魏爾倫傳 (Verlaine, histore d'un corps)"；My Recurring Dream" by Paul Verlaine
Paul-Marie Verlaine was born in Metz, France on this day in 1844.
"My Recurring Dream" by Paul Verlaine
I often have this dream, strange, penetrating,
Of a woman, unknown, whom I love, who loves me,
And who’s never, each time, the same exactly,
Nor, exactly, different: and knows me, is loving.
Oh how she knows me, and my heart, growing
Clear for her alone, is no longer a problem,
For her alone: she alone understands, then,
How to cool the sweat of my brow with her weeping.
Is she dark, blonde, or auburn? – I’ve no idea.
Her name? I remember it’s vibrant and dear,
As those of the loved that life has exiled.
Her eyes are the same as a statue’s eyes,
And in her voice, distant, serious, mild,
The tone of dear voices, those that have died.
Of a woman, unknown, whom I love, who loves me,
And who’s never, each time, the same exactly,
Nor, exactly, different: and knows me, is loving.
Oh how she knows me, and my heart, growing
Clear for her alone, is no longer a problem,
For her alone: she alone understands, then,
How to cool the sweat of my brow with her weeping.
Is she dark, blonde, or auburn? – I’ve no idea.
Her name? I remember it’s vibrant and dear,
As those of the loved that life has exiled.
Her eyes are the same as a statue’s eyes,
And in her voice, distant, serious, mild,
The tone of dear voices, those that have died.
*
From the troubadours of the Middle Ages to the titans of modern poetry, from Rabelais and Ronsard to Aimé Césaire and Yves Bonnefoy, French Poetry offers English-speaking readers a one-volume introduction to a rich and varied tradition. Here are today’s rising stars mingling with the great writers of past centuries: La Fontaine, François Villon, Christine de Pizan, Marguerite de Navarre, Louise Labé, Baudelaire, Rimbaud, Verlaine, Mallarmé, Apollinaire, and many more. Here, too, are representatives of the modern francophone world, encompassing Lebanese, Tunisian, Senegalese, and Belgian poets, including such notable writers as Léopold Senghor, Vénus Khoury-Ghata, and Hédi Kaddour. Finally, this anthology showcases a wide range of the English language’s finest translators—including such renowned poet-translators as Ezra Pound, Marianne Moore, John Ashbery, and Derek Mahon—in a dazzling tribute to the splendors of French poetry. READ an excerpt from the Preface here: http://www.penguinrandomhouse.com/…/french-poetry-by-/
Alain Buisine 魏爾倫傳 (Verlaine, histore d'un corps) 由權/邵寶慶翻譯，上海: 上海人民出版社，2007
confrere
魏爾倫（Paul Verlaine, 1844-1896） 極端的性格導致了魏爾倫悲劇性的一生：作為雙性戀者，結髮妻子和天才詩人蘭波最終都棄他而去；因為槍擊蘭波事件被判入獄；又因毆打和威脅母親被判監 禁……他的暴力傾向源於內心的絕望，而這絕望的土壤產生了他生命中最敏感、寶貴的歌唱。本書引領我們回顧了魏爾倫痛苦掙扎的一生，對他性格、思想、情感的 兩面性進行了深入的剖析。魏爾倫的創作和帕爾納斯等詩歌流派關係密切，本書對這些詩歌流派的記錄極具史料價值。
魏爾倫的詩作，深受波德萊爾和韓波的影響。魏爾倫曾說過：「藝術是絕對的自我。」也因此他在詩中，坦誠、純真地表露自我；而在他優美詩作中的憂鬱、傷懷，更是「魏爾倫式」的傑作中，最撩人憂思的韻味所在。他生於距巴黎東邊312公里的梅斯省。
白色的月
白色的月
照著幽林，
離披的葉
時吐輕音，
聲聲清切：
哦，我的愛人！
一泓澄碧，
淨的琉璃，
微波閃爍，
柳影依依——風在歎息：
夢罷，正其時。
無邊的靜
溫婉，慈祥，
萬丈虹影*垂自穹蒼
五色映輝……
幸福的辰光！
照著幽林，
離披的葉
時吐輕音，
聲聲清切：
哦，我的愛人！
一泓澄碧，
淨的琉璃，
微波閃爍，
柳影依依——風在歎息：
夢罷，正其時。
無邊的靜
溫婉，慈祥，
萬丈虹影*垂自穹蒼
五色映輝……
幸福的辰光！
*HC：譯者梁宗岱解釋為烘托原作而改
月光曲
你的魂是片迷幻的風景
斑衣的俳優在那裏遊行，
他們彈琴而且跳舞——終竟
彩裝下掩不住欲顰的心。
他們雖也曼聲低唱，歌頌
那勝利的愛和美滿的生，
終不敢自信他們的好夢，
他們的歌聲卻散入月明——
散入微茫，淒美的月明裏，
去縈繞樹上小鳥的夢魂，
又使噴泉在白石叢深處
噴出絲絲的歡樂的咽聲。
梁宗岱 譯
魏爾倫∕科比埃爾 Paul Verlaine∕Tristan Corbiere * 作者：李魁賢，臺北：桂冠出版社，2005年
Arthur Rimbaud died in Marseille, France on this day in 1891 (aged 37).
"I began it as an investigation. I turned silences and nights into words. What was unutterable, I wrote down. I made the whirling world stand still."
―from "Alchemy of the Word"
―from "Alchemy of the Word"
Poems: Rimbaud contains selections from Rimbaud's work, including over 100 poems, selected prose, "Letter to Paul Demeny, May 15, 1871," and an index of first lines. READ more here: http://knopfdoubleday.com/book/154375/rimbaud-poems/
Arthur Rimbaud was an "angel in exile", according to his lover and fellow poet Paul Verlaine. But Rimbaud's terrorising of established literary figures (calling them "cunty" or "ink-shitter") and his hosts (he once spiked a glass of milk with his own semen) meant that few shared Verlaine's admiration. He was born on this day in 1854
Arthur Rimbaud was born on this day in 1854.
"But five minutes later, pushing through this river of people and animals, mud and husks and rinds, they arrive at the Feres Magala, one of the town’s two squares, and there at the well must be fifty women, all waiting to catch a glimpse of the Bastard, otherwise known as our luckless hero, Arthur Rimbaud. Alas, Rimbaud is hastily concluding his self-exile in this African Elba. Hiding behind those arched green shutters. Treed!"
--from "Disaster Was My God: A Novel of the Outlaw Life of Arthur Rimbaud" By Bruce Duffy
--from "Disaster Was My God: A Novel of the Outlaw Life of Arthur Rimbaud" By Bruce Duffy
Arthur Rimbaud burst onto the literary scene in 1871 with a startling new voice, transforming himself from an anonymous country boy into the sensation of Paris. His explosive life included a passionate affair with the older (and married) poet Paul Verlaine, and a prosperous career as a trader and arms dealer in Ethiopia. A cancerous leg forced him to return to France, where he died at the age of thirty-seven.Bruce Duffy takes these astonishing facts and brings them to vivid life in a story rich with humor, exquisite writing, and alarming parallels to our own contemporary moment. Disaster Was My God vividly conveys, as few works ever have, the inner turmoil of this calculating genius, and helps us understand why Rimbaud’s work and life continue to influence protean rock legends, from Bob Dylan to Patti Smith. READ an excerpt here:http://knopfdoubleday.com/book/209179/disaster-was-my-god/
Jean Nicolas Arthur Rimbaud was born in Charleville, Ardennes, France on this day in 1854.
"Eternity" by Arthur Rimbaud
It’s found we see.
What? – Eternity.
It’s the sun, free
To flow with the sea.
What? – Eternity.
It’s the sun, free
To flow with the sea.
Soul on watch
Let whispers confess
Of the empty night
Of the day’s excess.
Let whispers confess
Of the empty night
Of the day’s excess.
From the mortal weal
From the common urge
Here you diverge
To fly as you feel.
From the common urge
Here you diverge
To fly as you feel.
Since from you alone,
Embers of satin,
Duty breathes down
With no ‘at last’ spoken.
Embers of satin,
Duty breathes down
With no ‘at last’ spoken.
There’s nothing of hope,
No entreaty here.
Science and patience,
Torture is real.
No entreaty here.
Science and patience,
Torture is real.
It’s found we see.
What? – Eternity.
It’s the sun, free
To flow with the sea.
What? – Eternity.
It’s the sun, free
To flow with the sea.
*
Poems: Rimbaud contains selections from Rimbaud's work, including over 100 poems, selected prose, "Letter to Paul Demeny, May 15, 1871," and an index of first lines.
列下兩夲看不太懂的詩集：
法 韓波 (Rimbaud) "在地獄裏一季" (莫渝譯 ，高雄:大舞台書苑 ，1978)
Rimbaud "彩畫集" (王道乾譯， 台北:麥田， 2005)
Rimbaud Arthur (Jean-Nicolas-Arthur Rimbaud) (1854-91). Few poets can have acquired so high a reputation as Arthur Rimbaud on the basis of so slender an œuvre and so brief a career. From the moment his legendary Illuminations saw print in 1886, the sheer inventiveness of his writings, seemingly indissociable from the eventfulness of his life, has been the subject of fervent and noisy debate, to the extent that the strict data of biography and literary production are now engulfed in innumerable theories and conflicting interpretations. Rimbaud remains the outstanding example in French literature of a meteoric talent giving rise to enduring controversy.
A crude summary of his life reduces it to two stretches of relatively steady existence on either side of the eruptive creative adventure at its centre. A model schoolboy, Rimbaud seemed content to please his mother by gaining annual prizes at his college in Charleville (in the Ardennes), until his early satirical verse began to voice his hatred of an environment he saw as totally debilitating, with abrasive attacks on the sanctity of bourgeois routine in ‘A la musique’, on Christianity in ‘Les Premières Communions’, and on orthodox notions of the beautiful in ‘Vénus Anadyomène’, a sonnet about a hag stepping from her bath-tub. Disruptions to local life due to the Prussian invasion of mid-1870 coincided with symptomatic episodes when the teenager repeatedly ran away from home; it is thought he may have witnessed the brief apogee of the Paris Commune in the spring of 1871. The period of his late teens (c.1870-c.1874) saw the abrupt flowering of a unique talent as, like a gambler whose daring never fails, Rimbaud moved in the space of a few months from structured verse through progressively more liberated verse (the poems known as ‘Derniers vers’) and on to the prose poem, of which he would become one of the first masters. In September 1871, still not yet 17, he had tucked into his pocket an astonishing poem, ‘Le Bateau ivre’—a maritime allegory of the visionary process—and taken leave of Charleville, journeying to Paris to take the literary establishment by storm. Almost at once he entered on a turbulent erotic relationship with Verlaine, and travelled with him to London, the backdrop to several of the dream-like scenarios elaborated in Illuminations. After a violent break with Verlaine, Rimbaud spent some years drifting through casual jobs in northern and southern Europe, having by now effectively abandoned literature. By the end of the decade he had also abandoned Europe, pursuing a mercantile career in the obscure regions of Abyssinia, and only returning to his homeland because of illness. He died in Marseille in 1891, aged 37.
The terms of the Rimbaud legend were dictated by Verlaine, who first dubbed him a poète maudit and published Illuminations without their author's knowledge as the relics of a genius who had touched perfection and then moved on to the alternative ascesis of day-to-day existence. This narrative of striving and renunciation is consistent with the confessional themes of Une saison en enfer, completed in the summer of 1873, where the writer describes ecstatic visions which he later relinquishes because of the physical torment they entail. A plausible interpretation of the chapter ‘L'Alchimie du verbe’, when read in conjunction with two earlier texts which had excitedly announced the new visionary approach, the so-called ‘Lettres du voyant’ of May 1871, is that Rimbaud induced actual states of voyance by way of drugs and alcohol and then transliterated his experiences into an image-laden idiom embodying ‘l'hallucination des mots’. The 40-odd prose pieces of the Illuminations cycle amount to a phantasmagorical documentation of the creative process, one which charts the itinerary of a consciousness visited by chimerical spectacles, by turns monstrous and ravishing and seemingly inseparable from the literary tropes wherein they find expression. Cryptic allusions to apocalyptic omens and ineffable harmonies, and the hint that ‘illumination’ is a transcendental (and thus extra-literary) event, have laid such texts open to religious readings which cast their author in the role of an unorthodox prophet. Other readings stress the virtuosity of a poetic discourse which marries baffling enigma to thrilling suggestion, and at a stroke transforms the reading experience from one of intellectual construal to one of emotional participation. ‘J'ai seul la clef de cette parade sauvage’, the poet warns us, although recent research indicates that many of his impenetrable formulations embody empirical references to contemporary society. Yet to acknowledge that Rimbaud's mature work echoes the lexical and cultural codes of his age is not necessarily to reduce all he wrote to mimetic explicitness and a univocal legibility. The irreducible strength of Rimbaud's ‘alchemy of the word’ remains its sheer rhetorical confidence, the inimitable assertiveness, the beguiling violence, of its imagery and tone.
[Roger Cardinal]
Bibliography
- Y. Bonnefoy, Rimbaud par lui-même (1961)
- R. G. Cohn, The Poetry of Rimbaud (1973)
- A. Kittang, Discours et jeu: essai d'analyse des textes d'Arthur Rimbaud (1975)
- A. Borer (ed.), L'Œuvre-Vie d'Arthur Rimbaud (1991)
蔣勳
1872年，詩人魏爾崙速寫一張韓波的像，年底要拿出來拍賣。
韓波是天才詩人，少年時寫詩，驚動文學界。但是，他14歲寫到19歲就不寫了。
一直寫詩，會不會對狂傲叛逆的韓波是莫大的褻瀆？
1872年，魏爾崙為韓波癡狂，拋棄了中產階級的家庭，背離妻子兒女，和韓波私奔到倫敦，吸大麻，瘋狂做愛。
也許魏爾崙覺得找到了真正的自己，然而，韓波不是。他寫詩，但在1871年他參加了激烈的無政府主義運動，他支持極左派的巴黎公社。
他是詩人，但是，他也是衣衫襤褸的街友，他寫詩，他也不屑寫詩。他看著魏爾崙沈淪陷溺在無以自拔的慾火中。
兩人爭吵不斷，不到一年，魏爾崙在布魯塞爾向韓波開槍，被逮捕，入獄服刑。
魏爾崙夫人也控告韓波，無非是「破壞家庭」吧。
這很像今天媒體喜歡渲染的聳動戲劇化社會新聞情節了。
然後，韓波不再寫詩，魏爾崙服刑入獄，他寫了「地獄的一季」。在詩裡，魏爾崙被形容為「瘋子處女」。
可憐的魏爾崙-⋯⋯
他出走流浪，跑船去了印尼，又到非洲以索匹亞販賣違法軍火。
什麼是道德？什麼是是非？什麼是正義？
韓波是詩人，也許他真正的內在是「痞子」「惡棍」，他厭煩世俗的「道德」。
詩，從來不曾負責「道德」。
1972年我到巴黎，到處是韓波的海報，牆上隨處可見「醉舟」詩句。
這張速寫傳神，長髮披肩，寬上衣，窄褲管，叼著煙斗，依稀覺得韓波走過我的城市。冷冷笑著：好好享受中產階級的陶醉吧，寫詩，畫畫，聽音樂，韓波來了，你們的幸福就要走樣。
週末養病，看眾人狂歡，忽然懷念自己青年時愛戀的「醉舟」。
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