首页
登录
职称英语
Poetry goes to the backwater to refresh itself as often as it goes to the ma
Poetry goes to the backwater to refresh itself as often as it goes to the ma
游客
2024-11-27
26
管理
问题
Poetry goes to the backwater to refresh itself as often as it goes to the mainstream, a fact that partly explains the appeal of Les Murray, the celebrated "bush bard" of Bunyah, New South Wales, Australia. The son of a poor farmer, Murray, who was not schooled formally until he was nine, is now routinely mentioned among the three or four leading English-language poets. Because in Murray’s poetry you learn, for example, that there exists such a thing as the "creamy shitwood tree," he has been mistaken for a neutral cartographer of far-flung places. But the key to Murray, what makes him so exasperating to read one minute and thrilling the next, is not landscape but rage. "How naturally random recording edges into contempt," Murray writes, identifying the poles of his own combustible poetic temperament.
Murray’s poems, never exactly intimate and often patrolled by details and place-names nearly indecipherable to an outsider, reflect a life lived selfconsciously and rather flamboyantly off the beaten track. Murray has always been associated with the land in and around Bunyah, where Aborigines harvested wild yams before Murray’s own people, "bounty migrants" from Scotland, displaced them in 1848. His childhood was marked by "lank poverty, dank poverty," a condition enforced by his grandfather, who kept Murray’s parents in a brutal. resentful tenancy sharecroppers, in essence, on their own ancestral lands. Murray’s biographer, Peter Alexander, describes a slab house with a shingle roof and a floor of stamped earth covered by linoleum, sunlight streaking "through the generous gaps in the walls." Perhaps no major English poet since John Clare grew up in such destitution, and, like Clare, Murray enjoys the "hard names" associated with being poor: "rag and toe-jam, feed and paw."
We associate the depiction of rural life with pastoral, a mode that was shaped by city sensibilities for city audiences. Pastoral is a sophisticated game pitting poets against earlier poets, like a chess match played across time. No poet writing about the natural world entirely opts out of the game, but Murray’s poetry of elk and emus, bougainvillea and turmeric dust, comes close. For the sheer scarcity of its flora and fauna, this pastoral feels pretty far off the Virgilian grid. No poet who was "kept poor," as Murray believes he and his parents were, sees "nature" droughts and floods, the relentless summer heat on an uninsulated iron roof in celebratory terms. Indeed, since the poverty that Murray suffered was an enforced poverty, it is hard even to see "nature" in natural terms. Nature, for him, is the field where human motives, often sinister, play out.
If you’ve been as poor as Murray was, "fate" can come to be synonymous with "what people do to you." The great struggle in his work is therefore between what Whitman calls the "Me myself" and what Murray calls the "Them and He." Murray’s poems tell an old story the indignity that a small person and those he loved suffered at the hands of big, corrupt people, a long time ago but they tell it with a ferocity that sharpens the farther away from the source the poet travels. You need to be a little bit of a lunatic to bear the specific, outsized grudges Murray has borne through his sixties, when all kinds of attention including Alexander’s fine biography(published in 2000), hundreds of articles and favorable reviews, and an invitation to write a new preamble to the Australian constitution have come his way. And, indeed, there is always something demented about Murray’s poems: even at their most painstakingly rational, it is as though, to quote Dickinson, "a plank in Reason, broke."
Rant-poems crop up everywhere in Murray: graffiti by other means, these blunt, scrawled mottoes arc abandoned, like graffiti, the minute they get made. Murray has the habit of comparing people and things he dislikes to Nazis including, most famously, in a poem called "Rock Music." sex: Sex is a Nazi. The students all knew this at your school. To it, everyone’s subhuman for parts of their lives. Some are all their lives. You’ll be one of those if these things worry you. [br] Paragraph Four mainly expresses the idea that
选项
A、the poor’s fates are controlled by others.
B、a great poet usually suffers from poverty.
C、Murray’s poems are inspired by his pains.
D、Murray’s suffering is extremely unbearable.
答案
A
解析
转载请注明原文地址:https://tihaiku.com/zcyy/3863110.html
相关试题推荐
TheEnglishRenaissanceperiodwasanageof______A、poetryanddrama.B、dramaa
WaltWhitmanwasapioneeringfigureofAmericanpoetry.Hisinnovation,firsto
Poetrygoestothebackwatertorefreshitselfasoftenasitgoestothema
Poetrygoestothebackwatertorefreshitselfasoftenasitgoestothema
Poetrygoestothebackwatertorefreshitselfasoftenasitgoestothema
Whoisthe"FatherofEnglishPoetry"?A、WilliamShakespeare.B、GeoffreyChaucer.
Thetownitselfisdreary:notmuchisthereexceptthecottonmill,thetwo
Thetownitselfisdreary:notmuchisthereexceptthecottonmill,thetwo
Thetownitselfisdreary:notmuchisthereexceptthecottonmill,thetwo
WaltWhitmanwasapioneeringfigureofAmericanpoetry.Hisinnovation,firsto
随机试题
AJharkhand,astatethattraditionallyhasfocusedonagriculture,is
[originaltext]M:Iseeyouandyourfriendshavebeendecoratingthedormitory.
Manyprivateinstitutionsofhighereducationaroundthecountryareindang
ToGetontheSamePageSamiAdwanistheverymodelofasoft-s
太平建筑公司承建黄平市友好饭店的扩建项目,该项目由黄平市建筑设计院设计,广平监理
某患者,发热面赤,汗出口渴,面赤心烦,舌红,脉洪大。治疗应首选的方剂是A.竹叶石
某工程柱基的基底压力P=120kPa,地基土为淤泥质粉质黏土,天然地基承载力特征
联系我国实际,论述社会主义民主是社会主义法治的前提和基础。
可待因6位羟基氧化成酮,对脑和脊髓的阿片受体具有亲和力,其控释片具有双相吸收模式
有关投标有效期的规定,下列表述中正确的是()。A.投标有效期从投标截止时间起开
最新回复
(
0
)