2016年5月30日 星期一

Christopher Marlowe

Christopher Marlowe died on May 30th 1593, under suspicious circumstances. Taking the few known hard facts about his life, Rodney Bolt argues that most accounts are mistaken. Instead, Marlowe lives for years on the run from his enemies, writing "Hamlet" and other plays, and getting Shakespeare, an opportunist with little literary talent, to market them for him

Christopher Marlowe died on this day in 1593
ECON.ST

2016年5月25日 星期三

"I Strove With None"/ Life and Death By Walter Savage Landor 1849


2001年9月,高齡90歲的楊絳捐贈北京清華大學成立「好讀書獎學金」 (可能是夫婦的稿費捐出) 。以英國詩人蘭德(Walter Savage Landor 1775-1864)的小詩《生與死》(Life and Death)幾明志--請注意此短詩的標點符號,我看過中文引用幾個版本:
採用 Wiki的:
https://en.wikipedia.org/wiki/Walter_Savage_Landor

 In 1849 he wrote a well-known epitaph for himself on his 74th birthday.


In Tom Wolfe's "A man in full", Landor's poem "I Strove with None" is mentioned in a discussion in location 8,893 (Kindle).

Landor's "I Strove with None" is also quoted in Somerset Maugham's "The Razor's Edge."



In Josephine Pullein-Thompson's "Pony Club Team" the second novel in her "West Barsetshire Pony Club" series, Landor's "I Strove With None" is quoted by both Noel Kettering and Henry Thornton[17]

Landor's 'I Strove with None' forms the chorus of the Zatopeks' song Death and the Hobo from their album, Damn Fool Music.

Life and Death ——W.S.Landor 楊絳 譯





I strove with none, for none was worth my strife.
Nature I loved, and, next to nature, Art;
I warm'd both hands before the fire of Life;
It sinks, and I am ready to depart.


I strove with none,                    我與誰都不爭,
for none was worth my strife;    與誰爭我都不屑
Nature I loved,                          我愛大自然,
and next to nature, art;             其次就是藝術;
I warmed both hands                 我雙手烤著
before the fire of life;                生命之火取暖;
It sinks,                                   火萎了,
and I am ready to depart.           我願悄然長逝 




我和誰都不爭,和誰爭我都不屑;
我愛大自然, 其次就是藝術;
我雙手烤著,生命之火取暖;
火萎了,我也準備走了。
I strove with none; for none was worth my strife;
Nature I loved, and next to Nature, Art;
I warmed both hands before the fire of life;
It sinks, and I am ready to depart.

2016年5月24日 星期二

The enduring appeal of Pride and Prejudice's Mr Darcy

Love & Friendship, a new Jane Austen adaptation, is a satire of the tropes and narratives that the novelist has become known for—not least the kind of romance between Elizabeth Bennet and "the proudest, most disagreeable man in the world", Mr Darcy, in Pride and Prejudice. What is it about his character that has lingered so long in the public imagination? From The Economist’s 1843 magazine archive

It appears Mr Darcy is for life, not just for the 1800s
ECON.ST

2016年5月22日 星期日

Eloisa to Abelard by Alexander Pope 1717

'How happy is the blameless vestal’s lot!
The world forgetting, by the world forgot.
Eternal sunshine of the spotless mind!
Each pray’r accepted, and each wish resign’d' - Eloisa to Abelard by Alexander Pope who was born on this day in 1688.



Eloisa to Abelard - Poetry Foundation

www.poetryfoundation.org/poem/174158
From Abelard it came,. And Eloisa yet must kiss the name. Dear fatal name! rest ever unreveal'd,. Nor pass these lips in holy silence seal'd. Hide it, my heart, ...




vestal 

Pronunciation: /ˈvɛst(ə)l/ 

ADJECTIVE

1Relating to the Roman goddess Vesta:a vestal temple
1.1literary Chastepure.

NOUN

1.1literary A chaste woman, especially a nun.

2016年5月21日 星期六

Mary Anning. Jane Austen 的小說描述過的地方:英國Lyme Regis 地方及小說家 John Fowles的地方簡史和其二百多年 Belmont House



Mary Anning. Jane Austen 的小說描述過的地方:英國Lyme Regis 地方及小說家 John Fowles的地方簡史和其二百多年 Belmont House

http://hcplace.blogspot.tw/2013/08/lyme-regis-john-fowles-belmont-house.html

2016年5月12日 星期四

Goblin Market and Other Poems:t Christina Rossetti & Dante Gabriel Rossetti



Dante Gabriel Rossetti 
Poet and painter Dante Gabriel Rossetti was born on May 12th 1828. He was key to the foundation of the influential Pre-Raphaelite Brotherhood, which rejected the styles of the Royal Academy and sought "truth to nature"






‪#‎Onthisday‬ in 1830 the poet Christina Rossetti was born. First published at the age of just 17, Rossetti went on to write hundreds of poems - the majority religious - and is perhaps best known for her soul poetry in which an intensity of feelings and emotions is captured with exquisite, painful precision. Works such as 'A Christmas Carol ' (we know it as ‘In the Bleak Midwinter’), 'Goblin Market' and this collection of nursery rhymes called 'Sing Song', helped to make her name and guarantee her position in literary history. http://bit.ly/1lBpxOX
Dante Gabriel Rossetti died ‪#‎onthisday‬ in 1882. Here’s one of his graphite drawings depicting the doomed lovers Paolo and Francesca from Dante's Divine Comedy ow.ly/L88yo




Goblin Market and Other Poems was Christina Rossetti's first volume of poetry, published in 1862. It contains her famous poem "Goblin Market" and others such as "Up-hill", "The Convent Threshold", "Maude Clare", etc. The poem 'In the Round Tower at Jhansi, 8 June 1857' in which a British army officer takes his wife's life and his own so that they do not have to face a horrific and dishonourable death at the hands of the rebelling sepoys commemorates the Jhokan Bagh massacre at Jhansi.[1]



Illustration for the cover of Christina Rossetti's Goblin Market and Other Poems (1862), by her brother Dante Gabriel Rossetti
"Goblin Market" (composed in April 1859 and published in 1862) is a narrative poem by Christina Rossetti. In a letter to her publisher, Rossetti claimed that the poem, which is interpreted frequently as having features of remarkably sexual imagery, was not meant for children. However, in public Rossetti often stated that the poem was intended for children, and went on to write many children's poems. When the poem appeared in her first volume of poetry,Goblin Market and Other Poems, it was illustrated by her brother, the Pre-Raphaelite artist Dante Gabriel Rossetti.

Plot[edit]

"Goblin Market" is about two close sisters, Laura and Lizzie, as well as the goblins to whom the title refers.
Although the sisters seem to be quite young, they live by themselves in a house, and are accustomed to draw water every evening from a stream. As the poem begins, twilight is falling, and as usual, the sisters hear the calls from the goblin merchants, who sell fruits in fantastic abundance, variety and savour. On this evening, Laura lingers at the stream after her sister has left for home, intrigued by the goblins' strange manner and appearance. Wanting fruit but having no money, the impulsive Laura offers a lock of her hair and "a tear more rare than pearl."
Laura gorges on the delicious fruit in a sort of bacchic frenzy, then once she is finished, after picking up one of the seeds, returns home in an ecstatic trance. Lizzie, waiting at home, and "full of wise upbraidings," reminds Laura about the cautionary tale of Jeanie, another girl who, having likewise partaken of the goblin being's fruits, died just at the beginning of winter, after a long and horrible decline, and strangely no grass grows over her grave. Laura dismisses her sister's worries, and says she shall return to the goblins the next night and return with more fruits for herself and Lizzie.
Night has by then fallen, and the sisters go to sleep in their shared bed.
The next day, as Laura and Lizzie go about their work in the house, Laura dreamily longs for the coming evening's meeting with the goblins. But at the stream that evening, as she strains to hear the usual goblin chants and cries, Laura discovers to her horror that, although Lizzie still hears the goblins' voices, she no longer can.
Unable to buy more of the forbidden fruit, and sickening for the lack of it, Laura falls into a slow physical deterioration and depression. As winter approaches, she withers away, aging at an unnatural rate and no longer does her household work. One day she remembers the saved seed and plants it, but nothing grows.
Weeks and months pass, and finally Lizzie realizes that Laura is on the verge of death. Lizzie resolves to visit the goblins to buy some of their fruit, hoping thereby to soothe Laura's pain. Carrying a silver penny, Lizzie goes down to the brook and is greeted in a friendly way by the goblins, who invite her to sit and eat with them. But their attitudes turn malicious when they realize Lizzie wants to pay with mere money and that she intends to carry the fruits home with her for another, not eat them herself. Enraged, the goblins turn vicious and pummel and assault Lizzie, trying to force-feed her the fruits. In the process, they drench the brave girl in fruit juice and pulp.
At last, the goblins give up and Lizzie runs home, hoping that Laura will eat and drink the juice from her body. The dying sister does so but the taste of the fruit repulses her rather than satisfies her hunger; she then undergoes a violent transformation of such intensity that her life seems to hang in the balance.
The next morning, though, Laura has returned to her old self, both physically and mentally. As the last stanza attests, both Laura and Lizzie live to tell their children of the evils of the goblins' fruits—and the incredible powers of sisterly love.

Interpretation[edit]

Since the 1970s, critics have tended to view "Goblin Market" as an expression of Rossetti's feminist (or proto-feminist) and homosexual politics. Some critics suggest the poem is about feminine sexuality and its relation to Victorian social mores. In addition to its clear allusions to Adam and Eveforbidden fruit, and temptation, there is much in the poem that seems overtly sexual,[1] such as when Lizzie, going to buy fruit from the goblins, considers her dead friend Jeanie, "Who should have been a bride; / But who for joys brides hope to have / Fell sick and died", and lines like, "She sucked their fruit globes fair or red"; and "Lizzie uttered not a word;/ Would not open lip from lip/ Lest they should cram a mouthful in;/ But laughed in heart to feel the drip/ Of juice that syruped all her face,/ And lodged in dimples of her chin,/ And streaked her neck which quaked like curd."
The poem's attitude toward this temptation seems ambiguous, since the happy ending offers the possibility of redemption for Laura, while typical Victorian portrayals of the "fallen woman" ended in the fallen woman's death. It is worth noting that although the historical record is lacking, Rossetti apparently began working at Highgate Penitentiary for fallen women shortly after composing "Goblin Market" in the spring of 1859.
According to Antony Harrison of North Carolina State UniversityJerome McGann reads the poem as a criticism of Victorian marriage markets and conveys "the need for an alternative social order". For Sandra Gilbert, the fruit represents Victorian women's exclusion from the world of art.[2] Other scholars – most notably Herbert Tucker – view the poem as a critique on the rise of advertising in pre-capitalist England, with the goblins utilising clever marketing tactics to seduce Laura. J. Hartman, among others, has pointed out the parallels between Laura's experience and the experience of drug addiction. Another interpretation has observed an image of Jesus Christ in Lizzie when she says: "Eat me, drink me, love me."[1] This is imagery used to identify Christ's sacrifice in communion services.
The poem uses an irregular rhyme scheme, often using couplets or ABAB rhymes, but also repeating some rhymes many times in succession, or allowing long gaps between a word and its partner. The metre is also irregular, typically (though not always) keeping four or five stresses, in varying feet, per line. The lines below show the varied stress patterns, as well as an interior rhyme (grey/decay) picked up by the end-rhyme with "away". The initial line quoted here, "bright", rhymes with "night" a full seven lines earlier.
But when the noon waxed bright
Her hair grew thin and grey;
She dwindled, as the fair full moon doth turn
To swift decay, and burn
Her fire away.

Editions[edit]

  • Rossetti, Christina. Goblin Market and Other Poems. 1st Ed. London: Macmillan, 1862. (Binding, frontis and title page by D.G. Rossetti).
  • Rossetti, Christina. Goblin Market. London: Macmillan, 1893. (Illustrator: Laurence Housman)
  • Rossetti, Christina. Goblin Market, Prince's Progress and Other Poems. London: Oxford UP, 1913.
  • Rossetti, Christina. Goblin Market. Philadelphia: J. B. Lippincott Co. Printed in Great Britain by R. & R. Clark, Limited, Edinburgh, 1933. (Illustrator: Arthur Rackham)
  • Rossetti, Christina. Goblin Market. London: George G. Harrap, 1933. (Illustrator: Arthur Rackham)
  • Rossetti, Christina. “Goblin Market.” Playboy September 1973: 115-119. (Illustrator: Kinuko Craft) -- also includes nude photography
  • Rossetti, Christina. Goblin Market. London: Victor Gollancz, 1980. (Illustrator: Martin Ware)
  • Rossetti, Christina. “Goblin Market.” Pathways to Fantasy July 1984: 9-18.




The poet Christina Rossetti was born ‪#‎onthisday‬ in 1830.‪#‎DiscoverLiterature‬ to see Goblin Market and Other Poems, her first volume of poetry published in 1862. http://bit.ly/1ym0vm0

"That Music Always Round Me" by Walt Whitman

"That Music Always Round Me" by Walt Whitman
That music always round me, unceasing, unbeginning, yet long
untaught I did not hear,
But now the chorus I hear and am elated,
A tenor, strong, ascending with power and health, with glad notes
of daybreak I hear,
A soprano at intervals sailing buoyantly over the tops of immense
waves,
A transparent base shuddering lusciously under and through the
universe,
The triumphant tutti, the funeral wailings with sweet flutes and
violins, all of these I fill myself with,
I hear not the volumes of sound merely, I am moved by the
exquisite meanings,
I listen to the different voices winding in and out, striving,
contending with fiery vehemence to excel each other in
emotion;
I do not think the performers know themselves—but now I think I
begin to know them.




Tutti - Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Tutti
Tutti is an Italian word literally meaning all or together and is used as a musical term, for the whole orchestra as opposed to the soloist. It is applied similarly to choral music, where the whole section or choir is called to sing.

2016年5月8日 星期日

Love in a Life by Robert Browning / Epilogue to Asolando By Robert Browning




改1999年(1999/04)之舊作:雖然忠樸過世多年。我們這些世人繼續尋覓…..

(1998)十月十日,從永和出來,秋高氣爽。…走經台大校園,與一些樹打招呼。從新生南路側門出校園。有一少年騎一輛新機車;他的同伴,新車造型、設計,極盡"疼愛、撫摸" 、"品評"之能事。這,讓我知道自已不年青了,因為我已沒有騎美車雲遊天下之志。
進辦公室,寫點東西,從網路上知道到你的網站周年慶,並有「承諾的樂趣」。由於台大校內海報故意把「五四」戲寫成「舞肆」,想起名著《五四運動史》作者周策縱先生,他才富五車,在文選《棄園文粹》中第九九則,談王靜安的「…頻摸索,且攀躋,千門萬戶是耶非?人問總是堪疑處,唯有茲疑不可疑。」

周先生說,此《鷓鴣天》甚莊嚴深遠。「此種無盡追求之意境,比 靜安 自己新云古今之成大事業大學問者必須之三種境界,皆更高深。」
(鷓鴣天

閣道風飄五丈旗,層樓突兀與雲齊,空餘明月連錢列,不照紅葩倒井批。
頻摸索,且攀躋,千門萬戶是耶非?人間總是堪疑處,唯有茲疑不可疑。)

周先生並以白郎寧(Robert Browning 1812-83)《有終生的愛》(Love in a Life)──詩和之。我轉錄來作為我們這些中文網站開拓者的賀禮:



一間房又一間房,
我找遍了這院子,
我們同住在這裡。
心啊,一點也別怕,因為,心,你會找到她,
下次,會找到她本人!──不是她所留下來的
簾內的煩惱,床上的芳香!
那壁上的花環,經她拂拭後又開花了:
那兒明鏡對著她翠翹的搖顫也閃光了。

但是日子不斷消磨,
還是一條門又一條門?
我永遠摸索著新的命運──
從廂房到正廳,找遍了這大廈。
老是這麼個緣法!我進來時她偏出去了。
我尋了一整天,──別管吧!
可是你知道,天快黑了,──還有那麼多的房間要探索,
那麼多的私屋要尋找,那麼多的幽室要瀆求!
----
Love in a Life
by Robert Browning

I

Room after room,
I hunt the house through
We inhabit together.
Heart, fear nothing, for, heart, thou shalt find her,
Next time, herself! -not the trouble behind her
Left in the curtain, the couch's perfume!
As she brushed it, the cornice-wreath blossomed anew, -
Yon looking-glass gleamed at the wave of her feather.

II

Yet the day wears,
And door succeeds door;
I try the fresh fortune -
Range the wide house from the wing to the centre.
Still the same chance! she goes out as I enter.
Spend my whole day in the quest, -who cares?
But 'tis twilight, you see, -with such suites to explore,
Such closets to search, such alcoves to importune!




《勃朗寧詩選‧阿索朗多結尾詩》Epilogue to Asolando By Robert Browning

 

Robert Browning - Wikipedia, the free encyclopedia

勃朗宁诗选

作者: [英] 罗伯特·勃朗宁
出版社: 海天出版社
译者: 汪晴 / 飞白
出版年: 1999-9
页数: 435
定价: 26.00元
装帧: 平装
ISBN: 9787806159972

内容简介  · · · · · ·

目录  · · · · · ·

目录
译者前言
解读勃朗宁(译者附言)
波菲利雅的情人(1836)
疯人心理――爱之谋杀
我的前公爵夫人(1842)
令人惊叹的典型形象
西班牙修道院里的独白 (1842)
虔诚的外表包不住一肚子坏水
在贡多拉船上(1842)
爱的力量胜过死
哈梅林的花衣吹笛人(1842)
不遵守诺言的报应
药作坊(1844)
妒极而狂
他们如何把好消息从根特送到艾克斯(1845)
生命的价值在搏斗
失去的恋人(1845)
当求婚遭到婉拒之时
海外乡思(1845)
为了免得你猜想
圣普拉西德教堂的主教吩咐后事(1845)
文艺复兴时代的世俗奇观
忏悔室(1845)
一声愤怒的呐喊
夜半相会(1845)
清晨离别(1845)
爱的销魂并不是一切
在村舍――在城里(1855)
意大利:优美的乡村,有趣的城市
一个女人的最后的话(1855)
温情的和解?羞辱的屈从?
利波・利比兄弟 (1855)
热爱生活的艺术家,艰苦奋斗的创新者
加卢皮的托卡塔曲(1855)
轻触生命之谜的三重奏
一封书信,包含阿拉伯医生卡西什的
奇异的医学经历(1855)
一个到过天堂的人的烦恼
村舍小夜曲 (1855)
单恋者的心曲
罗兰公子来到了暗塔(1855)
神秘的旅程
骑马像和胸像(1855)
尽真心去爱,尽全力去做
一生中的爱(1855)
爱中的一生(1855)
追寻,无悔
这如何打动了一个同时代人(1855)
勃朗宁心目中的诗人形象
最后一次同乘(1855)
多情不被无情恼
难忘的记忆(1855)
一瓣心香祭诗魂
安德烈,裁缝之子(1855)
“完美”咏叹调
盛 名(1855)
创新者终将大放光芒
异端分子的悲剧(!855)
残酷的上帝和同样残酷的信徒
荒郊情侣(1855)
在荒郊发生了什么事?
语法学家的葬礼(1855)
安能辨我是“圣”、“愚”?
金 发(1864)
圣人摔歪了一点
凯利班谈论塞提柏斯或岛上的自然神学(1864)
人是这样造上帝的吗?
忏 悔(1864)
放弃“天国”入场券的人
青春和艺术(1864)
幸福在哪里?
指环与书〔节选:第7卷《庞碧丽雅》选段〕(1869)
少女之死
天然的魔力(1876)
魔力的天然 (1876)
仙女之奴(1876)
千古之谜大家猜
体 面(1876)
所罗门和芭尔吉丝 (1886)
宁愿要一个“傻瓜的吻”
诗 学 (1889)
莱 凡(1889)
还是地球好
阿索朗多结尾诗(1889)
希望和勇气是他给世人的永久礼物
附录.勃朗宁年表




《勃朗寧詩選阿索朗多結尾詩Epilogue to Asolando..汪晴和飛白合譯,深 海天,1999,頁431-33
Title:     Epilogue To "Asolando"
Author: Robert Browning [
More Titles by Browning]
At the midnight in the silence of the sleep-time,
When you set your fancies free,
Will they pass to where--by death, fools think, imprisoned--
Low he lies who once so loved you whom you loved so,
--Pity me?
Oh to love so, be so loved, yet so mistaken!
What had I on earth to do
With the slothful, with the mawkish, the unmanly?
Like the aimless, helpless, hopeless, did I drivel
--Being--who?
One who never turned his back but marched breast forward,
Never doubted clouds would break,
Never dreamed, tho' right were worsted, wrong would triumph,
Held we fall to rise, are baffled to fight better,
Sleep to wake.
No, at noonday in the bustle of man's work-time
Greet the unseen with a cheer!
Bid him forward, breast and back as either should be,
"Strive and thrive!" cry "Speed,--fight on, fare ever
There as here!"

NOTE
EPILOGUE TO ASOLANDO. (PAGE 94.)
Sharp's _Life of Browning_ has the following passage: "Shortly before the great bell of San Marco struck ten, he turned and asked if any news had come concerning _Asolando_, published that day. His son read him a telegram from the publishers, telling how great the demand was, and how favorable were the advance articles in the leading papers. The dying poet turned and muttered, 'How gratifying!' When the last toll of St. Mark's had left a deeper stillness than before, those by the bedside saw a yet profounder silence on the face of him whom they loved."

[The end]
Robert Browning's poem: Epilogue To "Asolando"
http://www.youtube.com/watch?v=H6MZk_32TFs







"Life In A Love" by Robert Browning, who died in Venice, Italy on this day in 1889 (aged 77).
Escape me?
Never---
Beloved!
While I am I, and you are you,
So long as the world contains us both,
Me the loving and you the loth
While the one eludes, must the other pursue.
My life is a fault at last, I fear:
It seems too much like a fate, indeed!
Though I do my best I shall scarce succeed.
But what if I fail of my purpose here?
It is but to keep the nerves at strain,
To dry one's eyes and laugh at a fall,
And, baffled, get up and begin again,---
So the chace takes up one's life ' that's all.
While, look but once from your farthest bound
At me so deep in the dust and dark,
No sooner the old hope goes to ground
Than a new one, straight to the self-same mark,
I shape me---
Ever
Removed!




Robert Browning and Elizabeth Barrett Browning are without parallel in the nineteenth century: celebrated poets, they became equally famous for their marriage. Still popular more than a century after their deaths, their poetry vividly reflects the unique nature of their relationship. This collection presents the Brownings’ work in the context of their lives: the early years and their initial friendship, their courtship and marriage, the fifteen happy years they spent living in Italy until Elizabeth’s death. Whether in short poems such as Elizabeth’s “Hector in the Garden” and Robert’s “Natural Magic,” or in extracts from longer works such as Aurora Leigh and Pauline, the great themes they shared are all represented: love, marriage, illicit passion, England and Italy, childhood, religion, poetry, and nature. Elizabeth’s famous Sonnets from the Portuguese, based on their love affair, is included in its entirety. The poems are augmented with a generous selection of the marvelous letters the Brownings wrote to each other.