论文部分内容阅读
由于中国这一泱泱大国本身的文化优势,中国目前的比较文学研究似乎更重视中国和西方的交流,西方作者之间的渊源关系讨论较少。作为一种弥补性的小小尝试,笔者试图讨论中世纪诗人但丁和现代诗人艾略特之间的诗学渊源,即哈罗德·布鲁姆所谓的诗歌的“家庭罗曼史”。本文主要以但丁的《神曲》和艾略特《四个四重奏》组诗之《小吉丁》作为文本细读分析的对象,集中讨论以下这两个紧密联系的问题:《神曲》和《小吉丁》的互文性;但丁和艾略特对语言和神性这两者关系的自我反思。文章最后分析指出,但丁对艾略特的影响不是单向的,艾略特借鉴但丁、模仿但丁,但他同时又篡改但丁,以达到自己的创作目的。而正是在模仿但丁的过程中艾略特创造出了属于他自己的新颖诗篇。
Due to the cultural superiority of China, a great power, the present comparative literature in China seems to pay more attention to the exchange between China and the West. There are fewer discussions on the origins of the Western authors. As a remedial little attempt, the author attempts to discuss the poetic origins of the medieval poet Dante and the modern poet Eliot, the so-called “family romance” of Harold Bloom’s poetry. This paper mainly focuses on the following two closely related issues: “Divine Comedy” by Dante and “Xiao Ji Ding” by Eliot’s “Four Quartets” poems, focusing on the following two closely related issues: “Divine Comedy” and “小 吉丁丁”Intertextuality; and Dante and Eliot’s self-reflection on the relationship between language and divinity. The final analysis of the article points out that Dante’s influence on Eliot is not one-way. Eliot borrows Dante to imitate Dante, but at the same time, he also attempts to tamper with Dante to achieve his own creative goals. It is in the process of imitating Dante that Eliot created his own novel poetry.