威廉卡洛斯威廉斯詩歌

威廉·卡洛斯·威廉斯（William Carlos Williams1883-1963）是20世紀美國最負盛名的幾個詩人之壹。威廉斯在談到《荒原》的面世對他個人的影響時說：“對於我，它特別像迎面射來的壹顆嘲笑的子彈。我立刻感到它使我後退了20年，我相信的確如此。”在另壹處威廉斯把《荒原》的發表看作是詩壇上的晴天霹靂，說“它好像是原子彈落下來，把我們的世界炸開，我們向未知領域作的種種勇敢的突擊被化為灰塵”。艾略特以詩歌創作開辟了西方現代詩壇，以他的美學思想創建起來的英美新批評理論更是雄霸英美詩評論壇和大學文學講堂長達30年之久。然而威廉斯卻認為艾略特是在向後看，同時認為自己應該向前看，即他希望自己能夠創作出純粹美國化的詩歌以抵抗艾略特的創作路線。　威廉斯的父親是英國人，父母移居美國，他算是生在美國的第壹代美國人，他終生是個職業醫生，重臨床、重器械，職業與出身造就了這是個現實味十足的詩人。威廉斯不好張揚傳統與觀念上的東西，不願意去謳歌歐洲傳統和文明，也反對精英意識，認為詩歌必須走出象牙之塔回到現實。威廉斯認為只有堅持美國本土精神才是他所要追求的藝術道路。他的這種反歐洲傳統文化的思想表現在他提倡的“只有新的，才是好的”的美國化詩歌理念，而他的另壹名言“沒有觀念，除非在事物中”，更是高度概括地表達了威廉斯的詩歌創作原則：丟棄傳統回歸生活，用簡潔明了的意象來表達思想。威廉斯的名篇《紅色手推車》就是在試圖與艾略特的詩歌觀念背道而馳，提倡重新回到現實生活的創作思想指導下於1923年完成的。　妳可以進行適當的刪減： william carlos williams (september 17, 1883 – march 4, 1963) was an american poet closely associated with moderni *** and imagi *** . he was also a pediatrician and general practitioner of medicine. williams was born in rutherford, new jersey. his grandmother, an englishwoman deserted by her hu *** and, had e to the united states with her son, remarried, and moved to puerto rico. her son, williams's father, married a puerto rican woman of french basque and dutch jewish descent. williams received his primary and secondary education in rutherford until 1897, when he was sent for o years to a school near geneva and to the lycée condorcet in paris. he attended the horace mann school upon his return to new york city and, having passed a special examination, was admitted in 1902 to the medical school of the university of pennsylvania, from which he graduated in 1906. upon leaving university of pennsylvania, williams did internships at both french hospital and child's hospital in new york before going to leipzig for advanced study of pediatrics.he published his first book, poems, in 1909. williams married florence herman (1891–1976) in 1912, after he returned from germany.[1] they moved into a house in rutherford, new jersey, which was their home for many years. shortly afterward, his second book of poems, the tempers, was published by a london press through the help of his friend ezra pound, whom he met while studying at the university of pennsylvania. around 1914, williams had his first son, william e. williams, followed by his second son, paul h. williams, in 1917. his first son would grow up to follow williams in being a doctor. although his primary occupation was as a family doctor, williams had a successful literary career as a poet. in addition to poetry (his main literary focus), he occasionally wrote short stories, plays, novels, essays, and translations. he practiced medicine by day and wrote at night. early in his career, he briefly became involved in the imagist movement through his friendships with pound and h.d. (whom he also befriended at the university of pennsylvania), but soon he began to develop opinions that differed from theirs. in 1915 williams began to associate with a group of new york artists and writers known as "the others."founded by the poet alfred kreymb and the artistman ray, this group included walter conrad aren *** erg, wallace stevens, mina loy, marianne moore and marcel duchamp. in 1920, williams was sharply criticized by many of his peers (such as h.d., pound, and wallace stevens) when he published one of his most experimental books,kora in hell: improvisations. pound called the work "incoherent" and h.d. thought the book was "flippant."the dada artist and poet baroness elsa von freytag-loringhoven critiqued williams's sexual and artistic politics in her experimental prose poem review entitled "thee i call 'hamlet of wedding ring'", published in the little review in march 1921. a few years later, williams published one of his seminal books of poetry, spring and all, which contained the classic poems "by the road to the contagious hospital," "the red wheelbarrow," and "to elsie." however, in 1922, the year before williams published spring and all, t.s. eliot published the waste land which became a literary sensation and overshadowed williams's very different brand of poetic moderni *** . in his autobiography, williams would later write, "i felt at once that the waste land had set me back enty years and i'm sure it did. critically, eliot returned us to the classroom just at the moment when i felt we were on a point to escape to matters much closer to the essence of a new art form itself—rooted in the locality which should give it fruit." and although he respected the work of eliot, williams became openly critical of eliot's highly intellectual style with its frequent use of foreign languages and allusions to classical and european literature.instead, williams preferred colloquial american english. in his modernist epic collage of place, paterson (published beeen 1946 and 1958), an account of the history, people, and essence of paterson, new jersey, he wrote his own modern epic poem, focusing on "the local" on a wider scale than he had previously attempted. he also examined the role of the poet in american society and famously summarized his poetic method in the phrase "no ideas but in things" (found in his poem "a sort of a song" and repeated again and again in paterson). in his later years, williams mentored and influenced many younger poets. he had an especially significant influence on many of the american literary movements of the 1950s, including the beat movement, the san francisco renaissance, the black mountain school, and the new york school. one of williams's most dynamic relationships as a mentor was with fellow new jersey poet allen gin *** erg. williams included several of gin *** erg's letters in paterson, stating that one of them helped inspire the fifth section of that work. williams also wrote the introduction to gin *** erg's important first book, howl and other poems in 1956. williams suffered a heart attack in 1948 and after 1949, a series of strokes. severe depression after one such stroke caused him to be confined to hillside hospital, new york, for four months in 1953. he died on march 4, 1963, at the age of 79 at his home in rutherford. he was buried in hillside cemetery inlyndhurst, new jersey.