漢清講堂 譯藝獎 2025 聚會虛擬致詞/論文摘要 hc： 從桑原武夫編《一日一言〈Pierre de Ronsard自選墓誌銘〉》到《哥德談話錄 全譯本 艾克曼有心引進德國矢藝》
： 隆薩（Pierre de Ronsard 1524.9.11—1585.12.27）
古希臘的阿波羅崇拜 神話中的射殺.....
龐貝城的第一大廟： 阿波羅
李商隱 ：行次西郊作一百韻 838年初
17世紀英國等國的貴族之射道
19世紀初德國不興此道
《哥德談話錄 全譯本 艾克曼有心引進德國矢藝 4頁長文》
感想： "艾克曼有心引進德國矢藝 4頁長文"當然不會出現在選本中，我認為這是偏見，其實談話錄的對手也很不俗的。
射藝也大有學問.....
： 隆薩（Pierre de Ronsard 1524.9.11—1585.12.27）
古希臘的阿波羅崇拜 神話中的射殺.....
龐貝城的第一大廟： 阿波羅
李商隱 ：行次西郊作一百韻 838年初
"重賜竭中國，強兵臨北邊。控弦二十萬，長臂皆如猿。"
持弓的兵卒20多萬，各個長臂如猿，善於射箭.....
17世紀英國等國的貴族之射道
19世紀初德國不興此道
《哥德談話錄 全譯本 艾克曼有心引進德國矢藝 4頁長文》
感想： "艾克曼有心引進德國矢藝 4頁長文"當然不會出現在選本中，我認為這是偏見，其實談話錄的對手也很不俗的。
射藝也大有學問.....
漢清講堂 譯藝獎 2025 頒獎致詞論文 hc：
隆薩（Pierre de Ronsard 1524.9.11—1585.12.27）從桑原武夫編《一日一言〈Pierre de Ronsard自選墓誌銘〉》到《哥德談話錄 全譯本 艾克曼有心引進德國矢藝》
從此，三十三間堂得到幕府這台持久而穩定的資源引擎，地位被放大、維護也有了長期性的保證。政治與宗教彼此共生，也彼此成全。到了江戶時代，長達一百二十公尺的西側外廊又催生「通し矢」遠射比武：武士在低檐下平射一百二十公尺，全日連續，考的是臂力、體能與意志。紀州藩射手二十四小時射出萬餘箭、穿透八千餘的紀錄，至今仍像一道刻在空氣裡的弧線，提醒人們：這座殿堂不只安放祈禱，也承載身體、技藝與榮耀的故事。~~Joel
17世紀英國等國的貴族之射道
19世紀初德國不興此道
《哥德談話錄 全譯本 艾克曼有心引進德國矢藝 4頁長文》
感想： "艾克曼有心引進德國矢藝 4頁長文"當然不會出現在選本中，我認為這是偏見，其實談話錄的對手也很不俗的。
射藝也大有學問.....
我1978年上 Essex 大學體育課，發現奧運.......//
： 隆薩（Pierre de Ronsard 1524.9.11—1585.12.27）
AI Overview
通し矢(Tōshiya) 是一種源自日本江戶時代的傳統弓術活動，尤其以京都三十三間堂的「堂射」最為人熟知，射手從南側長廊射箭至北側，中箭數量最多者為勝。 雖然江戶時代大規模的通し矢比賽在江戶中期後停止，但現今仍有形式上類似的「三十三間堂通し矢全國大的大會」，每年吸引許多新成人參與，成為一種成人禮儀式。
通し矢的歷史與發展
- 江戶時代的盛況：: 通し矢在江戶時代非常受歡迎，曾大規模在三十三間堂、東大寺等地舉行，射程長達120公尺以上。
- 「大矢数」：: 最著名的項目是「大矢数」，在一晝夜內，從南端射到北端的中箭數量最多者即獲勝。
- 大會的停辦：: 江戶時代中期後，大規模的通し矢比賽逐漸停辦。
現代的通し矢活動
- 現今的三十三間堂舉辦的「大的大會」是繼承通し矢精神的活動，雖然射程僅為江戶時代的一半，但同樣是弓道界的重要盛事。
- 該大會是弓道界的成人禮，每年吸引許多二十歲的新成人參加。
現代通し矢的特點
- 射程縮短：: 射程約為60公尺，比江戶時代的120公尺以上短得多。
- 技術差異：: 由於射程縮短，現代的通し矢在技術上相對簡單許多，不再需要極低的拋物線狀態。
- 形式：: 八人一組，射向60公尺外的箭靶，兩箭皆中靶者晉級。
| 字 詞 | 楚弓楚得 |
|---|---|
| 注 音 | ㄔㄨˇ ㄍㄨㄥ ㄔㄨˇ ㄉㄜˊ |
| 漢語拼音 | |
| 釋 義 | 楚王出遊時遺失了弓箭，卻不叫侍從去尋找，因為楚王認為他雖然在楚國丟了弓箭，但仍會由楚國人得到，並不算損失。見《孔子家語．卷二．好生》。後以楚弓楚得比喻利益不流失外溢。 |
| Apollo | |
|---|---|
| God of oracles, healing, archery, music and arts, light, knowledge, herds and flocks, and protection of the young | |
| Member of the Twelve Olympians and the Dii Consentes | |
.jpg) Apollo Belvedere, c. 120–140 CE | |
| Abode | Mount Olympus |
| Planet | Sun Mercury[1] (antiquity) |
| Animals | Raven, swan, wolf |
| Symbol | Lyre, laurel wreath, python, bow and arrows |
| Tree | laurel, cypress |
| Mount | A chariot drawn by swans |
| Genealogy | |
| Born | |
| Parents | Zeus and Leto |
| Siblings | Artemis (twin), and many paternal half-siblings |
| Consort | Cyrene[2] |
Apollo delivered people from epidemics, yet he is also a god who could bring ill health and deadly plague with his arrows. The invention of archery itself is credited to Apollo and his sister Artemis. Apollo is usually described as carrying a silver or golden bow and a quiver of arrows
Apollo Victorious over the Python by Pietro Francavilla (1591), depicting Apollo's victory over the serpent Python[67] (The Walters Art Museum)9月11日
隆薩（Pierre de Ronsard）
（西元1524.9.11—1585.12.27）
文藝復興時期法國的代表詩人。將希臘與拉丁文學的養分澆注在詩作裡，被譽為詩人們的國王。曾寫了著名的十四行詩《愛情》，被認為是不凡的情詩。
隆薩長眠於此。
其人年少時勇敢果決地攜帶
阿波羅之箭與豎琴之曲調，
將繆斯諸神從赫里肯山上邀至法國。
然而其人與繆斯終不敵死亡之槍，
哀哉！痛哉！安葬於此墓後鄰。
敬禱魂魄歸神，肉身化土。
出自〈自選墓誌銘〉
法國人如青柳樹，
任由砍斬仍生長，
枝梢日漸萌新芽，
愈受傷害愈茁壯。
出自〈追求英國女王伊莉莎白的詩〉
隆薩（Pierre de Ronsard）
（西元1524.9.11—1585.12.27）
文藝復興時期法國的代表詩人。將希臘與拉丁文學的養分澆注在詩作裡，被譽為詩人們的國王。曾
寫了著名的十四行詩《愛情》，被認為是不凡的情詩。
隆薩長眠於此。
其人年少時勇敢果決地攜帶
阿波羅之箭與豎琴之曲調，
將繆斯諸神從赫里肯山上邀至法國。
然而其人與繆斯終不敵死亡之槍，
哀哉！痛哉！安葬於此墓後鄰。
敬禱魂魄歸神，肉身化土。
出自〈自選墓誌銘〉
法國人如青柳樹，
任由砍斬仍生長，
枝梢日漸萌新芽，
愈受傷害愈茁壯。
出自〈追求英國女王伊莉莎白的詩〉
AI Overview
The French poem containing Pierre de Ronsard's epitaph for himself, often quoted in English translations, begins with the lines "CELUY QUI GIST SOUS CETTE TOMBE ICY / AIMA PREMIERE UNE BELLE CASSANDRE" which translate to "HE WHO LIES BENEATH THIS TOMB HERE / FIRST LOVED A BEAUTIFUL CASSANDRE". Ronsard's original French epitaph describes his lifelong love for Cassandra and then Marie, expressing his joy and sorrow in love until the end of his life, and he even specified that this would be the epitaph for his tomb.
The Epitaph in English
He who lies beneath this tomb here First loved a beautiful Cassandra, Then, second, loved a Marie, So much in love was he.
Context
The Tomb
refers to Ronsard's final resting place, and he chose this epitaph to be placed there to commemorate his life's passion for love.
Cassandra and Marie
were significant figures in Ronsard's poetry, with Cassandra inspiring many of his sonnets in the collection Les Amours de Cassandre and Marie inspiring other later works, such as Sonnets pour Hélène.
Significance
A Poet's Legacy:
The epitaph serves as a concise summary of Ronsard's life and his enduring passion for poetry and love, which were central themes in his work.
Personal Statement:
By writing his own epitaph, Ronsard created a powerful and personal testament to his identity as a poet and a lover, cementing his place in French literature.
AI 概述
皮埃爾·德·龍沙為自己所寫的墓誌銘，經常被英譯本引用，其開篇為“CELUY QUI GIST SOUS CETTE TOMBE ICY / AIMA PREMIERE UNE BELLE CASSANDRE”，意為“長眠於此墓下的人/珊德拉”。龍沙最初的法語墓誌銘描述了他對卡珊德拉和瑪麗的終生愛戀，表達了他愛的喜悅與悲傷，直至生命的盡頭，他甚至指定這首詩作為自己墓誌銘。
英文墓誌銘
長眠於此墓下的人，首先愛上了美麗的卡珊德拉，然後，再次愛上了瑪麗，他是如此深愛著她。
背景
墓地指的是龍沙的長眠之地，他選擇將這句墓誌銘安放於此，以紀念他一生對愛情的執著追求。
卡桑德拉和瑪麗是龍沙詩歌中的重要人物，卡桑德拉啟發了他創作詩集《卡桑德拉的愛》中的許多十四行詩，而瑪麗則啟發了他後來的其他作品，例如《獻給海倫的十四行詩》。
意義
詩人的遺產：這句墓誌銘簡明扼要地概括了龍沙的一生以及他對詩歌和愛情的持久熱愛，而詩歌和愛情正是他作品的核心主題。
個人陳述：龍沙透過撰寫自己的墓誌銘，為自己作為詩人和情人的身份，寫下了強而有力的個人見證，鞏固了他在法國文學中的地位。I Overview"Pierre de Ronsard Apollo" can refer to the 16th-century French poet Pierre de Ronsard, or the popular rose cultivar named after him. The poet was referred to as "Apollo" or "Phoebus Apollo" in some of his own writings and by his contemporaries. There is also an illustration titled "Apollo and Daphne" from one of his illustrated books.
The Poet and Apollo
"Phoebus Apollo":
In his poem "Le Jour que ie fu né" (The Day I Was Born), Ronsard invoked Apollo, the Greek and Roman god of music, poetry, and the sun.
Ronsard as Apollo:
The poet identified himself with the muses and often sought inspiration from Apollo, who presides over the Muses.
"Ronsard as Apollo":
This is also the subject of a literary study by Terrence C. Cave that discusses the myth, poetry, and experience in a Renaissance sonnet cycle by Ronsard.
The Rose and Apollo
"Pierre de Ronsard" Rose:
This popular climbing rose cultivar was named after the poet. It's known for its large, pink-and-white blooms.
Apollo and Daphne:
In the 1915 illustrated book Les Amours (The Loves), there is an etching by Émile Bernard titled "Apollo and Daphne," likely illustrating a theme related to the ancient myth that Ronsard explored.
| Apollo | |
|---|---|
| God of oracles, healing, archery, music and arts, light, knowledge, herds and flocks, and protection of the young | |
| Member of the Twelve Olympians and the Dii Consentes | |
Apollo Belvedere, c. 120–140 CE | |
| Abode | Mount Olympus |
| Planet | Sun Mercury[1] (antiquity) |
| Animals | Raven, swan, wolf |
| Symbol | Lyre, laurel wreath, python, bow and arrows |
| Tree | laurel, cypress |
| Mount | A chariot drawn by swans |
| Genealogy | |
| Born | |
| Parents | Zeus and Leto |
| Siblings | Artemis (twin), and many paternal half-siblings |
| Consort | Cyrene[2] |
Apollo delivered people from epidemics, yet he is also a god who could bring ill health and deadly plague with his arrows. The invention of archery itself is credited to Apollo and his sister Artemis. Apollo is usually described as carrying a silver or golden bow and a quiver of arrows
Apollo Victorious over the Python by Pietro Francavilla (1591), depicting Apollo's victory over the serpent Python[67] (The Walters Art Museum)9月11日
AI Overview
Archery as an art in the Western world has roots in ancient hunting depicted in cave paintings and later evolved into a recreational and social pastime for the nobility from the 1780s to the 1840s, notably in Britain. This revival, fueled by romanticized views of the past and literary works like Sir Walter Scott's Ivanhoe, saw the formation of extravagant archery societies and festivals. The "art" of archery in the West was thus a blend of sporting practice, social ceremony, and cultural symbolism, distinct from the more spiritual or martial focus of some Eastern archery traditions.
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