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Comment by moooi on September 10, 2021 at 6:21pm

維柯從詩性邏輯探討語言和字母的起源,在他看來,最初各民族都用詩性文字思想,用寓言故事說話,用象形文字書寫(維柯,1989:213)。由於古人感受到大自然的恐懼,於是內心世界創造出敬畏天帝的觀念,這種觀念並不是來自推理,而是來自古人的各種感覺。古人對於神的敬畏,就是詩性倫理的起源(維柯,1989:257)。詩性倫理從虔敬開始,虔敬是一切倫理、經濟和民政的德行之母(維柯,1989:258),婚禮便是源於對某個神的畏懼。詩性經濟最初表現在家族之中,在家庭經濟的產生中,他們本著最好的想法實現天神的意旨,創下祖產留與後人。所以在古羅馬神話中,狄安娜(Diana)是第三大神,她代表著最初的人類需要,即水的需要。古人將大地想象為一條巨龍,周身由鱗甲遮蓋(荊棘),長著翅膀。大地頑強地抗拒人類的墾殖,被古人想象成長有九個頭的蛇,砍去一頭,又會在原處長出新頭。人們從麥穗的金黃想到了貴重的價值,進而命名貴重的金屬以及金羊毛(維柯,1989:271-307)。在古希臘的神話中,維柯發現四種英雄式人物性格的標誌突出地顯示了詩性政治,這四種標誌就是:阿波羅(Apollo)的豎琴,美杜莎(Medusa)的頭,羅馬的法斧棒以及赫庫勒斯和安太的鬥爭。豎琴代表法律,美杜莎的頭象征土地的管理權,羅馬的法斧棒代表的是王權,而赫庫勒斯和安太的鬥爭則代表貴族政體下的基本製度的形成過程(維柯,1989:332-340)。在詩性政治的起源中,對天神的崇拜是各種政體最初的首要基礎。維柯運用民俗材料洞察歷史的真正面貌,天才地體現在詩性政治的闡釋方面。希臘神話中塞壬海妖(Sirens)用歌聲催眠水手,然後割斷他們的喉嚨,斯芬克斯(Sphinx)讓遊人猜謎語,殺掉失敗者,諸如此類的神話隱喻,實際上是英雄城市的政治情況。神話中的水手、遊客,都是外方人(hostis),是與英雄競爭的平民們,他們企圖分享英雄獨占的占卜權(維柯,1989:364)。在詩性宇宙中,神學詩人將世界看做是由天空、下界的諸神以及界乎天地之間的諸神組成。神學詩人按照谷糧的收獲,開始計算年歲,他們拿著若干谷穗或者稻草,或者用若干次收割動作來代表若干年歲,古希臘的詩性時歷是在農神之後才產生的(維柯,1989:409-415)。古人描述未知或遼遠的事物,總是利用熟悉的或身邊的事物的某些類似之處,因此,最初的詩性地理都局限在有限的地理空間範圍內(維柯,1989:417)

在神話故事的考察中,維柯發現了一種與哲學家們的理性智慧完全不一樣的詩性智慧,如果說前者是人類智慧的理智,那麽,後者則是人類智慧的感官。詩性智慧以粗糙的、樸野的、充滿敬畏的方式,通過人類感官的渠道,創造了各門科學的世界起源,描繪了人類智慧的大致輪廓。(劉曉春,2006,《維柯的“詩性智慧”──民俗學史的視野》,原刊於《民間文化論壇》2006年第1期,註釋請參見紙媒原刊。)

Comment by moooi on September 9, 2021 at 9:01pm

徐玉諾《春天》

落在田間小樹上的小鳥唱道:

春天來了!

春天來了!

放大紅的花牡丹,

黃色甘美的小櫻桃。

伏在田邊的小草,揚起小小的面孔來,唱道:

喝不盡甘露,

好溫柔的春風;

美麗呀,我的衣裳飄揚在空中。

騎在水牛背上的小孩子拍著他的兩腿,很浪漫的唱道:

沐浴呀,我們要沐浴了。

呢呢,呢呢 ……

我的小牛是很好的;

他會自己喝水,

他會自己吃草。

------ 唱著,把牛趕進淺湖裏。

失望的哲學家走過,

逗留著無目的的尋求;

摟一摟亂髮,

慈祥的,端詳著小孩子,小鳥,小草 ……

仿佛這 …… 告他說虛幻的平安。

倦怠的詩人走過,

拈一拈他的眼淚,微笑蕩漾在枯皺的額上;

仿佛這點綴了他夢景的美麗。

一九二二,四月五日

Comment by moooi on September 7, 2021 at 11:17pm

Spring 

On a sapling in the field

Little birds are singing:

“Spring has come back to the world

Little birds are singing!”

 

“Pink and red and budding all,

The peonies are big and tall.

While the cherry tree is small,

Sweet its fruits will be and yellow.”

 

Grasses grow on the meadow’s side,

Swinging to the wind of spring,

Tiny faces moving with the tide,

Raising voices and they sing:

 

“Drink our dew, most gentle breeze,

There is more than you can tell;

Blow into our dresses, please,

Does it make them shine and swell!”

 

Riding on his buffalo

A young boy beats the beat

On his thighs and he sings too,

So romantic in the heat:

 

“We need a dive, we need to bathe,

We are a perfect team.

My buffalo can drink and graze,

It’s time for her to swim.”

 

“I see there is a shallow lake

For us to have a bath in.

The water is cool, for freshness sake

I will not stop my singing.”

 

"Lo!" said a thinker, walking by

With zero goal but his despair.

"Where do we go, cried he, and why?"

Both hands in his neglected hair.

 

He watched the boy, the meadow and

The birds, and then his heart knew better.

“Can peace be an illusion, though

These spring things really matter?”

 

A jaded poet passed in tears, but here

His fingers cleared them and the wrinkles

Of his forehead broke and cheered:

The vision of pure beauty made him twinkle.

Xu Yunuo, April 5, 1922

Translation by Jan Laurens Siesling, February 6, 2017

Comment by moooi on September 6, 2021 at 9:25pm

徐玉諾《紫羅蘭與蜜蜂》

紫羅蘭看見一個蜜蜂懶飏飏的在溫暖的太陽下飛著,她喜悅得發抖;

她十分的賣弄風情,她的色也十分鮮艷,她的氣也非常芬芳。

“呵,親愛的蜜蜂!來!來!我正在盼望你的親吻!”她瘋狂般的喊著。

蜜蜂飛著,沒精打采的說:

“我正要工作;因為到晚我必須得兩滿腿蜜。”

紫羅蘭微微笑了,她的笑容更鮮艷,她的芬芳更濃厚。

“我曉得你們同青年男子們一樣,你們的心常常是乾枯的,你們的思想常是苦惱而且是

生鐵一般冷枯的;是必須要柔情來溫潤的。……

來來,我最親愛,活潑的美蜂!

走近來!什麽都不要緊,你試一試走近我!

來來,什麽再沒這要緊;

我們試一試親個吻!”

她說著眼淚一滴滴的從花瓣上滴下來。

蜜蜂肩上重重載著責任和命令,他一點也不動情;他想了他的工作,很冷澀的說道:

“天不早了,我要工作去;再見吧!”

紫羅蘭急急的懇求道:

“且慢!慢!我一定有蜜給你;速來速來!把你的嘴伸在我嘴裏!”

“不!…… 我要找野菜花去,我要找巧麥去 …… ”

蜜蜂喃喃的說著,並且遠遠的飛去了。

紫羅蘭慢慢的低下頭來,沈沈尋思 ……

但是還是不怠的放著她的香,濃著她的美。

 

一九二二年,四月五日

Comment by moooi on September 5, 2021 at 10:08pm


The Violet and the Bee

Violet was a violet and the sun was warm,

Bee was a bee far away from his swarm,

Flying so slow and so utterly lazy,

Trembling Violet got with joy a bit crazy,

In for a flirt, her color could show it,

Her perfume, the spring air would blow it.

“My dear, my bee, my honey, come near,

I need your sweet kisses, I’m waiting here.”

She said it out loud, it was foolish, however

The bee just flew off, as if an endeavor

She wasn’t worth, and he spoke in the tone

Of a slug in the sand or a snail on a stone:

“I’m here to work, honey, on honey you know,

Tonight two legs full of pollen I owe.”

How chastely Violet smiled, smiled encore,

Her odors invested the air even more.

“I know you young guys, you act the same.

Your heart is dry, and worried your brain,

Cold like crude iron, but the fault is not you.

You need tender warm cuddles, wet ones too.

Come closer, my lovely and lively bee,

Do what you want, but do it to me.

Fly over me, beauty, you don’t want to miss

An occasion to practice on me a deep kiss.”

When thus she spoke, her petals spoke too,

Followed by tears that trickled down, blue.

But Bee was as cold as a bee can be,

Keen, to his queen, on responsibility.

His job was his life, who wants to lose that?

Not for a kiss, not even with Violet.

“Goodbye girl, he said, time is running,

Work waits for me, cut short your cunning.”

Violet heard this and she did her best

To cut short her smile, but not her quest.

More like a prayer sounded her voice

When she offered Bee a last choice.

“Don’t run away, I might have what you need,

Honey for you, slow down! Or rather speed!

Speed up and put your mouth in mine,

Deep in there you will find my wine.”

“Sorry for now Violet! If you don’t mind,

I’m after flowers of another kind,

Old fashioned and useful, not sweet

Like you, but bitter barley and brown buckwheat.”

Such was the humble bee’s mumbling, before

He took off to blue heaven’s shore.

Violet was alone and she calmed down

Bowing her face, not showing her frown,

When she wondered how there could be

A bee unwilling to be with her to bee.

But wondering she smiled and smelt even more,

Telling the world what her beauty was for.

Xu Yunuo, April 5, 1922

Translation by Jan Laurens Siesling, February 6, 2017

Comment by moooi on September 4, 2021 at 9:04pm


藝術家全部秘密在心靈自由

愛墾編者註:西思翎提到,徐玉諾像法國畫家亨利·朱利安·費利克斯·盧梭(見下篇),簡介於此,說明散文詩突破舊文體的囿限而創新。——亨利·朱利安·費利克斯·盧梭(Henri Julien Félix Rousseau,1844年5月21日-1910年9月2日),法國卓有成就的偉大畫家也是法國後期印象派畫家。生於法國西北部的拉瓦爾市,逝於巴黎。他18歲從軍,27歲參加德法戰爭。退役後任稅務員,是位業餘畫家,到40歲退了職開始不斷地作畫,受到當時前衛藝術家畢加索等人的推崇。父親朱利安·盧梭是馬口鐵工匠。青年時期他當過軍樂隊隊員,後離開巴黎做了海關官員。

他的畫沒有師授,完全靠自學成功。他自己說:“除了自然之外,我沒有老師。”人們稱他為“星期日畫家”。這類畫家出於完全喜歡畫而作畫,沒有任何規律約束,有著純樸的感情,因而其作品有一種原始的和純樸率真的美感。

1885年在香·埃呂西沙龍展出處女作,1886年《狂歡節之夜》參加獨立派展覽。此後他平均每年都有5幅以上作品展出。他的代表作有《村中散步》《稅卡》《戰爭》《睡著的吉普賽姑娘》《我本人·肖像·風景》《鄉村婚禮》《抱木偶的女孩》《夢》等等。

他用那純真無瑕的眼睛去觀察世界和感受生活的真諦,這使他的畫具有強烈而鮮明的個性。盧梭畫的主題包羅萬象,除了巴黎市郊,還有手法率真直接的人像,瑰麗的寓言性作品,花卉、尤其是一批富異國情調的大幅幻想式作品,這些作品是他常逛巴黎的公園、植物園、動物園所激發出來的。

每個時代都有它的先知。被奉為二十世紀超現實主義藝術先行者的是亨利·盧梭。“他憑著本能畫畫,他認為創作者必須獲得完全的自由才能在思想上達到美與善的境界”(亨利·盧梭自語)藝術家的全部秘密就是心靈的自由。它無需乞求,只需小心地、堅定地、執拗地保持和維護。它是一份人人享有的天賜。當然,為保持心靈的自由,就需要更多的犧牲。看看盧梭,當他離開世界的時候,告別的,只有貧窮。

Comment by moooi on September 3, 2021 at 5:05pm


徐玉諾的兩首詩 ·關於翻譯的註解

192245日,徐玉諾寫了兩首春天的詩。幾乎一個世紀以後,在春天,我打算把它們譯成英語。更確切些,我還是用“改寫”, 而不是“翻譯”這個詞吧。當音樂家為了另一種樂器去改寫一首樂曲時,他們用這個詞。我的版本的這兩首徐玉諾的詩不是字面的翻譯;有人可能認為它們不夠字面。但我相信它們是忠實於原作的。雖然犧牲了一些字面的東西,我相信我的改寫能夠保持原詩的精神。我相信一首詩的本質是它的精神。

詩的精神有多少是在純粹的字母和詞語裏?這是所有翻譯面對的問題,一個令譯者頭痛的問題。有人會認為它在詞語裏,就是這樣。我想提議說它是在詞語之間,詩行之間。在中文(到西方語言)的翻譯中,這個問題是刻不容緩的。為什麽呢?翻譯詩歌的真正和最終的理由是傳達詩的詩意質量(或本質)。如果我,一個歐洲人,自詡能夠捕捉到中國詩歌的詩意本質,那麽我是自命不凡。不過我讀詩的目的正是要捕捉詩意的本質; 這也是我翻譯的目的,途中自然經歷更多的障礙。

然而,我對詩意質量的理解是由我本土的語言或者我非常熟悉的語言決定的。我上邊提到的詩意質量和精神可能是親密的表兄弟。我覺得精神居於詞語之間。所以我用代表詩意質量的我自己的語言,去填了外語詩的詞語之間的空隙。我忍不住這麽做,這是我的性格的部分。但我認為只有這種方式,我能夠用新語言(我的語言)服務詩的讀者。如果我做得好,我甚至希望服務那首詩,和用原本的語言讀詩的人。讓我們現在去看看激發了這些想法的那兩首詩的改寫。


徐玉諾是一位20世紀初的革命的作家。作為一個天真的詩人,中國的Douanier Rousseau (愛懇編註:亨利·盧梭(Henri Julien Félix Rousseau),他略去長期以來主導中國詩歌的嚴格的結構規則。他交流著純粹的靈感,以自發的形式表現它,給人留下自由的印象。為了實現這一點,他的作品中引入了一些(浪漫)西方詩學的典型元素。在他們中間有敘述,簡單的每一天的詞匯,音樂性的語言和象征手法。(有趣的是,在同一時期,著名的西方作家們在他們的作品中,也在自由的旗幟下,引入了中國詩意質量的概念,或者他們認為是詩意質量的概念。)

當我發現寫於1922年的這兩首春天的詩,那些元素作為詩的主要特征觸擊到我。為了做到有趣和忠實的改寫我強調了這些特征,並在這裏或那裏發展了它們。我因此選擇了一個英語節奏韻律,不求學術嚴謹地使用他們,卻是連貫地,詩句更像是1922年的英國風格。我想要它是愉快的,不失天真的幽默或者語言的奇異(所以英國的!)。抓住它的坦率的情緒是必須的,還有它潛在的象征。這麽做,有時遺憾我失去了一些中國形式的橢圓特質。但正是在這個代價下,為英語讀者我保存了居於這兩首詩中的喜悅,這喜悅就是詩的靈魂。這個喜悅不僅慶祝春天的到來,還慶祝新詩時代的黎明,之外,一個新社會的黎明。(楊.勞倫斯.西思翎 / 2017年2月6日)

Comment by moooi on September 3, 2021 at 3:55pm

Note on this translation—On April 5th, 1922, Xu Yunuo wrote two poems about spring. Almost one century later, in spring, I propose a translation in English. Should I, instead of translation, more correctly use the word transcription? Musicians use it when they arrange a piece for a different instrument than it was originally written for. My versions of the two Xu Yunuo poems are not literal translations; some may think they are not sufficiently literal. But I believe they are true to the original. I believe my arrangement was able to maintain the spirit of the poems, while sacrificing to the letter. I believe the essence of a poem is its spirit.

How much of the spirit of a poem is in the mere letters and words? This is a problem with all translations, and a headache for translators. Some would argue it is in the words, period. I would suggest it is between the words, between the lines. In translations from the Chinese (into Western languages) the question is pressing. This is why: The true and ultimate justification for translating poetry is to transmit the poetic quality (or essence) of a poem. I would be pretentious if I, a European, boasted I am able to capture the poetic essence of Chinese poetry. Still the goal of my reading poetry is exactly that. Also, with more obstacles in the way, it is the goal of my translating. My understanding of poetic quality, however, is determined by the language I am born in, or by the ones I am very familiar with. Poetic quality and the spirit, I mentioned above, are probably close cousins. The spirit, I supposed, dwells between the words. And so I fill the space between the words of the foreign language poem with what goes for poetic quality in my own language. I can’t help doing it; it is part of my chemistry. But I think it is only in this way I can serve readers of the poem in its new language (my language). If I do well, I may even hope to do a service to the poem, and to whoever reads it in its original language. Let me move now to the transcription of the two poems that provoked these thoughts.

Xu Yunuo is a revolutionary writer of the early 20th century. Presented as a naive poet, a Douanier Rousseau of China, he ignores the strict rules of structure that had dominated Chinese verse since long. He communicates pure inspiration and delivers it in a spontaneous form, leaving an impression of liberation. To achieve this, he introduced a few typical elements of (Romantic) Western poetics into his writing. Between them are narration, simple and every day vocabulary, melodious language and symbolism. (It is interesting to see that in the same period prominent Western writers introduced Chinese notions of poetic quality, or what they thought it was, in their work, also under the banner of liberation.) Those elements were the principle features that struck me, when I discovered the two spring poems of 1922. To make an interesting and faithful transcription I stressed these features, and developed them here or there. I chose therefore an English rhythm, meter and rhyme, using them without academic rigor, but consistently, as verse would have been in England in 1922. I wanted it to be pleasant, not deprived of naive humor or even linguistic oddities (so English!). To catch its candid mood was a must, as well as its latent symbolism. In so doing I lost some of the elliptical qualities of the Chinese form, sometimes with regret. But it was at that price that I saved for the English reader the joy that inhabits the poems, as their soul. This joy celebrates not only the coming of spring, but the dawn of a new poetic era, and beyond that the dawn of a new society. (JLS,February 6, 2017)

Comment by moooi on September 2, 2021 at 3:06pm


捕捉被壓抑的“過渡、短暫、偶然”感受

發生學意義上的散文詩,一開始就專事捕捉被現代都市壓抑的“過渡、短暫、偶然”的感受,其審美發現符合對自我、個性的現代性想像,在傳統的審美空間之外,開拓新的想象空間,表達新的想像方式和現代情感觀念、審美體驗。根本言之,凝聚和捕捉一切新鮮的未知的生活經驗,和生命感受是一切藝術創新的價值追求。


中國散文詩的創作超越了賦、駢文、小品文等類似散文詩的范疇,成功地變幻出震驚、緊張、焦慮、苦悶,一種可以稱之為現代化的經驗,書寫了充滿驚厥、破碎與衝突、抽象的現代生活內容,呈現人心底深處的精神體驗,一種現實生活與內心世界的緊張沖突和對話,而這種心理過程和體驗變化正是顯示現代人之所以為現代人的精神根源所在。

魯迅、徐志摩、高長虹、于賡虞、麗尼、何其芳、焦菊隱、陳敬容等人的作品,展現了中國現代文化價值的多種取向,參雜著現代性中的異質文化因子,顯示出中國散文詩審美現代性的多元構築。散文詩的審美現代性既有體驗上的發現,即中國人在現代社會對自身與世界的確證,也有對這種確證加以藝術表現的能力,即對生存體驗里精神世界豐富而博大的意義空間的現代性建構。

散文詩擁有的活生生的藝術力量,積極參與到文學的現代化建制過程,了解中國散文詩的發展史,將有助於對中國現代文學的全面把握和認識,了解知識群在特定歷史時期的文化取向、價值觀念、哲學意識、人生態度,同時也深刻表明時代氛圍和現實需要對文體的選擇與影響,以及文體在歷史中生成與衍變的興替過程。
(張翼《散文詩文體獨立的文化價值與意義》2017/08/13 來源:散文詩人)

Comment by moooi on September 1, 2021 at 11:52pm


屠洛涅夫《“絞死他!”》


“這是一八0三年的事,”我一個朋友說,“在奧斯特里次戰役前不久的時候。我在軍隊裏當軍官,我那個聯隊駐紮在摩拉維亞。“我們奉到嚴厲的命令,不得騷擾當地百姓;雖說我們是友軍,可是居民好像很不相信我們。“我帶著一個勤務兵,他從前是我母親的農奴,名字叫葉各爾。他是一個不大講話的老實人;我自小就認識他,把他當作朋友看待。“呵,有一天,在我住的那個人家裏,我聽見女人的罵聲,叫聲和哭聲;這家的女主人丟了兩隻母雞,她說是我們的勤務兵偷了它們。他替自己辯護,要我來作證……‘他哪裏會做賊,他,葉各爾? 阿夫塔莫諾夫!’我向這女人保證葉各爾是個正直誠實的人,可是她不肯信我的話。

“忽然街上響起了馬蹄聲,司令官同他的參謀人員騎馬過來了。他帶住馬緩緩地走著,他是個肥壯的人,頭向前俯著,肩章掛到他胸前了。

“女人看見他,便沖到馬前,跪下去,她光著頭,衣服也不整齊,她指著我的勤務兵,大聲控告他。

“她叫道:‘將軍,大人,求你審問一下!幫忙我!救救我!這個兵把我搶了!’


“葉各爾立在大門口,身子筆直,帽子拿在手裏,他甚至挺起胸膛,靠攏腳跟,像一個哨兵的樣子,但他一句話也不說!究竟是他看見將軍帶著全體僚屬在這兒街中間站住,不好意思呢,還是他被這跟前的災禍駭呆了,我不能說,不過我的可憐的葉各爾站在那兒,霎著眼睛,臉白得跟粉筆一樣!

“司令官板起面孔不在意地看了他一眼,生氣地吼道:‘唔?’……葉各爾象一座石像似地站著,露出他的牙齒,就像在傻笑一樣!你要是從側面看他,你會說,這個家夥在笑了!

“於是司令官匆匆說了一句:‘絞死他!’便策馬前進了,馬起初緩緩地走,隨後就跑起來。全體僚屬都跟在後面;只有一個副官在他馬鞍上回過頭來隨意地看了葉各爾一眼。


“要不服從是不可能的……葉各爾立刻被縛起來,帶去受刑。“現在他真駭壞了,他只是喘著氣喊了兩聲:‘好天啊!好天啊!’隨後又小聲說了一句:‘上帝知道,並不是我!’


“他傷心地,傷心地哭著,同我告別。我非常難過。我大聲問他:‘葉各爾!葉各爾!你怎麼不對將軍說呢?’

“這個可憐的家夥只是嗚咽地重說著:‘上帝知道,並不是我!’那個女人自己也駭著了。她萬想不到會有這樣一個可怕的結局,她自己啼哭起來!她跑去哀求大家,哀求每個人開恩,她賭咒說母雞已經找回來了,又說她決定去把這事情說明白。

“自然,這一切都沒有用。先生,那是戰時!紀律第一!那個女人越哭越是大聲了。


“葉各爾從牧師那裏得到免罪辭以後,便轉身向我說。

“‘長官,請你告訴她,不要難過……我已經寬恕了她。’”

我的朋友重述他的勤務兵這兩句最後的話時,他喃喃地說:“我可憐的葉各爾,親愛的家夥,一個真正的聖人!” 眼淚沿著他衰老的兩頰流了下來。(一八七九年八月)

愛墾網 是文化創意人的窩;自2009年7月以來,一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, iconada.tv supports creators since July, 2009.

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