艾略特<普魯弗洛克的情歌>中的客觀投射與文化超越現象

“Objective Correlatives” and Cultural Transcendence in T. S. Eliot’s “The Love Song of J. Alfred Prufrock”

艾略特早期的詩受到英國詩人哲學家休姆和最受艾略特推崇的意象派詩人龐德的影響。對他的詩，龐德提出並建議運用象徵主義，意象主義，漩渦畫派，logopoeia，phanopoia，Ideogrammic Method，以及Phanopoia等技巧手法。艾略特對於英國近乎迷戀的情懷從<普魯弗洛克的情歌>中可看出而他對美國次等文化的觀感，艾略特詩中所提出1. 艾略特的客觀詩體縱然純屬意象詩派外在的客觀投射意象2. 道出了在英國社會中的下層美國人的折衷取向。儘管艾略特對於比喻精確性之要求甚高，但其個人經驗及感受之量化卻從未摒棄他自小耳濡目染所接受之西方文化道德價值觀以及基督教精神。關於詩中文學教義之形成，艾略特在他＜哈姆雷特>一文中針對客觀投射有詳細的闡述。

Eliot’s primary poetic influences were the British poet-philosopher T.E. Hulme and the American Imagist poet, Ezra Pound, who was Eliot’s lifetime supporter, admirer and editor. In his poetic theories, Pound propounded the devices and techniques of symbolism, imagism, vorticism, logopoeia, melopoeia, Ideogrammic Method and phanopoia. All of these methods advocated the abdication of extraneous objectification in favor of image in the poem. Eliot’s fascination with all things British bordered on obsession and he was in his earlier poems such as “The Love Song of J. Alfred Prufrock” at times overwhelmed with his sense of American cultural inferiority. Eliot’s objectivistic poetic choices while albeit fully imagist, tells the eclectic story of the doomed sub-classed Americans in British society. While Eliot is noted for his precision of images--the “quantification” of personal experiences and feeling—Eliot never forsook the moral values of the Western culture and Christian religion in which he was bred. Relating the doctrines of the formation of literature to poetry, Eliot then developed, in his theoretical paper, “Hamlet” (1919), his notion of the “objective correlative.”