2014年8月23日 星期六

Symbols by William Butler Yeats 象徵(楊憲益譯 );其他多篇




Symbols by William Butler Yeats 

Symbols by William Butler Yeats
A storm-beaten old watch-tower,
A blind hermit rings the hour.

All-destroying sword-blade still
Carried by the wandering fool.

Gold-sewn silk on the sword-blade,
Beauty and fool together laid.


象徵
(楊憲益譯 )

一座暴風雨摧折的老更樓,
一個瞎眼的隱遁者按時敲鐘。

所向無敵的劍鋒依舊
絭養的家臣流浪帶著。

劍鋒上金織的絲鏽覆著,
美人和家臣一起躺下臥著。


POEMS BY W.B. YEATS:


Hearing voices allowed Charles Dickens to create extraordinary fictional worlds



Hearing voices allowed Charles Dickens to create extraordinary fictional worlds

The novelist said he did not invent, but merely recorded what he heard and saw. This prompts questions about the act of writing

• Hearing voices: What's your experience when reading?
Dickens' Dream, Robert William Buss, Charles Dickens Museum
Dickens' Dream … Charles Dickens in his Gad’s Hill Place study, in Higham, Kent, conjuring up his characters while asleep. Detail from the watercolour sketch by Robert William Buss. Courtesy of The Charles Dickens Museum
Evelyn Waugh's A Handful of Dust (1934) ends with its protagonist, Tony Last, trapped in the Brazilian jungle by his captor, Mr Todd, who compels him to read aloud the complete works of Charles Dickens, in sequence, over and over, without end – or escape. It's a fantastically dark conceit: the great Victorian novelist as the sadist's accomplice. It also links Dickens to the possibility that there is something potentially oppressive, even imprisoning, in experiencing the human voice. Voices, it suggests, may tyrannise the mind.
Waugh linked Dickens elsewhere with hearing voices. In The Ordeal of Gilbert Pinfold (1957), most notably, the middle-aged writer Pinfold suffers an acute mental crisis while at sea, repeatedly hearing the thrum of human voices coming from the ship's pipes. Or so he assumes: in fact, these voices are persistent, imaginary, and unsolicited – that is, auditory verbal hallucinations, seemingly related to Pinfold's dependency on alcohol and sedatives (Waugh wrote from first-hand experience). The voices follow Pinfold around wherever he wanders on the ship, causing increasing perturbation. And the ship's captain has the unmistakably Dickensian name Steerforth (after James Steerforth in David Copperfield, another sadistic master).
Most modern readers may feel instinctively that literary experience has much in common with the act of overhearing. Reading fiction is a process of allowing characters' voices to sound in the inner ear, and absorbing the imagined noise they make (magically cued by curls of ink on a page). It's common to think of writers, too, building fictional worlds through voices, as if creativity begins as a subtle internal overhearing. The analogy between imagining and hearing certainly runs deep in our myths of culture. Inspiration, that theory of composition at once ancient, Romantic, and modern, tells us that creativity ignites by admitting some mysterious other voice into the writer's flow of being. To write means having one's voice disrupted, taken over, rendered by another. Dickens believed this, too.
Later in his career, Dickens's vocal impersonations of his own characters gave this truth a theatrical form: the public reading tour. Although wisdom has it that "doing" the different voices of his cherished characters hastened his death, no other Victorian could match him for celebrity, earnings, and sheer vocal artistry. The Victorians craved the author's multiple voices: between 1853 and his death in 1870, Dickens performed about 470 times. "Amid all the variety of 'readings', those of Mr Charles Dickens stand alone," beamed the Times in 1868. Edgar Johnson, his first post-Freudian biographer, wrote in the 1950s: "It was [always] more than a reading; it was an extraordinary exhibition of acting that seized upon its auditors with a mesmeric possession."
Hearing voices and inventing character were also indivisible aspects of his creativity. Dickens understood his astonishing writing practice as the summoning of voices. "Every word said by his characters was distinctly heard by him," one critic stressed in 1872. Dickens himself considered his novels to come from some autonomous source beyond volition, as he wrote to his friend John Forster: "when I sit down to my book, some beneficent power shows it all to me, and tempts me to be interested, and I don't invent it – really do not – but see it, and write it down". How literally he meant this is hard to judge. But allowing in unsolicited presences was central to his self-understanding as a writer. Mrs Gamp, the disreputable nurse from Martin Chuzzlewit, intruded repeatedly on Dickens when he was writing that novel, "whispering to him in the most inopportune places – sometimes even in church – that he was compelled to fight her off by force", as the American writer JM Peebles later put it.
Like mesmerism, which he took up, illusion and hallucination were topics of serious interest to Dickens. An essay of 1857, My Ghosts, published in his own journal Household Words, explored these fragile mental states. And his fiction features unanchored voices, such as in his 1866 Christmas story The Signal-Man, which begins with the sudden intrusion of an unidentified voice bellowing "Halloa!" out of nowhere. Members of theinternational hearing voices movement today argue that voices represent a part of the person that wants to be heard and acknowledged. Whether modern theories help us to better understand Dickens, or vice versa, seems unclear. But he was an exemplary source of voices, as both a writer and performer, in ways that should ask us to consider how we culturally frame literary creativity, inner speech and audition, and unusual mental experience.
* Peter Garratt is a lecturer in the department of English studies at Durham University and a participating researcher on the Hearing the Voice project.

2014年8月18日 星期一

A Spell before Winter by Howard Nemerov


A Spell before Winter

After the red leaf and the gold have gone,
Brought down by the wind, then by hammering rain
Bruised and discolored, when October's flame
Goes blue to guttering in the cusp, this land
Sinks deeper into silence, darker into shade.
There is a knowledge in the look of things,
The old hills hunch before the north wind blows.

Now I can see certain simplicities
In the darkening rust and tarnish of the time,
And say over the certain simplicities,
The running water and the standing stone,
The yellow haze of the willow and the black
Smoke of the elm, the silver, silent light
Where suddenly, readying toward nightfall,
The sumac's candelabrum darkly flames.
And I speak to you now with the land's voice,
It is the cold, wild land that says to you
A knowledge glimmers in the sleep of things:
The old hills hunch before the north wind blows. 


Kang-i Sun Chang 新增了 2 張相片。
7小時 · 
Many many thanks to Jiayan Mi 米佳燕 for taking us to the Scott and Hella McVay Poetry Trail in Princeton, where I found this poem by my former teacher Howard Nemerov (1920-1991).
收回讚*****


The Desuetude of Howard Nemerov - Cosmoetica

www.cosmoetica.com/TOP54-DES51.htm


  Howard Nemerov was born March 1, 1920 in New York, New York. He graduated from the Society for Ethical Culture's Fieldstone School in 1937 and went on to study at Harvard, earning a bachelor's degree in 1941. Throughout World War II, he served as a pilot in the Royal Canadian unit of the U. S. Army Air Force. He married in 1944, and after the war returned to New York with his wife to complete his first book. He then began teaching, first at Hamilton College and later at Bennington College, Brandeis University, and Washington University, where he was Distinguished Poet in Residence from 1969 until his death.
  Nemerov's numerous collections of poetry include Trying Conclusions: New and Selected Poems, 1961-1991 (University of Chicago Press, 1991); The Collected Poems of Howard Nemerov (1977), which won the Pulitzer Prize, the National Book Award, and the Bollingen Prize; The Winter Lightning: Selected Poems (1968); Mirrors and Windows (1958); The Salt Garden (1955); and The Image of the Law(1947). His novels have also been commended; they include The Homecoming Game (1957), Federigo: Or the Power of Love (1954), and The Melodramatists (1949). Nemerov received many awards and honors, among them fellowships from The Academy of American Poets and The Guggenheim Foundation, a National Endowment for the Arts grant, and the National Medal of the Arts. He served as poetry consultant to the Library of Congress in 1963 and 1964, as a Chancellor of The Academy of American Poets beginning in 1976, and as poet laureate of the United States from 1988 to 1990. Nemerov died of cancer in 1991 in University City, Missouri.


Kang-i Sun Chang 新增了 2 張相片。
28分鐘 · 
The last time I studied with the poet Howard Nemerov was in spring 1973. The last assignment I did in his class was a poem in imitation of Emily Dickinson. Nemerov was a Formalist, to whom rhyme and meter were absolutely important. He died of cancer on July 5, 1991. To this date I'm grateful to him for his mentorship.

2014年8月1日 星期五

Virginia Woolf, To the Lighthouse


https://www.facebook.com/VirginiaWoolfAuthor

可查Wikipedia

Text:http://www.gutenberg.net.au/ebooks01/0100101.txt
16


Well then, Nancy had gone with them, Mrs. Ramsay supposed, wondering, as
she put down a brush, took up a comb, and said "Come in" to a tap at
the door (Jasper and Rose came in), whether the fact that Nancy was
with them made it less likely or more likely that anything would
happen; it made it less likely, somehow, Mrs. Ramsay felt, very
irrationally, except that after all holocaust on such a scale was not
probable. They could not all be drowned. And again she felt alone in
the presence of her old antagonist, life.
“And again she felt alone in the presence of her old antagonist, life.”
— Virginia Woolf, To the Lighthouse