The rose, still beautiful even after losing their petals….
Petal 하시니까 문득 에즈라 파운드(Ezra Pound, 1885-1972)시 한수 생각나는 군요.
이거 제가 대학 때 비싼 등록금 내고 배운 겁니다요.
_________________________________________________
IN A STATION OF THE METRO
The apparition of these faces in the crowd:
Petals on a wet, black bough.
_________________________________________________
영단어 약한 사람을 위해서 단어도 찾아드리고…
petal [pétl] n.
1 【식물】 꽃잎, 화판(花瓣)
2 (pl.) 《비어》 음순(陰脣)(labia)
~like a.
☞ petaline, petaloid a.
apparition [prín] n.
1 유령, 망령, 환영
2 경이적인[불가사의한] 것
3 (모습 등을) 나타냄, 출현
4 【천문】 (혜성 등의, 특히 정기적인) 출현
☞ appear v.
bough [báu] 【OE 「어깨; 팔」의 뜻에서】 n. 큰 가지, ((특히)) 주지(主枝)( branch )
boughed [báud] a
_________________________________________________
저게 다 무슨 소린지 궁금하신 분들을 위해 파운드의 노트도 찾아드리고…
NOTES
Composition Date: ca. 1911-12.
Form: “haiku-like”.
the metro: the Paris subway system.
See Pound’s commentary on this poem in his article “Vorticism,” The Fortnightly Review 571 (Sept. 1, 1914): 465-67:
Three years ago in Paris I got out of a “metro” train at La Concorde, and saw suddenly a beautiful face, and then another and another, and then a beautiful child’s face, and then another beautiful woman, and I tried all that day to find words for what this had meant to me, and I could not find any words that seemed to me worthy, or as lovely as that sudden emotion. And that evening, as I went home along the Rue Raynouard, I was still trying, and I found, suddenly, the expression. I do not mean that I found words, but there came an equation … not in speech, but in little spotches of colour. It was just that — a “pattern,” or hardly a pattern, if by “pattern” you mean something with a “repeat” in it. But it was a word, the beginning, for me, of a language in colour. I do not mean that I was unfamiliar with the kindergarten stories about colours being like tones in music. I think that sort of thing is nonsense. If you try to make notes permanently correspond with particular colours, it is like tying narrow meanings to symbols.
That evening, in the Rue Raynouard, I realised quite vividly that if I were a painter, or if I had, often, that kind of emotion, or even if I had the energy to get paints and brushes and keep at it, I might found a new school of painting, of “non-representative” painting, a painting that would speak only by arrangements in colour. ….
That is to say, my experience in Paris should have gone into paint …
The “one image poem” is a form of super-position, that is to say it is one idea set on top of another. I found it useful in getting out of the impasse in which I had been left by my metro emotion. I wrote a thirty-line poem, and destroyed it because it was what we call work “of second intensity.” Six months later I made a poem half that length; a year later I made the following hokku-like sentence: —
“The apparition of these faces in the crowd:
Petals, on a wet, black bough.”
I dare say it is meaningless unless one has drifted into a certain vein of thought. In a poem of this sort one is trying to record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective.”
This particular sort of consciousness has not been identified with impressionist art. I think it is worthy of attention.
_________________________________________________
영어가 짧은 사람들을 위해서 번역도 해드릴라니까 귀찮습니다요.^^
내가 유일하게 암기할 수 있었던 영시였는디…
지금 보니 참으로 생소하네…
김모 교수님께 ’20세기 영미시’ 들었던 게…
헤아려보니 무려 13년 전이고나…
(따위의 독백)
문득 신중현의 “꽃잎”이 듣고 싶다. 저 제목의 영화도 있었는데. 이정현이 미친 소녀 役으로 나왔던…나도 이 따위 블로그에다가 백그라운드 뮤지크를 한 번 깔아봐? 에이, 아서라. 아무나 DJ 하나. 송충이는 솔잎을 먹고, 나는 노래하고 담을 쌓아야지…쩝.
The rose, still beautiful even after losing their petals….
Petal 하시니까 문득 에즈라 파운드(Ezra Pound, 1885-1972)시 한수 생각나는 군요.
이거 제가 대학 때 비싼 등록금 내고 배운 겁니다요.
_________________________________________________
IN A STATION OF THE METRO
The apparition of these faces in the crowd:
Petals on a wet, black bough.
_________________________________________________
영단어 약한 사람을 위해서 단어도 찾아드리고…
petal [pétl] n.
1 【식물】 꽃잎, 화판(花瓣)
2 (pl.) 《비어》 음순(陰脣)(labia)
~like a.
☞ petaline, petaloid a.
apparition [prín] n.
1 유령, 망령, 환영
2 경이적인[불가사의한] 것
3 (모습 등을) 나타냄, 출현
4 【천문】 (혜성 등의, 특히 정기적인) 출현
☞ appear v.
bough [báu] 【OE 「어깨; 팔」의 뜻에서】 n. 큰 가지, ((특히)) 주지(主枝)( branch )
boughed [báud] a
_________________________________________________
저게 다 무슨 소린지 궁금하신 분들을 위해 파운드의 노트도 찾아드리고…
NOTES
Composition Date: ca. 1911-12.
Form: “haiku-like”.
the metro: the Paris subway system.
See Pound’s commentary on this poem in his article “Vorticism,” The Fortnightly Review 571 (Sept. 1, 1914): 465-67:
Three years ago in Paris I got out of a “metro” train at La Concorde, and saw suddenly a beautiful face, and then another and another, and then a beautiful child’s face, and then another beautiful woman, and I tried all that day to find words for what this had meant to me, and I could not find any words that seemed to me worthy, or as lovely as that sudden emotion. And that evening, as I went home along the Rue Raynouard, I was still trying, and I found, suddenly, the expression. I do not mean that I found words, but there came an equation … not in speech, but in little spotches of colour. It was just that — a “pattern,” or hardly a pattern, if by “pattern” you mean something with a “repeat” in it. But it was a word, the beginning, for me, of a language in colour. I do not mean that I was unfamiliar with the kindergarten stories about colours being like tones in music. I think that sort of thing is nonsense. If you try to make notes permanently correspond with particular colours, it is like tying narrow meanings to symbols.
That evening, in the Rue Raynouard, I realised quite vividly that if I were a painter, or if I had, often, that kind of emotion, or even if I had the energy to get paints and brushes and keep at it, I might found a new school of painting, of “non-representative” painting, a painting that would speak only by arrangements in colour. ….
That is to say, my experience in Paris should have gone into paint …
The “one image poem” is a form of super-position, that is to say it is one idea set on top of another. I found it useful in getting out of the impasse in which I had been left by my metro emotion. I wrote a thirty-line poem, and destroyed it because it was what we call work “of second intensity.” Six months later I made a poem half that length; a year later I made the following hokku-like sentence: —
“The apparition of these faces in the crowd:
Petals, on a wet, black bough.”
I dare say it is meaningless unless one has drifted into a certain vein of thought. In a poem of this sort one is trying to record the precise instant when a thing outward and objective transforms itself, or darts into a thing inward and subjective.”
This particular sort of consciousness has not been identified with impressionist art. I think it is worthy of attention.
_________________________________________________
영어가 짧은 사람들을 위해서 번역도 해드릴라니까 귀찮습니다요.^^
내가 유일하게 암기할 수 있었던 영시였는디…
지금 보니 참으로 생소하네…
김모 교수님께 ’20세기 영미시’ 들었던 게…
헤아려보니 무려 13년 전이고나…
(따위의 독백)
문득 신중현의 “꽃잎”이 듣고 싶다. 저 제목의 영화도 있었는데. 이정현이 미친 소녀 役으로 나왔던…나도 이 따위 블로그에다가 백그라운드 뮤지크를 한 번 깔아봐? 에이, 아서라. 아무나 DJ 하나. 송충이는 솔잎을 먹고, 나는 노래하고 담을 쌓아야지…쩝.