechler and A.Walton Litz,New Directions,1990.
庞德:《庞德诗选--比萨诗章》。黄运特编译,漓江出版社,1998年。[---.Pisan Cantos.Edited and translated by Huang Yunte,Lijiang Press,1998.]
---.Selected Letters of Ezra Pound and William Carlos Williams.Edited by Hugh Witemeyer,New Directions Publishing Corporation,1996.
Preda,Roxana.Ezra Pound’s(Post)Modern Poetics and Politics:Logocentrism,Language,and Truth.Peter Lang,2001.
Rachewiltz,Mary de.“Afterword:Ubi Cantos,Ibi America.”A Poem Containing History:Textual Studies in The Cantos,edited by Lawrence S.Rainey,U of Michigan P,1997,pp.267-74.
Redman,Tim.Ezra Pound and Italian Fascism.Cambridge UP,1991.
Ricoeur,Paul.Time and Narrative,Vol.I.Translated by Kathleen McLaughlin and David Pellauer,U of Chicago P,1984.
Ross,Dorothy.“Grand Narrative in American Historical Writing:From Romance to Uncertainty.”American Historical Review,vol.100,June 1995,pp.651-77.
Sicari,Stephen.Modernist Humanism and the Men of 1914:Joyce,Lewis,Pound,and Eliot.The U of South Carolina P,2011.
Surette,Leon.A Light from Eleusis:A Study of Ezra Pound’s Cantos.Oxford UP,1979.
Terrell,Carroll F.A Companion to the Cantos of Ezra Pound.U of California P,1993.
王卓:《黑与白的“变脸”:论“黑脸喜剧”的历史嬗变及文化悖论》,《外国文学》第5期,2016年9月,第12-20页。[Wang Zhuo.“‘Face Ex/Changing'between Black and White:On Historical Transformation and Cultural Paradox of Blackface Minstrelsy.”Foreign Literature,no.5,Sept.2016,pp.12-20.]
--:《论丽塔·达夫新作<穆拉提克奏鸣曲>的历史书写策略》,《外国文学评论》第4期,2012年11月,第161-177页。[---.“On Rita Dove’s Historical Writing Strategy in Sonata Mulattica.”Foreign Literature Review,no.4,Nov.2012,pp.161-77.]
--:《多元文化视野中的美国族裔诗歌研究》。中国社会科学出版社,2015年。[---.A Study of Ethic American Poetry from the Multicultural Perspectives.China Social Sciences Press,2015.]
Webb,Lillian Ashcraft.About My Father’s Business:The Life of Elder Michaux.Greenwood Press,1981.
海登·怀特:《评新历史主义》,《新历史主义与文学批评》,张京媛主编,北京大学出版社,1997年,第95-108页。[White,Hayden.“New Historicism:A Comment.”New Historicism and Literary Criticism,edited by Zhang Jingyuan,Peking UP,1997,pp.95-108.]
Williams,David Park.“The Background of‘The Pisan Cantos’.”Poetry,vol.73,no.4,Jan.1949,pp.216-21.Wilson,Peter.A Preface to Ezra Pound.Longman,1997.
Yenser,Thomas,editor.Who’s Who in Colored America,1941-1944.6th ed.,Baton Rouge Sunday Advocate,1970.
(1)对此波顿·海特伦(Burton Hatlen)的理解有一定代表性。波顿·海特伦(Burton Hatlen)认为,庞德与诸如《新大众》(New Masses)等期刊的联系可能有助于我们理解庞德总是使用“nigger”这个词的原因。在盖特勒(Gellert)收集的黑人歌曲中,黑人都用nigger这个词。庞德可能想,如果黑人自己都用的话,那为何白人不能用?庞德长期的欧洲生活可能让他对这一个词的种族歧视的含义不甚了解。阅读诸如《新大众》(New Masses)期刊获得的信息就是这个词只是一个方言口语的表达,是Negro的另一个说法(See Burton Hatlen,“Ezra Pound, New Masses, and the Cultural Politics of Race Circa 1930,” p.178)。
(2)参阅霍文利:《佛罗伦萨共和国的衰亡》,经济科学出版社,2013年。
(3)详情参阅Linda Allen Bryant, I Cannot Tell a Lie:The True Story of George Washington’s African American Descendants. Universe, 2001.
(4)详情参阅Annette Gordon-Reed, The Hemingses of Monticello:An American Family. W. W. Norton&Company, 2009.