2017年6月21日 星期三

周作人、林水福譯 石川啄木(Ishikawa Takuboku) 短歌《一握之砂》;〈墓誌銘〉 邱振瑞 譯


20174.6.22
邱振瑞新增了 2 張相片
墓誌銘
這冊日本詩歌傑作選,是我朋友二十年前於光華商場地下舊書街購買贈我的。我翻開版權頁發現,此書出版於一九二九年日治時期,原先是臺南圳立臺南第一高女圖書館藏書。今日,我沒有才思披文,特地譯出這首短詩,藉此想像著八十八年前臺南府城的讀詩時光。
〈墓誌銘〉 石川啄木 作 ⦿邱振瑞 譯
我很尊敬他
至今更為敬仰
他埋葬在郊外栗樹下
倏忽已經兩個月
上次我們在會場見面
悄然已經兩個月
他不是雄辯滔滔的人
但任何人都無可取代
有時他這樣說:
「同志啊,不要責備我木訥。
儘管我不口若懸河
我已做好隨時奮身而起的準備。」
一個同志批評他
「他的眼神輕視辯論者的怯懦。」
我或多或少也感受到
但現在我無法看見他正義的眼神了
他是個勞動者----一個機械工人
他很熱情工作勤奮
有空時與同志說話 讀書不倦
也吸菸和飲酒
他的性格真摯不屈深思熟慮
如同巴枯寧那樣庇護朋友
他高燒不止躺在病床上
臨死之前直說夢囈
「今天是五月一日 屬於我們的日子」
這是他留給我的遺言
那天清晨 我探望他的病軀
那日傍晚 他終於陷入昏迷
啊 他寬廣的額頭 鐵槌般的手臂
眼神中像對活著感到恐懼
以及恐懼和凝視死亡的眼神
我閉上眼睛 他彷彿在我面前
他作為一個唯物論者
其遺骸被葬在某棵栗樹下面
我們的同志選出這句墓誌銘:
「我們已做好隨時奮身而起的準備。」
(譯自《石川啄木全集》第二卷)



------
2012年5月12日,台灣有石川啄木逝世百周年的研討會。
臺灣大學圖書館展出相關的數十本日文書,卻沒有 周作人譯 石川啄木(Ishikawa Takuboku) 短歌, 可惜。




周作人譯 石川啄木(Ishikawa Takuboku) 短歌


1922/5/12 周作人的日紀:為適之譯啄木之歌十七首

這是為 『努力周報 』出版

石川啄木的"短歌" (沒考證翻譯史 這應該是中文譯界的大事 因為國人對這種日本31音節的詩之形式應該相當陌生的) 和詩

乃是周作人的文學翻譯的野心之一

所以他到60年代將其主要作品翻譯出來

據2005年的版本說 原稿已遺失和注解被大量刪減

很可惜







我們在2005/7/22對此詩有一些討論:

SU朋友們談石川啄木(Ishikawa Takuboku) 『一握沙集 』之清淚




比較前年之資料《苦雨齋譯叢》(共十四冊十二種,周作人譯,中國對外翻譯出版 公司,1999-2003年),與當今的《苦雨齋譯叢》(共十六冊十六種,周作人譯,中國對外翻譯出版公司,1999-2005 年),我們可知在2005年出版兩種:(日)國木田獨步,石川啄木等著『現代日本小說集:兩條血痕.』;『如夢記、石川啄木詩歌集』。




苦雨齋的譯書,注解都很可讀。他們前輩提日人之名,都會在漢字之後附其羅馬讀音。譬如說,石川啄木詩歌集「可悲的玩具」(為『一握沙集 』之續集),談其病中許多心境和想法,相當有意思。

-----

上周,歐巴桑在simon university留言版所提的石川啄木(Ishikawa Takuboku 1886-1912 請注意他27歲就過世) 之詩,

「最近處理到一位法國作家就有提到一句石川啄木的詩,石川寫著:





我們分手的時候

眼皮閃了閃

我的雙頰有點冰涼




光看這句

好像有點濫情耶?!




我們分手的時候

鼻子擤了擤

我的兩個鼻孔有點冰涼」

----

我(hc)初讀之後,問道:不知道它是否為(周作人譯)『一握沙集 第三六三首』:

「臨別了,偶然一眨【原書用異體字「 」(目+夾)】眼,

無緣無故的,

覺得冰冷的東西沿著面頰流下來了。''」

----

歐巴桑 留言:

我不知道。奴家採用的是法國作家所引用的版本。

不過我看了看周作人版本與歐巴桑版本似乎有出入。

校長可否找出日文原文對照看看呢?

-----

わかれ来てふと瞬けば

ゆくりなく

つめたきものの頬をつたへり




(『一握沙集』原文:http://www.geocities.jp/jinysd02/itiaku.html




------

歐巴桑留言:「(該詩)可否稍微解釋一下下? 」




HC: 幾小時之前,我也是查了幾個字才了解:你之由法文轉譯和周譯,都可以通啦(雖然他這首譯詩,用字(稍微解釋)特別多(或許\每首應限定10個漢字表示,不 過,這樣無法表達日文許\多複音形容…),意思也可以通達)。這種情形,同我昨天所說的某人翻譯B氏法文詩(OUP出版),只翻前半而已,後半維持法文 (無法譯)。日本的歌,多少也類似,它的主要特徵有音和情之表達。




已請(mailed)日本文學專家邱先生幫忙。




經一周,邱振瑞給鍾先生信:




譯家譯詩各有千秋,我覺得詩意最難傳達。

這首詩的意思,誠如法文專家所譯,只是白話了些。

拙譯如下,請勿見笑。




君道離別

我眼簾輕啟

不知已淚\溼雙頰







*****


「如果沒有石川啄木,日本近代文學史將變成平板而緩慢的敘述吧!」——太田登(國際啄木學會第五代會長、天理大學名譽教授)


《日本文學》雜誌,最新一期介紹了林水福教授翻譯、有日本「國民詩人」之稱的石川啄木短歌集《一握之砂》。


也許,偶爾讀幾句詩,領會石川啄木「生命的一秒」那獨特的短歌觀點,能為生活帶來不一樣的全新啟發。




2017年6月20日 星期二

李萬居送給李玉階的《民國四十一年臺灣年鑑》

臉書跳出六年前的貼文:李萬居送給李玉階的《民國四十一年臺灣年鑑》。
這是從1980年代的光華商場舊書攤買到的寶──《民國四十一年臺灣年鑑》。
寶貴的原因,這是1955年(我的出生年)年初,《公論報》創辦人李萬居(1901年-1966年)贈送給時任《自立晚報》社長的李玉階(1900年-1994年)的書。
李萬居是知名報人與政治家,戰後與郭雨新、許世賢、郭國基、吳三連、李源棧等人被並稱省議會「五龍一鳳」,1945年出任《臺灣新生報》社長,1947年自辦《公論報》,以敢言著稱,1960年前後李萬居參與雷震領導的新黨運動,雷震被捕後,《自由中國》停刊,《公論報》也遭國民黨以增資及司法手段,逼迫李萬居交出經營權。
李玉階於1951年接辦《自立晚報》,1958年5月,因為內政部修定《出版法》,緊縮新聞自由,遂宣布退出中國國民黨,並於《自立晚報》報頭下方標示「無黨無派,獨立經營」,成為其後《自立晚報》的精神指標。
這一書頁的題簽,顯現了1950年代兩位民間報人的相惜。
根據此書版權頁所示,「中華民國四十三年十二月三十日出版」,推定李萬居贈送李玉階此書之時,應在1955年年初。

Lytton Strachey,Queen Victoria and her Age, an Analysis

#OnThisDay in 1837: Queen Victoria ascends the British throne following death of her uncle, King William IV. Her reign of 63 years and seven months, which is longer than that of any other British monarch and the longest of any female monarch in history, is known as the Victorian era. It was a period of industrial, cultural, political, scientific, and military change within the United Kingdom and was marked by a great expansion of the British Empire.
“When a strong woman recklessly throws away her strength she is worse than a weak woman who has never had any strength to throw away.”- Thomas Hardy, Far from the Madding Crowd





  Lytton Strachey 寫的傳記有漢譯:

Queen Victoria and her Age, an Analysis by Lytton Strachey

www.victorianweb.org/history/victoria/5.html

Dec 23, 2004 - But when it came to his biography of Queen Victoria, first published in 1921, Strachey found himself drawn to his subject's "irresistible sincerity" ...



"They will never see such a sovereign again, and it is not a reign, but an era, which closes with her life". Queen Victoria died on this day in 1901—what we wrote on her passing
What we wrote on her passing, in 1901
ECON.ST

Lytton Strachey - Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Lytton_Strachey

Giles Lytton Strachey (/ˈdʒaɪlz ˈlɪtən ˈstreɪtʃi/; 1 March 1880 – 21 January ... His biography Queen Victoria (1921) was awarded the James Tait Black  ...



Virginia Woolf's friend, writer and critic Lytton Strachey, died in Ham, Wiltshire on this day in 1932 (aged 51). A founding member of the Bloomsbury Group and author of Eminent Victorians, he is best known for establishing a new form of biography in which psychological insight and sympathy are combined with irreverence and wit.
"For I am more selves than Neville thinks. We are not simple as our friends would have us to meet their needs. Yet love is simple."
--from "The Waves" (1931)
Virginia Woolf's husband Leonard Woolf said that in her experimental novel THE WAVES, "there is something of Lytton in Neville." Lytton is also said to have been the inspiration behind the character of St. John Hirst in her novel THE VOYAGE OUT.

2017年6月19日 星期一

“Travels with Charley” John Steinbeck’s 1962/No Wrath, but Some Discontent, When Nobel Prize Was Awarded to Steinbeck


"15 Books to Read Around the Campfire," including IN THE WOODS and TRAVELS WITH CHARLEY: bit.ly/2sIUNCB

Author Christine Carbo (THE WEIGHT OF NIGHT) recommends these 15 nature-filled books to read by the campfire, RV, or even on the couch.
OFFTHESHELF.COM




梅英東最喜愛的作家是諾貝爾文學獎得主、曾當過記者的史坦貝克。史坦貝克小說中的人物,大多是經濟大蕭條時代被輾壓的底層工農人物。
「史坦貝克以前也是記者,他常把新聞故事發展成小說,你住在某地,學習當地的歷史,訪問人,然後你寫小說。我就是在學史坦貝克這件事,我跟著和平隊去某個地方住,然後開始寫作。」
我問梅英東,「你的學生現在還讀史坦貝克嗎?」他給我一個無奈的表情:「他們不讀,但我『強迫』他們讀史坦貝克,還有海明威、歐威爾、吳爾芙……。人們常問:『你如何成為一名作家?』我說就是不停地讀。但我的學生不這麼認為,他們只想寫自己媽媽的故事,我說老天,我再也無法讀更多媽媽的故事了!」https://www.twreporter.org/a/michael-meyer-interview


Today is the 48th anniversary of the death of John Steinbeck, Author (1902-1968), winner of the 1962 Nobel Prize in Literature.
Steinbeck was one of the most popular and decorated American writers of the mid-twentieth century, and many of his books—which include The Grapes of Wrath (winner of the 1940 Pulitzer Prize), Of Mice and MenEast of Eden and many others—continue to be read and loved by millions today.







Travels with Charley By John Steinbeck
Travels with Charley: In Search of America is a travelogue written by American author John Steinbeck. It depicts a 1960 road trip around the United States made by Steinbeck, in the company of his standard poodle, Charley. Wikipedia
查理與我:史坦貝克攜犬橫越美國》 Travels with Charley: In Search of America 約翰史坦貝克著,麥慧芬譯,台北:馬可孛羅出版社,2003,頁127

There in the quiet, with the wind flicking tree branches and distorting the water’s mirror, I cooked improbable dinners in my disposable aluminum pans, made coffee so rich and sturdy it would float a nail, and, sitting on my own back doorsteps, could finally come to think about what I had seen and try to arrange some pattern of thought to accommodate the teemingcrowds of my seeing and hearing.












No Wrath, but Some Discontent, When Nobel Prize Was Awarded to Steinbeck

閱讀

50年後諾貝爾文學獎的「幽靈」

When their best-laid schemes of mice and men, and authors and writing, went awry, the members of the Swedish Academy made the best of what they thought was a bad situation in 1962: they awarded the Nobel Prize in Literature to John Steinbeck. The decision came amid their general dissatisfaction with the candidates for the prize that year, according to documents recently released by the academy.
1962年,瑞典學院(Swedish Academy)的成員們在“人鼠之間”、作家與作品之間所做的精心計劃出了問題,只好在糟糕的狀況下做出他們認為最佳的選擇,於是把諾貝爾文學獎頒給了 約翰·斯坦貝克(John Steinbeck)。根據學會最近披露的文件,當年評委們在文學獎得主問題上存在很大分歧,因此才最終做出了這個決定。
As has become its custom, after a 50-year waiting period the Swedish Academy released documents on the internal deliberation of its committee members as well as a privately kept shortlist for the literary prize, The Guardian said, citing a report in the Svenska Dagbladet of Stockholm.
《衛報》引用斯德哥爾摩《瑞典日報》(Svenska Dagbladet)上的一篇報道,稱根據慣例,瑞典學院在50年保密期後公開了評獎委員會成員的內部評議文件,以及一份秘密保存的文學獎候選人最終名單。
According to The Guardian, 66 authors were put forward for the literature Nobel in 1962, and the list was narrowed down to Steinbeck, Robert Graves, Lawrence Durrell, Karen Blixen and Jean Anouilh. But after looking at the field of contenders a committee member, Henry Olsson, wrote, "There aren't any obvious candidates for the Nobel prize and the prize committee is in an unenviable situation."
根據《衛報》報道,1962年,有66位 作家被提名為文學獎得主,最終名單被縮小到斯坦貝克、羅伯特·格雷夫斯(Robert Graves)、勞倫斯·德雷爾(Lawrence Durrell)、卡倫·布里森(Karen Blixen)和讓·阿努依(Jean Anouilh)。但在看過全部候選人之後,評委會成員亨利·奧爾森(Henry Olsson)寫道:“諾貝爾獎沒有脫穎而出的候選人,評獎委員不是什麼美差。”
Blixen, the Danish author who wrote "Out of Africa" under the pen name Isak Dinesen, became ineligible when she died in September 1962. Graves, whose novels included "I, Claudius," was nonetheless regarded primarily as a poet and Olsson, The Guardian said, was reluctant to give the prize to an Anglo-Saxon poet until Ezra Pound, whose work he greatly admired, died. (Although Olsson objected to Pound's politics.) Durrell's series of novels "The Alexandria Quartet" was not yet considered a significantly substantial body of work (the author had also been passed over in 1961), while Anouilh, the French dramatist, had the bad fortune to come between the 1960 Nobel victory of his countryman Saint-John Perse and the ascent of Jean-Paul Sartre, who would win in 1964.
丹麥作家布里森曾以伊薩克·迪內森 (Isak Dinesen)為筆名創作了《走出非洲》(Out of Africa),她於1962年9月逝世,因此失去了獲獎資格。格雷夫斯的小說包括《我,克勞迪斯》(I, Claudius),但他主要被人們視為詩人。根據《衛報》報道,奧爾森不願把諾貝爾文學獎頒發給盎格魯-撒克遜詩人,直到埃茲拉·龐德(Ezra Pound)去世之後,他非常熱愛龐德的作品,儘管不贊同龐德的政治觀點。德雷爾的系列小說《亞歷山大四重奏》(The Alexandria Quartet)在當時還沒有被公認為傑作,作者亦已於1961年逝世。而法國劇作家阿努依則是運氣不佳,因為1960年諾貝爾文學獎剛剛授予他的同胞聖 瓊·佩斯(Saint-John Perse),與此同時正值讓-保羅·薩特(Jean-Paul Sartre)崛起,後來薩特於1964年獲得諾貝爾獎。
So the prize was given to Steinbeck, whose body of work consisted merely of such enduring novels as "Of Mice and Men," "The Grapes of Wrath," "Cannery Row" and "East of Eden." In awarding the Nobel to Steinbeck, the Swedish Academy offered no public hint of its internal weariness, citing him for being among "the masters of modern American literature" and "for his realistic as well as imaginative writings, distinguished by a sympathetic humor and a keen social perception."
於是這個獎就落入斯坦貝克囊中,他的全部 作品其實只有幾部較為持久不衰的小說,諸如《人鼠之間》(Of Mice and Men)、《憤怒的葡萄》(The Grapes of Wrath)、《罐頭工廠街》(Cannery Row)和《伊甸之東》(East of Eden)。在斯坦貝克的頒獎典禮上,瑞典學院並沒公開暗示自己的內部問題,而是讚美斯坦貝克可以躋身“美國現代文學大師之列”,以及他的“現實主義和富 於想像力的寫作,充滿同情心的幽默感與敏銳的社會意識”。
翻譯:董楠

此文簡單可喜
 “Travels with Charley”  當然台灣已有翻譯
不過 能讀原文更有意思....

Travel books

Steinbeck's journey of rediscovery

Jul 11th 2012, 12:48 by B.R.

IN THE first post of an occasional series, one of the Gulliver correspondents expounds the charms of his favourite travel book...

Debate about John Steinbeck’s 1962 road book, “Travels with Charley”, often coalesces around two questions: Why did he write it? And how much of it is true?
In the opening chapter, Steinbeck says that he decided to wend his lonesome way across America in a camper van, accompanied only by Charley, a sickly poodle, because he was an American writer who had been stuck in New York for too long and had thus grown unfamiliar with his subject: “writing about America, [I] was working from memory, and the memory is at best a faulty, warpy reservoir.” His son, though, tells a different story. The real motivation for the trip, he says, was that Steinbeck thought he was dying, and wanted to say farewell to his homeland.
As for the tale’s veracity, stories abound. It is said that Steinbeck actually spent barely a night in the cramped camper, sometimes staying in glitzy hotels instead. Some claim that he was not often alone, since he had his wife for company. Others say that the conversations he recorded with the many ordinary, and several extraordinary, people he came across were made up.
It is true that the dialogue is perhaps too beautifully crafted to ring true. But this is to miss the point of one of the greatest travelogues ever written. It is churlish to hold beautifully crafted prose against “Travels with Charley”. Indeed, in a book with so much to commend it, the majesty of Steinbeck’s writing is the single biggest draw.
Better to think of it as a poetic tale of rediscovery. From New York he first travels through New England and then across the Midwest to Montana (“of all the states my favourite and my love”). Along the way, Steinbeck finds two countries: one that he recalls and one that is changing and homogenising. In Seattle, he wonders why “progress looks so much like destruction.” He remembers when Salinas, the town of his birth, proudly announced its 4,000th citizen. When he returns it is home to 80,000. “I have never resisted change, even when it has been called progress,” he writes, “and yet I felt resentment toward the strangers swamping what I thought of as my country with noise and clutter and the inevitable rings of junk.”
Having worked his way down through California, Steinbeck takes a left towards the racist South. This leg of the trip has been hanging, unspoken, over the story. He approaches it with the dread of the outsider. “When people are engaged in something they are not proud of, they do not welcome witnesses. In fact, they come to believe the witness causes the trouble.”
He watches a spiteful daily campaign by a group of women calling themselves “the Cheerleaders” against a young black child attending a white school. Twenty times he hears the same joke when people see that he is riding with his dog: “I thought you had a nigger in there!”. After a confrontation with a man he has picked up, who says he would lay down his life to stop his child “going to school with niggers”, Steinbeck decides it is time to wend his way back to New York.
“I early learned the difference between an American and the Americans,” he writes. “They are so far apart that they might be opposites.” In the course of its long journey, the book celebrates both: the underlying fabric of what it is to be an American, and the myriad contrasting individuals who make it up. Generally he still finds a country to love and admire. And even in those encounters one suspects may be mere fiction, there are deep truths to be had.

王陽明及其詩


2017.6.17 漢清講堂:問何懷碩先生葉公超送他的法書。
何先生說是王陽明的詩。他唸一段,李元璋兄接下去念完它--他的博士論文的"主角"是王陽明。  
  我們談他的【王道領導學】ㄧ書應加上王陽明事例。李兄說,可以寫專書。
我說漢清講堂當辦王陽明的討論會。


2017.6.20 李博士回我信

鍾老師好 :

[ 險夷原不滯胸中,何異浮雲過太空。夜靜海濤三萬里,月明飛錫下天風。]
這是王陽明貶謫時所作之詩,以明心志。
葉公受貶,題此詩給一後生年輕人( 何懷碩 ),當有深意焉。
這是做葉公超傳記或心態史之絕佳題材,真希望有幸能得以瞻仰此墨寶。

祝好!

晚 李元璋 上
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王陽明  『伝習録』松岡正剛の千夜千冊
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2015-08-17 儒風大家
心學大師王陽明被稱為 「明第一流人物,立德、立功、立言皆居絕頂」。正因如此,我們在談論王陽明的時候更多的是注重其思想和人格,而忽略他的詩歌和書法。明朝的徐渭說王陽明是「因人掩其書」,王陽明在詩歌和書法上不是沒有成就,而是被他「立德、立功、立言」的名聲掩蓋了。小編精心為大家選擇了陽明先生的詩歌,配上其書法,希望大家可以知道一個更全面的陽明先生。
春行
冬盡西歸滿山雪,春初復來花滿山。
白鷗亂浴清溪上,黃鳥雙飛綠樹間。
物色變遷隨轉眼,人生豈得長朱顏。
好將吾道從吾黨,歸把魚竿東海灣。
這是一首哲理韻味非常濃厚的田園詩。前兩句寫初春的景色,很有田園詩的風格。詩句和意境非常的美,即便放在唐朝,也可以算作一首描寫田園風光的好詩了。
蘭亭次秦行人韻
十里紅塵踏淺沙,蘭亭何處是吾家?
茂林有竹啼殘鳥,曲水無觴見落花。
野老逢人談往事,山僧留客薦新茶。
臨風無限斯文感,回首天章隔紫霞。
這兩首詩都與蘭亭有關,從中似能體會到陽明生前自尋墓地於蘭亭鮮蝦山的悠悠情思。
喜雨(南贛作)
吹角峰頭曉散軍,橫空萬騎下氤氳。
前旌已賀洗兵雨,飛鳥猶驚卷陣雲。
南畝漸欣農事動,東山休共凱歌聞。
正思鋒鏑堪揮淚,一戰功成未足雲。
王陽明曾任南贛巡撫,他在南贛崇義縣打敗以謝志山為首的農民起義軍。王陽明就地勒石紀功,於茶寮石崖絕壁上刻石,取名為「茶寮碑」。這首詩寫的是戰勝以後,返迴路上遇雨的情景。可以看出詩人得志後的豪情,以及軍旅中依然關心農事的細心。
游靖興寺
老樹千年惟鶴住,
深潭百尺有龍蟠。
僧居卻在雲深處,
別作人間境界看。
靖興寺在湖南醴陵西山,相傳為唐代大將李靖所建。這首詩寫靖興寺「鶴住龍蟠」,仙靈之氣十足。前三句都是襯托最後一句的。
憶諸弟
久別龍山雲,時夢龍山雨。
覺來枕簟涼,諸弟在何許。
終年走風塵,何似山中住。
百歲如轉蓬,拂衣從此去。
這首詩的主旨是懷念自己的兄弟,他想念自己曾經居住過的龍山舊居。由此聯想到自己的辛苦的征程,「終年走風塵」,他懷念在山中居住的生活。「轉蓬」是古代做官人常用的比喻,自己做官無定所,隨命遷流諸地,就像飛蓬一樣,被風吹來吹去。「拂衣從此去」,最後一句筆鋒一轉,寫出了自己建功立業的決心。
謫仙樓
攬衣登採石,明月滿磯頭。
天礙烏紗帽,寒生紫綺裘。
江流詞客恨,風景謫仙樓。
安得騎黃鶴,隨公八極游。
謫仙樓又稱太白樓或採石樓,是蕪湖八景之一,後被焚,清康熙元年由太守胡念齋重修,今不存。從詩意分析,本詩作於正德十五年陽明因忠、泰之陷而被拒之蕪湖期間的可能性較大。
《詠良知四首》之一
個個人心有仲尼,
自將聞見苦遮迷。
而今指與真頭面,
只是良知更莫疑。
王陽明認為,人人心裡都有「良知」,人人都有成為聖賢的潛質。不過,世間大多數人的「良知」被自己的偏見妄見所遮蔽,自己並不知道。
《詠良知四首》之二
問君何事日憧憧?
煩惱場中錯用功。
莫道聖門無口訣,
良知兩字是參同。
大本大源是道是至善,良知是認知道和至善的功能,其一直在我們心中,未曾遠離,只是我們日用不知,有時甚至違背之。錯用功就是丟下良知,卻向外找尋善惡之判別依據。
《詠良知四首》之三
人人自有定盤針,
萬化根源總在心。
卻笑從前顛倒見,
枝枝葉葉外頭尋。
「萬化根源總在心」這句意思是說,時間紛繁萬物乃至萬物之間的變化、關係都在人的心中。陽明先生自己笑自己,以前沒有領悟這個道理,卻「枝枝葉葉外頭尋。」,向心外去求,結果只能是緣木求魚。
《詠良知四首》之四
無聲無臭獨知時,
此是乾坤萬有基。
拋卻自家無盡藏,
沿門持缽效貧兒。
這首詩寫得非常的形象。「拋卻自家無盡藏,沿門持缽效貧兒」這兩句刻畫了一幅有趣又略帶諷刺意味的畫面:一個乞丐拿著缽挨家挨戶地去要飯,卻不知道原來自己家裡有個無盡寶藏。這個無盡寶藏就在人的心裡,就是「良知」。這首詩還是在告訴我們,不要外求,要反求諸己。
羅舊驛(居夷作)
客行日日萬峰頭,山水南來亦勝游。
布穀鳥啼村雨暗,刺桐花暝石溪幽。
蠻煙喜過青楊瘴,鄉思愁經芳杜洲。
身在夜郎家萬里,五雲天北是神州。
這首詩描寫了作者被貶貴州龍場驛時的悽苦之調,也流露出了自己的思鄉之情。「布穀鳥啼村雨暗,刺桐花暝石溪幽。」這兩句寫景,有聲音(啼)、有顏色,有花有雨,不輸唐人詩歌。
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原文網址:https://read01.com/4dxBz4.html

2017年6月17日 星期六

Dorothy Parker ( 1893 –1967);Dorothy Parker: What Fresh Hell is This?










Fifty years after her death, Dorothy Parker, master of the one-liner, has survived better than the rest of her New Yorker set

Cocktails, wit and activism: in praise of Dorothy Parker – 50 years on
Fifty years after her death, this master of the one-liner has survived better than the rest of her New Yorker set, but everything you know about her is liable to…
THEGUARDIAN.COM











"Unfortunate Coincidence" by Dorothy Parker
By the time you swear you're his,
Shivering and sighing,
And he vows his passion is
Infinite, undying -
Lady, make a note of this:
One of you is lying.

*
LOVE SONGS AND SONNETS includes Ronsard’s famous sonnets to Helene, Dorothy Parker’s sardonic reflections on men and Anne Bradstreet’s touching poem "To my Husband." Shakespeare is here, of course, and Burnas, whose comparison of his love to a red, red rose remains one of the most celebrated of all poetic similes. This edition also includes a variety of delights by everyone from Thomas Wyatt to Langston Hughes, from Aphra Behn to John Updike. With a Foreword by Peter Washington, and an index of first lines. READ more here: http://www.penguinrandomhouse.com/…/love-songs-and-sonnets…/#


1987 biography by Marion Meade, "Dorothy Parker: What Fresh Hell Is This?".
Dorothy Parker: What Fresh Hell is This?
Penguin, 1987 - Biography & Autobiography - 459 pages

Marion Meade's engrossing and comprehensive biography of one of the twentieth century's most captivating women

In this lively, absorbing biography, Marion Meade illuminates both the charm and the dark side of Dorothy Parker, exploring her days of wicked wittiness at the Algonquin Round Table with the likes of Robert Benchley, George Kaufman, and Harold Ross, and in Hollywood with S. J. Perelman, William Faulkner, and Lillian Hellman. At the dazzling center of it all, Meade gives us the flamboyant, self-destructive, and brilliant Dorothy Parker.
!!!!!



If, with the literate, I am
Impelled to try an epigram,
I never seek to take the credit;
We all assume that Oscar said it.


"Resumé" by Dorothy Parker
Razors pain you; 
Rivers are damp;
Acids stain you;
And drugs cause cramp.
Guns aren’t lawful;
Nooses give;
Gas smells awful;
You might as well live.
待更正
“恢復”的多蘿西帕克
剃須刀痛你;
河流是潮濕的;
酸染色你;
而藥物引起抽筋。
槍是不合法;
套索放棄;
煤氣味道很難聞;
你還不如住。

The New York Review of Books
Happy birthday to Dorothy Parker



What are we to make today of this famous woman who, beginning almost a century ago, has fascinated generations with her wit, flair, talent, and near genius for self-destruction?
NYBOOKS.COM|由 ROBERT GOTTLIEB 上傳




“There’s a hell of a distance between wisecracking and wit.” —Dorothy Parker


The American poet, short story writer, critic and satirist was born on this day in 1893.
THEPARISREVIEW.ORG|由 SADIE STEIN 上傳

Dorothy Parker (August 22, 1893 – June 7, 1967) was an American poet, short story writer, critic, and satirist, best known for her wit, wisecracks and eye for 20th-century urban foibles.


From a conflicted and unhappy childhood, Parker rose to acclaim, both for her literary output in publications such as The New Yorker and as a founding member of the Algonquin Round Table. Following the breakup of the circle, Parker traveled to Hollywood to pursuescreenwriting. Her successes there, including two Academy Award nominations, were curtailed when her involvement in left-wing politics led to a place on the Hollywood blacklist.


Dismissive of her own talents, she deplored her reputation as a "wisecracker." Nevertheless, her literary output and reputation for sharp wit have endured.




Contents
1Early life and education
2Algonquin Round Table years
3Hollywood
4Later life and death
5Posthumous honors
6In popular culture
7See also
8References
9Further reading
10External links



Prince features a song entitled "The Ballad of Dorothy Parker", on his 1987 album Sign o' the Times.[79]


Books by Parker, Dorothy (sorted by popularity)
Displaying results 1–1
Nonsenseorship66 downloads

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