“T. E. Hulme”的意思、由来-开放百科全书

Hulme was born at Gratton Hall, Endon, Staffordshire, the son of Thomas and Mary Hulme. He was educated at Newcastle-under-Lyme High School and, from 1902, St John's College, Cambridge, where he read mathematics, but was sent down in 1904 after rowdy behaviour on Boat Race night.^[3] He was thrown out of Cambridge a second time after a scandal involving a Roedean girl. He returned to his studies at University College London, before travelling around Canada and spending time in Brussels acquiring languages.

Proto-modernist

From about 1907 Hulme became interested in philosophy,^[4] translating works by Henri Bergson^[5] and sitting in on lectures at Cambridge. He translated Georges Sorel's Reflections on Violence. The most important influences on his thought were Bergson, who asserted that 'human experience is relative, but religious and ethical values are absolute'^[6] and, later, Wilhelm Worringer (1881–1965), German art historian and critic – in particular his Abstraktion und Einfühlung (Abstraction and Empathy, 1908).^[7] Hulme was influenced by Remy de Gourmont's aristocratic concept of art and his studies of sensibility and style.^[8] From 1909 Hulme contributed critical articles to The New Age, edited by A. R. Orage.

Hulme developed an interest in poetry^[9] and wrote a small number of poems. He was made secretary of the Poets' Club, attended by such establishment figures as Edmund Gosse and Henry Newbolt. There he encountered Ezra Pound and F. S. Flint.^[10] In late 1908 Hulme delivered his paper A Lecture on Modern Poetry to the club. Hulme's poems "Autumn" and "A City Sunset", both published in 1909 in a Poets' Club anthology,^[11] have the distinction of being the first Imagist poems.^[12] A further five poems were published in The New Age in 1912 as The Complete Poetical Works of T. E. Hulme.^[13] Despite this misleading title, Hulme in fact wrote about 25 poems totalling some 260 lines, of which the majority were possibly written between 1908 and 1910.^[14] Robert Frost met Hulme in 1913 and was influenced by his ideas.^[15] The publisher of the book 'Ripostes' (to which Pound appended the 'complete' poetical works of T. E. Hulme) spoke in that book of Hulme 'the meta-physician, who achieves great rhythmical beauty in curious verse-forms.' ^[16]

In his critical writings Hulme distinguished between Romanticism,^[17] a style informed by a belief in the infinite in man and nature, characterised by Hulme as "spilt religion", and Classicism, a mode of art stressing human finitude, formal restraint, concrete imagery and, in Hulme's words, "dry hardness".^[18]^[19] Similar views were later expressed by T. S. Eliot.^[20] Hulme's ideas had a major effect on Wyndham Lewis (quite literally when they came to blows over Kate Lechmere; Lewis ended the worse for it, hung upside down by the cuffs of his trousers from the railings of Great Ormond Street).^[21] He championed the art of Jacob Epstein and David Bomberg, was a friend of Gaudier-Brzeska, and was in on the debut of Lewis's literary magazine BLAST and vorticism.

Hulme's politics were conservative, and he moved further to the right after 1911 as a result of contact with Pierre Lasserre, who was associated with Action Française.

First World War

Hulme volunteered as an artilleryman in 1914 and served with the Honourable Artillery Company and later the Royal Marine Artillery in France and Belgium. He kept up his writing for The New Age. Notable publications during this period for that magazine were "War Notes", written under the pen name "North Staffs", and "A Notebook", which contains some of his most organised critical writing. He was wounded in 1916. Back at the front in 1917, he was killed by a shell at Oostduinkerke near Nieuwpoort, in West Flanders.

Works

Selected poems

As translator

Articles

Notes

1. ^"Though Ezra Pound coined the word "Imagist" and served as chief publicist for the movement, it was the theories supplied by T. E. Hulme which gave the early Imagist experiments their 'authority and direction.' Both men served their common purpose well; together they called the tune for one of the most lively phases of the prewar poetic renascence. With Hulme as metaphysician and Pound as impresario, the Imagists 'did a lot of useful pioneering work. They dealt a blow at the post-Victorian magazine poets... They livened things up a lot. They made free verse popular... And they tried to attain an exacting if narrow standard of style in poetry.' Indirectly they did more. The Imagists, above all other prewar coteries, put into the hands of the poets of the twenties the technical charts and compasses by which to find their poetic way across the hard dry sands of the Wasteland." — Ross, Robert H. (1968). [https://archive.org/stream/backgroundstomod00perrrich#page/38/mode/2up "Sound and Fury."] In: Backgrounds to Modern Literature. San Francisco: Chandler Publishing Company, p. 58.
2. ^Hughes, Glenn, 'Imagism & Imagism', Stanford University Press 1931
3. ^"In 1902, Hulme won a mathematics exhibition to St. John’s College, Cambridge. A teetotaler himself, Hulme apparently consorted with some who were not. He was at any rate sent down in 1904 for what Herbert Read delicately called “indulging in a brawl.” (A college document that might have slipped out of Bertie Wooster’s dossier mentions "over-stepping the limits of the traditional license allowed by the authorities on Boat Race night.")" — Kimball, Roger (1997). "The Importance of T. E. Hulme," The New Criterion, Vol. XV, p. 18.
4. ^Mead, Henry (2008). "T. E. Hulme, Bergson, and The New Philosophy," European Journal of English Studies, Vol. XII, No. 3, pp. 245–260.
5. ^Gibson, Matthew (2011). "Contradictory Images: The Conflicting Influences of Henri Bergson and William James on T. E. Hulme, and the Consequences for Imagism," Review of English Studies 62, pp. 275–295.
6. ^Pratt, William (1985). Introduction to The Influence of French Symbolism on Modern American Poetry, by Rene Taupin. New York: AMS Press Inc. {{ISBN|0-404-61579-1}}
7. ^Jones, Alun R. (1960). "T. E. Hulme, Wilhelm Worringer and the Urge to Abstraction", British Journal of Aesthetics, Vol. I, pp. 1–6.
8. ^Burne, Glen S. (1963). Remy de Gourmont: His Ideas & Influence in England & America. Southern Illinois University Press.
9. ^"It was probably the contrast between the sensory image and a traditional diction that first suggested to T. E. Hulme the isolation of the image. If the image could be identified as the only poetic force within a poem, why not proceed to identify poem and image, as had been the common practice in China or Japan? To cut the cackle — that was to be the first aim of a modern poetry." — Read, Herbert (1955). "The Drift of Modern Poetry," Encounter, Vol. IV, No. 1, p. 6.
10. ^Isaacs, Jacob (1952). [https://archive.org/stream/backgroundofmode00isaarich#page/34/mode/2up "The Coming of the Image,"] in The Background of Modern Poetry. New York: E. P. Dutton & Co., Inc., pp. 34–51.
11. ^For Christmas MDCCCCVIII (London: The Poets' Club), 1909.
12. ^Schmidt, Michael (1998). Lives of the Poets. London: Weidenfeld & Nicolson {{ISBN|978-0-297-84014-5}}
13. ^{{cite journal|last=Hulme|first=T. E.|year=1912|title=The Complete Poetical Works of T. E. Hulme|url=http://dl.lib.brown.edu/pdfs/114081409614388.pdf#page=19|journal=The New Age|location=London|publisher=The New Age Press Ltd.|page=124}} They were reprinted, with a short introduction by Pound, in [https://archive.org/stream/ripostesofezrapo00pounrich#page/n5/mode/2up Ripostes of Ezra Pound: Whereto are Appended the Complete Poetical Works of T. E. Hulme] (1915). London: Elkin Mathew, pp. 58–64
14. ^{{cite book |first=Flemming |last=Olsen |title=Between Positivism and T. S. Eliot: Imagism and T.E. Hulme |series=Studies in Literature, Vol. 52 |location=Odense |publisher=University Press of Southern Denmark |year=2008 |page=124|isbn=978-87-7674-283-6 |url=http://www.oapen.org/download?type=document&docid=355830#page=124}}
15. ^Hoffman, Tyler (2001). Robert Frost and the Politics of Poetry. University Press of New England, p. 54 {{ISBN|1-58465-150-4}}
16. ^Appendix to [https://archive.org/stream/ripostesofezrapo00pounrich#page/n69/mode/2up Ripostes], Stephen Swift & Co., Ltd., 1912.
17. ^Krieger, Murray (1953). "The Ambiguous Anti-Romanticism of T. E. Hulme," ELH, Vol. 20, No. 4, pp. 300–314.
18. ^Hulme, T. E. (2003). "Romanticism and Classicism." In: Selected Writings. Ed. Patrick McGuinness. New York: Routledge, pp. 68–83.
19. ^Hadjiyiannis, Christos (2013). "Romanticism versus Classicism in 1910: T. E. Hulme, Edward Storer and The Commentator," Literature and History, Vol. XXII, No. 1, pp. 25–41.
20. ^"The English critic and philosopher T. E. Hulme had written, in the years immediately preceding his death in World War I in 1917, a series of essays in which he attacked the subjectivism and vagueness of romantic literature and advocated "dry and hard" images in poetry as well as objectivity and discipline in art in general. Hulme believed that "man is by nature bad or limited, and can consequently only accomplish anything of value by disciplines, ethical, heroic or political", and he saw one consequence of this belief as an abandonment of romantic optimism about the nature and potentialities of man. Hulme's views influenced T. S. Eliot and are reflected in Eliot's influential essay, Tradition and the Individual Talent, which first appeared in 1917." — Daiches, David (1962). [https://archive.org/stream/timeofharvestam00spil#page/94/mode/2up "The New Criticism."] In: Time of Harvest, American Literature, 1910–1960. New York: Hill and Wang, p. 96.
21. ^McGuinness, Patrick (1998), Ed. T. E. Hulme: Selected Writings. Manchester: Fyfield Books, p. xvi.
22. ^Ferguson, Robert (2002). The Short Sharp Life of T. E. Hulme. London: Allen Lane, p. 270.

Early life