<h1 class="pgc-h-arrow-right" data-track="1" > character experiences</h1>
Derek Wolcott was born on 23 January 1930 in Castries, On the island of Saint Lucia, in the West Indies, of British, Dutch and African descent. His grandmother and maternal grandmother were said to be black slaves. His father, an Englishman who made a living painting watercolor paintings and was an avid poet, theatre and opera, died in His infancy at Walcott. He was raised by his mother, who was a teacher.
In 1944, at the age of 14, Derek Walcott first published poetry in newspapers.
In 1948, Derek Walcott began his literary career by publishing a pamphlet, 25 Poems, at his own expense, with the money his mother had saved.
In 1949, Derek Walcott's first play, Henry Christopher, was performed and received a Scholarship for Colonial Development and Prosperity. That same year, at the age of 20, Walcott founded the Saint Lucia Art Guild and was admitted to St. Mary's College on the island of Saint Lucia, and later to the University of the West Indies, At Mona Campus in Jamaica, where he studied English, French and Latin literature.
Derek Walcott graduated from the West Indies University in 1953 with a Bachelor of Arts degree. Subsequently, Walcott taught at secondary schools in St. Lucia, Grenada, Jamaica and other places.
In 1959, Derek Wolcott founded the Theatre Studio in Trinidad and worked as director for ten years. He also writes for several publications and serves as a columnist.
In 1962, Derek Wolcott published his poetry collection In the Green Night, which began to really emerge.
Autographed In 1965, Walcott published a collection of poems, Survivors of Shipwrecks and Other Poems.
Beginning in the 1970s, Derek Walcott traveled to american universities as a visiting professor and resident poet, and later taught in the Creative Writing Department at Boston University.
In 1990, the epic poem "Omeros" was released in more than 300 pages. This tribute to Homer is recognized as one of Walcott's most important works.
In 1992, he was awarded the Nobel Prize in Literature that year by the Swedish Academy for his masterpiece The West Indies, which considered his work to be faithful to three things– the Caribbean, the English language and his African ancestors.
In 2011, he won the British Poetry Award Eliot Award for his book "Egret".
Derek Wolcott died of illness at his home in Saint Lucia in the early hours of March 18, 2017, at the age of 87. On 25 March, Saint Lucia hosted a grand state funeral for Derek Wolcott.
<h1 class="pgc-h-arrow-right" data-track="15" > major works</h1>
<col>
Name of work
Category of works
Creation time
Epitaph of the Young Man
Poetry
1949
Henry Christopher
drama
1950
The Dauphin Seas
1954
"Gongs and Drums and Colors"
1958
Tigkin and His Brothers
"In the Green Night"
1962
"Dreams on Monkey Hill"
1971
Oh Babylon! 》
1976
Star Apple Kingdom
1980
"Midsummer"
1984
"Omeros"
1990
West Indies
1992
"Generous Gift"
1997
"Egret"
2010
<h1 class="pgc-h-arrow-right" data-track="62" > creative features</h1>
<h1 class="pgc-h-arrow-right" data-track="63" > topic</h1>
The culture of the West Indies, where St. Lucia is located, is influenced by many foreign factors. Saint Lucia did not gain independence until 1979, but the long-dominant colonial culture had a strong inertia that haunted the poet Wolcott's identity like a ghost. The duality between black and white, subject and suzerain, The Native Caribbean and Western civilization occupies an important place in Walcott's themes. He grew up with a Western or British education, but on the other hand, black skin is a constant reminder of where his other half of his bloodline came from and how difficult his nation and country have gone through.
Walcott is a mixture of Dutch, black African and British descents, and this special identity casts the cultural diversity and richness of his works. There are many shadows of Hamlet in his works, for example, in the poem "The Prince", the protagonist of "Hamlet" points out the moral degeneration of the world by reflecting on the "lust" of his mother and the murder of his father. The first part of the play "Henry Christopher" directly introduces the third scene of the third act of Hamlet to highlight Christopher's outstanding heroic figure. Wolcott's father, Warwick, died when Wolcott was one year old, but he has lived in Wolcott's thoughts and works. In the epic poem Omeros, Walcott describes the reunion with the ghost of his father, derek often seeing himself as Hamlet in order to surpass his father's achievements in completing his artistic career and liberating himself."
On different occasions, Walcott has repeatedly explicitly mentioned the inheritance of his father's unfinished business, including his love of painting, and expressed his nostalgia and remembrance of his father who died prematurely in many works, which is also full of love for the family and "searching for roots". Like other Caribbean artists, Walcott was in the panic and inferiority of "the rootlessness of Caribbean civilization and the absence of indigenous literature", facing the "anxiety of influence" caused by Western influences; The difference is that Walcott, as a "survivor", sweeps away Shakespeare's Hamlet's cowardice and self-pity, and in "The Rest of His Life and Other Poems", he aspires to become the local "second Adam", a new type of "Robinson", to name his hometown and control and transform it, to give civilization and culture to the barren, barbaric Caribbean islands under the gaze of the West. Just as Eastern and Western elements flow in his blood at the same time, he will also mix the Caribbean with the literary traditions of the West, thus erupting with an astonishing force to revive the culture of the Caribbean.
Walcott's major plays include Henry Christopher, a historical play with British medieval historical legends as the main plot, showing the rebirth of slaves, and the epic drama "Gongs, Drums and Colors" that explores people's reactions to history through the depiction of four historical figures of explorer Columbus, Reilly the Conqueror, Tusheng the Rebel and Gordon the Martyr. In addition, there is the style drama "Dove Sea" and the moral drama "Tigin and His Brothers". The protagonist of the former is a brave old Fisherman of the Caribbean, and the protagonist of the latter is a small person who is good at using his wisdom to trick people. Published in the 1970s, "Dream on the Monkey Mountain" is Walcott's masterpiece, through the story of a charcoal-burning old man who fantasizes that he has become an African emperor, showing the historical development process of local people and colonialists fighting each other and interdependent in the political, cultural and other fields. Oh Babylon! Showcasing the depravity of the modern world, Truce Remembrance focuses on the character weaknesses of Trinidad's upper-middle-class people. Walcott repeatedly appropriated Shakespearean classics in his theatrical works, implanting the image of "Hamlet". For example, "Tributaries of the Blue Nile" is often regarded by critics as a postcolonial rewrite of Shakespeare's classic Play Antony and Cleopatra. Shakespeare's plays partly express the universal weakness of human beings who "lose their minds for love," while Wolcott expresses the religious faith and zeal required for theatrical art.
Walcott subverts Shakespeare's original text in a humorous tone, happily acknowledging the connection with the Western tradition represented by Shakespeare, but at the same time using the universality of Shakespeare's classics to highlight the uniqueness of his own Caribbean. This is the discovery and construction of the self in imitation, inheritance, and transcendence. The plot of Walcott's play is centered on Sheila's personal crisis and development, the heroine who has a different fate from "Cleopatra" and has a distinct Caribbean character. The Caribbean theater scene can be seen as a microcosm of the Caribbean islands; All the main characters in the play love the theatrical stage and the Caribbean islands in different ways. Although Walcott spent most of his life teaching at universities in the United States, Britain, Canada, and other countries, his work never deviated from the Caribbean island where he was born. He longed to take the essence of "there" and transform it through the artistic imagination to give hope and strength to "here" and give it cultural and identity independence.
<h1 class="pgc-h-arrow-right" data-track="67" > style</h1>
Walcott is adept at transforming the most everyday life into works of art, each of which is filled with an unusually complex technique, not simply to increase the difficulty of writing, but to make an equally complex reality take on a crystal-transparent texture. Write ordinary reality, use clear language and complex technology to achieve precise and clear results.
Walcott's poems often arrive at an image of infinite multiplication and infinite variation, and he often says that everything in the Caribbean world is mixed, that language is mixed, that beautiful natural landscapes are dusty, that scrapped American jeeps are thrown on wide beaches, and that many live destitute among abundant natural products. In just a few words, there are multiple mixtures: decay and life, loneliness and bustle, harvest and nothing, and the sun nourishes all things and burns all things.
Walcott wandered the landscape like a child, naming villages that were unheard of and gave the sea a dispensable edge. There is a passage in Crusoe's Journey about what he himself saw as he drove along the cliff-side highway: the sea, like a "stuttering canvas," the word "stuttering" transforms the visually wrinkled waves into stumbles in the sound, representing an unclear, broken expression of speech. His poems exclude almost all personal life and biographical information, and even love and life and death rarely appear in clear words. The image of the sea pervades the lines, as if the author can step out of the words at any time to step on the waves. The sea makes people feel that they are erased while feeling the existence: "The waves wash the sand over and over again, the clouds in the sky are rapidly deformed, and people are always walking in the water", not to mention all kinds of skin color, language and religion, impermanent, impermanent things are gathered here.
Most of Walcott's early poems depicted the loneliness of the individual and inconsistencies with local customs, revealing the contradictions of a multi-ethnic society. The recent poems have been influenced by the modern British poet Dylan Thomas and others, and have drawn on the rhythms and rhythms of local folk songs and dances. Poetic imagery is rich and sensitive, full of rhythm and sensibility, with great inspiration. In "Green Night", the author uses traditional poetic genres, including sonnets, to express his strong ideological feelings of loyalty to the motherland and the people, which is characterized by the integration of deep rational thinking and artistic technique. "Sea Grapes" shows that the poet strives to break through the barriers of European cultural traditions, take his own independent creative path, and begin to form his own unique creative style, and there is no longer a sense of conflict between the Caribbean environment and European literature in the poems in the early works. The autobiographical long poem "Another Life" is a new beginning in Walcott's artistic life, abandoning the complex style of short poems and reflecting on his country life with a new perspective. Walcott's poems are the result of the multicultural fusion of African, European, Caribbean and Oriental cultures, and are the achievements of his eclectic and eclectic consciousness and pioneering, innovative and independent spirit. The poems are rich and colorful, the style is novel and changeable, the form is thick, and the rhythm is harmonious. The painter's keen insight allows him to realistically depict natural scenes, observe social life in detail, and quickly capture subtle feelings. The complexity of perceptual imagery and metaphor greatly enriched the expressiveness of his poetry. The simplicity and clarity of the poems owes in part to the influence of ancient Chinese poetry on him.
Wolcott used English deeper and louder than most Britons. His lyric poems—In the Green Night" and "Coral" remain in the hearts of people as two very different works—and his early fourteen-line series Of Legends of the Islands ensured the possibility of writing these recent monologues, narrative poems. Walcott's poetry has transcended the stages of self-doubt, self-exploration, and self-diagnosis to become a public resource.
<h1 class="pgc-h-arrow-right" data-track="72" > awards</h1>
<h1 class="pgc-h-arrow-right" data-track="74" > character evaluation</h1>
Derek Walcott is the best poet in English literature today. (Comments by Joseph Brodsky, Russian-American poet and Nobel laureate in literature)
Derek Walcott's work, with its immense inspiration and vast historical horizons, is the result of his dedication to multiple cultures... A great poetic brilliance supported by a historical perspective and a multicultural mission. (Swedish Academy of Letters Review)
<h1 class="pgc-h-arrow-right" data-track="77" > posthumous commemoration</h1>
In 1993, a year after Derek Wolcott won the Nobel Prize in Literature, the square outside the Church of the Virgin Mary of castries, the capital of St. Lucia, was renamed Derek Walcott Square.
<h1 class="pgc-h-arrow-right" data-track="82" > basic introduction</h1>
Thomas Sturnas Eliot was the most influential English poet of the 20th century. He was born in St. Louis, Missouri. His grandfather was a pastor and a former university president. His father was a businessman and his mother was a poet who wrote religious poetry. Eliot studied philosophy and comparative literature at Harvard University, was exposed to Sanskrit and Eastern cultures, was interested in Hegelian philosophers, and was influenced by French symbolist literature. In 1914, Eliot became acquainted with the American poet Pound. After the outbreak of the First World War, he came to England and settled in London, where he worked as a teacher and a bank clerk. In 1922, he founded the quarterly literary criticism "Standards" and served as editor-in-chief until 1939. He became a British citizen in 1927. Elliot considered himself a royalist politically, a Catholic in England religiously, and a classicist in literature.
<h1 class="pgc-h-arrow-right" data-track="84" > basic introduction</h1>
Thomas Sterns Eliot (1888–1965) was the most influential English poet of the 20th century. He was born in St. Louis, Missouri. His grandfather was a pastor and a former university president. His father was a businessman and his mother was a poet who wrote religious poetry. Eliot, who described himself as a Religiously Catholic, politically royalist, and literary classicist, was known as "one of Dante's youngest successors". Thomas Eliot expressed the spiritual disillusionment of the Western generation and is considered an epoch-making work in modern Western literature. In 1948, he was awarded the Nobel Prize in Literature for his pioneering work in innovating modern poetry" and was awarded the Nobel Prize in Literature.
<h1 class="pgc-h-arrow-right" data-track="86" > biography</h1>
Thomas Storm Eliot was born on September 26, 1888 in St. Louis, Missouri, and was a descendant of a famous new England man, whose grandfather, William Greenleaf Eliot, was the founder of the University of Washington. In 1906, Eliot entered Harvard University to specialize in philosophy, and also wrote and wrote for the Harvard Advocate. He completed his undergraduate program in three years and then attended Harvard Graduate School, Sorbonne University, and Morton College, Oxford University. He completed his doctoral dissertation on the British philosopher F.H. Bradley, but was unable to return to Harvard University for his Ph.D.
When he came to Europe in 1914, Elliot met Ezra Pound and developed a close literary and personal relationship with him. Elliot also held many careers in Europe, including as a regular teacher at Heyette School, a boys' school near London, and as a clerk at the Loyds Bank. From 1917 to 1919, he was assistant editor of the journal Egoist, joined the fabian and quinn (later known as fabian and fabian) publishing houses, and eventually became its chairman.
In 1927, Eliot became a British citizen and converted to the Anglican Church. He married Vivienne Heywood in 1915, but broke up again in 1932; she was held in a mental hospital from 1930 until her death in 1947. In 1957, he married his secretary, Villeree Fletcher.
In 1932, Elliott returned to the United States for the first time after 17 years as the "Charles Eliot Norton Professor of Poetry" at Harvard University, and after completing his work, he returned to London. Over the next 35 years, he received numerous honours, including the Nobel Prize in Literature, the British Medal of Honour and the Medal of Freedom, as well as the absence of U.S. President Lyndon Johnson in 1964.
Elliott died in London on 4 January 1965, buried in the Anglican Church in east Cook, County Mosset.
<h1 class="pgc-h-arrow-right" data-track="88" >'s creative resume</h1>
<h1 class="pgc-h-arrow-right" data-track="129" > curriculum vitae</h1>
The period 1922-1929 was an important period for Eliot's work, and the technique and content of his poetry tended to be complicated. The masterpieces "Wasteland" (1922) and "Hollow Man" (1925) focus on the dilemma of Westerners facing the imminent collapse of modern civilization, the rather hopeless dilemma, and the extremely empty state of existence. The despair in "The Hollow Man" is very obvious: man is a hollow man, his head is stuffed with straw, his voice is "completely meaningless, like the wind blowing on the hay", and the whole world will end with a "boo". The hollow man is a symbol of the modern man who has lost his soul.
After 1929, Eliot continued his exploration of the art of poetry, and at the same time his thinking began to change. His long poem "Grey Wednesday" (1930) is highly religious, and the author tries to seek liberation in religion. The Four Quartets (1943) is an important work of his later works. It is a set of philosophical religious meditation poems titled in four locations. "Burned Norton" refers to the ruins of an English country house, "East Kirk" is the village where Eliot's ancestors lived in England, "Gan salviz" is a reef on the coast of Massachusetts, Usa, and "Little Gideon" is a chapel of the Anglicans during the English Civil War in the 17th century. These are places that the poet considers memorable. Each poem imitates Beethoven's quartet and has 5 movements. Poetry expresses the disillusionment of life and promotes christian humility and soul self-help. Some critics believe that this is the pinnacle of Eliot's work.
<h1 class="pgc-h-arrow-right" data-track="128" > creative stage</h1>
Thomas Stearns "T.S." Eliot's poetic career can be divided into three phases. The early works have a low mood, often using associations, metaphors and hints, to express the bitterness of modern people. The famous work "The Love Song of Pruflock" (1915) uses an inner monologue to express the protagonist's ambivalent mentality of longing for love and fearing love, showing the emptiness and cowardice of modern people. The poem was later included in his first collection of poems, Prufolk and Others (1917). Another work published during this period, Collected Poems (1920), also reflected the pessimism and disappointment of Western intellectuals after world war I, and was well received by the British and American literary circles, and "The Little Old Man" is considered to be the prelude to "The Wasteland".
<h1 class="pgc-h-arrow-right" data-track="94" > literary analysis</h1>
Elliott's first poetry was at the end of the First World War, and those poems showed his early influences: the French Symbolist poetic school, especially the irony of Stephanie Mallarmé and Jules Laforg, and the urban imagery of Charles Baudelaire. Elliot's lifelong focus on the plight of modern civilization and postwar disillusionment also begins here.
The Love Song of Prufolk (published in the Poetry Journal in 1915) is an early example of this influence and concern. It's the inner monologue of a shy, repressed man. It shows that Elliot had already become interested in the idea of "fragmentation" as a technique by this time. Prufolk is eager to socialize with people, but he is isolated, sensitive and numb, always worried that communicating and contacting people will have adverse consequences. By listing throughout the poem images that seem unrelated, Eliot emphasizes the fragmented character that he considers to belong to modern men and women.
The Wasteland, a landmark work from the 1920s, also demonstrates his focus on the plight of the 20th century. Its achievements owe it to the enthusiastic help of Ezra Pound, Elliott's mentor and friend. He suggested that Eliot revise the original manuscript, delete some explanatory material, cut out the seventy-two lines of rhyming dialogue, and delete some verbose and vulgar poetic wording. As a result, it became an unparalleled experimental poem, the language was simple and unpretentious, the imagination was extraordinary, and it formed a revolution in the history of literature. The skill and foresight that Eliot expresses in his poems will, to some extent, have a profound impact on present and future generations.
In The Wasteland, he experimented with a technique he thought had discovered by James Joyce: the use of myths.
In a 1922 review of Ulysses, Eliot interpreted this use of mythology as providing "an eternal comparison between reality and history." Eliot also experimented with this approach in two poems, "Straight Sweeney" and "Sweeney in the Nightingale," which are included in the 1919 poetry collection Poems. In Wasteland, he is the last to use the technique of mythology. He conceived works around the myth of death and rebirth, believing that this myth is the archetype of all the major religions in the world. Eliot's conception stems from two anthropological books, Ms. Jesse Weston's From Ritual to Myth (1920) and Sir James Fraser's Golden Branch, which inspired him to depict in his poems a mythical kingdom in which a wounded (or dead) king waited for someone to save him and restore his land to its abundance. With the help of symbols of desert, water, abundance, and regeneration, Eliot creates a picture that he considers to belong to both modernity and any era.
Eliot's post-Wasteland poetry continues to explore contemporary culture, placing great emphasis on the need for individuals to find a standard by which individuality is determined. This poetic question reflects Eliot's personality journey, which is hinted at in the titles of poems about religious skepticism and reconciliation: The Journey of the Three Saints, Grey Wednesday (1930), and The Four Quartets (1943). The creation of the Four Quartets, which began in 1934 and was not completed until 1943, was his proselytizing work; he did not overly represent the refuge of religious belief as a smooth path to truth. It is a group of poems containing religious and philosophical contemplation. As its title suggests, The Quartet has a musical structure, consisting of four long lyric poems with place-named titles: "Burning Norton," home to an English manor; "East Cook," a small village inhabited by Eliot's ancestors; "Dry Selvigis," a set of reefs off The Sea off Cape Ann, Massachusetts, U.S.; and "Little Giding," home to a 17th-century Anglican society in England. Each quartet of the poem contains a fluid, fluctuating rhythm, with a meditative tone that accompanies the theme of its theme, repetitive and multiple original musical, and contemplative tones. In short, this quartet represents Eliot's efforts to seek value affirmation in the development of personality and literature.
These explorations prompted Elliot to try his hand at other genres. He wrote five plays: Murder in the Cathedral (1935), Family Reunion (1939), Cocktail Party (1949), Confidential Secretary (1953), and Political Elders (1958). Religious themes are reflected in every play, and all five plays were successfully staged on Broadway in London and New York. The plays, all written in rhyme, show Eliot trying to explore the same themes he touched on in his poems, only this time bringing them to the stage.
Eliot's concerns in his poetry are also shown in his literary reviews. He has published works on Dante, Georges Hubbert, Elizabethan plays, 17th-century poetry, and a collection of essays on society and religion, on a variety of aesthetic issues. One of his most important books was The Sacred Forest (1920), which contained Eliot's famous essay Tradition and Individual Talent. In this paper, he speaks of traditional agency, emphasizing the importance of the poem itself rather than the poet's personality. These ideas are also contained in Eliot's poems, whose poems constantly express the connection between the past and the present. He declared that this was a way for artists to reconstruct tradition through their contributions and reflections on it. In the process of this reconstruction, Elliott says, the artist must suppress individuality through "constant self-sacrifice." The most important thing in modern poetry should be the poem itself, not the personal style of the poet's creator. He not only preached this view, but he also practiced it himself.
Despite his achievements in literary criticism and poetry, Eliot remained a poet. He was an American who later became a British citizen, and because of his unusual, almost split personality, readers asked Eliot whether his poetry belonged to the American tradition or the British tradition. In response to this question in the Paris Review in 1959, he said: "I must say that my poetry clearly has more in common with my famous American contemporaries, while the characteristics of my English contemporaries are less expressed in my work." That's something I can be sure of. ”
Just as he clearly understood his place in the history of literature, so did critics that Eliot, one of the founders of modernist English poetry, had an unquestionable influence on literature before he won the Nobel Prize in Literature, and will certainly influence the future. Eliot's obscure experimental poetry challenges his readers and continues to do so. Obscure standards are part of Eliot's aesthetic vision, and he believes that poetry, especially 20th-century poetry, cannot be simple and clear. In The Use of Poetry and the Use of Criticism, he explains this point: "Incomprehensible (when reading certain poems) is caused by the author omitting something that the reader is accustomed to looking for, so the reader is confused and searches around for what is omitted from the poem.
What gives poetry this inherent difficulty is an experiment of Eliot's technique: his listing of images without obvious connections, his reliance on metaphors, his rough, unadorned language, his innovation of structure, etc. Elliott eventually expressed his views on modern civilization, his sense of the chaos and cultural poverty of the 20th century, and the question of how to respond appropriately to the disconnects of modern civilization. Obscure, innovative, prophetic, T.S. Eliot's praise for the Swedish Academy's awards, recognizing him as "able to find the right words with a remarkable talent, both in poetry and in literary theories defending certain ideas."
<h1 class="pgc-h-arrow-right" data-track="96" > influences</h1>
Eliot's Tradition and Personal Talent was translated into Chinese by the famous poet Bian Zhilin as early as the 1930s. For this far-reaching paper, Borges says, instead we created the ancestors and legends Thomas Sturnas Eliot, not tradition that created us. After the publication of Wasteland, various interpretations emerged, and people often used it as a portrayal of the decline of Western civilization. There are also critics who argue from the salvation of the wasteland, arguing that "The Wasteland" is essentially different from "Ulysses", and Eliot describes the helpless individual facing the boundless darkness and trembling, and the solution to the problems of contemporary society is beyond human reach, but waiting for the arrival of Ganlin in the rumbling thunder.
Yan Feng, an associate professor at the Department of Chinese at Fudan University, recalled that in the 1980s, domestic college students had the saying that "talking about Eliot is not talking, and reading all the poetry books is in vain", which shows the great influence of Eliot on The Chinese cultural circle. Today, poetry is marginalized, and the publication of Eliot's collected works feels "20 years late." Zhang Xinxin, a well-known literary critic and professor of Fudan Chinese Department, also said that when opening the history of modern and contemporary Chinese poetry, many famous poets have said that they are deeply influenced by Eliot, for example, Xu Zhimo once imitated Eliot's poetic style to write "West Window". Bian Zhilin, Xia Ji'an, Mu Dan and others were also deeply influenced by it, "from Xu Zhimo and Sun Dayu to today's literary youth, several generations of people have read Eliot's long poems "Wasteland" and "Pruflock's Love Songs", which constitute an unforgettable memory of Chinese literature."
Eliot was also one of the most important critics of 20th-century Britain, and his ideal of "common pursuit of correct judgment" became a powerful slogan. Eliot's first collection of essays, The Sacred Forest, gives readers a sense of authority that ushers in a new era, and his Selected Papers, 1917-1932 is a rare classic in the history of British criticism.
<h1 class="pgc-h-arrow-right" data-track="100" > achievement honors</h1>
Eliot was also very successful in the field of poetry, and he tried to create a modern poetic model. The play Murder in the Cathedral (1935), featuring the 12th-century Archbishop Beckett, affirms religious devotion. His other screenplays include "Family Reunion" and "Cocktail Party". Eliot was also an important literary theorist, writing numerous reviews of his famous literary essays " Tradition and Individual Talent " and " The Three Voices of Poetry " . He put forward a series of important insights, such as writers should have a sense of history, writers should not depart from the literary tradition but can enrich and change the tradition with their own creations, poets should look for "objective counterparts", and so on. He also put forward the principles of poetry creation and evaluation in articles such as "The Sacred Forest" and "On Poetry and Poets". These insights have had a great influence on the new critics. In 1948, he was awarded the Nobel Prize in Literature for his poem "Four Quartets". [1] Considered the most influential poet who wrote in English before World War II.
< h1 class="pgc-h-arrow-right" data-track="102" > character works</h1>
Eliot began his poetry writing in 1909, publishing Love Songs of Pruflock (1917), Poetry Collection (1919), Wasteland (1922), Elliot's Poetry Collection (1909-2925), Journey of the Wise Men of the East (1927), Gray Wednesday (1930), Selected Poems (1909-1935), And Four Quartets (1943). Among them, "Prufolk's Love Song" is a representative work of early poetry; "Wasteland" was produced in the middle of the creation and is an epoch-making work of Western literature in the 20th century, a milestone in modernist poetry; "Four Quartets" is a representative work of late poetry.
Influenced by French Symbolist poetry, late Renaissance English playwrights and metaphysical poetry, Eliot's poems are concrete and accurate, and thoughts and feelings are connected by associations and suggestions, reflecting the emotions of doubt and disillusionment that existed in capitalist society in the 1920s, and in the 1930s and 1940s there was a sentiment of seeking liberation from religion.
The most important of Eliot's early poems are: "The Love Song of Prufolk", which writes about the ambivalence of a mediocre young man in courtship poetry in high society; "A Portrait of a Lady", which writes about the emptiness of high-society women's life; and "The Little Old Man", which depicts an empty feeling through an old man's monologue. These poems reflect the spiritual emptiness, poverty, and despair of the British and American upper classes before and after the First World War.
The Waste Land is an epoch-making work in 20th-century Western literature, a milestone in modernist poetry and a masterpiece by Eliot. The poem is divided into 5 chapters. In the first chapter, Funeral Rites of the Dead, the poet uses the wasteland as a symbol of postwar European civilization, which needs the moisture of water, the need for spring, the need for life, and reality is full of vulgar and low-level desires, neither life nor death. The second chapter, "Pairings", compares the lives of women in the upper class and the lower male and female citizens in the bar room, showing that such a life is equally low-level and meaningless. The third chapter, The Fire Commandment, writes of vulgar obscenity, emptiness and no real love caused by the fire of lust. The fourth chapter, Death in the Water, is the shortest, suggesting that death is inevitable and that the water of life that people crave cannot save mankind. The fifth chapter, The Words of Thunder, returns to the theme that Europe is a dry wasteland, fearful of the revolutionary wave, and preaching religious "giving, sympathy, restraint." Using the results of anthropological research on myths and legends, Eliot quotes or changes the plots, allusions and nouns in European literature in large quantities, and forms a complete poem with consistent ideas and moods in 6 languages, with distinct images and through hints and associations, and strict structures. The poems rarely use rhymes, most of them are rhythmic free bodies, and the language is varied. The poem was a great technical breakthrough, and was highly criticized after the first two issues of the Standard quarterly, after which the author added annotations and the researchers made interpretations and comments, which were basically readable.
In Eliot's other important poems, such as The Hollow Man, despair is even more pronounced: man is just an empty shelf in the land of the dead, a man filled with straw, a shadow. "The world ends in a whimper". The number of abstract terms in this poem gradually increases. Ash Wednesday refers to the first day of Lent, to sprinkle ash on the heads of the repentant, to preach the Christian doctrine of obedience to God's will and repentance.
The Quartet of Four was written between 1935 and 1941 and is titled from four locations: Burned Norton refers to the site of a rose garden in an English country house; Le Cork is the village and village trail where Ai's ancestors lived in Britain; Dry Salvicz refers to a group of reefs in Haida, Massachusetts, USA; and Little Geding refers to a chapel in the Anglican settlement during the English Civil War in the 17th century. This is a group of philosophical and religious meditation poems, the central theme is consistent with "Wasteland", through personal experience, historical deeds, etc., expressing the illusion of time (past, present and future), the disillusionment of life, Qi always, and so on, "Yew and The Jewel are the same life", promoting the humble spirit of Christianity. This poem is meditative and interwoven with images, the language is rhythmic, there is no "Wasteland" fabrication, it reads naturally and smoothly, it is clear and clear, and it is considered to be the poem of Eliot's peak.
Elliot's plays are mostly poetic. The early Sweeney the Gladiator was not completed. The Rock (1934), staged to raise money for a parish in London, is a costume play in which choir lines render the difficulties the church has experienced in the past and present, and preach that it will eventually triumph.
Elliott's most famous poem is The Cathedral Murder, written for the Canterbury Cathedral Sunday event. The story begins in the 12th century when Khan Mas, Archbishop of Canterbury, was killed. The conflict between E. Becket and King Henry II. Becket resisted all kinds of temptations and was eventually killed by knights sent by the king. Critics believe that the play celebrates the dedication to atonement for the sins of the world, while others believe that it is the crime of pride that is denied by opposition to doctrine.
"Family Reunion" uses modern themes to write about the retribution of crime, crime breaks the family, and emphasizes the character's atonement psychology. "Cocktail Party" and "Confidential Secretary" promote religious belief in the form of cash-buy comedy to bring the light of self-knowledge to the guilty, and only religious belief can keep people from getting lost. The last screenplay, The Patriarch of Politics (1959), turned to the glory of love.
Eliot's earliest critical works were collected in the Sacred Forest, and later published critical articles, in 1932 another "Selected Papers", in 1936 into "Ancient and Modern Papers".
His most important literary criticism articles are: Tradition and Individual Talent, The Function of Criticism, The Use of Poetry and the Poetry of Criticism, as well as articles and speeches on poetry, individual playwrights and poets. Elliott had no respect for Shakespeare; he believed that Milton had a bad influence on poetic technique; he considered Shelley to conceptualize and Byron to entertain only the upper classes. He greatly admired Dante, the English Renaissance (especially late) playwright, and the metaphysical poet. He praised Dryden's poetic skills for surprising pleasure.
In his essay "Tradition and Individual Talent", he proposed that a writer cannot create from tradition, but can change tradition like a catalyst, which is where the writer's personal talent lies. The function of literary criticism is to put the facts that the reader has not seen in front of the reader and improve his ability to appreciate and feel.
Eliot also proposed two important concepts of poetic criticism: "the differentiation of feelings" and "objective counterparts." He believes that English poetry tended to be conceptualized and conceptualized after the I8th century, and the ideas and feelings, ideas and images were disconnected, and the thoughts and feelings of 19th century poetry tended to be hazy and vague, so poets should turn back to the poetry of the early 17th century, that is, the late Renaissance and metaphysics. He believes that poets expressing thoughts and feelings cannot be expressed or expressed directly like philosophers or less skilled poets, but must find "objective counterparts". The writer must use a cool mind like the classical writers, and combine the "objective counterparts" such as various images, situations, events, palms, and quotations into a pattern to express a certain complex, and can immediately arouse the same feelings in the reader's mind, so that the literary feelings are consistent, in order to correct the hazy and vague effect of 19th-century poetry.
In addition to literary criticism, Eliot has published many famous works and articles on religion and culture, the main ones being "What is Christian Society" and "Notes on the Definition of Culture".
Eliot's creations and commentaries played a pioneering role in British and American 20th-century modernist literature and new critical criticism, and few people can compare with him in the entire Western literary scene.
<h1 class="pgc-h-arrow-right" data-track="118" > author of the same name</h1>
Elliot, George (1819–1880)
British writer. Her original name was Mary Ann Evans. Born 22 November 1819 in Warwickshire, England, died 22 December 1880 in London. She grew up familiar with the customs and customs of the British countryside. As a teenager, she attended a girls' residential school, helped her father with housework after her mother's death, taught herself at home, and was a language genius who mastered German, French, Italian, Latin and Greek. At the age of 20, he moved to Coventry with his father, where he became acquainted with young people with liberal ideas, such as Charles Brey and Charles Hannell, and read skeptical treatises such as "An Investigation into the Origins of Christianity" by the latter, resolutely abandoning religious beliefs and paying keen attention to the new trends of social reform. This was a turning point in her life, when in 1846 she translated and published the atheist work of the German thinker David Strauss, The Biography of Jesus, and a few years later Feuerbach's The Nature of Christianity.
The publication of these two books had a considerable influence on the development of liberal thought in Britain in the 19th century. In 1851 she became assistant editor of the Westminster Review, approaching more liberal intellectuals and maturing her thinking further.
During this period she lived with the critic and husband George Henry Louis because of her intellectual union. Encouraged by the latter, he began to work, publishing under the pseudonym George Eliot. Initially, he published 3 novellas under the title of "Scenes of pastor's life", which attracted the attention of critics. The next publication, Adam Bede, is a novel that truly reflects the style of the British countryside at the end of the 18th century and shows the profound moral strength of the protagonist of the same name. The Mill on the Flos River is a novel about rural life in early 19th-century England, reflecting the author's moral thinking through the story and fate of a pair of brothers and sisters. "Manan the Weaver" is a psychological novel with high artistic achievements. Due to her cohabitation with her husband, she was banished by the "decent" society of the Victorian era in England, and the two later traveled frequently across the continent.
Twice in Italy she wrote the novel Romura, which reflects the life of an Italian reformer. Her other important works include Felix Holt, Middlemarkt, Daniel Delonda, etc. Considered her most important novel, Middlematche is considered to be her most important novel, and through the complex intertwined fates of many characters, she deeply considers the free will and free choice of people, the consequences of personal actions on themselves and others, etc., and exerts the author's idea that "people must pay for their moral choices" to the extreme. It is a novel about the disillusionment of life and contains a lot of psychological analysis. Eliot has a profound sense of observation and thinking, and has created many female characters with sound and color in the novel.
<h1 class="pgc-h-arrow-right" data-track="138" > character biography</h1>
Octavio Paz was born in Mexico City in 1914. His father was a journalist, a lawyer, and a representative of Emiliano Zapata, a prominent general in the Mexican Revolution in New York.
Her mother was a descendant of Spanish immigrants and a devout Catholic. His grandfather was a journalist and writer, his grandmother was an Indian, and Paz spent his childhood in such an environment of freedom and religion. Paz began his studies at the age of 5 and received an English and French education.
At the age of 14, he entered the Department of Philosophy and Literature and the Faculty of Law of the University of Mexico, where he read a large number of classical and modernist poets, and later accepted the influence of the Spanish "Twenty-Seven Generation" and the French Surrealist poetic style.
In 1931, he began to write literature and co-founded the magazine "Railing". Two years later, the Mexico Valley Handbook was created. At that time, he was very interested in philosophy and politics, and read a large number of works with Marxist tendencies.
Founding a secondary school in Yucatanmi in 1937, where he discovered desert, poverty and the great Mayan culture, Between The Stone and the Flower was created. In the same year he went to Spain to attend the Congress of Anti-Fascist Writers and became acquainted with the most prominent poets of Spain and Latin America at that time. It was there that Under Your Clear Shadow and Other Spanish Poems were published. After returning to Mexico, Paz was active in the rescue of Spanish exiles and founded workshops and prodigal children. In 1944, he went to the United States for research. Diplomatic work began in 1945. He has served in the Mexican Embassies in France, Switzerland, Japan and India.
From 1953 to 1959, he returned to China to engage in literary creation. He returned to Paris and New Delhi until he resigned as ambassador to India in 1968 to protest his government's crackdown on the student movement. Since then, he has devoted himself to literary creation, academic research and lecturing activities. In Translation and Recreation (1973), he translated the works of some chinese poets of the Tang and Song dynasties.
Paz's poetry and prose have the characteristics of integrating Europe and the United States, connecting the East and the West, and absorbing the strengths of all and being unique.
From 1962 to 1968, Paz was appointed ambassador to India by the Mexican government, and from then on he began his exploration of Oriental culture, studying Indian Buddhist thought and Studying Chinese Yin and Yang theory. In 1969, a collection of poems "East Hillside" was published. His creative path is full of colors, involving surrealism, idealism, existentialism, symbolism, and structuralism.
He won the Belgian International Poetry Prize in 1963, the Cervantes Prize for Literature in Spain in 1981, and the Nobel Prize in Literature in 1990 for "his works are full of inertia, broad vision, permeated with the wisdom of perception and embodying perfect humanism". He is also an honorary Doctorate from Boston University, National Autonomous University of Mexico, Harvard University, and New York University.
<h1 class="pgc-h-arrow-right" data-track="145" > personal work</h1>
Original name
year
poetry
Sun Stone
PiedradeSol
1957
Freedom of Parole
Libertadbajopalabra
Tinder
Salamander
"East Hillside"
LaderaEste
1969
A Clear Past
Pasadoenclaro
1974
"Turning Point"
Lap
The Tree Growing Downwards
ÁrbolAdentro
1987
prose
Labyrinth of Solitude
Ellaberintodelasoledad
The Bow and the Piano
ElArcoylaLira
1956
"Pear on the Elm Tree"
Lasperasdelolmo
《Communication》
CorrienteAlterna
1967
Connecting and Decomposing
ConjuncionesyDisyunciones
The Benevolent Demon
ElOgroFilantrópico
Saul Juana Ines or the Trap of Faith
SorJuanaInesdelaCruzolastrampasdelafe
1982
Man in His Century
HombresensuSiglo
A Brief Account of the Great Days
The Chronicle of India
VislumbresdelaIndia
1995
<h1 class="pgc-h-arrow-right" data-track="203" > awards</h1>
<h1 class="pgc-h-arrow-right" data-track="204" > writing features</h1>
Paz won the Nobel Prize in Literature, as the Jury says, because his literary work was "passionate and broad-minded" and "a fusion of the American culture before Columbus discovered the American continent, the culture of the Spanish conquistadors, and the modern culture of the West." When he learned of his award, Paz said, "This prize was not only issued to me, but also to Mexico and Latin America as a whole," and he was encouraged by "always having a large readership."
It should be said that the award of Paz once again shows that Spanish-language Latin American literature is shining in the world literary scene in the nearly half of the world literature after the Second World War.
The greatest influence on Pascal was still Surrealism. Surreal expression and traditional symbolic techniques are fused in Paz poetry, but he remains faithful to his creativity and the unique need for this creativity. His poetic language and image are quite consistent, many early poems mostly involve identity characteristics, late poems mostly involve empirical events, early poetry forms are mostly short lines of poetry, the middle period is dominated by long sentence poetry, and the later period is also influenced by Oriental poetry such as the traditional Japanese sentence form.
Many of his poems are love poems, reflecting his poetic theory that poetry is communication, a means of breaking the wholeness of man's loneliness and repetitive existence. His gift consisted in building a bridge between the individual and the totality, between man and society, and to provide some comfort to the suffering by revealing his own alienation and the anxieties peculiar to the present. His collection of poems Under Your Clear Shadow and Beyond (1937) was already remarkable, while On the Edge of the World (1942) made him recognized as one of the most promising poets in the Spanish-speaking world.
Paz's prose shows that he was familiar with tradition, had a very broad vision, was very knowledgeable, and was the main interpreter of Mexican national nature. The ethnic makeup of Mexicans is 29 percent Indian, 5 percent of Mestizos and 15 percent of whites. Among the latin American powers, this proportion of Indians and European-Indian mestizos is the highest. No wonder Chinese when he visits the mountainous countryside of Mexico, all the people he sees are like Chinese, and he feels like he has returned to southern China, which is very kind.
But who are the Mexicans? In Labyrinth of Solitude, Paz offers a complex and controversial analysis of the identity and character of Mexican nationals. What are the common psychological characteristics of Mexicans as a people? The cultural heritage of the ancient Indians certainly makes the Indians and The European-Indians, who are their heirs, proud, and the whites, though few, feel the same way, because they are citizens who were born and raised in Sri Lanka and are influenced by the Mexican cultural atmosphere. During the colonial period, although the Indian culture was destroyed, the Spanish culture and the culture of Catholics, which accounted for ninety percent of the population, formed the main body, but the customs, habits and cultural methods of the Indians were still visible.
In Labyrinth of Solitude, Paz analyzes Mexican character from a psychological perspective in terms of history, mythology, and social behavior. Paz believes that the most observable feature of mexican personality is disguise, the use of "masks", because they are difficult to judge who they are, they are searching for their national identity, they are experiencing a collective identity crisis, so they must constantly hide themselves (in fact, this is also seen in Latin American countries, especially in Mexico).
Latin American cultures are not so much a mixed tradition to be continued as a prospect to be realized; In other words, their identity and identity have yet to be formed. This is the meaning of "lonely labyrinth". Of course, in his treatise on the dialectic of loneliness, Paz places the question of individual unity and social communication at the center of modern existence. Peter Vancitas, an expert on Mexican literature, said: "Paz interpreted Mexican history as three ruptures: conquest, independence and revolution.
When the Indians were conquered, they were abandoned by the gods and leaders, and thus fell into a state of fearful spiritual loneliness... The break with Spain did not form a dynamic national myth, and republican leaders were only concerned with consolidating their position as wealthy heirs.
The liberals, on the other hand, because the enterprising bourgeoisie has not yet emerged, act only as a European import, so they only use flowery rhetoric to perform the fantasy of "The Labyrinth of Solitude" The theme is that the liberals ignore another part of human activity, that is, myths and dreams. Paz examines the attitudes of Mexicans towards work, religion, sexuality, and politics, their current economic and political dilemmas, and argues that the Mexican Revolution (the leader of the world's major revolutions of the early twentieth century) was hardly consciously trying to excavate the gifts of the Aztecs, Spaniards, moors that had been buried for a long time — gifts that were entangled and overlapped like the Mexican pyramids before the conquest... The revolution still emphasizes practice, like a grand festival, rather than a well-founded and academically based program... It is now necessary to get rid of the false Mexican identity, to return to the roots, to establish a true national self. "
Octavio Paz's writings and treatises are largely about the human condition, the spiritual exchange of man, and especially the character traits and connotations of Mexicans, from his youth to the present. His efforts aim to grasp the pulse of the times and explore the problems of modern man. Vertically, he absorbs his country's ancient culture, European classical culture and Oriental traditional culture, and horizontally, he keeps pace with the trend of the times. Throughout this is the focus on and exploration of the human spirit, consciousness, identity, identity and identity of the natives. This is exactly the vision and attitude that a modern poet and writer should have.
The so-called facing the world must actually take the exploration of their own traditions, the inherent spirit of their own people, and their national nature as their own responsibility, because although all the peoples of the world have commonalities, although it is very difficult to explore, excavate, face up to, and express the particularities of their own nation from a literary point of view, it is one of the main tasks of literature. Paz won the Nobel Prize in Literature, probably for one reason.
<h1 class="pgc-h-arrow-right" data-track="210" > character evaluation</h1>
Paz wrote a great deal of poetry, essays, and essays, with a wide range of influences, and was hailed as an encyclopedic writer. For example, he opposed the view of time of linear development. Paz argues that the view of time as infinite development and progress is wrong. "Historical evolution is the naïve application of Darwin's theory of biological evolution in the social sphere, the biological interpretation of history." Paz argues: "History as a phenomenon, its development is unpredictable. Historical determinism is a costly and bloody fiction. History is unforeseeable, for the man himself as its subject is not immutable."
Paz's creations combine the indigenous culture of Latin America and the literary tradition of the Spanish Department, inheriting the metaphysical recourse of European modernism and the belief in the creation of a realm of freedom through language, in his poetic world, a strong sense of momentary experience and complex historical consciousness, personal life intuition and human cultural traditions have reached a strong unity. His later poems more consciously melted the Eastern and Western cultures into one furnace, and his poems returned from complexity to concrete clarity, which can be said to be inspired by oriental classical poetry. He has translated the works of Wang Wei, Li Bai, Du Fu and other masters of ancient Chinese poetry.
In his long poems commemorating the feathered serpent god who sacrificed himself for mankind in Aztec mythology and ascended to heaven as a golden stone, Paz fused national tendencies (traditional Mexican culture and history) with modernist poetry (surreal creation techniques) and became the pinnacle of new poetry.
In his later years, Paz wrote "Man in His Century" (1984) and "A Brief Record of Great Days" (1990) are summaries and reflections on his previous works, and have high literary theoretical value.
< h1 class="pgc-h-arrow-right" data-track="215" > human thought</h1>
Octavio Paz is one of the few writers in the European and American poetry circles of the 20th century who is really interested in and has conducted in-depth research on Oriental culture, and he has visited the East twice (Japan and India) and has a unique understanding and appreciation of Indian religious mythology, Japanese phrases and Chinese poetry.
In particular, from 1962 to 1968, when he visited this ancient country in the East for the second time as Mexico's ambassador to India, his understanding and study of it was more direct and objective. All this greatly influenced Paz's outlook on life and literature, and was reflected in his poetry. He repeatedly stated that "Hinduism gives us what is the equality of all beings", recognizing that "we are all part of a whole", "the most important thing is that we have learned to be silent", "India has shown us a completely different civilization, we have learned not only to respect it, but also to love it".
Paz's representative collection of poems, The Eastern Slope, was written from 1962 to 1968, during which he traveled to India, Afghanistan and Ceylon. These poems describe to Western readers the strange myths, histories, and landscapes of the East, immersing them in a new, unfamiliar world, for which Paz had to annotate for the first time his own poems. About two-thirds of the works in this collection reflect the poet's absorption of Eastern culture and religion to a greater or lesser extent, and some of the poems are taken from the ideas and myths of Mahayana Buddhism, Hinduism, or Tantra, which make the poet reflect, and he revises or elucidates them according to his own metaphysical ideas.
Polytheism is one of the important features of Indian religion, and the indigenous religions of Mexico also advocate polytheism, so Paz is not unfamiliar or repulsive to the various statues and statues preserved throughout India, on the contrary, their strong visual images make Indian civilization penetrate the poet's heart not only through the brain, but also through the eyes, ears and other senses. On his first trip to India in the summer of 1952, Paz visited Mudra, an ancient city one hundred and sixty kilometers southeast of New Delhi that was one of the centers of Brahmanism in the 2nd century AD, where legend has it that the black god was born and spent his childhood and adolescence. The historical remains of the ancient city and the religious influence it still has impressed the poet and led him to write Mudra.
Deep at the heart of Indian religious mythology, Paz draws symbols and illustrations consistent with his poetic views to enrich his work. Therefore, many of the poems in "East Slope" have special inspiration, and the conciseness and clarity of their language intersect with the profound complexity of thought. Inspired by the Hindu cult of Mother Earth, "To the Painter Swamianatan" begins with the creative process and ends with what is created, with colors, forms and raw materials in the middle, and finally a painting emerges on the "blank face of the world". The painter's creative process begins with the great sacrifices that come with the creation, as the pigment turns into blood and then into honey. The main theme of bright red and blood leads the theme of the poem to the paradox of the birth of the universe, where creation and destruction coexist:
Jump out of Mexican red
Then it turns black
Jump out of Indian red
The lips are blackened
The black of Gali
The Mexican Aztecs had a habit of sacrificing the sun and a fountain of life with the blood of a living person, and Paz blended the meaning of this sacrifice with the symbolism of red and black in Indian culture. Aoli, meaning "Black Goddess", is one of the ten incarnations of the Snow Mountain Goddess, another wife of Shiva. It is said that she symbolizes strength and new life, but she is also the goddess of slaughter and destruction, with a black face and teeth, a red tongue, a blood stain, and the blood of the devil. The essence of "To the Painter Swamianatan" is the rebirth and revival of creation, and the red color symbolizes the energy of creation and also represents the blood of sacrifice. When the painting appears with its powerful color, Yingli must accept this greeting:
Yellow and its charred beast
Gamble color and the big drum under it
The green body of the black rainforest
In Paz's view, poetry is born from the suffering of the poet, which responds to mother earth's concept of the most perfect mother of creation. The synthesis of opposites in this concept, the dialectical relationship between life and death, good and bad, sacrifice and creation, is harmonious in an atmosphere of peace that is more aesthetic than religious. The artwork is both a riddle and a reply:
A painting is a body
It is only covered by naked riddles
This shows what the Eastern experience – Oriental culture and life – means to Paz. Paz learned from Buddhism the idea of the "other shore" and found that poetry was a way to approach the "other shore", overcome loneliness, and break through the self-isolation of poverty. In the East, his creation reached its peak.
The East opened Paz's heart and poetry, merging his experiences and personalities with an increasingly expansive reality where history and future intersect and see. His oriental complex is here to be released to the greatest extent.
<h1 class="pgc-h-arrow-right" data-track="246" > character experiences</h1>
<h1 class="pgc-h-arrow-right" data-track="247" > early years</h1>
Born in Kornik, Poland, Wisławska Szymborska moved to the southern Polish city of Cracow at the age of eight. In her childhood family life, the most talked about was reading. She began writing children's poetry at the age of five, and her father was the first avid reader.
Between 1945 and 1948, Simboska studied sociology and Polish literature at jagronian University in Krakow. In March 1945, she published her first poem, "I Seek Words," in the Polish Daily Supplement in 1945. In 1948, she was forced to abandon her studies due to financial difficulties.
In 1948, when she was planning to publish her first book of poems, the Polish political situation changed and the communist regime gained power, advocating that literature should be written for social policy. Simboska's original poetry writing, including this debut, was in keeping with the political requirements of the era. She later had disappointment and hatred for her early experience of writing this poem. Simboska then made sweeping revisions to the style and theme of his work, and the collection of poems was published in 1952 under the title Reasons for Survival. Simboska later apparently had infinite disappointment and disgust for this collection of virgin poems with the theme of anti-Western ideas, the struggle for peace, and the commitment to socialist construction.
<h1 class="pgc-h-arrow-right" data-track="251" > mature</h1>
From 1953 to 1981, he was a poetry editor and columnist for the weekly magazine Zycie Literacia in Krakow. In 1970, she published her complete collection of poems, and she did not include any works in her first poetry collection.
In 1954, a second collection of poems, The Collected Questions, was published. In this collection of poems, there are much fewer poems dealing with political themes, and more poems dealing with the themes of love and traditional lyric poetry take up more space. In 1957, she bid farewell to her early political beliefs and poetry writing and became active in a series of Solidarity movements. But this did not affect the creation and publication of her poetry, and she always approached political themes carefully, even deliberately keeping poetry away from politics. In 1957, "The Call for the Snowman" was published, and by this time she had completely abandoned the political themes advocated by the authorities and found her own voice, touching on the relationship between man and nature, man and society, man and history, and man and love. In Salt, published in 1962, she explores new directions of writing more deeply and broadly.
<h1 class="pgc-h-arrow-right" data-track="255" > brilliant</h1>
In the thirty years of her creative career before 1976, Zimborska published a total of 180 poems in the form of quality, of which only 145 were works that she considered mature, which shows the strictness of her requirements. After 1976, no new collection of his poems was published for ten years.
In 1986, when "The People on the Bridge" came out, it was particularly eye-catching, and this poetry collection was only 22 poems, but the composition was excellent and had its own characteristics, which can be said to be the peak of her poetry.
She was on vacation when she won the Nobel Prize in Literature in 1996, and she was a little nervous when she heard the news, telling others that the Nobel Prize in Literature was very abstract for her.
He died of lung cancer in Krakow on 1 February 2012 at the age of 88.
<h1 class="pgc-h-arrow-right" data-track="262" > chronology of works</h1>
Reason to Survive
That's why we eat
1952
"Self-Question Collection"
Questions asked of yourself
The Call of the Snowman
Wo anie do Yeti
Salt
Salt
101 Poems
101 lines
1966
Endless Fun
One hundred consolations
Selected Poems
Selected poetry
"All Possibilities"
Case
1972
"Huge Numbers"
Great number
"The People on the Bridge"
People on the power
1986
Collected Poems, Polish-English Bilingual Poems
Poetry: Poems
1989
Notes on Selected Readings
Readings
The End and the Beginning
The end and the beginning
1993
"A Grain of Sand To See the World"
View with a grain of sand
1996
A Hundred Laughs
One hundred poems - one hundred consolations
"Instant"
While
2002
"Poems for Older Kids"
Rhymes for big kids
2003
The Colon
Colon
2005
<h1 class="pgc-h-arrow-right" data-track="320" > writing features</h1>
Simbos's poems are mostly contemplative, but they also talk about death, torture, and war, and are also known as the "poetic Mozart" because of his condensed, clear, leisurely style. Leaving aside the early connections with politics, Simboska began to find her own position in the 1957 book The Call for the Snowman, touching on the relationship between man and nature, man and society, man and history, man and love, and her perception of life.
In each of Szymborska's poems, she pursues new styles and tries new techniques. She is good at drawing joy from daily life, developing profound thoughts with small metaphors, and is serious about humor and wit
The language master of "Love at First Sight". After 1976, he did not see the publication of his new poetry collection for ten years. In 1986, "People on the Bridge" came out, and it was particularly eye-catching. This collection of poems has only twenty-two poems, but the composition and characteristics of each can be said to be the peak of her poetry. Her poems also belong to the whole world, and the words are deeply revealing morality and philosophy. Her poetry is even more all-encompassing, as one Polish critic pointed out, the cosmic world, the evolutionary history of humans and animals, the various social phenomena that have emerged throughout the ages, the progress of modern science and technology, and the insights and feelings of her personal life, almost all of which are involved in it, and are expressed in her unique and diverse art forms, thus showing her incomparably broad vision and outstanding artistic talent.
The relationship between man and nature is also a theme of Szymborska's concern. In her eyes, the natural world is full of wisdom, rich and generous, changeable and unpredictable: the details of natural phenomena have a positive revelatory effect on human beings. She was quite dismissive of the sense of superiority and desire to dominate human beings in the face of nature. She believes that human beings always exaggerate their own importance, enveloping themselves with an aura and ignoring other beings around them; She believed that every living creature had its own necessary reason for its existence, and that the death of a beetle deserved the same compassion and respect as human tragedy.
The scenery outside the window is colorless, invisible, silent, odorless, and painless; The stone does not matter the size; The sky has no sky; The sun has not set at all. All things in nature do not need names, and do not need human beings to give them any meaning or metaphor; Their existence is pure, self-sufficient and not pretentious. If human beings are unable to sincerely integrate into nature and try to peek into the mysteries of nature, they must not be allowed to enter. The ideal way of life is actually within reach, and the sky can be everywhere- as long as it is one with nature, as long as "a window reduces the window sill, reduces the window frame, reduces the window glass." An opening, but so, opened widely.
Szymborska's political satire and wit are at full play in the poem "Views on Pornography.". In Poland in the 1980s, under the censorship system, political and ideological writings were traced, and the publishing world was full of pornographic literature. In this poem, Simboska fictionalizes a pro-government "to secure the nation with the restraint of ideas."
The speaker of the policy of "All Things Silent as a Mystery" made him righteously and sternly point out that the seriousness of the problem of chen thought exceeded the problem of pornography, and let him gush out a series of pornographic images to denounce the obscenity and evil of free thought. But after five consecutive festival carnival-like passionate tones, Simboska designed an anti-climactic end of a calm, restrained poem in which he deliberately presents the sobriety and innocuous elegance of freethinkers and like-minded people drinking tea, cocking their feet, and chatting. Such a design immediately unravels the speaker's previous arguments, highlights the absurdity of his vigorous attack on ideas, and indirectly raises a silent protest against the existential fears caused by the omnipresent ideological surveillance of totalitarian states.
Simboska believes that survival is a natural human right that should be respected. In the poem "All Kinds of Possibilities", the "various possibilities" attached to each individual are the loveliness of the human world. This may not be an era of poetry -- or there has never been an era of poetry -- but people still write poetry, read poetry, and poetry still lives on, and gives pleasure, comfort. Simboska knew poetry and the condition of life, when she said, "I prefer the absurdity of writing poetry to the absurdity of not writing poetry."
<h1 class="pgc-h-arrow-right" data-track="328" > honors</h1>
Szymborska is Poland's most popular poet and is recognized as one of the most fascinating poets of our time, earning the nickname "Mozart of poetry". She won the Nobel Prize in Literature in 1996, the third female poet in the history of literature to win the prize, and became an honorary member of the American Academy of Letters and Arts in 2001. This is the most important honor awarded by the United States to outstanding artists.
<h1 class="pgc-h-arrow-right" data-track="330" > social evaluation</h1>
Vistula Simboska she was a burden. She is silent in her own poems, and she does not write her life into poetry. "
Polish Culture Minister Bogdan Zdroyevski said in a statement that Szymborska was a man of integrity, loyalty and an aversion to any form of reputation. "She understands others, understands the weak, and has great tolerance for others." "On the other hand, she only expects herself to live modestly," the statement said. Polish Foreign Minister Sikorski tweeted: "The death of Śiboska is an irreparable loss of Polish culture." Commenting on Simboska's death, Komolovsky wrote: "For decades she inspired poles with optimism, her faith in beauty and the power of words." Komolovsky said Simboska was the guardian of the Polish spirit.
In 1996, Simboska was awarded the Nobel Prize in Literature. With her calm, sober brushstrokes, she combines humor with tenderness, winning high praise from the Nobel Prize Committee and is considered to have "ironic precision" and native power. In its acceptance speech, the Nobel Committee called her "Mozart of Poets," a woman who blended the elegance of language into "Beethoven-style rage" and approached serious topics with humor.
The Swedish Academy's award to Simboska was, "To present biological laws and historical activity in fragments of human reality through precise mockery." Her work, which is both fully engaged in the world and at the right distance, clearly confirms her basic idea that seemingly simple problems are actually the most meaningful. From this point of view, her poetry often shows a characteristic - the form strives to be critical, but the vision is changeable and vast. "
Simboska was a brave female poet who never stopped in a single mode of writing, probably because of this bravery to break the "poison" curse of poetry in the publishing world, and in 1998, the translation of "Everything Is Silent as a Mystery" by two Taiwanese translators based on the English translation was unexpectedly popular, and the introduction of the Chinese Simplified version in 2012 made it sell more than 50,000 copies in a year. Controversy, doubt, and paraphrasing and processing of the text will inevitably change, but as long as the spirit of the poem is not deviated, Szymborska's thought can still cross from distant Poland to the reader's heart, and even produce revelations that even she has not realized.
<h1 class="pgc-h-arrow-right" data-track="338" > character experiences</h1>
<h1 class="pgc-h-arrow-right" data-track="339" > early years</h1>
Chilean poet. His original name was Neftali Ricardo Reyes Basso Alto. Born in Paral, central Chile, died on the Black Island. After losing his mother at an early age, he moved to the town of Temuco in southern Chile in 1906. My father was a paving driver. I started writing while in middle school at Temuco. In July 1917, an article entitled "Passion and Perseverance" was published in the Morning Post of Temuco, signed Neftali Reyes, the poet's first publication. Since then, he has continued to use different pseudonyms to publish his studies in student journals in the capital and hometown. From 1920 onwards, the pseudonym Pablo Neruda was officially used. In March 1921, he went to the Santiago Institute of Education to study French. Soon, the poem "Song of the Festival" won the first prize in a literary competition organized by the Chilean Students' Federation.
<h1 class="pgc-h-arrow-right" data-track="341" > middle age</h1>
From 1927 onwards, he served in the diplomatic service as consul or consul general of Chile in Colombo (1928), Jakarta (1930), Singapore (1931), Buenos Aires (1933), Barcelona (1934) and Madrid (1935-1936). While in Madrid, he hosted the Green Horse Poetry Journal. The main poem of this period was "The Dwelling Place on the Earth". The first volume, published in 1933, reflects "the loneliness of an outsider transplanted into a fierce and unfamiliar land." The second volume, published in 1935, is already more vivid in color than before. In June 1936, the Spanish Civil War broke out. He stood firmly on the side of the Spanish people and took part in the defense of the Republic. In 1937, he published the poem "Spain in the Heart".
Then he traveled between Paris and Latin America, calling on the peoples of all countries to support the Spanish people in their struggle against fascism. In March 1939, he was appointed consul in Paris specializing in Spanish immigration, and did his best to save the Republican fighters in the concentration camps, bringing thousands of Spaniards to Latin America. The baptism of the anti-fascist war changed Neruda's poetic style. He went to Mexico City in August 1940 to become consul general and visited the United States, Guatemala, Panama, Colombia, Peru and other countries, writing many famous poems.
During this period, the Second World War was in full swing, and the Soviet people were fighting hitler's fascists. Neruda gave a speech calling on people to aid the Soviet people in the Great Patriotic War. "New Love Songs for Stalingrad" and "New Love Songs for Stalingrad" are works of this period. In November 1943, Neruda returned to Santiago. Soon after, he bought a villa in Kuroshima and began to compose his most important poem, "Long Song".
1945 was an unforgettable year of Neruda's life: he was elected to Parliament. In 1946, the Chilean Communist Party was declared an illegal organization, and a large number of Communists were imprisoned. Neruda had to abort the creation of The Long Song. His house was set on fire; He himself was wanted by the reactionary government and was forced to go underground, to continue his work among the people. During this period, he completed the composition of two long poems, "The Year of 1948" and "The Long Song".
In February 1949 he left Chile, traveled to the Soviet Union via Argentina, and went to Paris to attend the World Peace Congress. Since then, he has traveled to many countries in Europe, Asia and the United States, actively participated in the movement for the defense of peace, and continued to write poetry. From 1951 to 1952, he temporarily lived in Italy, during which time he visited China. In August 1952, the Chilean government revoked his arrest warrant, and the people welcomed his return with grand rallies and marches. After returning to China, he lived a relatively stable life for several years, completing "Ode to the Elements" (1954), "The New Ode to the Elements" (1956) and "The Third Collection of Carols" (1957). In 1957 he was elected President of the Chilean Writers Association.
<h1 class="pgc-h-arrow-right" data-track="345" > late years</h1>
When the battle against the Weidra forces was victorious in Chile and the order to arrest the leftists was revoked, Neruda returned to Chile after a long absence. In 1953, Neruda was awarded the Stalin Prize for International Peace. In 1957, he was arrested during a visit to Buenos Aires. Neruda reflected on his Marxist ideals in his 1958 anthology Estravagario. After that, Neruda began to travel, and he went to Cuba and the United States.
After the victory of the Cuban Revolution in 1959, Neruda wrote a collection of poems, Hymns of the Heroic Cause, which enthusiastically celebrated the revolution and social change led by Fidel Castro. In 1969, the Communist Party of Chile nominated him as Chile's presidential candidate, later withdrew from the race for the unity of the Chilean left, and supported the Chilean Socialist Party's presidential candidate Salvador Allende. After Allende's election as president in 1970, Neruda was appointed Chile's ambassador to France. Shortly before his death, on September 11, a military coup d'état in Chile, supported by the Nixon government in the United States, killed Allende and ransacked two of Neruda's residences in Chile.
<h1 class="pgc-h-arrow-right" data-track="347" > death suspect</h1>
Neruda had planned to flee after the coup and publicly opposed the Pinochet regime after the coup, but he was taken to a clinic in Santiago the day before he planned to flee, where he died at the age of 69. The official cause of his death was prostate cancer, but allegations questioning the official version have been popular during Pinochet's dictatorship.
In 1990, Pinochet's dictatorship came to an end, and the poet's remains were moved to the Black Island and reburied. Doubts about the cause of Neruda's death also began to surface. The poet's death was so bizarre, medical records mysteriously missing in the hours after admission, and whether the junta was involved or not, there was much debate about it.
After multiple witnesses, including Neruda's longtime driver, challenged claims of Neruda's natural death, officials launched an investigation into the cause of Neruda's death in 2011.
In 2011, Manuel Araya, Neruda's former driver, revealed in an interview with a Mexican magazine that Neruda did not die of natural causes, and that someone had been instructed by the authorities to inject a deadly poison into Neruda's stomach, causing the poet to die of poison.
Proponents of Manuel Araya point out that on September 22, 1973, the day before Neruda's death, he had a way to escape safely from Chile to Mexico. Once Neroo reached Mexico, it meant that he would make statements there against Pinochet, leaving Pinochet's government under serious political threat. However, the poet did not leave as scheduled, and was subsequently pulled to Santiago by an ambulance.
Skeptics also point out that in 1982, another political enemy of the junta, former President Eduardo Frei Montalva, died in the same hospital as Neruda after he declared his opposition to the military dictatorship, from septic shock after routine surgery. But a re-examination of his bones in 2006 revealed that he had been killed from mustard gas and thallium poisoning. Former Chilean President Eduardo Frey is believed to have been poisoned by six people in the same hospital, several of Pinochet's agents, arrested in December 2009 for their involvement in Frey's death on January 22, 1982. In December 2010, forensics also exhumed the remains of former Interior Minister José Toa for a cause-of-death investigation. Nearly 40 years ago, the official conclusion was that Toa hanged himself in the closet of a hospital ward in 1974, but in October 2012, a judge announced that he had been strangled.
In 2015, Spanish media reported that Neruda may have died by injecting a drug. In June of that year, a Spanish forensic team said that in a new round of identification, a strange bacterium was found in the poet's remains. After that, the Chilean government published a Ministry of the Interior document on Neruda: "The poet was injected with a painkiller that stopped his heartbeat, which could lead to his death." The document also states that the drug is injected from the abdomen, rather than the usual intravenous injection.
Both the drug composition and the injecting doctor are "unknown". Even more suspicious is the complete disappearance of Neruda's medical records at St. Mary's Hospital, even when he was ambassador to France a few years earlier. Dr Luna, from the Spanish forensic team, said: "We are facing a mystery."
In 2017, the Chilean government said suspicions of unnatural deaths were "highly likely" to be correct. On October 20, an international team of 16 scientists finally came to the conclusion that they unanimously denied that Neruda had died of "prostate cancer": "100 percent certainly not."
When he learned of Neruda's death, Márquez wrote: "When he left, there must have been a deep disappointment. Chile's socialist road was his lifelong ideal. There is a local saying in Chile that Neruda died neither from cancer nor from a conspiracy, and that he "died of grief."
<h1 class="pgc-h-arrow-right" data-track="357" > achievement honors</h1>
He was awarded the Chilean National Prize for Literature in 1945, joined the Communist Party of Chile in the same year, and in 1950 was awarded the Prize for the Strengthening of International Peace. He was awarded the Nobel Prize in Literature in October 1971.
The novel "The Postman" has been translated into more than 30 languages and circulated around the world, and the film of the same name won the 1996 Academy Award. Chinese edition of The Postman is the 31st language to be translated.
< h1 class="pgc-h-arrow-right" data-track="360" > personal work</h1>
publication
opus
category
In 1923
"Twilight" is "Sunset"
Crepusculario
In 1924
Twenty Love Poems and a Desperate Song
Twenty love poems and a desperate song
In 1925
"Strange Man's Gravity"
Attempt of the infinite man
In 1926
The Ring
Rings
The Inhabitants and Their Hopes
The inhabitant and his hope
novel
In 1959
"100 Sonnets of Love"
One Hundred Sonnets of Love
In 1960
"Hymns to heroic careers"
In 1961
The Rocks of Chile
The Stones of Chile
"The Song of the Ceremony"
Ceremoniral Songs
The Boatman's Trumpet
Barcarole
In 1968
The Hand of day
The Man Who Laughs
In 1969
The End of the World
the Legend of the Centuries
"Also"
Ninety-three
In 1970
The Red-Hot Sword
The Burning Sword
"Celestial Stone"
The Stones of Heaven
"Tsunami"
In 1972
The Lonely Rose
The Separate Rose
"Useless Geography"
In 1973
The Execution of Nixon and the Praise of the Chilean Revolution
Incitement to Nixonicide and praise of the Chilean revolution
Political poetry
In 1974
The Garden of Winter
Winter Garden
"Yellow Heart"
The Yellow Heart
"2000"
2000
The Book of Doubts
Book of Questions
Elegy
Elegy
"Eye Picking"
Chosen Defects
In 1978
"My Destiny Should Be Born"
Para nacer he nacido/Passions and Impressions
In 1980
The Invisible River
The Invisible River
<h1 class="pgc-h-arrow-right" data-track="474" > social evaluation</h1>
Neruda was a great poet in the history of Latin American literature who rose after modernism.
Neruda had three themes in his life: love, poetry, and revolution. Neruda interprets all three themes to the fullest, pushing them to a height that rivals the peak of Machu Bhikkhu. His love is one with his love poems. His famous works "Twenty Love Poems and a Desperate Song", the first is "The Woman's Flesh", as well as his "My Captain" and "Love Sonnets A Hundred", are all love songs, causing long-lasting echoes all over the world.
While people are more interested in Neruda's love poems and his ups and downs and legends, his "Spain in My Heart", "The Fugitive", and numerous poems against injustice are well remembered, even if he is not impeccable in his ideological aspects.
The reason why Neruda's works have long been popular with a wide range of readers is because he writes about the people. Especially after entering the mature period, he depicted the major themes of the times, such as the Spanish Civil War, the struggle of the Chilean people, the Patriotic War of the Soviet People, the struggle for national independence in Latin America, and the struggle of the peoples of various countries to defend world peace. In the process of transforming political life into poetry, he paid attention to maintaining the artistic charm of language and image, combining the political content of reality with the various art forms with which he was familiar.
<h1 class="pgc-h-arrow-right" data-track="484" > biographies</h1>
Saint-Joan Pace, formerly known as Alexis Saint-Leje Lege, was born in 1887 on an island near the pan-da-Pitt harbour of the Guadeloupe Islands in the French West Indies. Both of his parents belonged to the Creole aristocracy and were descendants of the French diaspora who had emigrated to the Antilles generations earlier. The family has run the plantation for generations. Pace spent his childhood on the island. Here, Pace received a good family education, enjoying astronomical telescopes, yachts and rides at the age of eight. Sailing and horsemanship later became his lifelong hobbies. The telescope was more symbolic to Pace, cultivating Pace's strong love of things far away, as well as his desire for expeditions and expeditions, a childhood hobby that was not without meaning for the foresight he would need for his future career in writing and diplomacy. From 1896 to 1899, Pace attended the Pan-Da-Beit Secondary School, loved mathematics and botany, observed celestial phenomena in his spare time, and often rode horses or boated on the island, gradually expanding his knowledge to the ocean, nature and philosophy.
The experience of childhood life became the most precious memory of Pace's life. All of Pace's work comes from this background, and he never ceases to reflect the earliest impressions of the majesty, solemnity, novelty of this experience.
In 1897, an earthquake and economic crisis struck the island, and the family of the owner of the manor went bankrupt. In 1899 Pace returned to France with his parents and settled in Pau under the Pyrenees. He was immediately admitted to the University of Bordeaux to study law. During this time, he became acquainted with the poets Francis Yam, Paul Claudel and Jacques Rivier, who had varying degrees of influence on his poetic writing.
In 1906 he entered the army for one year. While studying geology and climbing mountains, he certainly did not miss any opportunity to expand and deepen his knowledge of nature in detail, detail and precision.
In 1907, his father died. He took on the burden of the family, using his meager income to support his mother and several sisters. In 1910, Garriman's bookstore published his debut collection of poems, Odes, at the age of 23. When the book was published, it was completely ignored by readers, and neither praised him nor provoked criticism. There may be only one person who has noticed its potential literary value, and this person is the same proust who has also long been ignored by the public.
In 1911, under the influence of Paul Claudel, Pace decided to join the diplomatic community. He traveled to Spain, the United Kingdom, Germany and other places, and made field trips to mining, factories, harbor facilities, businesses and banks. These trips helped him prepare for diplomatic exams and gave him the opportunity to meet local celebrities, and in England he became acquainted with Conrad and Tagore, admired Tyse's work, and encouraged Kidd to translate it into French.
In 1914, Pace passed the diplomatic exam. In 1916, he was assigned to the Beijing Legation as a third-class secretary. During his five years in China, he traveled extensively, leaving his footprints in Northeast China, Inner and Outer Mongolia, and North Korea. The experience of crossing the Gobi Desert led him to write the epic expedition. Pace's diplomatic career developed smoothly during his stay in China, and he was promoted to first secretary when he left office in 1921.
Pace was recalled to China in 1921. On the way, he toured Japan, Honolulu, Samoa (in the South Pacific) and the Feizhi Islands, and then continued to roam in a brig, cross the South Pacific, and return to France along the Pacific coast of the Americas. He was soon sent to the United States as a policy expert on naval equipment and the Far East at the Washington Conference (1921-1922). In Washington, Pace had a small episode with then Foreign Minister Aristide Berian while swimming on the Potomacco River, which made Pace's future as a diplomat clear. At that time, an official suggested that Berian write a memoir, and in the cold, Pace, according to his nature-loving nature, made a suggestion: "A book is nothing more than the death of a big tree." This remark was greatly appreciated by Briand and considered extraordinary, and his development in the diplomatic community has been strongly recommended by Briand. For two decades, Pace devoted himself to diplomacy and took an active part in the foreign policy affairs of the French Third Republic.
In 1922, André Gide, then editor of the New France Review, visited Pace's apartment to ask if he had any new works to publish for him. Pace pointed to a small open box and said, "Go over and look, maybe you can find something." As a result, Gide found a manuscript in the box titled "The Expedition.". Gide immediately enlisted Pace's consent to publish the poem. But when he left his apartment, Kidd suddenly remembered that diplomats were not allowed to publish such things under their original names, so he asked the poet what name it was good to use, and he quickly got an answer: St-John Perse. This was the first time Pace used the pen name, and it has not changed since. The Expedition was published in 1924, but the number of readers was still very small, and thankfully there were several well-known figures among these few readers: Rilke, Hoffmanstahl, Eliot, etc. This suggests that Pace has gained considerable recognition in the crowd.
In 1925, as the chief of the Minister's Office, he participated in the Locarno Conference of Britain, France, Germany, Italy and Belgium, and in 1928 he participated in the talks of the American-French Convention, and attended the London Naval Conference and the Hague Conference. In 1929, he became Director General of the Policy Department of the Ministry of Foreign Affairs.
Eliot translated the poem into English in 1930, but it didn't attract much attention, and it had an important impact on Anglo-American poetry until 20 years later. In France, at a time when the Surrealist movement was in its infancy, Pace was once again snubbed.
After Hitler came to power in Germany in 1933, Pace was appointed secretary general of the Ministry of Foreign Affairs with the rank of ambassador, and successively participated in the negotiations of the Franco-Soviet pact, attended the Negotiations between Britain, France, Germany and Italy on the restoration of compulsory military service (1935), and the Mumny Black Conference (1938). In all these meetings and negotiations, Peggy always tried his best to maintain peace in Europe, vigorously resisted the "appeasement policy", and openly opposed Chamberlain's cowardly behavior of making concessions to Hitler. Pace thus became nazi germany's worst foreign policy enemy. On the eve of the German invasion of France, Paul Renault relieved Pace of secretary-general of the Ministry of Foreign Affairs in order to retain a slim majority on the right in Parliament, and as compensation, asked him to become ambassador to the United States, but Pest refused, and a few days before the fall of Paris, he boarded a British freighter to London, where he met Churchill and made a short stay, crossed the Atlantic, and arrived in the United States on June 14. When the Nazis entered Paris, Pace's apartment was looted by the Gestapo, and the diplomatic archives and unpublished literary manuscripts that existed there were all taken captive, and after World War II, although many searches were made, they were found. During this time, he was stripped of his citizenship by the Vichy government and his property was confiscated. In 1940 Pace went to the United States.
The war abruptly ended Pace's diplomatic career and allowed him to escape political affairs and return to a literary career that had been interrupted for nearly 20 years. From 1941 he served as a literary advisor to the Library of Congress for a decade. Pace's poetic talents were brought to full display during his exile, radiating an unprecedented brilliance.
He completed important poems such as Exile, To a Stranger (1943), Rain, Snow, and Wind. As Claudel said, "Although the Third Republic lost a political activist, France gained a poet of rebirth." The poems of the above exile period were disseminated in French and English in English and Latin America, and many of his poems were published in France in Marseille's Southern Magazine and in underground publications in Paris. The first collective tribute to Pace in France was postponed to 1950.
Since then, Pace's reputation as a poet has grown. In 1957, the "Navigation Marker" was published, a long, concluding poem that is recognized as one of the most important chapters of French poetry. In the same year, Pace's American friend offered him a fortune on the Gians Peninsula, southwest of the Port of Toulon, France, and Pace returned to his homeland after a seventeen-year absence. In 1958, he married Dulles Russell in his prime. In 1959, he published the Chronology.
Yue Nian won the Nobel Prize in Literature, the year the French "Seven Stars Series" published the album Of Saint-Jean Pace. The album's contributors included some of the most famous writers and poets of the time: Gide, Claudel, Breton, René, Spund, McLeish, etc. They drew attention to the writer, whom france was called "the great absentee." After that, Pace's reputation began to rise steadily, and finally in 1960 he was awarded the Nobel Prize in Literature. Published The Archipelago. In 1965, he attended the meeting on the 700th anniversary of Dante's birth and published "To Dante". In 1969, he published "The Chant of the Late Lover". In 1971, he published "Singing a Song to Two Points". On September 20, 1975, the poet died at the age of 88.
<h1 class="pgc-h-arrow-right" data-track="496" > writing features</h1>
Among the most eminent poets of this century, Pace is undoubtedly the most puzzling, and the reader's previous literary experience does not have any difficulty in accepting Pace's poems. The source of Pace's poetry is something older than all extant literature, and he captures rare things and shining imagery from his experience of roaming the world, from the navigation and equestrian skills with which he is familiar, and from the tropical island scenery in which he spent his childhood. He traveled the world in search of capture.
He reads what he cannot witness to accomplish what he has gained while roaming, while absorbing the experience of others into his own. He had an extraordinary thirst for the details of existence and the various things of man, and he was as familiar with all kinds of natural things as botanists, zoologists, geologists, and entomologists. Pace collected all these precious things into his psalms and recorded all kinds of touching human emotions, bringing them up from a humble and shaky world, re-setting and decorating them with precious stones to form a rich harvest: the human imagination finally completed the glorious great cause, forming a great and amazing epic.
Each line of Pace's poem gives the reader a breathtaking novelty, and this wonderful emotion of being overwhelmed by miracles will accompany the whole process of reading from beginning to end. These verses are so strikingly clear, clear, precise, firm and stable in detail that they support the structure of the whole poem. The partial miracle here is only an integral part of the whole poem, subtly bearing its unique role. Each piece is enough to dazzle the eyes, and the whole is thrilling solemnity and grandeur.
What greater miracle could be, the rare treasures, the precious flashes, the brilliant rhythms seemed to be endless at the end of his pen, enough for him to drive at will, and the endless verses were like the wind and the waves of the sky, turning out of the sky, without a trace. The magic of language reaches its extreme here in Pest.
In the midst of eloquence and inexhaustible praise, his words became the object of his praise and praise itself. In recounting the great march of an army in the desert Gobi, his verses naturally have the rhythm of the army's march, the flash of bronze and the roar of horses, the grandeur and lofty posture of the chieftain; In saluting the sea, his verses become the breath of the sea, the movement of the waves, dyed with the color of the sea, radiating the light of the turning lighthouse; When it writes about snow, it becomes an endless whisper and a clang, when it writes about rain, it emits tears of rain, and when a strong wind blows, it acquires all the power of its creation and destruction, sweeping everything away...
<h1 class="pgc-h-arrow-right" data-track="499" > character evaluation</h1>
Valas Fori points out: "No poet in this century has been more concerned with measuring and estimating the power of poetry than Pace, and no other poet has proved the power of poetry more brilliantly than his work." Pace's poems are an age-old dialogue between people. In this world, "writing" is a special gift and right of human beings, and it is also a spell that awakens a deep web of correspondence. In reading Pace's work, we will witness and hear the "word" itself, repeatedly rediscovering its power and existing as an element that re-constitutes nature.
Pace reawakens the sublime and mysterious power that words can have, the power to unify the world. These poems are the realization of the forces that lurk like mineral deposits in the bodies of the world: the poet brings the universe of light today and re-establishes the universe of the past, which has been buried deeply.
Among the famous poets of europe and the United States, Auden, Spunder, and Neruda all went to China successively, but when it comes to the depth of their relationship with China, no one can compare with Pace. In the seven years before and after the Embassy of Pace in Beijing, it was a turbulent period in China's modern history, and Pace, with the keen intuition of a poet and the foresight of a diplomat, made a multifaceted investigation of China, leaving a precious record of China's history in this period as a Westerner.
On his arrival in China, Pace criticized the short-sightedness and self-isolation of the Western missions at the time. Western diplomats in China at the time generally agreed that China lacked the capacity to metaverse. Pace is acutely aware that China is facing unprecedented changes. He argues that China's traditional rural structure is beginning to collapse, thus conducive to the growth of "social collectivism", "China will eventually embark on collectivism, very close to the dogmatic Leninist communism."
Pace's letter was written on January 3, 1917, when the Chinese intellectual community's understanding of Marxist-Leninist thought was still very limited, let alone any organizational strength, and it is unknown why Pace's prediction is based, but it has been confirmed by subsequent historical developments, and its predictability is indeed surprising.
In foreign affairs, Pace has always had sympathy for China. After the treaty of Versailles was promulgated, Pace wrote bitterly to Paris on April 21, 1920: "All that I feared for poor and unhappy China had finally happened. The insults to China at the Paris Peace Conference are incomparable: ... Shandong has always been regarded as the cradle of Chinese culture and has always been a sacred place for Chinese people. Eyes all over China are on this province.
What is completely unimaginable is that none of the peacemakers have realized the inevitable consequences of this unjust handling of the Shandong issue. In less than a decade, we will feel the impact of these consequences..."
< h1 class="pgc-h-arrow-right" data-track="504" > human thought</h1>
Compared with other Western diplomats, Pace has extensive contacts with the Chinese people. He forged deep friendships with individual Chinese officials and intellectuals. Among them, Lu Zhengyan and Liang Qichao, who were sometimes foreign ministers of the Beiyang government.
His comments on Lu were that "in the Chinese political circles of this period, he was indeed quite a special figure, and his moral authority came from his independence from factional struggles", "I can easily imagine that he spent the rest of his years in a monastery in Europe in plight or solitude", and the last sentence is completely true, Lu later became a Catholic monk in Belgium. Pace held Liang in high esteem, calling him "one of the most compatible of the Chinese I know" and "here his nickname is 'The Prince of Intellectuals': but this brilliant writer, driven by national responsibility and patriotism, from time to time gave up his pure literary work to intervene in the disputes between the North and the South, to work for reconciliation and the revival of the country."
Part of Pace's perception of Chinese landscapes and landscapes is integrated into his poems completed in China and reflected in correspondence. His letter to Conrad detailed his travel experience in the Gobi Desert. In his letter to Gide, he called Beijing "the astronomical center of the world, beyond time and space, and an absolute existence", and the Forbidden City was "a wonderful abstraction, a stonehenge where the mind finally gropes, and the last geometric convergence point of the world".
Of course, Pace's judgment is sometimes rather arbitrary. For example, in response to Valery's inquiry into Chinese poetry, he said: "As for the poems in Chinese's mind, let's not talk about them." Our old argument about the principles of poetry does not apply here at all. Chinese poetic outlook has always been subordinated to the most academic neatness, so it does not touch on the true mysterious roots of poetry. I prefer to see Pace's view as an answer to the popular "Mandarin people are good at writing poetry" in the Western diplomatic circles at that time, because the really good Chinese poetry is probably still out of touch with Pace, who does not understand Chinese.
<h1 class="pgc-h-arrow-right" data-track="508" > anecdotes</h1>
There is also another thing that can also be mentioned here. In 1920, the farce of Zhang Xun's restoration occurred in Beijing, and Li Yuanhongcang, then president of the Republic of China, fled into the French hospital in Dongjiaomin Lane, and his family members were taken hostage by the restoration forces. At that time, Pace was allowed to contact his immediate family through personal negotiations.
Pace later said in a correspondence that "the whole process of the incident was quite interesting: in the panic before the arrival of the Republic of China troops, I was accompanied by the embassy's parliamentarians, and spent only three hours of fatigue in the Forbidden City", and as a result, not only the president's wife, daughter, son, and even aunt and wife were successfully brought back to the embassy, "they stayed in my residence for a few weeks, and my curtains were stained with jam made by a Chinese child."
Pace's record of China is scattered in official letters to the French Ministry of Foreign Affairs and correspondence with relatives and friends, and if they are collected and sorted out and published in China, it is believed that not only will the general reader feel some interest, but also have historical research value.
<h1 class="pgc-h-arrow-right" data-track="527" > basic information</h1>
Emil Cioran (1911-1995) was a Romanian philosopher in France and an important thinker of skepticism and nihilism in the 20th century. There are Romanian and French creation of aphorisms, out-of-context philosophical writings, known for their elegant and novelty, deep and fierce ideas.
Xiao Xun is a genius precocious type and poet temperament philosopher. During his studies at the University of Bucharest, he read a wide range of books, especially under the influence of Schopenhauer, Nietzsche, Shestov, Dustoevsky and others. After completing his first work "At the Top of Despair" at the age of 21, he wrote many works in Romanian for several consecutive years, with a sharp style and unique ideas, which are eye-catching. After a brief stay in Germany, he traveled to France in the late 1930s and continued to work in his native language. Later, due to changes in current politics in Europe, he stayed in Paris and chose to settle here. Since the mid-1940s, he has gradually reflected on his early pro-Nazi life-based ideas, and then decided to break with his past, abandoning his mother tongue and turning to French to engage in thinking and writing. The first French work, Outline of Disintegration, completed in 1947, was published several times in 1949 and was immediately awarded the Rivarrol Prize for the French creation of foreign writers. This is the only time in Xiao Xun's life that he has accepted a literary award.
<h1 class="pgc-h-arrow-right" data-track="530" > personal work</h1>
Over the next 40 years, Xiao Created a number of works of French philosophy. Although Xiao Xun's Parisian life was marginalized for a considerable period of time, and his works were only maintained in a niche area, they have always been well received by critics and enthusiastic fans. In the 1960s and 1970s, there were more and more German, English, Japanese, and Spanish translations, which had a deep and wide influence in the rebellious trend of thought that was in the ascendant at that time. Since the 1980s, his books have been introduced by American writers and critics such as Susan Sontag, and they have gradually become well known to the public and have become contemporary Western classics. In his book The Style of Radical Will, Sontag said: Xiao Xun is one of the most elaborate people in thought and the most powerful writing today.
Xiao Xun's works revolve around the reflection on the illusion and difficulty of existence, full of pessimism, skepticism, and even nihilism; There is an extremely keen and profound observation and understanding of the tribulations and sufferings of the world, and thus presents an extremely sober attitude, so that it is almost fierce; At the same time, the novelty and elegance of his writing and the violent engraving of words and sentences constitute his special style of writing and thinking, which is highly respected. The 1960 Nobel Prize in Literature winner and French poet Saint-Joan Pace once described Xiao Xun as one of the greatest French writers after Van Lehi, which added enough to the French language.
In an introductory essay Written many years later for the Summary of Disintegration, Xiao Xun confessed that no matter how long I mixed with those mysticalists, it would not help, and deep down, I had always been on the side of the devil: but because I could not match his power, I at least tried my best to make myself worthy of him through my rudeness, bitterness, arbitrariness, and willfulness. Norman Manea, a well-known Romanian writer living in the United States, once described him as a brilliant rebel and a world-weary person with a unique spirit of doubt, which again and again woke us up in the nothingness of human existence.
Xiao's major works include: "At the Peak of Despair", "The Book of Deception", "Romanian Change", "Tears and Saints", "Twilight of Thought", "The Prayer of the Loser" (all of which are in Romanian), "Summary of Disintegration", "The Bitter Syllogism", "The Temptation of Existence", "History and Utopia", "Falling into Time", "The Evil Creator", "The Inconvenience of Birth", "Tearing", "Appreciation Practice", "Confessions and Curses", "Notes 1957-1972" (Notes 1957-1972) All of the above are written in French).
He died in Paris in 1995.
<h1 class="pgc-h-arrow-right" data-track="536" > character experiences</h1>
Akinwande Oluwole Wole Soyinka (born 13 July 1934) was born in Nigeria on 13 July 1934. He belonged to the Tribe of Brahmaputra, whose rich legends later became an inexhaustible source of his literature. In the late 1950s, he first composed skits, poems, and songs that were staged or published here. In 1954, at the age of 20, he entered the University of Leeds, England, specializing in English, and obtained a master's degree in English literature.
In 1958 he was admitted to the Royal Cersei Theatre as a script editor, director and actor. In 1960, Voley Soyinka returned to Nigeria as a theatre researcher. He traveled all over the country to collect styles, focusing on the investigation and study of folk art, consciously combining the art of Sivan drama with African music, dance and drama to create a new type of drama with African characteristics. He also studied Nigerian folk art, combining Western theatrical arts with traditional African music, dance and drama, pioneering modern West African theatre performed in English and soon emerging as a playwright, actor and director with extraordinary talent. Soyinka's theatrical creation has gone from early to mature for more than 20 years. His early works were mainly in the period before 1960, including "The Lion and the Jewel", "The Inhabitants of the Swamp", and "The Test of the Priest of Jolo".
In 1961, he helped found the Mbari Club, a Nigerian writers and artists group, which gave a great impetus to the development of Nigerian literature and art. Soyinka has been active in Nigerian politics, and in 1967, during nigeria's civil war, he was arrested and imprisoned in solitary confinement by the federal government led by Yakubu Gowon for allegedly demining peace between the warring parties.
While in prison, he wrote many poems, all of which were later published in Poems from Prison. Due to the attention and pressure of the international community, he was released after 22 months of detention. His experiences in prison ended with The Man Died: Prison Notes. From 1960 to 1970, Soyinka's works include "The Harvest of the Peacock", "Dance in the Forest", "Madman and Expert", "Road", "Strong Breed" and so on.
After his release, he went to Europe and Ghana and spent six years in exile. In 1976, he returned to Nigeria to teach at the University of Yfe. As a Visiting Professor of English at the Universities of Cambridge and Sheffield, he also travels regularly to Europe. He is also a visiting professor at Yale University. After 1970, the prominent form of creation was the propaganda and agitation of current affairs satires and exposé dramas, and the representative works were "Death and the King's Groom".
In general, Voley Soyinka's work is linked to the realities of Africa and Nigeria. He himself said that his "eternal faith is the freedom of man", and he also engaged in creative activity based on this consistent proposition. It was for this reason that in 1986 he was awarded the Nobel Prize in Literature for "his poetic life drama with a broad cultural vision", becoming the first African writer to receive this award.
In addition, Soyinka has always been known for his outspokenness, often criticizing the Nigerian executive branch and opposing the tyranny of other countries around the world, including the regime of Robert Mugabe in Zimbabwe. Many of his writings have a clear anti-dictatorship and anti-dictatorship rhetoric, which often put him at risk, but also greatly increased his reputation. During the reign of Nigerian dictator Sani Abacha (1993-1998), Soinkain was forced to leave Nigeria, live in exile, live abroad for many years, and later became a professor at Emory University in Atlanta, living mainly in the United States.
After the fall of the dictatorship, in 1999 he accepted the title of honorary professor of the former University of Ifer, now Obafemi Awolowo University, on the condition that the university prohibit the admission of military officers among senior government officials.
On July 15, 2014, Various celebrations were held in Nigeria to celebrate the 80th birthday of Nigerian playwright and poet and Nobel Laureate in Literature.
In October 2020, it was announced that "Chronicles of the Happiest People on Earth" would be published. This is the first novel written by Soyinka in nearly 50 years, and the book will be published by the end of this year, and it is confirmed that it is planned to be published internationally in early 2021.
< h1 class="pgc-h-arrow-right" data-track="545" > character works</h1>
appearance
Inhabitants of the Everglades
The Swamp Dwellers
The Trials of Priest Joro
he Trials of Brother Jero
1960
Lions and gems
The Lion and the Jewel
1959
Dance of the Forest
A Dance of the Forests
Strong breed
Kongi's Harvest
1964
The harvest of Holes
1965
Death and the King's Horse Ben
1975
Futurist's Requiem
Requiem for a Futurologist
1983
road
he Road
Crazy and expert
Madmen and Specialists
1970
interpreter
The Interpreters
Abnormal seasons
Season of Anomy
1973
A chronicle of the happiest people on earth
Chronicles of the Happiest People on Earth
2020
<h1 class="pgc-h-arrow-right" data-track="591" > creative features</h1>
<h1 class="pgc-h-arrow-right" data-track="592" > topic</h1>
In Soyinka's plays, the irrational elements of the African cultural tradition are first manifested as deep-rooted mythological orders and rituals. Soyinka was born in Abeocuta, where the Yoruba people have lived for generations.
Next to the village flows a river named after the god of Ogun, who gathered the Yoruba tribe for ironmaking, craftsmanship, war, creation and destruction. Among his ancestors, there were also relatives who practiced witch doctors, priests, and other professions, who believed in ghosts, witchcraft, and various religious rituals that were very different from Christianity. In Nigeria, a variety of primitive and rustic rituals fill almost every aspect of life, and the first and second funerals of the deceased have special ceremonies; The naming of newborns requires a ritual: a ceremony for male genital mutilation, birthdays, the laying of a house, and even a new car.
These ancient rituals are themselves a rich cultural resource with great creative potential. As a result, the rich myths, complex beliefs, and tedious rituals of the West African peoples play an important role in all his plays. He used the narrative framework of Western literature to translate the Yoruba myth into English. Through this method of literary transmission, African myths and customs are perfectly integrated with Modern Western drama. At the same time, it also builds a mysterious, illusory, ancient and unfamiliar oriental mythological world that is very different from Western rational speculation and industrial civilization. In this way, it confronts the hegemonic Modern Civilization of the West and dissolves the cultural centrism of Europe and the United States.
Soyinka's plays are deeply rooted in the African world and African culture, and he is also a wide-ranging, undoubtedly erudite writer and playwright. He was well versed in Western literature, from Greek tragedy to Beckett and Brecht (1898-1956), a German dramatist and poet. In addition to the scope of drama, he was well versed in European literature. For example, writers like James Joyce have left their mark on his novels. Soyinka was a very cautious writer in his writing, especially in his novels and poems he was able to write as esoteric and subtle as avant-garde.
During the war, during his imprisonment and the time that followed, his writing took on a more tragic nature. Spiritual, moral and social conflicts are becoming more complex and sinister. The record of good and evil, the record of destructive power and construction, became more and more ambiguous, and his plays became ambiguous, and his plays used moral, social, political, and other aspects of the mythical drama in the form of irony or irony. The dialogue is sharp and deep, the characters become more characterate, often exaggerated to the point of being comical, and there needs to be an ending—the atmosphere of the drama is warmed up.
Its vitality is by no means less than that of its earlier works– on the contrary: the irony, humor, grotesque and comedic elements, as well as the mythical allegorical productions, are brought to life. Soyinka's use of African mythological material and European literary training is very independent. He said he used mythology as the "artistic matrix" of his creations. Thus it is not a question of the reproduction of folk traditions, not of an exotic reproduction, but of an independent, cooperative work. Myths, traditions and rituals come together to become the nourishment of his creation, rather than a costume worn at a masquerade ball.
The use of ancient mysterious cultural imagery and mythological plots is one of the characteristics of modern Western drama" With the help of ancient myths and rituals that run counter to reason and science, trying to rediscover the hope of curing modern pain and suffering in the root of irrationality of reason and the source of consciousness is a good recipe for seeking to make up for the mutilation and atrophy of human nature caused by technological domination and rational alienation." "Not only that, but in the Nigerian cultural tradition, drama is also the main way to reproduce religious myths and sacrificial rituals. Influenced by these two reasons, Soinka used a grant from the Rockefeller Foundation in the early 1960s to investigate and study folk theatre across Nigeria, seeking ways to modernize ancient folk theatre.
Thus, in Soyinka's plays– most modern tragedies are deeply rooted in Yoruba proverbs and myths, the extremely lyrical and ornate Yoruba language and the obscure and mysterious Yfa metaphors– in a sense, Soyinka's dramatic world is a world of myths and rituals. For example, "Forest Dance" is built from beginning to end under a celebratory ceremony. There are many images in the myths and legends of Yoruba, and the characters in the play are not only the people who are alive now, but also the king of the forest, the spirit of the palm tree, the god of darkness, the spirit of the jewel, the god of the river, the ghost, etc., just like a mythical world. In his plays, yoruba myths, legends and rituals are not pretentious and rigid, but nourish the nutrition of his creation, directly, synchronously and eloquently showing the living conditions of modern people. Myth, like poetry, is a truth, or something equivalent to truth, which, of course, does not contend with, but complements, the truths of history or science.
Soyinka has shaped a series of mythical, ritualistic order victims. Because myths and rituals are often used to illustrate that clan members must abide by specific lifestyles and moral and ethical norms, myths and rituals have the role of ancestral precepts and codes, and become the authoritative basis for maintaining certain systems, customs, and morals.
The Strong Breed is Soyinka's only serious tragedy. The play is also based on a folklore and ritual of Yoruba. It is said that in Africa there is a custom: at the religious ceremony of the new year's eve, a foreigner is found as a victim or scapegoat. He was given narcotics, painted powder on him, dragged him through the village before midnight, had everyone dump garbage on him, threw dirt, bullied and cursed, and finally expelled him from the city, never to return, or tortured him to death. The intention of this is to "plant" the sins and defilements of the whole city over the past year on him Chinese New Year's Eve and let him take them away. This ritual is often referred to as the "purification ritual". In order to protect another idiot child in a foreign country, Emman, an upright and kind foreigner, died unjustly, and he had no ability to resist, because he had to abide by the mythological and ritual order when he lived; The villagers have no grudge against Emman, but for their own benefit, no one dares to break this myth and ritual order, and even Samma, who loves Emman deeply, can only watch her sweetheart become a scapegoat. Even more tragically, Emman's father was also a victim of this mythical, ritual order.
Every year when Chinese New Year's Eve, he carried a symbolic garbage boat on his head, and sent the "filth" of the whole village to the river for the villagers to let it flow, and finally worked hard to death. The tragic fate of Emman is because he is a foreigner, which is a tragedy caused by objective conditions, and Emman's father, as a native, has become a hero because of his career. He had proudly told Emman that their family was a "strong breed"... This is the tragedy caused by a subjective factor. Subjective or objective, neither the father nor the son have been able to break free from the constraints of myth and ritual order. "Tracing the common ancestors, consolidating the status of totems and ancestors, strengthening the sense of homogeneous tribes, and strengthening the identification role of the community" is a prominent social function of African mythological rituals.
Mythological rituals often have rich cultural implications. In folklore, rituals are often a major juncture in life, and people experience two very different worlds before and after rituals. In fact, Emman and his father have the symbolic meaning of the archetype of the "scapegoat". The "scapegoat" is based on the biblical book of Leviticus chapter 16 verse 10: On each Day of Atonement, the Israelites would choose two rams and give them to the high priest, one for God by castration, one for the evil spirit Ofarthir in the wilderness, and the latter would be the scapegoat. The high priest lays his hands on the head of the sheep and confesses before God the sins and sins of the people, in order to show that all the sins of the people are transferred to the sheep.
The sheep was then sent to the wilderness to be released, indicating that it had taken away all the sins of the Israelites. Later, the "scapegoat" was metaphorically referred to as "the innocent who has suffered on behalf of others." The self-sacrifice of the "scapegoat" is to exchange others or human beings for a happier and better life. Through these two tragedies, Soyinka exposes the mythical rituals of ignorance, barbarism and inhumanity in traditional African culture. Paradoxically, however, Soinka, while criticizing, pinned his hopes on the contemporary "horse abandonment" or "strong breed" with the spirit of national sacrifice. Because in Soyinka's view, they are the saviors who lead the African people to the world and integrate into the tide of world culture. Only by relying on this mythical "self-consciousness" can we create an ideal society in which society, nature and individual souls are absolutely unified and harmonious.
Soyinka argues that a good writer should have "a metaphysical, transcendental concern, rather than a metaphysical, pure narrative that reveals an unattainable reality, a social-historical view that liberates society from outdated historical conceptions or other prejudices by subversive ideas." With the invasion of colonizers, European culture infiltrated the African continent, and Africa's indigenous culture was violently impacted.
In the severe collision of non-European cultures, some Africans are stuck in their own ways, refusing to accept foreign cultures and blindly beautifying Africa's primitive culture; Some Africans have forgotten their ancestors and fallen at the feet of European culture, believing that the moon in Europe is rounder than Africa, and are willing to be slaves of the colonists. Soyinka is the "Promethean" of Africa. Standing at the height of world culture, he looked down on non-European culture, bravely stole the "heavenly fire" to burn down the backward and decadent factors of African traditional culture, found a way for African culture to integrate, and opened up a road of innovation and transcendence for African traditional culture and going to the world. To this end, Soyinka strives to advocate basing on the cultural psychology and aesthetic taste of African national traditions, and constantly excavates and inherits the essence of African traditional culture.
By drawing on modern European culture and re-examining, selecting and blending the traditional culture of our own people, we have created a new literature that is "both the world and the nation". He organically integrated the artistic techniques of Modern Western drama with the cultural traditions of the Yoruba tribe in West Africa; In the treatment of drama time and space, it not only draws on the traditional African art, but also greatly breaks through the limitations of traditional realistic drama, not only draws on the various techniques of Western drama, but also boldly innovates, and puts forward a unique view of drama time and space; It explores a tragic spirit that is different from the Western tragic tradition and a new interpretation of Yoruba's traditional cultural consciousness, and strives to achieve two-way transcendence in the dual combination of two heterogeneous cultures.
For example, Soinka points out that outside of real experience, especially outside of this "technologically compensatory" Western world, there exists a cosmic unity that can be attained by relying on a mythical intuition and a leaping emotional imagination.
His "cosmic whole" is relative to the African world and African thought, excluding the "technologically compensatory" Western world. In his play Death and the King's Attendant, Orandy is of great symbolic importance. He has two selves: he is a Western-educated man who has just returned from Europe, and this "self" represents "the West"; At the same time he is a Ruba, which is his traditional "self". The suicide of the Surrogate Father symbolizes that the divided "self" of the West must die in order for the traditional, true "self" to remain alive and to ensure the rebirth of a traditional, harmonious and unified "complete self." The tragic spirit of The Orondi and the spirit of tragic transcendence are the most vivid expressions of Soyinka's pursuit of life. He tried to use mythological metaphors and ancient rituals to convey the importance of goodness and strong will for the development of the Nigerian nation.
In South Africa, Soyinka's plays undoubtedly influenced black playwrights to integrate mythology (including historical figures who have now become myths against white domination) into the universal model of people exercising their own contemporary lives", which Soyinka proved through literature and art that "what is obscured by the religion and philosophy of the colonialists in the African psyche does not have to be abandoned in the modern world in which Africa is irreversibly imperviously involved, nor does it eventually return to tribalism, but can be combined with modern consciousness, Just as modern consciousness absorbs various ideologies of thought and their incarnations. Orgon's creation myth should be placed in the world system of human thought."
<h1 class="pgc-h-arrow-right" data-track="600" > technique</h1>
<h1 class="pgc-h-arrow-right" data-track="621" > postcoloniality</h1>
Soyinka describes his childhood in a small village in Africa. His father was a teacher and his mother was a social welfare worker—both Christians. But in the previous generation there were some witch doctors and others who believed in the rituals of ghosts, magic and anything non-Christian, and we came across a world where dryads, ghosts, warlocks and primitive African traditions were all living realities. We are also confronted with a more complex mythological world rooted in a long-standing oral African culture. This account of childhood also provides a context for Soyinka's literary work—a close connection to a first-hand experience of rich and complex African traditions.
Soyinka is an African writer who writes in English and embraces Western languages as well as Western culture and philosophy. Among them, the influence of Western modernist literature is the most profound. Lars Gillens, permanent secretary of the Swedish Academy of Letters, made it clear in his award speech: "He is familiar with Western literature, from Greek tragedies to Beckett and Brecht, and in addition to drama, he is familiar with outstanding European literature."
Similar to Western modernist literature, Soyinka's work also has many obscure metaphors and absurd plots. For example, in the play "Dance of the Forest", written to celebrate nigeria's independence, the dead, the living, the ghosts, and the ghosts appear on the same stage; "Madmen and Experts" is full of crazy people and crazy words, and the line between good and evil is blurred; "The Road" is considered to be Soyinka's most representative absurd drama, with strange artistic conception, absurd plot, and innuendo symbolism twists and turns.
Anti-rationality, contempt for the rational tradition since the European Renaissance is a distinctive feature of Western modernist literature, and although Soyinka absorbs some of the anti-rational features, it is inappropriate to summarize him as anti-rational. Obviously, Soyinka's work was influenced by the superhuman philosophy of the absurdist theater master Beckett, the stream-of-consciousness novelist Joyce, and Nietzsche. But in fact, anti-rationality cannot be applied to Soyinka's work. Because while European and American anthropologists are committed to discovering and explaining black African culture, the African blacks and African black elites immersed in the European wind and rain are also reflecting on the value of the traditional culture of african blacks and examining its position in the world cultural system.
They did not blindly reject other cultures, but they were more convinced of the creative spirit of black people. Senghor, an advocate of the "black sex" theory, once likened his race and traditional culture to "dark-skinned women", giving her this compliment: "Naked women, dark-skinned women!" Your life-like complexion covers your whole body... Naked women, dark-skinned women are like ripe and full fruit, like intoxicating black wine. He said he was influenced by European culture though. But I still cling to the traditional culture of black Africans: "My mind, which is open to the winds of the north and the predators, cannot forget the footprints of my ancestors and the ancestors of my ancestors." Soincar does the same.
Therefore, as a distinctive black African writer in the contemporary post-colonial context, Soyinka's "non" rationality expressed in his works is not a rebellion against the traditional rationality of the West, but the inheritance and development of the traditional irrational culture of black Africa. Chuanguirens also acknowledges that Soyinka's roots are deeply rooted in African lands and African cultures. Attributing one of the characteristics of Soyinka's plays to irrationality is a prominent manifestation of the locality of his works and one of the manifestations of the postcolonial nature of his works in terms of content.
<h1 class="pgc-h-arrow-right" data-track="617" > irrational</h1>
Irrationality is a major feature of Soyinka's creation. The formation of this feature is the result of his ingenious integration of irrational elements in non-European culture. After the 1960s, Soyinka's creations reinforced the atmosphere and tone of irrational culture. He applied African primitive culture as an aesthetic matrix, not only objectively reproducing the irrational culture of the West, but also consciously using the traditional irrational thinking of Africa to frame the plot and shape the image.
Soyinka was known as a playwright for a long time. His exploration of this art form is intentional because it is closely linked to African material and African language forms and the creation of comedy.
His plays frequently and skillfully use many of the techniques that belong to the art of stage but are truly rooted in African culture – dance, ceremonies, masquerades, pantomimes, rhythms and music, impassioned speeches, plays-within-a-play, and so on. In contrast to his later plays, his early plays were lighthearted and sensual—pranks, cynical scenes, images of everyday life accompanied by vivid and witty dialogue, etc., often based on a sense of sadness and joy or grotesque life. Among these early plays is the Forest Dance– an African Midsummer Night's Dream that includes tree spirits, ghosts, ghosts, gods, gods, or demigods and demigods. It depicts creation and sacrifice, and the hero of the divine fire, Organ, is one of the accomplishers of these achievements. This Ogan has the appearance of Prometheus—a strong-willed demigod and half-man who is good at art, but also good at tactics and fighting, and is a dual figure of both creation and destruction. Soyinka often touches on this character.
<h1 class="pgc-h-arrow-right" data-track="618" > music</h1>
In addition, a large part of the success of Soyinka's plays is due to his skillful language skills and the use of rhythmic musical language such as dance and elegy. Soyinka cleverly blends the language of music with the music of language. By using music (dance, song, etc.) to replace the language of music and the music of language with each other, the reader is immersed in a dual world of music and language. The chanting form of ancient Greek tragedy is not only an important foundation of African aesthetic values, but also the structural form inherent in African drama. Therefore, the script often hints at the plot in the form of a rotating chant to promote the development of the plot. Like repetition in music, phrases or actions that appear repeatedly in the script synchronize with the character's actions, enhancing the character's behavior. The lyrical, feminine dance, together with the drums of the band and the singing of the choir, guide the audience into a closed, self-sufficient space. This is a world of music familiar to African people, and therefore a world full of African vernacular atmosphere and strong realistic colors.
<h1 class="pgc-h-arrow-right" data-track="610" > character influence</h1>
Soyinka's contribution to Africa is self-evident, and his African writing can be said to change the world's impression of Africa to some extent, Africa is no longer the "Animal World", no longer drought and famine, nor is it only racial discrimination and tribal conflicts, but a real continent where reality and dreams overlap, blending color mottled and dark and gloomy, "Some people simply see this work as a conflict between African civilization and European civilization, in fact, it has richer connotations, poetry, irony, surprise, cruelty, greed", Wrapped up in the conflict of non-European cultures is a rich and authentic humanity.
In addition, Soyinka has always been concerned about politics. To this day, he is more than 80 years old and still advocates for international human rights, refugee food relief and security, civilian education, regime corruption, terrorist violence and other issues. He has made a valuable contribution to international politics.
<h1 class="pgc-h-arrow-right" data-track="613" > character evaluation</h1>
Summing up Vole Soinka's literary achievements, the Swedish Academy of Letters said: "In the application of language, Vole Soinka also stands out for his extraordinary talent. He mastered a great deal of vocabulary and expression, and applied them to witty dialogues, satirical and grotesque descriptions, plain poetry, and essays that sparkled life. Its works are full of vitality and urge people to forge ahead. Voley Soyinka's work, though complex, is clearly organized and powerful. "
Nadine Godimer, a South African woman writer, said: "We have many writers in Africa who do practical things as well as writing, but Soyinka is the best and most outstanding example, setting an example for writers to meet the requirements of the times, and the responsibility of intellectuals beyond the understanding of ordinary people."
< h1 class="pgc-h-arrow-right" data-track="641" > representative works</h1>
Poetry Collection: "Sound Rhyme Collection", "Youth Poetry Banknote", "Relaxed Poetry and Serious Poetry", "New Poetry Banknote", "Wild Song Collection", "Rhyming Poems and Rhythmic Poems", etc. Long poems: "Ode to Satan", etc. Monographs such as "Early Italian Literature Studies: The Poetry of the Bard and the Knight", "The Development of Italian National Literature", etc.
<h1 class="pgc-h-arrow-right" data-track="643" > artistic features</h1>
The Collection of Poems followed by The Juvenile Collection, Satire and Lyric Poems (1868), is a collection of poems from the sixties, and a certain sadness can be heard in many poems. Although The inability of Rome to conquer for a long time made Calduzi deeply depressed, there were many things that made Calduzi unhappy in the policy of the dominant position at that time. The new political situation did not live up to Carduzzi's expectations. But in this collection we can also read some extremely beautiful poems.
Carduzzi is familiar with the poetry of the fourteenth century, so we can hear many echoes of this century in his poems, such as the Poem of the White Ball and the poem about the Declaration of the Kingdom of Italy. It was only in the New Poetic Transcript (1861-1881) and the three-volume Ode to the Savage (1877-1889) that Carduzzi reached full maturity in lyric poetry and showed stylistic perfection. We no longer see the proud poet, under the pseudonym Ofeno Romano, who fought fiercely against his opponents, and replaced us with a completely changed poetic style, where sweet, soft melodies could be heard. The guiding poem "Poetry and Rhythm" is extremely musical, a true hymn to the beauty of rhythm, and its ending vividly reflects the stylistic characteristics of Carducci. Apparently, Carduzzi was well aware of his temperament, and he compared himself to the Tyrrhenian Sea. But his uneasiness did not last, and the tone of true joy echoed in the enchanting poem "The Pastoral of May." The poem "Morning" is clearly nostalgic for Hugo, and it is as much adorable as the poem titled "Greek Spring".
The Riot Resistance is part of the New Book of Poetry and consists of a series of sonnets. Although the value of the poem is not high, it can represent Carducci's unreserved praise for the French Revolution.
Carduzzi's greatness is more fully reflected in his Ode to the Savage, with the first collection of poems published in 1877, the second in 1882, and the third in 1889. It provides some defenses against criticism of the form of the work. Although Carduzzi adopted ancient rhythms, he completely deformed them so that a person who listened to ancient poetry could not hear classical rhymes. Many of these poems have reached the pinnacle of content perfection.
Carduzzi's talent never surpassed the high standards of Ode to the Barbarians. The charming Miramar and the melodic and melancholy Station in the Autumn Morning are Calduzi's most inspired works. Miramar is about the unfortunate Emperor Maximilian and his brief mexican expedition, which is far more tragic than a vivid imagination, and it also depicts the Adriatic Coast, perfectly refined. The poem exudes a sense of pity, which is rare in Carduzzi's treatment of Austrian subjects, and which he once again expresses in his beautiful poem about the tragic fate of Empress Elizabeth in Poetry and Rhythm (1899).
In such an impassioned and rich poem as Carduzzi's, one can find many sharp contrasts of discontent from all sides, which are mixed with heartfelt praise for people. In any case, Carduzzi is one of the most powerful titans in world literature, and although there is also a voice of discontent from his fellow citizens, even the greatest poets cannot avoid this. Because no one is perfect.
The rebuke, however, was not directed at the republican tendencies that he had sometimes been fervent. People told him to keep his views, and no one disputed his independent political stance.
In short, his hostility toward dictators has become increasingly depressed with the passage of time. He increasingly saw the Italian dynasty as the protector of Italian independence. In fact, Calducci had dedicated poems to the Italian Empress Margarita, a noble woman who was revered by people from all directions, and her poetic heart was praised by Calducci's magnificent art, and Calduzi's admiration for her beauty and love was expressed in the magnificent poem "Dedicated to the Italian Queen" and the immortal poem "Lute and Harp", and he expressed his praise for this noblewoman through provencal pastorals.
Narrow-minded, die-hard Republicans see him as a betrayer of their cause because of These Things by Carduzzi. He retorted, however, that the dedication of hymns to elegant and good women had nothing to do with politics, and that he had the right to think as he pleased, to describe the ruling Italian family and its members.
The fight for Italian freedom was extremely important for the development of his sensibility. Carduzzi was a fierce patriot who threw himself into war with the blazing fire of all his souls. Whatever setbacks he suffered in the defeats of Aspromonte and Mantana; However disillusioned he may be by the inability of the new parliamentary government to organize according to his wishes, he is still ecstatic at the triumph of his sacred patriotic cause.
His enthusiastic nature troubled him with anything that seemed to him to hinder the completion of the unification of Italy. He was a impatient man who always sought immediate results, and he was particularly disgusted by the sleek procrastination and ambiguity.
At the same time, his poems are splendid and gorgeous. Although he is also an outstanding author of historical and literary criticism, our primary concern is on his poetry, because he has won a great reputation through poetry.
Written in the 1950s, The Juvenile Collection (1863), as the name suggests, is the work of his youth. Its two characteristics are: on the one hand, classical styling and tone, sometimes with the views of Calducci's admiration of the sun god Apollo and the moon god Diana; On the other hand there was a significant patriotism, with a strong hatred of the Catholic Church and papal power, which he considered to be the greatest obstacle to the unification of Italy.
He was adamantly opposed to the absolute power of the Pope, and in his poems Carducci evoked the reader's memories of ancient Rome and a vision of the great French Revolution, as well as the image of Garibaldi and Mazzini. Sometimes he believed that Italy seemed to have little prospects, and feared that all the virtues and bravery of antiquity had been corrupted and depraved, and he fell into the deepest despair.
True patriotism manifests itself in the sonnet Magente and the psalm Referendum, in which he once again paid heartfelt tribute to Victor Emmanuel II. The poem describing the cross of Savoy is probably the most beautiful poem in the Juvenile Collection.
<h1 class="pgc-h-arrow-right" data-track="655" > introduction to the work</h1>
The Poems of Ease and The Poetry of Seriousness, a collection of lyric poems first published in 1868, was revised and reprinted by the author in 1881 to include only works from 1861 to 1867, and later became a single volume of works from 1861 to 1871 in the Complete Works. The poet's own comment on this volume is: "From it one can see a man who has neither faith in poetry nor in himself, but who still has something to pursue; He pursues novelty and does not have the courage to break with habits. The collection of poems reflects the poet's spiritual crisis due to political disappointment and dissatisfaction with the Romantic literature popular in Italy at the time. The poet's inner pain is always revealed: "Farewell, happy years, years when appearance and dreams intoxicating the heart: the spring of life, never farewell."
"Whether it is "Carnival", which depicts social life, or "To Announce the Birth of the Kingdom of Italy", which depicts patriotic themes, it is written in a low tone, the colors are dull, and the enthusiasm and bright tone of the past have been lost. He believes that there was a general crisis in Italian Romantic literature at that time, "like an abyss", and he himself advocated realism, and in order to eliminate the bad influence of Romanticism, he had to carry out a good "language washing" and "wrap the body with the shroud of knowledge".
The exception is the lyric poem Montalto, written with great generosity, denouncing the monarchy as a fog enveloping the sun as a semblance that has lost its luster to the national revival movement, and the emotionally charged verses have been dismissed by critics as "shooting like a bullet from a smoothbore gun" at an incomplete bourgeois revolutionary who compromised with the feudal lords. The poetry collection is exquisitely chiseled in language, and the words and sentences are quite ingenious, paying attention to the beauty of rhythm.
This is a masterpiece of Calducci's later period, which was originally published in three parts: the first "Ode to Barbarism" published in 1877, the "New Ode to Barbarism" published in 1882, the "Third Ode to Barbarism" published in 1889, and finally collected in two volumes in the "Complete Works". The poet explains that the reason for the name of the collection of poems is that "these poems were barbaric to the hear and read by the ancient Greeks and Romans, although care was taken to write them in the rhythmic form of their lyric poems, and therefore these poems sounded good and harmonious to many Italians." Through these works, he wanted to achieve the two major goals of revolution and revival of poetry at the same time, the so-called revolution was to innovate the romantic poetry that was popular at that time, and the revival was retro, to restore the tradition of classical poetry, so he was also called "neoclassical poet".