"帝国该死!":阅兵结束》诗学中的帝国过度、民族怀旧和形而上现代主义

Humanities Pub Date : 2024-04-22 DOI:10.3390/h13020065
Molly Elizabeth Porter
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摘要

福特-马多克斯-福特(Ford Madox Ford)的第一次世界大战四部曲《游行的终点》(Parade's End)以 "避免未来所有战争 "而闻名。但我们为什么要发动战争呢?现代主义文学提供了一些具有启发性的解释。例如,福特笔下的西尔维亚-蒂特詹斯宣称:"当你想强奸无数妇女时,你就上了战场。这就是战争的目的"。而就在同一年,弗吉尼亚-伍尔夫笔下被炮火震撼的塞普蒂默斯-史密斯 "去法国拯救一个几乎完全由莎士比亚组成的英国......"。我认为,福特对战争因果关系的理解是将这两种解释奇妙地结合在一起,在《游行的终点》中将十七世纪英国文学传统与性征服和帝国征服三角化。尽管无数现代主义小说都表现出了对早期现代诗歌在战争中的力量的敏感,但《阅兵结束》对诗歌传统与战争之间的关系表现出了特别强调和延伸的关注。不同级别的士兵 "以亲密的语气谈论......彼特拉克十四行诗和莎士比亚十四行诗形式之间的相似之处",在战壕里举办计时十四行诗比赛,反复引用马维尔的诱惑诗歌,幻想乔治-赫伯特的寿命是 "英格兰唯一令人满意的时代......然而今天有什么机会呢?更何况是明天?为了回答这个问题,我自己的跨时空研究将利用早期现代学术研究来探讨十七世纪形而上学诗歌在激发战争和潜在避免战争方面的双重力量。关于这四部曲的反线性情节已有很多论述,但对其政治-文学视野的更广泛的时间性论述较少。我认为,这部作品中的形而上学典故有助于福特向我们展示(早期)现代美学所能催化的帝国征服和帝国诅咒中民族主义的复杂性。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
“Damn the Empire!”: Imperial Excess, National Nostalgia, and Metaphysical Modernism in the Poetics of Parade’s End
Ford Madox Ford famously intended his First World War tetralogy Parade’s End to have “for its purpose the obviating of all future wars”. But why do we engage in war to begin with? Modernist literature provides some provocative explanations. Ford’s Sylvia Tietjens, for example, proclaims that “You went to war when you desired to rape innumerable women. It was what war was for”. And in the very same year, Virginia Woolf’s shell-shocked Septimus Smith “went to France to save an England which consisted almost entirely of Shakespeare…” I argue that Ford’s understanding of the causality of war involves a strange combination of these two explanations in Parade’s End’s triangulation of seventeenth-century English literary tradition along with sexual and imperial conquest. While countless modernist novels exhibit a sensibility to the power of early modern poetry amidst battle, Parade’s End displays a particularly emphatic and extended focus on the relationship between poetic tradition and war. Soldiers of various ranks “talk…in intimate undertones about the resemblances between the Petrarchan and the Shakespearean sonnet form”, host timed sonnet competitions in the trenches, recurringly quote the seduction poetry of Marvell, and fantasize about George Herbert’s lifespan being “the only satisfactory age in England…yet what chance had it today? Or, still more, to-morrow?”. To answer this question, my own transtemporal study will use early modern scholarship to investigate seventeenth-century metaphysical poetry’s dual power to inspire and potentially obviate war. Much has been written on this tetralogy’s anti-linear plot but less on the broader temporality of its politico-literary vision. I contend that the metaphysical allusions of this text help Ford to show us the complexities of nationalism in the imperial conquest and imperial damnation that (early) modern aesthetics can catalyse.
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