英詩欣賞 (3)：忽已黃昏；只是近黃昏，夕陽無限好。Salvatore Quasimodo (1901-. 1968)與深誓 (A Deep-Sworn Vow By W. B. Yeats - 1865-1939)；只是近黃昏，夕陽無限好。(周策縱)

A Deep-Sworn Vow

W. B. Yeats - 1865-1939

"A Deep-Sworn Vow" is a short (six lines long) poem by William Butler Yeats (1865-1939) that was included in his 1919 collection "The Wild Swans at Coole".

 

 

The poem

Others because you did not keep            

That deep-sworn vow have been friends of mine;          

Yet always when I look death in the face,            

When I clamber to the heights of sleep,               

Or when I grow excited with wine,                   

Suddenly I meet your face.

Discussion

The poem concerns the poet's feelings about a love affair that was broken off many years before, since when other relationships have taken its place. There is a contrast between two states of mind, the conscious state that has forgotten the loved one and the unconscious state that refuses to do so. An indelible image of that person remains imprinted somewhere deep within and, when the occasion so demands, that image is brought back "suddenly" from the unconscious to the conscious mind.

Although this is a very short poem, there is still room for movement within it and it is this movement that gives it its strength. The opening is quiet and informal, but the later lines, using words such as "excited" and "suddenly", are more insistent. The ending is not "I see your face" but "I meet your face", which suggests something much more dramatic than a simple act of recollection.

全文請參考http://greatpoetryexplained.blogspot.com/2017/01/a-deep-sworn-vow-poem-by-w-b-yeats.html

***** 2020年

只是近黃昏，夕陽無限好。

~~ 周策縱建議改李商隱的向晚

***

年輕時，讀了施穎洲翻譯 S. Quasimodo 的

          忽已黃昏

人人獨立於大地中心

一道陽光穿透：

忽已黃昏

---

這首讓我懷疑它與俳詩haiku 的關係，*詳後 

tracce di haiku nella poesia di Salvatore Quasimodo

---https://www.nobelprize.org/prizes/literature/1959/quasimodo/lecture/

先由Gooole 翻譯

Nobel Lecture, December 11, 1959

The Poet and the Politician

“The night is long that never finds the day”. These are Shakespeare’s words in Macbeth, and they help us to define the poet’s condition. At first, the reader appears to the poet in his solitude as an image with the face and the gestures of a childhood friend, perhaps of that more sensitive friend who is experienced in solitary readings but a bit diffident in evaluating a presumed representation, or misrepresentation, of the world. This representation is attempted with rigorous poetic measures extraneous to science and with words whose sounds are predetermined.

詩人與政治家

“夜晚漫長，找不到白天”。這些是莎士比亞在麥克白所說的話，它們有助於我們確定詩人的境遇。最初，讀者在詩人面前顯得孤獨，像是一個兒時朋友的臉和手勢的圖像，也許是那個比較敏感的朋友，他在單獨閱讀中很有經驗，但在評估某表達(它或是錯誤的)十彼此意見有些差異。該表達是嘗試用嚴格詩意

韻律來說 (與科學上很不同)，而使用的語言是預先確定的。

An exact poetic duplication of a man is for the poet a negation of the earth, an impossibility of being, even though his greatest desire is to speak to many men, to unite with them by means of harmonious verses about the truths of the mind or of things. Innocence is sometimes an acute quality which permits the greatest representation of the sensible. And the innocence of the poet’s friend, who requires, dialectically, that the first poetic rhythms have a logical form, will remain a fixed point of reference, a focus which will enable the poet to construct half of a parabola. The poet’s other readers are the ancient poets, who look upon the freshly written pages from an incorruptible distance. Their poetic forms are permanent, and it is difficult to create new forms which can approach them.

對詩人而言，關於人的確切的詩意重複，是大地的否定，實存的不可能性，即使他最大的願望是要與許多人通話，是要用思想/心智或事物的真​​理之和諧文本與他們團結在一起。無知有時是一種敏銳的品質，可讓感覺事務作最大程度的表達。詩人的天真無邪朋友，辯證地，首先要求詩意的節奏要合乎邏輯，可作為一個固定的參照點，作為使詩人能夠構成拋物線的一半的焦點，詩人的其他讀者是古代詩人，他們從悠遠距離來觀看剛寫出的書頁。古代詩人的形式由來已久，業已無可動搖，要創造出足媲美的新形式是很難的。

----

Salvatore Quasimodo (Italian: [salvaˈtoːre kwaˈziːmodo]; August 20, 1901 – June 14, 1968) was an Italian poet and translator. In 1959, he won the Nobel Prize in Literature "for his lyrical poetry, which with classical fire expresses the tragic experience of life in our own times".

薩瓦多爾·夸西莫多（義大利語：Salvatore Quasimodo，1901年8月20日－1968年6月14日），義大利詩人、翻譯家，1959年諾貝爾文學獎獲得者。

Salvatore Quasimodo

夸西莫多在西西里島莫迪卡出生，1908年父親前往墨西拿協助地震後的救災工作，舉家移居該城。1917年他創辦了《新文學雜誌》（Nuovo giornale letterario），發表第一批詩作，1919年遷往羅馬完成工程課程，1930年獲一家工程公司聘請到雷焦卡拉布里亞工作，同年他出版了第一部詩集《水與土》（Acque e terre），並因此獲得諾貝爾獎。夸西莫多其他詩集包括《消逝的笛音》（Oboe sommerso，1932年發表，包含了他1930年至1932年間的所有作品）、《日復一日》（Giorno dopo giorno，1946年發表）等。

在創作之餘，夸西莫多也翻譯了不少經典作品如《約翰福音》、《奧德賽》等。

作品列表[編輯]

• 《水與土》（Acque e terre，1930年）
• 《消逝的笛音》（Oboe sommerso，1932年）
• 《厄拉托與阿波羅》（Erato e Apòllìon，1938年）
• 《新詩》（Poesie，1938年）
• 《Lirici Greci》（1940年）
• 《Ed è subito sera》（1942年）
• 《Alle frande dei salici》（1943年）
• 《Con il piede straniero sopra il cuore》（1946年）
• 《日復一日》（Giorno dopo giorno，1946年）
• 《生活不是夢》（ La vita non è sogno，1949年）
• 《Il falso e vero verde》（1954年）
• 《Il fiore delle "Georgiche"》（1957年）
• 《La terra impareggiabile》
• 《Il poeta e il politico e altri saggi》（1960年）
• 《Dare e avere》（1966年）

作品的中譯[編輯]

• 諾貝爾文學獎全集編譯委員會/編譯，《薩瓦多爾‧誇西莫多》，台北市：九五文化，1981年。
• 呂同六/譯，《夸西莫多抒情詩選》，成都市：四川文藝，1992年。
• 李魁賢/譯，《塞弗里斯/夸齊莫多》，桂冠，2001年。

The Japanese reader who faces the work of Salvatore Quasimodo for the first time (1901-

1968) might have the sensation of reading something familiar, already heard. In fact, echoes could arise in his mind that bring him back to waka and, even more, to haiku. This

it happens especially with Quasimodo's first poems contained in the collection Ed è immediately

evening1

, and in particular in the part entitled Acque e Terre. Undoubtedly the first element that

what is striking is the structural one, the use of compositions or short lines, even if it is not possible

find in Quasimodo the exact rhythmic scan of Japanese poetry; the Italian poet has

instead used a mixture of Parisyllable and imparisyllable verses of various lengths, with a tendency to the shorter verse at the beginning of his production, and then turned to a more

rich in syllables in subsequent collections 2

. But although the main influences on Quasimodo were of another nature - Greek poetry first, but also Foscolo, Pascoli, D'Annunzio,

Montale and Ungaretti - undoubtedly some details bring us back to Japanese poetry.

If we trace some fundamental elements of haiku in the massive presence of nature - in

particular way of certain recurring subjects indicating the season （kigo 季 語） - in its brevity,

in its figurative quality that crystallizes time and space in an image3

, but most of all

in going beyond the figurative capacity by drawing on a deeper meaning that goes beyond that image and that often, in some masterpieces, is connected to a tension between the eternal and the transient, if

we place these as the basis of haiku, then the impression of the Japanese reader will not be del

all erroneous.

The presence of nature and especially the process of images is a phenomenon in Quasimodo