9點多才起來 半夜多讀 Gershom Scholem A Life in Letters, 1914-1982
Harold Bloom: An Uncommon Reader/ Elliot R. Wolfso...
出版社：台北:開明 1968 (無作者名 70年代初每年一刷) /里仁書局 1997年/天津人民
1971年大一的參考書 1974 "顧肇森"本 ---2012年重讀書末司馬遷的諷刺語法--
《李長之文集》是在臺灣大學圖書館翻的 簡體字甚劣 難看
作者: [瑞典] 托馬斯·特朗斯特羅姆譯者: 李笠出版社: 四川文藝出版社出版年: 2012-3頁數: 370
Award Ceremony Speech
Tomas Tranströmer is one of the very few Swedish writers with an influence on world literature. He has been translated into some sixty languages, and has been important to poetry in various parts of the world. The Nobel Laureate Joseph Brodsky admits that he stole more than one metaphor from him. And during a journey among Chinese poets a year ago I found that Tranströmer is their great model.
Why? Is it the brilliant metaphors? I think that is only half the truth. The other half is the visions, the illuminations in everyday life into which the metaphors have been inserted.
Let us consider "Carillon" – "chimes" – where we find the poet in a shabby hotel in Bruges, lying on the bed with his arms stretched out, "an anchor that has dug itself down and holds steady / the huge shadow floating up there / the great unknown". Or think of the picture of defencelessness in the line, "I have low beaches, if death rises six inches I shall be flooded." What is important is not such separate images but the overall vision where they form a part. The easily flooded poet is the defenceless centre where now different epochs, now far and near converge. Also the anchor chain from the great unknown centres towards this unpretentious subject. But, in this poem, there is an opposite movement as well. The room's window faces "The Wild Market Square" and the condition of the soul is projected there: "What I carry within me is materialised there, all terrors, all expectations." There is a movement both inwards and outwards. Once "the sack splits along its seams and the chimes roll out across Flanders", next time the same bells "bear us home" on their wings. The metaphors lend a sensuous precision to this huge breathing. Remarkably, this complex text is almost weightless, and speaks immediately to our senses.
There is a similar huge breathing in Baltics. The striking images for understanding versus blockage have been integrated into an interplay between "great doors opening and great doors closing", between one breath of wind "sighing about other shores" and another leaving the place "desolate and silent".
But the movement of Tranströmer's universe is primarily directed towards the centre. His illuminations gather widespread phenomena in one translucent present. We remember from Secrets on the Way the "room that contained every moment – a butterfly museum". In tacit polemics against colleagues groping for heaven, he begins his first book of poetry with the words, "Waking up is a parachute jump from dreams." This is a genuine Tranströmer sinking into the centre, towards an earthly summer.
In "Schubertiana", the precision of this movement towards the centre is caught by the image of the swallows flying for six weeks over two continents "to last year's nest under the guttering of this very barn in this very parish". Their flight towards "precisely this vanishing dot in the land-mass" corresponds to the way Schubert "catches the signals from a whole life in a few ordinary chords for five strings".
Tranströmer's development has moved towards ever greater openness. His Swedish geography has expanded into the shimmering spiral galaxy of New York and the crowds of Shanghai getting "our silent planet going with their tramping". And fragments of world politics now and then glitter in the poems. At the same time the picture of unpretentiousness becomes clearer: "I have graduated from the university of oblivion and am as empty-handed as the shirt on the washing-line." With this relaxed authority, Tranströmer can speak for many of us. Even at an early stage he says, "Each man is a half-open door / leading to a room for everyone." This is where we are at last – the room that once contained every moment now contains all of us.
It is a great pleasure for me to convey to you the warmest congratulations of the Swedish Academy and to ask you to come forward to receive the Nobel Prize in Literature from the hands of His Majesty the King.
Balakirev began his First Symphony after completing the Second Overture but cut work short to concentrate on the Overture on Czech Themes,
The Swedish poet Tomas Transtromer, who won the 2011 Nobel Prize for Literature on Thursday, is the first Swede to win the prize since 1974. Julie Bosman writes that Mr. Transtromer’s “sometimes bleak but powerful work explores themes of nature, isolation and identity.”
In this undated audio clip, Mr. Transtromer discusses and reads his poem, “Schubertiana.” The poem, which consists of five numbered stanzas, “is not a poem about the life of Franz Schubert,” he says, “it’s a poem about what music means to me and to mankind.”
In addition, a Google Books excerpt of one of Mr. Transtromer’s translated collections of poetry can be found here:
A collection of items relating to a specified person or place: Americana.
- 発音記号[-ǽnə, -ɑ'ːnə | -ɑ'ːnə]
.诗人，翻译家生于1961年1月20日上海 1979年考上北京外国语学院瑞典语系 1983年被分配到“人民画报”社工作 1988年秋定居瑞典 1988至1992年在斯德哥尔摩大学读瑞典现代文学 1989年出版用瑞典文写的诗集《水中的目光》 以后又发表四部诗集，它们是 《时间的重量》（1990） 《逃》（1994） 《归》（1995） 《栖居地是你》（1999） 除写诗外，他还翻译了大量的北欧诗歌。其中包括2004年获“新诗界北斗星奖”的瑞典诗人 特朗斯特罗姆（2011年诺贝尔文学奖获得者）的诗全集.他还制作了一系列风景配诗电视短片,其中有五部先后在瑞典电视台播出.
午間 YY說 INK的老孟專集 99 元 晚上他同學聚餐
晚餐活動中心 NTU 亞洲20
Arthur David Waley/ Madly Singing in the Mountains...
David Hawkes' translations include:
- Ch'u Tz'u: the Songs of the South, an Ancient Chinese Anthology. (1959, revised 1985)
- A Little Primer of Tu Fu. (1967)
- The Story of the Stone: a Chinese Novel in Five Volumes. (1973–1980. Hawkes was responsible for volumes 1–3, chapters 1-80)
- Liu Yi and the Dragon Princess. (Arias published in 2001, now to be published in entirety).
柳毅回到洞庭湖畔，為三公主送信往龍宮。但洞庭君礙於與涇陽君的多代姻緣，想息事寧人，洞庭君的弟弟錢塘君則大表氣憤，並帶同水軍前往解救三公主， 並殺了涇水十太子。三公主回宮後，為柳毅奉酒答謝。錢塘君見二人眉目傳情，欲撮合二人。但柳毅礙於沒有媒人作中介，以及介懷自己間接殺了三公主的丈夫，所 以拒絕了婚事。