迥异的“飘忽感”和异趣的动物意象——《犰狳》和《臭鼬时光》之比较  

A Comparison Between The Amardillo and Skunk Hour on Their Drifting Descriptions and Animal Images

作　　者：吴梦莎 WU Mengsha(School of Foreign Studies,South China Normal University,Guangzhou 510000,China)

机构地区：[1]华南师范大学外国语言文化学院,广东广州510000

出　　处：《广东石油化工学院学报》2024年第2期56-60,共5页Journal of Guangdong University of Petrochemical Technology

摘　　要：罗伯特·洛威尔的《臭鼬时光》一诗是在模仿伊丽莎白·毕肖普的《犰狳》的基础上创作而成的。两首诗虽形似,都“开始于飘忽不定的状写,结束于一只孤单的动物”,神却难相似。首先,《犰狳》里的“飘忽感”体现了毕肖普对亚历山大·考尔德动态美学的融合和运用,而《臭鼬时光》前半部分“飘忽”的细节描述,实则是一场叙述者在苦痛抑郁状态下的视觉漫游。其次,两首诗对动物意象的描述体现了两人创作风格的区别,毕肖普诗中的叙述者在描述三种动物时口吻客观、克制且疏离;而洛威尔诗中的叙述者显然将己身投射在了臭鼬身上。Robert Lowell’s poem Skunk Hour is modeled on The Armadillo written by Elizabeth.Although these two poems are similar in form,both using“short line stanzas,start with drifting description and end with a single animal”,they are different in essence.First,the style of drifting details in The Armadillo indicates Bishop’s integration and application of Alexander Calder’s mobile aesthetics,while the drifting details in the first half of Skunk Hour are a visual wandering of the narrator who is in a state of manic depression.Secondly,Robert Lowell’s poetic style is apparently distinctive from that of Elizabeth Bishop in that while the narrator is embodied by the skunk in the end of the poem Skunk Hour,the narrator in The Amardillo clearly keeps a distance from the amardillo,thus revealing a sense of alienation.

关 键 词：伊丽莎白·毕肖普 罗伯特·洛威尔 《臭鼬时光》 《犰狳》 

分 类 号：I106[文学—世界文学]