瓦伦西亚大学教授如何解读艾略特的长诗《荒原》(全英文)

艾略特《荒原》解析在英国仍以“⽇不落帝国”⾃居之时，艾略特就独具慧眼地谱写了西⽅世界现代精神⽂明的“悲怆奏鸣曲”——《荒原》，他多视域、多层次地展现了⼀战后西⽅⼴阔的社会⽣活。

托马斯·斯特尔那斯·艾略特诗⼈将饱经战争蹂躏、哀鸿遍野的欧洲⼤陆，描绘成⼀⽚乌云蔽⽇、空⽓窒息、⽣命之⽔枯竭、情欲之⽕燃烧的⼴漠荒原，充斥着⼀个个死魂灵般的⿁魅世界：不仅是满⽬疮痍的现实社会的荒原，更是⼈们⼼⽬中的荒原，⼀座牧场。

《荒原》不仅是他本⼈，更是欧洲⼀战后普遍存在的悲观失落、迷惘空虚的异化社会情绪和异化社会⼼理的浓缩，表现出整整⼀代⼈对西⽅现状敌视沮丧情绪的极点。

01 诗歌结构：犹如⼀曲西⽅社会送殡的挽歌《荒原》全长432⾏，艾略特把浩繁的现代⽣活安放在远古神话提供的框架⾥，将长诗分为《死者葬仪》、《对弈》、《⽕诫》、《⽔⾥的死亡》、《雷霆的话》五章，颇似贝多芬晚期创作的五乐章钢琴奏鸣曲形式，最著名的如《悲怆奏鸣曲》，相对独⽴⼜彼此呼应，低回哀怨，恰似⼀曲西⽅社会送殡的挽歌。

《荒原》各章长短不⼀、节奏、重⼼、场景、说话⼈物各不相同，但⼜统⼀在总标题下；“圣杯传奇”与诗的布局，像⼀对⼀明⼀暗的平⾏结构，使⽆序的外表下呈现出潜存的秩序，内在结构完整⽽严谨，形成⼀部浑然⼀体的钢琴奏鸣曲。

由于《荒原》不是叙事，⽽是以各种互不关联的戏剧性场⾯组成的主题变奏曲，诗中没有完整的圣杯故事，却处处有投影。

诗歌中每⼀暗⽰性形象都可构成⼀连串感性和理性的复合联想，使其隐喻的意象极具张⼒，为《荒原》提供了总体结构和象征语⾔，这就使《荒原》从⼀般的内容中突破出来，产⽣出与众不同的特殊效果，具有极强的历史穿透⼒与暗⽰⼒：赎救现代西⽅⽂明的衰落，只能期盼中世纪传说中圣杯神⼒的显现。

⽽且，艾略特在《荒原》的神话创意中，不仅把意义装载⼊全诗表述、圣杯隐现这⼀对明暗平⾏结构，⽽且把作品构织成⼀个由意象组成的表层结构、和⼀个由神话原型组成的深层结构，并通过原型的零乱破碎的提⽰，让读者掘出意象表层之下的真正含义。

论艾略特《荒原》的反思意识艾略特是20世纪最杰出的诗人之一，其作品《荒原》是他的代表作之一。

这首诗以其深刻的哲学意味和反思意识而著称，被誉为现代主义诗歌的杰作。

本文将从不同的角度来探讨艾略特《荒原》所呈现的反思意识。

艾略特《荒原》中的反思意识体现在对当代社会的批判和对道德信念的探讨上。

在诗中，艾略特描绘了一个充满空虚和失落的现代社会，人们在繁忙的城市生活中迷失了自我，对于道德信念和精神追求缺乏清晰的认识。

这种对当代社会的批判和对人性的深刻反思，体现了艾略特对于现实世界的敏锐洞察和对于人类精神世界的深刻探索。

他通过《荒原》这首代表作，呼吁人们重新审视自己的内心世界，反思社会的现状，重建人类的道德信念。

艾略特《荒原》中的反思意识还体现在对历史和文化传统的思考上。

诗中穿插了大量有关历史、文学和宗教的引用和隐喻，反映了艾略特对于文化传统和历史文化的深刻理解和洞察。

他试图通过对历史和文化传统的再审视和反思，揭示出人类文明的起起伏伏、兴衰变迁，展现了对人类历史的深刻关怀和对传统文化的珍视。

他也警示人们在现代社会中不可忽视对历史和文化传统的尊重和传承，以免失去了宝贵的精神财富。

艾略特《荒原》中的反思意识还体现在对信仰和宗教的反思上。

在诗中，艾略特探讨了人们在现代社会中对于信仰和宗教的迷茫和矛盾心态。

他认为现代社会充斥着种种的虚无和迷茫，人们对于宗教和信仰的需要变得更加迫切，但又因为物质文明的发展和精神世界的贫乏而产生了犹豫和困惑。

艾略特通过《荒原》这首诗，呼吁人们重新审视自己的信仰和宗教情感，寻找心灵的归宿，从而重新获得精神上的富足和安宁。

艾略特《荒原》中的反思意识还体现在对人生和命运的思考上。

在诗中，艾略特表达了对于人生意义和命运安排的深刻思考，展现了对人生存在的深刻洞察和对命运安排的沉思反思。

他试图通过对人生和命运的反思，探寻出人们面对现实生活中的苦难和困惑时应该如何坚定自己的心志，如何找到人生的真谛和价值所在。

T.S. ELIOT: THE WASTELANDThis poem was written for the most part while in a sanatorium in Lausanne in Switzerland recovering from nervous exhaustion (not the least cause of which was his marriage to Viv). A revolutionary poem both stylistically- and thematically-speaking, Pound described it as the ‘justification of our modern experiment, since 1900’. Although this is a difficult poem to sum up (the vastness of its scope has made some critics describe it as the epic of the Twentieth century and even Eliot conceptualised it as a collection of separate poems rather than one whole poem), there are a number of technical and thematic features which are worth noting.Formal Strategies:Heteroglossia / Montage:multiple voices succeed each other with alarming and bewildering rapidity. There is, notwithstanding a bizarre footnote crediting the figure of Tiresias with more importance in this respect than he has, no single, central speaker who unifies the multiplicity of perspectives offered in the poem. This is not a single dramatic monologue. Rather, many different chunks of the text (there are no clear demarcations) seem to be snatches (mini-monologues) uttered by different, individually recognisable personalities. At other times, there are passages seemingly uttered by oracular voices possessed of an almost visionary, prophetic, even Biblical quality (e.g. in the first and final sections). At other points, the voice is almost incantatory: e.g. the beginning where a speaker or perhaps a chorus of voices seems to lament the return of life in springtime.The Absence of a Traditional Narrative Development:no plot, no consistent flow of thought (logical or associational) to assist the reader in making sense of the poem. The effect of this accumulation of discontinuous voices is to release a flurry of implications whose swiftness and dense complexity make the poem difficult to apprehend, let alone digest. In short, this is a poem seemingly without coherence which simply begs the reader to unify it even as it denies the reader the normal means to do so: there simply is no continuity of setting, voice, narrative or style. In the place of these, one finds:Naturalistic Description:Eliot focuses for the most part on the more sordid and depressing details of the contemporary metropolis (such urban poetry represented a radical departure from the traditional focus on the natural landscape and on the agreeable, the beautiful and the ideal in Romantic poetry and its derivatives). The poem serves up something akin to a montage of visual images that explore city life and the lives of its inhabitants by juxtaposing images, scenes, dramatic vignettes containing fragments of conversation, etc. At times, these images assume an almost phantasmagoric dimension (e.g. “Unreal city”). Sordid urban images commingle with images of the desert/aridity to the point where, quite clearly, they are meant to comment upon each other: to wit, modern life in the city is being compared to an arid, sterile waste. Recurring Leitmotifs:these, in accumulating significance, become evocative symbols: these are scenes, images and allusions that are repeated in separate contexts and, by dint of which, assume symbolic resonance: e.g. hibernation, the desert; the rock; water; drowning (the allusions to the drowned Alonso in The Tempest, Ophelia’s suicide in Hamlet, a drowned Phoenician). As these motifs return in new contexts, they bring with them suggestions and associations from former contexts and evolve into “progressively denser nodes of connotation and feeling” (Perkins 504) and, in so doing, become symbols. This process also serves to link the diverse parts of the poem together. Eliot both draws upon established symbols and forges images into fresh symbols that include: fire (lust), death (this can sometimes mean literal death, sometimes the living death which these Wastelanders lead), rebirth, and water (arouses a mixture of longing [it quenches thirst], fascination and fear [death by drowning]).Recondite Allusions:these are to all sorts of other texts (at least 37) via deliberate echoes of and quotations drawn from other writers. Today, Postmodernists celebrate such pastiche and parody as the basis of all art but many critics of the era saw it as the effect of a lack of creativity. Is The Waste Land the quintessential Modernist/Postmodernist text?Mythological Framework:Eliot, influenced by Sir James Frazer’s The Golden Bough, implicitly alludes to the myth of the dying and reviving god which recurs throughout human civilisation. According to Frazer, primitive man explained the natural diurnal and annual cycles in terms of “the waxing or waning strength of divine beings” and the “marriage, the death and the rebirth of the gods” (qtd. in Perkins, 506). The king was regarded as an incarnation of the fertility of the land: if he weakened or died, the land wasted and would become fertile only when the king was once more healed, resurrected from the dead or succeeded. These ancient fertility myths were incorporated into Christianity. As Perkins puts it,the poem alludes repeatedly to primitive vegetation myths and associates them with theGrail legends and the story of Jesus. In the underlying myth of the poem the land is adry, wintry desert because the king is impotent or dead; if he is healed or resurrectedspring will return, bringing the waters of life. The myth coalesces with the quasi-naturalistic description of the modern, urban world, which is the dry, sterile land. . . . Thepoem does not tell the myths as stories but only alludes to them. . . . (506-7)Eliot’s mythological allusions introduces a semblance of an ordering framework or, for want of a better word, narrative into the poem:[w]hen one knows the plot, one can vaguely integrate some of the episodes of the poemwith it. The fable provides a third language, besides naturalistic presentation andsymbolism, in which the state of affairs can be conceived; the story of the sick king andsterile land is a concrete and imaginative way of speaking of the condition of man. (508)As Eliot put it in a commentary upon Joyce’s Ulysses, the whole apparatus of symbolic and mythological allusion together with the other related narrative techniques served as a way of ‘controlling, of ordering, of giving shape and significance to the immense panorama of futility and anarchy which is contemporary history.’ The possibility of regeneration signalled by the myth here may hint at Eliot’s growing interest in Christianity.Overview:The narrative strategies described above are not isolatable from each other. It is impossible to consider the use of symbolism, for example, apart from the use of leitmotifs or the mythological framework. In short, in this poem, the juxtaposition of diverse fragments and strategies serves to make them comment on each other,suggesting manifold, complex and diverse implications. Through symbolism multifariousassociations and connotations were evoked and complexly interwoven. The‘mythological method’ added levels of reference at every point. By allusion, Eliot . . .brought another context to bear on his own, and the parallels and contrasts might offer arich, indefinite ‘vista.’ (513)Some questions arise, though. For example, is The Wasteland one poem or is it several?Content / Themes:The Human Condition:This is summed up in the very title of the poem.Sexuality:The very nature of the myths alluded to has the effect of underscoring the sexual as the source of much of the horrors of life in this wasteland. It is perhaps not accidental that The Wasteland was composed and published in the heyday of Freudian thought. The Wasteland seems to have a special relationship in particular with Freud’s celebrated Civilisation and Its Discontents which was composed in the years leading up to 1930 and which was the crystallisation of much of Freud’s thinking up to this point. Freud’semphasis on the degree to which the harmony of human civilisation was merely a facade, predicated as it is upon the repression of the sexual drive and of aggression (his celebrated conflict between the so-called ‘reality’ and ‘pleasure principles’) is echoed in this poem in which sex, usually in some decadent and sullied form, is almost incessantly evoked (especially in sub-poems II and III). Sex is, indeed, the preoccupation of much of Eliot’s poetry. This is a poem which seems to identify the source of the deadening of moral life and the corruption of civilisation with a perversion of the act of procreation that is synonymous with life itself. This link between Frazer and Freud is directly addressed by Eliot who remarked once that The Golden Bough is a work “of no less importance for our time than the complementary work of Freud--throwing its light on the obscurities of the soul from a different angle”(qtd. in Perkins, 509).Dialectic of Form and Content:Marshall McLuhan once argued that sometimes the ‘medium is the message.’ This is of relevance, arguably, to The Wasteland: Perkins argues that “meanings are ambiguous, emotions ambivalent; the fragments do not make an ordered whole. But precisely this, the poem illustrates, is the human condition” (513). The poem conveys in one vignette after the other, the “sickness of the human spirit”(514), the “weakening of identity and will, of religious faith and moral confidence, the feelings of apathy, loneliness, helplessness, rootlessness, and fear” (514). Thepanoramic range and inclusiveness of the poem, which only Eliot’s fragmentary andelliptical juxtapositions could have achieved so powerfully in a brief work, held in onevision not only contemporary London and Europe but also human life stretching far backinto time. (514)Amidst this welter of confusion, people struggle to make sense of an existence which impedes every attempt to do so. Hence the appropriateness of the end where a “total disintegration is suggested in a jumble . . . of literary quotations” (514).。

荒原艾略特解读
《荒原》是T.S.艾略特的代表作，被认为是他最具有影响力的作品之一。

以下是对这首诗的解读：
一、诗歌的主题和结构：
《荒原》是一首以现代城市生活为背景的长诗，通过对自然、历史、宗教、文化等主题的探讨，揭示了现代社会中的精神荒原。

诗歌的结构复杂而严谨，由多个章节组成，每个章节都有不同的主题和意象，但它们都相互关联并共同构建了一个完整的主题。

二、诗歌的意象和象征：
艾略特在《荒原》中使用了大量的意象和象征来表达他对现代社会和人类境遇的理解。

例如，诗中的“荒原”既是一个具体的自然景象，也是一个象征性的意象，代表着现代社会中人类精神生活的枯竭和空虚。

此外，诗中还有许多其他的意象和象征，如“死者的葬仪”、“对弈”、“火诫”、“水里的死亡”等，它们都具有深刻的象征意义。

三、诗歌的语言和风格：
艾略特在《荒原》中使用了独特的语言和风格来表达他的思想和情感。

他的语言既富有节奏感又充满力量，他的诗句常常具有深邃的哲理性和强烈的感情色彩。

此外，他还使用了大量的典故和引用，使诗歌具有深厚的历史和文化底蕴。

四、诗歌的意义和价值：
《荒原》不仅是一部文学作品，也是一部对现代社会和人类境遇的深刻反思。

它揭示了现代社会中的精神危机和人类困境，同时也提出了
对这些问题的思考和解决方案。

因此，这首诗具有重要的社会意义和文化价值。

总之，《荒原》是T.S.艾略特的代表作之一，也是现代主义诗歌的里程碑之一。

通过对这首诗的解读，我们可以更好地理解艾略特的思想和情感以及他对现代社会的反思和批判。

(一)艾略特是中国现代朦胧诗歌的鼻祖在网上，很多对中国现代诗歌(包括朦胧诗歌)起源和继承的评论是似是而非的。

这可能是由于一些国内不懂外文的评论家的错误导向所致，也有可能是由于自己就没有理解好中国的现代诗歌，而混枭了自己的观点，也误人子弟。

中国的现代诗歌，究其源泉是由于五四时期由胡适等人发起的白话文运动，白话诗也就应运产生。

一个很有意思的现象是，很多著名的作家严肃的学者并没有留下多少白话诗歌，只有一些类似嘻皮士的文人们，象刘半农，徐志摩等等，为了和女人的打情骂俏而留下过一首半首。

中国早期的现代诗歌应该是继承于欧洲而不是美洲。

这得益于一些留学欧洲学人的推荐和传播。

象卞之琳，徐志摩，李金发等等，所写的诗歌继承了欧洲维多利亚式的风格，并没有多少的创新，节奏的和谐和词澡的华丽是其主要的特点，但并没有什么心灵的震动，是沃斯瓦斯和波尔莱特在中国的翻版，甚至从中可以看到雪莱和拜伦的影子。

从中很少看到美洲惠特曼的影子，大概惠诗歌中的自然和平民的形象和这些留学欧洲的没落贵族的口吻不太合适所致。

很多人把这几个人归结为现代朦胧诗歌的起源。

其实是不当的。

这时候的诗歌还只能是现代诗歌而不是朦胧诗歌，当然，相对于旧体诗歌意象和词汇的运用已经有了朦胧的感觉。

中国诗歌在七十年代末八十年代初期，有一个特别辉煌的复兴时期。

一批经过文革，上过山下过乡的知识青年们用在煤油灯下的知识积累，带着对生活的感性体验，在马可雅夫斯基和莱蒙托夫的指引下开始中国诗歌的新一轮革命。

这期间杰出的诗人有北岛，舒婷等。

在八十年代的中末期，中国诗坛终于迎来了大爆炸的时期。

在理论领袖谢冕的指引下，一批批锐意的具有现代意识的中国诗人们以严辰主编的诗歌报为阵地，纷纷打出旗号，成立山头，一时间中国的诗歌流派竟然有几十家之多。

所写的诗歌讦曲骜牙，常人难以读懂。

这就是后来广被非议的现代朦胧诗。

为什么称为现代朦胧诗？这是为了区别于以唐朝李商隐为代表的古体朦胧诗歌。

中国的现代朦胧诗直接继承于艾略特，Pound等人的诗风,摈弃了近代诗歌徐志摩等人所提倡的维多利亚的模式。

论艾略特《荒原》的反思意识艾略特是20世纪最重要的诗人之一，他的作品《荒原》是他最具影响力的作品之一。

这首诗以其深刻的思想和对当代社会的反思而闻名，尤其是对现代社会的空虚和精神困境提出了一种深刻的反思。

艾略特的《荒原》对现代社会的反思意识非常深刻，这首诗的精神内涵对我们今天的社会仍然有着重要的启示意义。

艾略特的《荒原》是一首充满了对现代生活的批判和反思的诗歌。

艾略特在诗中描绘了一个充满荒凉和绝望的现代社会，他认为现代社会已经失去了宗教信仰和道德价值观，导致了人们精神上的空虚和困惑。

在《荒原》中，艾略特描绘了现代社会的麻木和冷漠，以及人们对传统价值观的放弃和迷失。

这种现代社会的精神困境和荒芜状况让艾略特深感不安，他通过诗歌表达了对这种现状的深刻关注和反思，展现了一种强烈的反思意识。

艾略特的反思意识体现在他对现代社会的批判和警示之中。

他通过对人们精神空虚和道德沦丧的描写，揭示了现代社会的真实面貌，呼吁人们重新审视自己的生活方式和价值取向。

他在诗中对社会的冷漠和麻木提出了质疑，并通过对精神寂静和信仰缺失的描述，表达了对现代社会的深刻忧虑。

艾略特希望通过自己的诗歌唤醒人们对现实的思考，引发人们对社会生活的深刻反思，从而改变现状，重建价值观和道德规范。

在《荒原》中，艾略特通过对现代社会的描绘和批判，表达了对传统价值观和信仰的追求。

他强调了对人类精神世界的重视，希望人们能够重拾对宗教和道德的信仰，重新建立起自己的精神世界。

艾略特认为现代社会的精神荒漠和迷失不仅仅是一种社会问题，更是一种对人类本质的忽视和背离。

他希望通过自己的诗歌激发人们对精神世界的关注和追求，让人们从物质生活中解脱出来，寻求内心的宁静和满足。

艾略特的《荒原》对现代社会的反思意识在今天依然具有重要的现实意义。

现代社会依然存在着道德沦丧和价值观模糊的问题，人们的精神追求和内心满足依然面临着挑战和困扰。

艾略特的诗歌不仅是对现代社会的一次深刻反思，更是对人类精神世界的一次呼唤和感召。

2062文 教 研 究文|张晓琴——T.S.艾略特《荒原》译本部分赏析中英诗歌翻译的比较研究摘要：在翻译学习中，诗歌语言的精炼使诗歌翻译成为一大难题。

本文从句式结构、词语选取方面对T.S.艾略特的诗歌作品《荒原》的译本进行简要赏析与评议，通过分析他们对细节的不同处理，帮助翻译学习者更好的理解诗歌原作及诗歌翻译处理技巧。

关键词：诗歌翻译；《荒原》；句式结构；词语选取T.S.艾略特（Thomas Stearns Eliot，1888.9.26－1965.1.4），是诗人、评论家、剧作家及诺贝尔文学奖获得者。

他被称为诗歌现代派运动领袖，同时也是英国20世纪影响最大的诗人。

他的成名作《荒原》，被誉为现代英美诗歌的里程碑，也被认为是西方现代文学中具有划时代意义的作品。

从诗歌形式上看，艾略特的现代诗歌摒弃了传统诗歌格律，却有内在节奏连接。

文章现从句式结构、词语选取方面对艾略特《荒原》的译本部分内容试作一次比较分析，第四部分虽然只有十行，但语言晦涩，内容精炼，所以选用作赏析评价。

本文选取翻译前辈查良铮和汤永宽的版本。

PHLEBAS the Phoenician, a fortnight dead,Forgot the cry of gulls, and the deep seas swellAnd the profit and loss.A current under seaPicked his bones in whispers. As he rose and fellHe passed the stages of his age and youthEntering the whirlpool.Gentile or JewO you who turn the wheel and look to windward,Consider Phlebas, who was once handsome and tall as you.查译：扶里巴斯，那腓尼基人，死了两星期，他忘了海鸥的啼唤，深渊里的巨浪，利润和损失。

外国文学经典作品解读——艾略特：《荒原》内容梗概全诗由5章构成。

第1章《死者葬仪》，标题出自英国教会出葬仪式。

死亡是这一章的主题。

诗歌在含混的意识中开场。

四月是残酷的季节，以记忆和欲望折磨着人们。

在玛丽的回忆中浮现出往昔的静好岁月，而如今面目全非：树已枯死，偶像已破碎，焦石间没有流水的声音，大地一片荒凉。

女相士也为此感到困惑，她用纸牌给人算命，得到了死亡的预言，因为她找不到那被绞死的人耶稣，于是人注定无法获得救赎。

在冬日破晓的黄雾下，人群涌过伦敦桥，死亡已经毁坏了他们。

我想知道，复活是否为时不远？第2章《对弈》，标题出自英国剧作家托马斯密德尔顿的同名剧作，本是一个淫乱故事，诗人取其意喻指现代人的道德堕落。

此章分两个场景。

在富丽堂皇的卧室里，一位上流社会的无聊贵妇正在胡思乱想，她渴望所谓的传奇爱情，以为传说中的翡绿眉拉就是一个典型，而这却是一个因淫乱而复仇的悲剧。

下一场景，在低等酒馆里，丽儿和女伴谈着私情、堕胎，如何对付退伍归来的丈夫。

两个地位不同的女性代表了社会普遍的堕落风气。

第3章《火戒》，标题出自佛教教义。

火有双重含义：是情欲之火，也是使人再生的净化之火。

这章以神话中具有穿透人内心力量的双性人帖瑞西士的视角来观察，发现可爱的泰晤士河畔已经不见了仙女的踪影，只看见公寓里一个女打字员和一个长疙瘩的青年有欲无爱的交合。

不可救药的精神颓败。

再生似乎已无希望。

第4章《水里的死亡》，水亦指泛滥的情欲。

女相士预言的腓尼基人之死在此章获得应验。

他是在欲望和金钱的漩涡中丧生的现代人的象征。

第5章《雷霆的话》充分展开了探索的主题。

诗人再次描绘了一幅荒原的景象：大地荒废，布满岩石，找不到一滴水。

水在这里被赋予再生的含义。

荒原通过三个意象展现：耶稣复活后去埃摩司的途中，而门徒看不见他的身影；寻找圣杯的武士走向空无一人的教堂；鱼王坐在岸上垂钓，背后是那干旱的荒原。

荒原是否能恢复生机？人能否获得拯救？一切都未知。

在雷霆同情，克制，平安的告诫中，诗歌结束。

荒原艾略特原文及解读荒原艾略特是美国诗人T.S.艾略特的代表作之一，该诗以其复杂的结构、深刻的哲学思考和充满象征意味的语言而闻名于世。

原文如下：We are the hollow menWe are the stuffed menLeaning togetherHeadpiece filled with straw. Alas!Our dried voices, whenWe whisper togetherAre quiet and meaninglessAs wind in dry grassOr rats" feet over broken glassIn our dry cellarShape without form, shade without colour,Paralysed force, gesture without motion;Those who have crossedWith direct eyes, to death"s other KingdomRemember us--if at all--not as lostViolent souls, but onlyAs the hollow menThe stuffed men.解读：诗歌的第一部分，描绘了一个群体——“空洞的人”，他们没有灵魂，只有外壳。

他们被填充，但内心却是空洞的，仿佛一具用稻草填充的人偶。

他们倚靠在一起，带着用稻草填充的头盔，在沙漠般的环境中，他们枯干的声音相互耳语，却毫无意义。

第二部分，通过描述这些人物的外在形象来呈现他们的精神状态——他们是形态空洞的，没有色彩的，是一种瘫痪不前的力量，是没有动作的手势。

这里作者使用了“形状没有形式”和“阴影没有颜色”来描绘这些人物，强调他们的虚无和缺乏。

最后一部分，诗人提到那些“以直视死亡王国的目光渡过去”的人，但即使他们在记忆中想起这些“空洞的人”，他们也只会被看作是“空洞的人”，而不是“失落的暴力灵魂”。

艾略特的诗中英
TS艾略特(T.S.E1iot)是一位伟大的英国现代主义诗人，以下是他的一首著名诗歌《荒原》(TheWaste1and)的原文和中文翻译：
原文：
Apri1isthecrue11estmonth,breeding
1i1acsoutofthedead1and,mixing
Memoryanddesire,stirring
Du11rootswithspringrain.
Winterkeptuswarm,covering
Earthinforgetfu1snow,feeding
A1itt1e1ifewithdriedtubers.
中文翻译：
四月是最残忍的月份，它在死寂的土地上育出丁香，
使记忆和欲望交织在一起，煽动
春雨中沉闷的根。

冬天保持着我们的温暖，覆盖
忘却的雪覆盖大地，以枯槽喂养
那一点点幼命。

以上只是《荒原》的开头部分，整首诗包含了许多不同的段落和主题，使用了丰富的象征和意象。

这首诗被认为是艾略特最重要的作品之一，具有复杂的结构和多样的语言风格，探索了现代社会的困惑、疏离和虚无感。

T.S. ELIOT: THE WASTELANDThis poem was written for the most part while in a sanatorium in Lausanne in Switzerland recovering from nervous exhaustion (not the least cause of which was his marriage to Viv). A revolutionary poem both stylistically- and thematically-speaking, Pound described it as the ‘justification of our modern experiment, since 1900’. Although this is a difficult poem to sum up (the vastness of its scope has made some critics describe it as the epic of the Twentieth century and even Eliot conceptualised it as a collection of separate poems rather than one whole poem), there are a number of technical and thematic features which are worth noting.Formal Strategies:Heteroglossia / Montage:multiple voices succeed each other with alarming and bewildering rapidity. There is, notwithstanding a bizarre footnote crediting the figure of Tiresias with more importance in this respect than he has, no single, central speaker who unifies the multiplicity of perspectives offered in the poem. This is not a single dramatic monologue. Rather, many different chunks of the text (there are no clear demarcations) seem to be snatches (mini-monologues) uttered by different, individually recognisable personalities. At other times, there are passages seemingly uttered by oracular voices possessed of an almost visionary, prophetic, even Biblical quality (e.g. in the first and final sections). At other points, the voice is almost incantatory: e.g. the beginning where a speaker or perhaps a chorus of voices seems to lament the return of life in springtime.The Absence of a Traditional Narrative Development:no plot, no consistent flow of thought (logical or associational) to assist the reader in making sense of the poem. The effect of this accumulation of discontinuous voices is to release a flurry of implications whose swiftness and dense complexity make the poem difficult to apprehend, let alone digest. In short, this is a poem seemingly without coherence which simply begs the reader to unify it even as it denies the reader the normal means to do so: there simply is no continuity of setting, voice, narrative or style. In the place of these, one finds:Naturalistic Description:Eliot focuses for the most part on the more sordid and depressing details of the contemporary metropolis (such urban poetry represented a radical departure from the traditional focus on the natural landscape and on the agreeable, the beautiful and the ideal in Romantic poetry and its derivatives). The poem serves up something akin to a montage of visual images that explore city life and the lives of its inhabitants by juxtaposing images, scenes, dramatic vignettes containing fragments of conversation, etc. At times, these images assume an almost phantasmagoric dimension (e.g. “Unreal city”). Sordid urban images commingle with images of the desert/aridity to the point where, quite clearly, they are meant to comment upon each other: to wit, modern life in the city is being compared to an arid, sterile waste. Recurring Leitmotifs:these, in accumulating significance, become evocative symbols: these are scenes, images and allusions that are repeated in separate contexts and, by dint of which, assume symbolic resonance: e.g. hibernation, the desert; the rock; water; drowning (the allusions to the drowned Alonso in The Tempest, Ophelia’s suicide in Hamlet, a drowned Phoenician). As these motifs return in new contexts, they bring with them suggestions and associations from former contexts and evolve into “progressively denser nodes of connotation and feeling” (Perkins 504) and, in so doing, become symbols. This process also serves to link the diverse parts of the poem together. Eliot both draws upon established symbols and forges images into fresh symbols that include: fire (lust), death (this can sometimes mean literal death, sometimes the living death which these Wastelanders lead), rebirth, and water (arouses a mixture of longing [it quenches thirst], fascination and fear [death by drowning]).Recondite Allusions:these are to all sorts of other texts (at least 37) via deliberate echoes of and quotations drawn from other writers. Today, Postmodernists celebrate such pastiche and parody as the basis of all art but many critics of the era saw it as the effect of a lack of creativity. Is The Waste Land the quintessential Modernist/Postmodernist text?Mythological Framework:Eliot, influenced by Sir James Frazer’s The Golden Bough, implicitly alludes to the myth of the dying and reviving god which recurs throughout human civilisation. According to Frazer, primitive man explained the natural diurnal and annual cycles in terms of “the waxing or waning strength of divine beings” and the “marriage, the death and the rebirth of the gods” (qtd. in Perkins, 506). The king was regarded as an incarnation of the fertility of the land: if he weakened or died, the land wasted and would become fertile only when the king was once more healed, resurrected from the dead or succeeded. These ancient fertility myths were incorporated into Christianity. As Perkins puts it,the poem alludes repeatedly to primitive vegetation myths and associates them with theGrail legends and the story of Jesus. In the underlying myth of the poem the land is adry, wintry desert because the king is impotent or dead; if he is healed or resurrectedspring will return, bringing the waters of life. The myth coalesces with the quasi-naturalistic description of the modern, urban world, which is the dry, sterile land. . . . Thepoem does not tell the myths as stories but only alludes to them. . . . (506-7)Eliot’s mythological allusions introduces a semblance of an ordering framework or, for want of a better word, narrative into the poem:[w]hen one knows the plot, one can vaguely integrate some of the episodes of the poemwith it. The fable provides a third language, besides naturalistic presentation andsymbolism, in which the state of affairs can be conceived; the story of the sick king andsterile land is a concrete and imaginative way of speaking of the condition of man. (508)As Eliot put it in a commentary upon Joyce’s Ulysses, the whole apparatus of symbolic and mythological allusion together with the other related narrative techniques served as a way of ‘controlling, of ordering, of giving shape and significance to the immense panorama of futility and anarchy which is contemporary history.’ The possibility of regeneration signalled by the myth here may hint at Eliot’s growing interest in Christianity.Overview:The narrative strategies described above are not isolatable from each other. It is impossible to consider the use of symbolism, for example, apart from the use of leitmotifs or the mythological framework. In short, in this poem, the juxtaposition of diverse fragments and strategies serves to make them comment on each other,suggesting manifold, complex and diverse implications. Through symbolism multifariousassociations and connotations were evoked and complexly interwoven. The‘mythological method’ added levels of reference at every point. By allusion, Eliot . . .brought another context to bear on his own, and the parallels and contrasts might offer arich, indefinite ‘vista.’ (513)Some questions arise, though. For example, is The Wasteland one poem or is it several?Content / Themes:The Human Condition:This is summed up in the very title of the poem.Sexuality:The very nature of the myths alluded to has the effect of underscoring the sexual as the source of much of the horrors of life in this wasteland. It is perhaps not accidental that The Wasteland was composed and published in the heyday of Freudian thought. The Wasteland seems to have a special relationship in particular with Freud’s celebrated Civilisation and Its Discontents which was composed in the years leading up to 1930 and which was the crystallisation of much of Freud’s thinking up to this point. Freud’semphasis on the degree to which the harmony of human civilisation was merely a facade, predicated as it is upon the repression of the sexual drive and of aggression (his celebrated conflict between the so-called ‘reality’ and ‘pleasure principles’) is echoed in this poem in which sex, usually in some decadent and sullied form, is almost incessantly evoked (especially in sub-poems II and III). Sex is, indeed, the preoccupation of much of Eliot’s poetry. This is a poem which seems to identify the source of the deadening of moral life and the corruption of civilisation with a perversion of the act of procreation that is synonymous with life itself. This link between Frazer and Freud is directly addressed by Eliot who remarked once that The Golden Bough is a work “of no less importance for our time than the complementary work of Freud--throwing its light on the obscurities of the soul from a different angle”(qtd. in Perkins, 509).Dialectic of Form and Content:Marshall McLuhan once argued that sometimes the ‘medium is the message.’ This is of relevance, arguably, to The Wasteland: Perkins argues that “meanings are ambiguous, emotions ambivalent; the fragments do not make an ordered whole. But precisely this, the poem illustrates, is the human condition” (513). The poem conveys in one vignette after the other, the “sickness of the human spirit”(514), the “weakening of identity and will, of religious faith and moral confidence, the feelings of apathy, loneliness, helplessness, rootlessness, and fear” (514). Thepanoramic range and inclusiveness of the poem, which only Eliot’s fragmentary andelliptical juxtapositions could have achieved so powerfully in a brief work, held in onevision not only contemporary London and Europe but also human life stretching far backinto time. (514)Amidst this welter of confusion, people struggle to make sense of an existence which impedes every attempt to do so. Hence the appropriateness of the end where a “total disintegration is suggested in a jumble . . . of literary quotations” (514).。