必威电竞“唯有孤独恒常如初”One Art

Elizabeth Bishop, PHOTO / Paris Review

The art of losing isn’t hard to master;   so many things seem filled
with the intent   to be lost that their loss is no disaster.   
  Lose something every day. Accept the fluster   of lost door keys,
the hour badly spent.   The art of losing isn’t hard to master.   
  Then practice losing farther, losing faster:   places, and names,
and where it was you meant   to travel. None of these will bring
disaster.      I lost my mother’s watch. And look! my last, or
  next-to-last, of three loved houses went.   The art of losing
isn’t hard to master.      I lost two cities, lovely ones. And,
vaster,   some realms I owned, two rivers, a continent.   I miss
them, but it wasn’t a disaster.      —Even losing you (the joking
voice, a gesture   I love) I shan’t have lied. It’s evident   the
art of losing’s not too hard to master   though it may look like
(Write it!) like disaster.

今,我们来聊一个骚人,和一首诗。

——Elizabeth Bishop

伊丽莎白·毕晓普(Elizabeth
Bishop),曾于叫做美国20世纪最光辉之诗人之一。

伊丽莎白·毕肖普(1911年2月8日-1979年10月6日),美国有名女性诗人。她是美国1949-1950秋的桂冠诗人,并给1956年得普利策奖。代表作为《北方和南部——一个寒的春》。

维基百科

她既是美国之桂冠诗人(Poet Laureate);诗歌荣获普利策奖(the Pulitzer
Prize
);作品集获得美国国家图书奖(the National Book Award)。

它们身上具备各种各样的光环,获得了往往不老数之光荣,然而也告诉同为诗人的心上人罗伯特·洛威尔(Robert
Lowell)说:「在自我的铭文上,一定要描写下自己是世界最孤单的食指」。

In 1974, Elizabeth Bishop seemed to have all the things a poet could
want: a teaching position at Harvard, a Pulitzer Prize, a National
Book Award, and a first-look contract with The New Yorker, which
almost always decided to publish her work. And yet she was
inconsolably unhappy. “When you write my epitaph,” Bishop said to
the poet Robert Lowell, “you must say I was the loneliest person who
ever lived
.”

  • “Hiding in Plain Sight: The loneliness of Elizabeth Bishop”, *The
    Nation

epitaph,墓志铭。

它几乎有了同个诗人可以拥有的尽荣耀,却偏偏要说:「When you write my
epitaph, you must say I was the loneliest person who ever lived. 」

我猜,这大概也是怎,她诗歌的国语译本取名为《唯有孤独恒常如初》。

豆读书

伊丽莎白·毕晓普如此鲜明的孤独感究竟从何而来?

它们出生让美国麻省,是家园独女,才八独月时大人就因患有亡。母亲就患上精神疾病,在毕晓普五东经常,母亲给劫持永久关进精神病院,从此二人数另行无碰到。

更了生离与死别之后,她给外祖父母收养,在加拿大在了几年。但由于当下第二一直家境困难,她底祖父母随后得到监护权,将其于加拿大小镇接转美国麻省。但毕晓普思念外公外婆,整日郁郁寡欢,甚至患上哮喘。后来,爷爷奶奶便用她送于矣姨父姨母家中。

小毕晓普的童年,就这么折腾于一个同时一个氏的家中,期间还吃了姨父的性侵与虐待。也正因如此,她对男性充满了厌烦和恐惧(嗯,没错,她是同性恋)。

盖就段更,在今后形容为其的精神科医生的信奉中,毕晓普还说道,所有的阳还是损公肥私粗暴的,只要有机遇,他们得会误女性。

Bishop later wrote to her psychiatrist. “I got to thinking that they
[men] were all selfish and inconsiderate and would hurt you if you
gave them a chance.”

“The lonely life of Elizabeth Bishop”, The Economist

小时候涉带来的外伤让它内心充满了愤慨。这条愤怒化为难过,悲伤又化为了诗歌。

Whatever anger she felt in these early traumatic years turned into
sadness, and the sadness into poetry.

  • “Hiding in Plain Sight: The loneliness of Elizabeth Bishop”, *The
    Nation

长大后,毕晓普的感情生活也是并不利。她此生最爱之贤内助,巴西建筑师萝塔(Lota),于1967年自杀。后来底同伴爱丽丝(Alice)也丢了她,并嫁于了一个爱人。

毕晓普同萝塔的禁忌的恋被撞击成一管辖很唯美的影视,Reaching for the
Moon
,西班牙语片名Flores Raras,中翻片名《月光诗篇》。

豆类电影

部电影非常感人,若有时光,不妨找来探望。

每当了解毕晓普的人生之后,我们大致为就能理解,为何她说自己是全球最孤单的食指矣吧。


毕晓普先后失去父亲、母亲、外祖父母、萝塔、爱丽丝,童年辗转于历亲戚家,成年晚还要去了投机的家乡。她底一生一世,充斥着告别和失。在密密麻麻的打击后,在摸清萝塔自杀、又去爱丽丝的其即崩溃。可像痛苦到底能和好诗挂钩,毕晓普在最低落的时里,写下了她极红的诗篇,One
Art
,《一栽方式》。

But it was also at this low point on her high perch that she wrote,
over several painstaking drafts, what became her most anthologized and
best-loved poem, “One Art.”

“Hiding in Plain Sight: The loneliness of Elizabeth Bishop”, The
Nation

形容下立刻首诗时,毕晓普内心充满痛苦,却于力图说服自己:失去,也许连从未那么可怕。她竟于诗中,把「失去」称为一种艺术。

诗在散装和泪中描绘成,改了合十七稿,正是如上文形容的那么,several
painstaking drafts,但改来改去,诗开篇第一句从来没有换了:

Meanwhile, the poem’s recurring first line “The art of losing isn’t
hard to master
,” remained the same in all 17 drafts.

Coming to Terms with Loss in Elizabeth Bishop’s ‘One Art’ “, The
Atlantic

在影片《月光诗篇》中,米兰达·奥图扮演诗人毕晓普,完美细腻地演绎了马上篇诗歌(视频
00’50 —
02’05)。如果场地条件允许,请一定,一定,一定要是拘留就段视频,真的要命振奋人心。

一旦就想听诗的话,看到2分05秒即足够了,视频后半部分是指向诗人毕晓普的牵线及评论。诗歌原文就当红尘,大家好对照阅读。

“One Art” by Elizabeth Bishop

The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.

Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.

I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn’t hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.

— Even losing you (the joking voice, a gesture
I love) I shan’t have lied. It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster.

毕晓普用了平种植十分传统的诗文形式,Villanelle,维拉外拉诗,是16世纪的法国良流行的平等种文体。


维拉内拉诗又给「十九执二韵体诗」,这间的「十九尽」很好理解,诗刚好十九行呗。而「二韵体」则是依诗歌有点儿只脚。这等同诗篇歌体裁对格式要求老严,除了押韵之外,还有少句诗需要依照确定进行更。

(没看尽懂?没事,下面来个例子)

维拉内拉诗极具代表性,可能吧是豪门最为熟悉的,大概就是是《星际穿越》中出现的迪兰·托马斯的《不要温和地活动上前大良夜》,Do
Not Go Gentle Into That Good Night

来收听曾因《沉默的羔羊》斩获奥斯卡影帝、在大热美剧《西部世界》里再征服观众的安东尼·霍普金斯爵士(Sir
Anthony
Hopkins)朗读的本子吧——不禁说一样句,超级好听的声息,大家耳朵而绝对不要怀孕噢(哈哈哈哈哈哈哈)!

《不要温和地移动上前好良夜》

Do not go gentle into that good night, Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.
Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.

世家看本人加粗的片了啊?在维拉外拉诗被,有三三两两独句子会持续重复出现,专业术语叫做 Refrain,可以理解为「副歌」或者「叠词」。两独句子分别名叫
Refrain 1 与 Refrain 2,简称 A1 与 A2。

于及时首诗中,

Refrain 1(A1)
Do not go gentle into that good night

Refrain 2(A2)
Rage, rage against the dying of the light.

世家该为留意到了,这点儿行诗不断重复出现。光是重复还不够,它们而严厉按照如下顺序出现:

Refrain 1 (A1) Line 2 (b)
Refrain 2 (A2)
Line 4 (a)
Line 5 (b)
Refrain 1 (A1)
Line 7 (a)
Line 8 (b)
Refrain 2 (A2)
Line 10 (a)
Line 11 (b)
Refrain 1 (A1)
Line 13 (a)
Line 14 (b)
Refrain 2 (A2)
Line 16 (a)
Line 17 (b)
Refrain 1 (A1)
Refrain 2 (A2)

*—— Wikipedia, “Villanelle”*

里头 Line 2,Line 4 等等,指的凡诗歌的第X实践,内容可擅自,但 Refrain 1
以及 Refrain 2 出现的职一定是定点的。

好了好了,解释了,我们看回毕晓普的诗词。


The art of losing isn’t hard to master; so many things seem filled with the intent
to be lost that their loss is no disaster.
Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.
Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.
I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn’t hard to master.
I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.
— Even losing you (the joking voice, a gesture
I love) I shan’t have lied. It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster.

One
Art
 这篇诗歌中,有星星点点执行相似的诗篇也当不断重复出现。之所以说「相似」,是为毕晓普没有严格以维拉外拉诗的格式要求,而是在不同的小节中对诗歌进行了肯定改动。

颇醒目,诗歌的主题是「失去」。

初,失去的凡部分挺有些之物。毕晓普称,有些东西似乎本来就是要错过的(so
many things seem filled with the intent to be lost),丢了也便不可惜。

就,毕晓普说,有些东西是每天都有或去的(lose something every
day)。那些为丢了的派钥匙(lost door keys),浪费了之光阴(hour badly
spent),既然都成为事实,又何须纠结苦恼,倒不如把「失去」当成平种办法。

下一场,她以轻告诉读者,要练「失去」这门艺术。那些忘记了的名字(names),计划使去旅行也尚未会去化的地方(where
it was you meant to travel)。失去这些东西,并无会见带动灾难。

接着,她起为此自己之人生更举例,说它去了妈妈的手表(I lost my
mother’s watch)——
毕晓普五岁就及病上精神病的妈分别,从此再也未表现了,这块表意义重大,所以才会现出于诗被;前面我们为事关,她小时候折腾于历亲戚的家庭,失去了一个而一个温馨出了留恋的下(three
loved houses went)。

继,她而说,自己远离故乡,失去了简单栋她深爱的都市(two
cities),甚至去了河里和地(two rivers, a
continent)。她异常想这所有,却也了解,哪怕失去了这样重大之物,仍旧算不达标什么不幸(I
miss them, but it wasn’t a disaster)。

终极,她到底提起自己失去的爱侣(losing
you)。从劝读者,慢慢成为劝自己,她不止重复,就是为暗示自己,「失去而」,也许并不曾那么可怕。

然而它们底心扉也充满了惨痛挣扎,甚至要为此第二只音响,(Write it!),来迫使自己拿极艰难的尾声写出来。

萝塔自杀,爱丽丝也相差了它们,这时的毕晓普似乎不是于啊读者写诗文,而是将诗写给了好。她口口声声说「失去」算不达到什么,可诗读下去,字里行间满篇都是散与痛苦。就比如微微谎言,说基本上矣,自己便事先奉了。


伊丽莎白·毕晓普晚年于哈佛大学任教。她立即之同等称学童,Megan
Marshall,2017年问世了扳平依传记,名吧Elizabeth Bishop: A Miracle for
Breakfast
,讲述了毕肖普的传奇一生。

在过剩网站及还能找到这仍传记的书评,包括 《经济学人》,The
Economist
,以及《大西洋月刊》,The Atlantic,等经典杂志。

《纽约客》,The New
Yorker,还特地有篇介绍了毕晓普与萝塔和爱丽丝之间的爱情故事,她诗歌的灵感源于,等等。

大家要谢兴趣,可以当脚的参考网页中找到有关链接。另外还有前文提到的录像,《月光诗篇》,也堪查找来看看。

嗯,好了,先暂且至这时候,大家早安。

One Art”, by Elizabeth Bishop https://www.poetryfoundation.org/poems/47536/one-art

Hiding in Plain Sight: The loneliness of Elizabeth Bishop”, The
Nation
https://www.thenation.com/article/hiding-in-plain-sight/

Elizabeth Bishop”, Poetry Foundation, https://www.poetryfoundation.org/poets/elizabeth-bishop

Elizabeth Bishop”, Wikipedia, https://en.wikipedia.org/wiki/Elizabeth\_Bishop

伊丽莎白·毕晓普”, 中文维基百科 https://zh.wikipedia.org/wiki/%E4%BC%8A%E4%B8%BD%E8%8E%8E%E7%99%BD%C2%B7%E6%AF%95%E6%99%93%E6%99%AE

The lonely life of Elizabeth Bishop“, The Economist https://www.economist.com/news/books-and-arts/21718852-new-biography-sheds-light-elizabeth-bishop-one-americas-finest-poets-lonely

Coming to Terms with Loss in Elizabeth Bishop’s ‘One Art’ “, The
Atlantic
https://www.theatlantic.com/notes/2017/04/coming-to-terms-with-loss-in-elizabeth-bishops-one-art/524154/

月色诗篇”,豆瓣电影 https://movie.douban.com/subject/20521014/?from=subject-page

特孤独恒常如初”,豆瓣读书 https://book.douban.com/subject/26269845/

‘Elizabeth Bishop: A Miracle for Breakfast’ More of a Four-Course
Meal
“, The Harvard Crimson
http://www.thecrimson.com/article/2017/4/15/elizabeth-bishop-review/

Elizabeth and Alice“, The New Yorker https://www.newyorker.com/books/page-turner/elizabeth-bishop-and-alice-methfessel-one-art

Elizabeth Bishop’s Art of Losing“, The New Yorker https://www.newyorker.com/magazine/2017/03/06/elizabeth-bishops-art-of-losing

Elizabeth Bishop伊丽莎白·毕肖普诗选”,新浪博客 http://blog.sina.com.cn/s/blog\_4b01ac520102vyge.html

Villanelle“, Wikipedia https://en.wikipedia.org/wiki/Villanelle

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