2017年1月29日 星期日

from Ezra Pound’s “In a Station of the Metro” to William Carlos Williams’s “Prelude to Winter,”

"In a Station of the Metro" by Ezra Pound (1885-1972)
The apparition of these faces in the crowd;
Petals on a wet, black bough.
*
Simple yet capable of great complexity, the haiku is a tightly structured verse form that has a remarkable power to distill the essence of a moment keenly perceived. For centuries confined to a small literary elite in Japan, the writing of haiku is now practiced all over the world by those who are fascinated by its combination of technical challenge, expressive means, and extreme concentration. This anthology brings together hundreds of haiku by the Japanese masters–Basho, Issa, Buson, Shiki–with superb examples from nineteenth- and twentieth-century writers. The pioneering translator R. H. Blyth believed that the spirit of haiku is present in all great poetry; inspired by him, the editor of this volume has included lines from such poets as Wordsworth, Keats, Tennyson, Thoreau, and Hopkins, presented here in haiku form. Following them are haiku and haiku-influenced poems of the twentieth century–from Ezra Pound’s “In a Station of the Metro” to William Carlos Williams’s “Prelude to Winter,” and from the irreverence of Jack Kerouac to the lyricism of Langston Hughes. The result is a collection as compact, dynamic, and scintillating as the form itself. READ more here: http://www.penguinrandomhouse.com/…/haiku-by-peter-washing…/

2017年1月14日 星期六

these beautiful 19th-Century illustrations of William Shakespeare plays

BBC Culture 分享了 BBC Shakespeare 的影片
Take a look at these beautiful 19th-Century illustrations of William Shakespeare plays.

33,756 次觀看
BBC Shakespeare
ons from 19th Century Complete Works online. And they're beautiful. Search the complete archive here: http://bit.ly/2gPW3Lc.

2017年1月11日 星期三

"Oft expectation fails, and most oft there Where most it promises; and oft it hits, Where hope is coldest, and despair most shifts."

今天比較認真地讀此段英文:查hit、shift 等字在莎士比亞中的意義:中文無法有原文的力量。

Hanching Chung 分享了 William Shakespeare 的相片
最有把握的希望,往往結果終於失望;最少希望的事情,反而出人意外地成功。 (《終成眷屬》朱生豪譯;吳興華校)
William Shakespeare
"Oft expectation fails, and most oft there
Where most it promises; and oft it hits,
Where hope is coldest, and despair most shifts."
--Helena from "All's Well That Ends Well" (2.1)

2017年1月10日 星期二

Pomegranate石榴 Valéry's Muse of Many Seeds

Pomegranate石榴 Valéry's Muse of Many Seeds

2008年10月,"南風吹過廚房"的主人給的沙拉有十幾樣菜。William Scherkenbach夫人都沒嘗過紫色透黃的粒粒晶瑩石榴子David Hsu拿起手機找它的英文拼寫。
想起Paul Valery的詩。

LES GRENADES (POMEGRANATES): Valéry's Muse of Many Seeds


有漢譯
POMEGRANATES, by             Poet's Biography
First Line: Hard pomegranates sundered
Last Line: Its secret architecture.
Subject(s): Pomegranates


Hard pomegranates sundered
By excess of your seeds,
You make me think of mighty brows
Aburst with their discoveries!

If the suns you underwent,
O pomegranates severed,
Wrought your essence with the pride
To rend your ruby segments,

And if the dry gold of your shell
At instance of a power
Cracks in crimson gems of juice,

This luminous eruption
Sets a soul to dream upon
Its secret architecture.



後來,超商內有美國進口的。
您買來,剝出滿滿的驚喜。

Dear David Hsu請再查一次:分享
David Hsu
David Hsu 還勉強記得那一頓大餐,其他的全忘了。Pomegranate

2017年1月7日 星期六

Literary detective Heather Wolfe cracked the case of Shakespeare’s identity


Guardian culture 分享了 1 條連結
Literary detective Heather Wolfe reveals how her passion for manuscripts helped unravel mystery of who the bard really was
WWW.THEGUARDIAN.COM|由 ROBERT MCCRUM 上傳

It’s at this point in the story that Wolfe discovered “the smoking gun”. In the Brooke-Dethick feud, it becomes clear that “Shakespeare, Gent. from Stratford” and “Shakespeare the Player” are the same man. In other words, “the man from Stratford” is indeed the playwright. Crucially, in the long-running “authorship” debate, this has been a fiercely contested point. But Wolfe’s research nails any lingering ambiguity in which the Shakespeare deniers can take refuge.
Wolfe is circumspect about making extravagant claims. Speaking carefully, she says that her manuscript discoveries fill in gaps, illuminating Shakespeare’s character. “They point to someone actively involved in defining and defending his legacy in 1602, shortly after his father’s death.”
For Wolfe, it’s Shakespeare the man who breaks cover here. “He’s defending his legacy not only as a playwright but, most importantly to him, as a gentleman.” The derogatory references to arms belonging to “Shakespeare ye player”, she says, show that “he’s playing the same game as everyone else in the period, purchasing land in Stratford to support his case to ‘ancient’ gentility, rather than through his astonishing professional success”.
James Shapiro, bestselling author of 1599, who is persuaded by Wolfe’s discoveries, compares her to “a Sherlock Holmes of the archives”. Shapiro says that Wolfe “has had the intellectual independence to see what others have overlooked, the skills to make sense of what she has stumbled upon and the modesty not to trumpet the larger implications of those finds. But make no mistake: they are enormously consequential.”
For Shapiro, Wolfe’s work suggests future breakthroughs. “I doubt that these are the last archival treasures she will unearth. Her recent finds sharpen our sense of Shakespeare’s dogged pursuit of upward mobility. And it is one more nail in the coffin of those who can’t bring themselves to acknowledge that the glover’s son from Stratford was also the successful man of the theatre who left us so many extraordinary plays.”
Wolfe says she looks forward to “poking about” in the archives, and is convinced that Shakespeare’s identity no longer needs re-confirmation. “There is such a wealth of evidence out there that he’s the playwright.” She adds: “I’m sure there’s more untapped material waiting to be uncovered. Additional finds will certainly help us understand his life – as much as we can understand anyone’s life from 400 years ago.”


2017年1月1日 星期日

T. S. Eliot's Little Gidding


Dominic Cheung 新增了 2 張相片
昨天 1:14
我心中沒有歲月時間,也沒有跨年。世間日子,只告訴你一個名字和一段過往。
What we call the beginning is often the end. And to make an end is to make a beginning. The end is where we start from.
T. S. Eliot


T. S. Eliot's Little Gidding

Little Gidding
I
Midwinter spring is its own season
Sempiternal though sodden towards sundown,
Suspended in time, between pole and tropic.
When the short day is brightest, with frost and fire,
The brief sun flames the ice, on pond and ditches,
In windless cold that is the heart's heat,
Reflecting in a watery mirror
A glare that is blindness in the early afternoon.
And glow more intense than blaze of branch, or brazier,
Stirs the dumb spirit: no wind, but pentecostal fire
In the dark time of the year. Between melting and freezing
The soul's sap quivers. There is no earth smell
Or smell of living thing. This is the spring time
But not in time's covenant. Now the hedgerow
Is blanched for an hour with transitory blossom
Of snow, a bloom more sudden
Than that of summer, neither budding nor fading,
Not in the scheme of generation.
Where is the summer, the unimaginable Zero summer?
If you came this way,
Taking the route you would be likely to take
From the place you would be likely to come from,
If you came this way in may time, you would find the hedges
White again, in May, with voluptuary sweetness.
It would be the same at the end of the journey,
If you came at night like a broken king,
If you came by day not knowing what you came for,
It would be the same, when you leave the rough road
And turn behind the pig-sty to the dull facade
And the tombstone. And what you thought you came for
Is only a shell, a husk of meaning
From which the purpose breaks only when it is fulfilled
If at all. Either you had no purpose
Or the purpose is beyond the end you figured
And is altered in fulfilment. There are other places
Which also are the world's end, some at the sea jaws,
Or over a dark lake, in a desert or a city--
But this is the nearest, in place and time,
Now and in England.
If you came this way,
Taking any route, starting from anywhere,
At any time or at any season,
It would always be the same: you would have to put off
Sense and notion. You are not here to verify,
Instruct yourself, or inform curiosity
Or carry report. You are here to kneel
Where prayer has been valid. And prayer is more
Than an order of words, the conscious occupation
Of the praying mind, or the sound of the voice praying.
And what the dead had no speech for, when living,
They can tell you, being dead: the communication
Of the dead is tongued with fire beyond the language of the living.
Here, the intersection of the timeless moment
Is England and nowhere. Never and always.
II
Ash on an old man's sleeve
Is all the ash the burnt roses leave.
Dust in the air suspended
Marks the place where a story ended.
Dust inbreathed was a house-
The walls, the wainscot and the mouse,
The death of hope and despair,
This is the death of air.
There are flood and drouth
Over the eyes and in the mouth,
Dead water and dead sand
Contending for the upper hand.
The parched eviscerate soil
Gapes at the vanity of toil,
Laughs without mirth.
This is the death of earth.
Water and fire succeed
The town, the pasture and the weed.
Water and fire deride
The sacrifice that we denied.
Water and fire shall rot
The marred foundations we forgot,
Of sanctuary and choir.
This is the death of water and fire.
In the uncertain hour before the morning
Near the ending of interminable night
At the recurrent end of the unending
After the dark dove with the flickering tongue
Had passed below the horizon of his homing
While the dead leaves still rattled on like tin
Over the asphalt where no other sound was
Between three districts whence the smoke arose
I met one walking, loitering and hurried
As if blown towards me like the metal leaves
Before the urban dawn wind unresisting.
And as I fixed upon the down-turned face
That pointed scrutiny with which we challenge
The first-met stranger in the waning dusk
I caught the sudden look of some dead master
Whom I had known, forgotten, half recalled
Both one and many; in the brown baked features
The eyes of a familiar compound ghost
Both intimate and unidentifiable.
So I assumed a double part, and cried
And heard another's voice cry: "What! are you here?"
Although we were not. I was still the same,
Knowing myself yet being someone other--
And he a face still forming; yet the words sufficed
To compel the recognition they preceded.
And so, compliant to the common wind,
Too strange to each other for misunderstanding,
In concord at this intersection time
Of meeting nowhere, no before and after,
We trod the pavement in a dead patrol.
I said: "The wonder that I feel is easy,
Yet ease is cause of wonder. Therefore speak:
I may not comprehend, may not remember."
And he: "I am not eager to rehearse
My thoughts and theory which you have forgotten.
These things have served their purpose: let them be.
So with your own, and pray they be forgiven
By others, as I pray you to forgive
Both bad and good. Last season's fruit is eaten
And the fullfed beast shall kick the empty pail.
For last year's words belong to last year's language
And next year's words await another voice.
But, as the passage now presents no hindrance
To the spirit unappeased and peregrine
Between two worlds become much like each other,
So I find words I never thought to speak
In streets I never thought I should revisit
When I left my body on a distant shore.
Since our concern was speech, and speech impelled us
To purify the dialect of the tribe
And urge the mind to aftersight and foresight,
Let me disclose the gifts reserved for age
To set a crown upon your lifetime's effort.
First, the cold fricton of expiring sense
Without enchantment, offering no promise
But bitter tastelessness of shadow fruit
As body and sould begin to fall asunder.
Second, the conscious impotence of rage
At human folly, and the laceration
Of laughter at what ceases to amuse.
And last, the rending pain of re-enactment
Of all that you have done, and been; the shame
Of things ill done and done to others' harm
Which once you took for exercise of virtue.
Then fools' approval stings, and honour stains.
From wrong to wrong the exasperated spirit
Proceeds, unless restored by that refining fire
Where you must move in measure, like a dancer."
The day was breaking. In the disfigured street
He left me, with a kind of valediction,
And faded on the blowing of the horn.
III
There are three conditions which often look alike
Yet differ completely, flourish in the same hedgerow:
Attachment to self and to things and to persons, detachment
From self and from things and from persons; and, growing between them, indifference
Which resembles the others as death resembles life,
Being between two lives - unflowering, between
The live and the dead nettle. This is the use of memory:
For liberation - not less of love but expanding
Of love beyond desire, and so liberation
From the future as well as the past. Thus, love of a country
Begins as an attachment to our own field of action
And comes to find that action of little importance
Though never indifferent. History may be servitude,
History may be freedom. See, now they vanish,
The faces and places, with the self which, as it could, loved them,
To become renewed, transfigured, in another pattern.
Sin is Behovely, but
All shall be well, and
All manner of thing shall be well.
If I think, again, of this place,
And of people, not wholly commendable,
Of not immediate kin or kindness,
But of some peculiar genius,
All touched by a common genius,
United in the strife which divided them;
If I think of a king at nightfall,
Of three men, and more, on the scaffold
And a few who died forgotten
In other places, here and abroad,
And of one who died blind and quiet,
Why should we celebrate
These dead men more than the dying?
It is not to ring the bell backward
Nor is it an incantation
To summon the spectre of a Rose.
We cannot revive old factions
We cannot restore old policies
Or follow an antique drum.
These men, and those who opposed them
And those whom they opposed
Accept the constitution of silence
And are folded in a single party.
Whatever we inherit from the fortunate
We have taken from the defeated
What they had to leave us - a symbol:
A symbol perfected in death.
And all shall be well and
All manner of thing shall be well
By the purification of the motive
In the ground of our beseeching.
IV
The dove descending breaks the air
With flame of incandescent terror
Of which the tongues declare
The one dischage from sin and error.
The only hope, or else despair
Lies in the choice of pyre of pyre-
To be redeemed from fire by fire.
Who then devised the torment? Love.
Love is the unfamiliar Name
Behind the hands that wove
The intolerable shirt of flame
Which human power cannot remove.
We only live, only suspire
Consumed by either fire or fire.
V
What we call the beginning is often the end
And to make and end is to make a beginning.
The end is where we start from. And every phrase
And sentence that is right (where every word is at home,
Taking its place to support the others,
The word neither diffident nor ostentatious,
An easy commerce of the old and the new,
The common word exact without vulgarity,
The formal word precise but not pedantic,
The complete consort dancing together)
Every phrase and every sentence is an end and a beginning,
Every poem an epitaph. And any action
Is a step to the block, to the fire, down the sea's throat
Or to an illegible stone: and that is where we start.
We die with the dying:
See, they depart, and we go with them.
We are born with the dead:
See, they return, and bring us with them.
The moment of the rose and the moment of the yew-tree
Are of equal duration. A people without history
Is not redeemed from time, for history is a pattern
Of timeless moments. So, while the light fails
On a winter's afternoon, in a secluded chapel
History is now and England.
With the drawing of this Love and the voice of this Calling
We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
Through the unknown, unremembered gate
When the last of earth left to discover
Is that which was the beginning;
At the source of the longest river
The voice of the hidden waterfall
And the children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between two waves of the sea.
Quick now, here, now, always--
A condition of complete simplicity
(Costing not less than everything)
And all shall be well and
All manner of thing shall be well
When the tongues of flames are in-folded
Into the crowned knot of fire
And the fire and the rose are one.

The Little Gidding is the last of T. S. Eliot's Four Quartets. For a good biographical site on Eliot and some analysis of his poetry, go to the Academy of American Poet's website.