A STUDY OF MODERNIST IMAPACT UPON MODERN BRITISH LITERATURE WITH A PARTICULAR FOCUS ON GRAVES/RIDING ARTISTIC RELATIONSHIP

本研究的主要目的首先是为了证明现代主义对20世纪初的英国文学的影响并没有完全渗透，这一点通常可以从格鲁吉亚人在战争中幸存下来的顽强情绪中得到证明。其次，作为个案研究，重点关注罗伯特·格雷夫斯和劳拉·里丁之间的艺术关系，劳拉·里丁当时是美国逃亡运动文学品味的新移民。最后确认格雷夫斯的诗歌立场本质上仍然是反现代主义的，尽管受到了《骑马》的强烈影响，但它证明了传统上传承下来的英国诗歌情感的独特力量。讨论要点总结如下：1)20世纪初英国诗坛，特别是庞德和艾略特提出的现代主义诗学，与其说是对格鲁吉亚风格的一种新的排斥，不如说是一种半前卫的风格，它保留了法国象征主义诗歌的原始性质，即精英主义、理论主义和晦涩主义。正是这些外来特征在美学上与英国文学潮流格格不入，而英国文学潮流从未被现代主义殖民过。欧文、沙逊、爱德华·托马斯、伊沃·格尼和埃德蒙·布伦登等战争诗人保留了格鲁吉亚人的情感力量。他们的诗性洞察力，虽然是在堑壕战和死亡的极端情况下进行的，但却以普通的诗歌节奏，毫不改变地反映了格鲁吉亚人的自然、生命、记忆和经验等情感。在现代主义对人类困境的展示中，它始终是一种白话文的诗情，具有极强的精英情怀。(3)格雷夫斯与李丁的艺术关系涉及影响者与被影响者的复杂性质，格雷夫斯通过与李丁的艺术经历，虽然承认自己是李丁的门徒，但却发展了自己的诗性。后骑术时期格雷夫斯诗歌身份的重新整合是一种艺术的需要。4)格雷夫斯诗歌的美学和风格特征在他们长期的合作和孤立的诗歌氛围中保持完整。格雷夫斯从现代主义《骑马》的冲击中获得诗歌解放，同时也敏锐地意识到自己的内在品质属于英国诗歌的传统感性。少

The primary aim of this study has firstly been to prove how modernist impact upon the 20th century literature in Britain in the early tens and twenties was not wholly imbued as might typically be proved by the tenacity of the Georgian sentiment which survived through the war, and secondly, as its case study, to focus on the artistic relationship between Robert Graves and Laura Riding, then a fresh emigr_ out of the American literary taste of the Fugutive movement, and finally to confirm Graves's poetic stance which essentially remained as anti-modernistic despite the intense impact by Riding as proving sui generis strength of the vein of the British poetic sensibility which was traditionally handed down. The points of discussion are summarised as follows :1) The quality of modernist poetics which was put forth in the early 20th century poetic scene of the British literature, particularly by Pound and Eliot, was not so much a new and fresh repulsion against the Georgian style as simply … More a semi-avant-garde style which retained its original nature of the French symboliste poetry, that is elitist, theoretical and obscurant. It is these foreign characteristics that are aesthetically incompatible with the British literary trend whatever it is, which has never been colonised by modernism.2) The strength of the Georgian sensibility has been preserved by the war poets such as Owen, Sassoon, Edward Thomas, Ivor Gurney and Edmund Blunden. Their poetic insight, although they spoke in the extreme situation of trench warfare and death, unfalteringly reflect such Georgian sentiments as nature, life, memory and experience with ordinary poetic rhythm. It remained as the vernacular poetic sensibility throughout the modernist showing off of human predicaments with its extremely elitist sensibility.3) The artistic relationship between Graves and Riding involves complex nature of the influencer and the influenced since Graves develops his own poetic quality notwithstanding his recognition of being Riding's prot_g_ through his artistic experience with her. Graves's reintegration of his poetic identity in post Riding period was an artistic necessity.4) Aesthetic and stylistic characteristics of Graves's poetry remained intact despite their long collaboration period and isolated poetic ambience. Graves's poetic liberation from the impact of modernist Riding coincides with his acute awareness that his intrinsic quality belongs to the traditional sensibility of British poetry. Less