暑期考研英語閱讀 未來派詩歌

When a new movement in art attains a certain fashion, it is advisable to find out what its advocates are aiming at, for, however farfetched and unreasonable their principles may seem today, it is possible that in years to come they may be regarded as normal. With regard to Futurist poetry, however, the case is rather difficult, for whatever Futurist poetry may be―even admitting that the theory on which it is based may be right―it can hardly be classed as Literature.

　　This, in brief, is what the Futurist says: for a century, past conditions of life have been conditionally speeding up, till now we live in a world of noise and violence and speed. Consequently, our feelings, thoughts and emotions have undergone a corresponding change. This speeding up of life, says the Futurist, requires a new form of expression. We must speed up our literature too, if we want to interpret modern stress. We must pour out a large stream of essential words, unhampered by stops, or qualifying adjectives, or finite verbs. Instead of describing sounds we must make up words that imitate them; we must use many sizes of type and different colored inks on the same page, and shorten or lengthen words at will.

　　Certainly their deions of battles are confused. But it is a little upsetting to read in the explanatory notes that a certain line describes a fight between a Turkish and a Bulgarian officer on a bridge off which they both fall into the river—and then to find that the line consists of the noise of their falling and the weights of the officers: “ Pluff! Pluff! A hundred and eighty-five kilograms.”

　　This, though it fulfills the laws and requirements of Futurist poetry, can hardly be classed as Literature. All the same, no thinking man can refuse to accept their first proposition: that a great change in our emotional life calls for a change of expression. The whole question is really this: have we essentially changed?

　　全文翻譯

　　當一場新的藝術(shù)運動獲得某種流行時，最好找出其倡導者的目標是什么，因為無論他們的原則在今天看來是多么牽強和不合理，將來都有可能被認為是正常的。至于未來派詩歌，情況卻有點難，因為即使承認未來派詩歌理論根據(jù)可能正確，無論它是怎樣的，也很難稱之為文學。

　　長話短說，以下就是未來主義者說的話：一個世紀以來，先前的生活一直在有條件地加快變化；如今，我們生活的世界喧囂、暴力、節(jié)奏很快。因此，我們的感覺、思想和情感都經(jīng)歷了相應(yīng)的變化。未來主義者聲稱，這種加速的生活需要一種新的表達方式。如果我們想解釋現(xiàn)代社會的壓力，就必須加快文學的速度。我們必須大量使用基本詞匯，不受句號，修飾性形容詞及限定動詞的限制。我們必須造出模仿聲音的詞語而不是描繪聲音；我們必須在同一張紙上使用多種字體和不同顏色的墨水，任意縮短或加長詞語。

　　當然他們對戰(zhàn)斗的描述也是混亂的。讓人心煩的一件事就是：在讀到一句描寫戰(zhàn)斗的詩行的注解時，該注解中說該詩描寫了一名土耳其軍官和一名保加利亞軍官在一座橋上發(fā)生了搏斗，結(jié)果雙雙從橋上掉進河中——結(jié)果，詩把他們兩人落水的聲音和體重寫在了一起：“撲通！撲通！100公斤和85公斤。”

　　盡管這符合未來派詩歌的規(guī)則和要求，卻幾乎不能被歸入文學之列。同樣的，沒有一個善于思考的人會拒絕接受他們的首要主張，即情感生活的巨大變化要求表達方式也隨之變化。實際問題是：我們發(fā)生了根本的變化嗎？

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