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,In a Station of the Metro,Haiku 俳句,Haiku is a very short form of Japanese poetry typically characterised by three qualities: The essence of haiku is “cutting“ .This is often represented by the juxtaposition of two images or ideas and a kireji (“cutting word“) between them, a kind of verbal punctuation mark which signals the moment of separation and colours the manner in which the juxtaposed elements are related. Traditional haiku consist of 17 on (also known as morae), in three phrases of 5, 7 and 5 on respectively. Any one of the three phrases may end with the kireji.Although haiku are often stated to have 17 syllables,this is inaccurate as syllables and on are not the same. A kigo (seasonal reference), usually drawn from a saijiki, an extensive but defined list of such words.,Modern Japanese haiku,Modern Japanese haiku are increasingly unlikely to follow the tradition of 17 on or to take nature as their subject, but the use of juxtaposition continues to be honoured in both traditional and modern haiku.There is a common, although relatively recent, perception that the images juxtaposed must be directly observed everyday objects or occurrences. In Japanese, haiku are traditionally printed in a single vertical line while haiku in English often appear in three lines to parallel the three phrases of Japanese haiku.,In a Station of the Metro,The apparition of these faces in the crowd; Petals on a wet, black bough. Ezra Pound,这几张脸在人群中幻景般闪现； 湿漉漉的黑树枝上花瓣数点。,The Origin of Inspiration,Pound had seen a succession of beautiful faces one day on the Paris Metro, and in the evening he found suddenly the expression for his sudden emotion. “I got out of a train at, I think, La Concorde, and in the jostle I saw a beautiful face, and then, turning suddenly, another and another, and then a beautiful childs face, and then another beautiful face. All that day I tried to find words for what this made me feel.“ He worked on the poem for a year, reducing it to its essence in the style of a Japanese haiku.,In a Station of the Metro,The apparition of these faces in the crowd; Petals on a wet, black bough. Ezra Pound,这几张脸在人群中幻景般闪现； 湿漉漉的黑树枝上花瓣数点。,Images,The word “apparition” is considered crucial as it implies both presence and absence - and thus transience as mentioned previously. It gives human life a spiritual, mystical significance, but one that we can never be sure of. The plosive word Petals conjures ideas of delicate, feminine beauty which contrasts with the bleakness of the wet, black bough.,Essence,By linking human faces, a synecdoche for people themselves, with petals on a damp bough, the poet calls attention to both the elegance and beauty of human life, as well as its transience. A dark, wet bough implies that it has just rained, and the petals stuck to the bough were shortly before attached to flowers from the tree. They may still be living, but they will not be for long. In this way, Pound calls attention to human mortality as a whole - we are all dying. This is the essence of the poem.,在地铁车站的最大特点就是意象派常用的“意象迭加”手法。“人群，脸庞”是诗人所看到的直观形象是对现实的直接描写，是一幅熙熙攘攘、人流涌动的地铁车站景象；“树枝，花瓣”是诗人在所看到的现实的刹那间的感觉所引起的联想而形成的一组意象，是一幅花朵开放在湿漉漉，黑色的树枝上的景象。 人群与湿漉漉的黑色树枝都是给人一种晦暗阴湿的压抑气氛，也给人一种神秘感，更是符合地铁车站人流涌动的氛围。而那些美丽的面孔和花瓣一样，给人的是一种美的享受，以花比喻美丽的面孔更是再常见不过。而两组意象各自结合所形成的那种由于晦暗的背景衬托下的美好事物给人所带来的神秘的感受也是相同的。诗人把意象间微妙而又必然的联系，用这种“意象迭加”的手法，完全表现出来，从而收到一种置理智与感情为一体的艺术效果。,天净沙秋思 马致远 枯藤老树昏鸦，小桥流水人家， 古道西风瘦马，夕阳西下，断肠人在天涯。,大漠落日,圆 寂,泉边,掬一捧水 洗一洗眼睛 心也绿了,掬一捧水 洗一洗眼睛 心也绿了,Thank you!,
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