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Ten Greatest Poets in the World. By Wayne Wanderer Wang. From New York Times.
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Ten Greatest Poets in the World By Wayne Wanderer Wang
From New York Times • In February Dean Rader, an English professor at the University of San Francisco, set out to discover history’s 10 best poets. After spending two weeks compiling a list of nominees and fielding readers’ comments about them on the Web site of The San Francisco Chronicle, Mr. Rader has released his final list, with the Latin American poet Pablo Neruda at No. 1. “No poet has more passionately and thoroughly spoken for his people than Neruda,” Mr. Rader wrote, citing “Canto General,” a 15-part book comprising over 200 poems and 15,000 lines tracing the history of Latin America. “It is an insanely ambitious project that seemed to unify a country.”
In second place was Shakespeare, whose name, according to Mr. Rader’s “shockingly unscientific measurements,” appeared most frequently in reader e-mails, followed by Dante, who Mr. Rader said was the most controversial pick, because “he’s only well known for one poem (‘The Divine Comedy’).” Western literary greats like Walt Whitman, John Donne,Emily Dickinson, William Butler Yeats and Wallace Stevens also appear on the list with the Eastern favorites Rumi and Li Po, whom Mr. Rader called “the great poet of drunkenness.”
Rader’s List 10. Rumi9. William Butler Yeats8. Li Po7. Emily Dickinson6. John Donne5. Wallace Stevens 4. Walt Whitman 3. Dante Alighieri2. William Shakespeare 1. Pablo Neruda
10. Rumi 鲁米 • 10. Rumi. （1207-1273）波斯诗人 • 人类伟大的精神导师、历史上最伟大的天才诗人之一，他是回教苏菲教派、倡导追求热情与狂喜是天人合一境界唯一途径的创始人之一，他被许多历史和现代文学家视为是人类历史上影响力最大的诗人兼哲学家，其影响力甚至超过但丁和莎士比亚。
I have to confess that I didn't really know what to do with Rumi. He is still, I believe, the best selling poet in the United States, and according to the BBC (are they really experts on American poetry?), Rumi is "the most popular poet in America." I foreground the U.S. only because it means both cultural capital and book sales. As popular as he is in the West, his capital in the Arab world is even greater. • It is impossible to overestimate his impact. Embraced by scholars, poets, mystics, philosophers, new agers, and priests, Rumi's thoughtful poetics weds religion, science, and love. As my friend Jonathan Curiel suggests, in a post 9/11 world, Rumi has become even more significant.
I can't read Persian, so I have to rely on various translations, the most famous of which is by Coleman Barks. But across the dozens of Rumi translations, his ability to compress remains singularly impressive. • One of my favorite Rumi poems stands as an example: • When I am with you, we stay up all night, • When you're not here, I can't get to sleep. • Praise God for these two insomnias! • And the difference between them. • Something about his elegant simplicity speaks across centuries, religions, genders, and continents. He is everywhere.
在一起时，整夜无眠。 • 你不在时，夜不能寐。 • 两种失眠，祈祷上帝。 • 为了两者之间的差异。 • 冀翼 译 • 2011-4-17 深夜
鲁米哲理诗歌 • 《有时我全然忘记》有时我全然忘记同道中人的含义。不知不觉，略带痴癫，我把忧伤的能量四处逸散。我的故事被以不同的方式，口舌相传：一部罗曼史，一个粗口笑话，一场战争，一席空位。将我的健忘分解成若干，它便会满世界游走。这些我领悟到的幽晦暗示，难道是某种天意使然？朋友们，请留意。不要靠近我出于好奇心，或悯惜。
9. William Butler Yeats叶芝 • W. B. Yeats（1865～1939），爱尔兰诗人、剧作家，著名的神秘主义者，是“爱尔兰文艺复兴运动”的领袖，也是艾比剧院（Abbey Theatre）的创建者之一，被诗人艾略特誉为"当代最伟大的诗人"。叶芝对戏剧也有浓厚的兴趣，先后写过26部剧本。
9. William Butler Yeats. • On your lists, Yeats and Wallace Stevens were the most frequent 20th century names, with T. S. Eliot a close third. If you have in your head lines or passages from a 20th century poet, it is likely from Yeats or Robert Frost.
And then there is "The Second Coming," maybe the most famous poem in English from the 20th century. Who has not read and not puzzled over this opening? • Turning and turning in the widening gyre • The falcon cannot hear the falconer; • Things fall apart; the centre cannot hold; • Mere anarchy is loosed upon the world, • The blood-dimmed tide is loosed, and everywhere • The ceremony of innocence is drowned; • The best lack all conviction, while the worst • Are full of passionate intensity.
叶芝的神秘主义美学认为，世界历史是由一个螺旋上升的结构（他称之为GYRE)构成，以两千年为单位，由善恶交替的时代相穿插，如DNA的双螺旋结构一样。在一个好的时代之后紧接著一个坏的时代。如此循环往复。 写这首诗的时候（1919）正值一次世界大战期间，爱尔兰（叶芝的祖国）正处于动荡和流血冲突之中，西半球旧有的秩序被战争撕得粉碎。战争似乎预示著基督教文明的终结。而一个坏的时代即将来临...
When you are old William Butler Yeats • When you are old and gray and full of sleep, And nodding by the fire, take down this book, And slowly read, and dream of the soft look Your eyes had once, and of their shadows deep; How many loved your moments of glad grace, And loved your beauty with love false or true, But one man loved the pilgrim soul in you, And loved the sorrows of your changing face; And bending down beside the glowing bars. Murmur a little sadly, how love fled And paced upon the mountains overhead And hid his face amid a crowd of stars.
当你老了 叶芝 • 当你老了，头发灰白，睡意朦胧， • 在火边打盹，取下这本书， • 慢慢品读，想象你的眼神 • 曾有的温柔，还有那深深的眸影； • 多少人曾爱慕你青春魅力的时瞬， • 爱慕你的美丽，假意或真心， • 但有一个人却爱你朝圣者的灵魂， • 爱你渐渐老去那脸上的悲痛； • 俯身倚着那闪烁的栏杆， • 低语一丝伤痛，爱是怎样离去 • 迈过头顶的山峰 • 把脸藏在群星之中。（冀翼 译）
当 你 老 了 袁可嘉译 • 当你老了，头白了，睡意昏沉， 炉火旁打盹，请取下这部诗歌， 慢慢读，回想你过去眼神的柔和， 回想它们昔日浓重的阴影； 多少人爱你青春欢畅的时辰， 爱慕你的美丽，假意或真心， 只有一个人爱你那朝圣者的灵魂， 爱你衰老了的脸上痛苦的皱纹； 垂下头来，在红光闪耀的炉子旁， 凄然地轻轻诉说那爱情的消逝， 在头顶的山上它缓缓踱着步子， 在一群星星中间隐藏着脸庞。 ——1893
当 你 老 了 飞白译 • 当你老了，白发苍苍，睡意朦胧， 在炉前打盹，请取下这本诗篇， 慢慢吟诵，梦见你当年的双眼 那柔美的光芒与青幽的晕影； 多少人真情假意，爱过你的美丽， 爱过你欢乐而迷人的青春， 唯独一人爱你朝圣者的心， 爱你日益凋谢的脸上的衰戚； 当你佝偻着，在灼热的炉栅边， 你将轻轻诉说，带着一丝伤感： 逝去的爱，如今已步上高山， 在密密星群里埋藏它的赧颜。
经柳园而下 Down by the sally gardenhttp://www.tudou.com/programs/view/UlncaIoDPi0/isRenhe=1 • Down by the salley gardens my love and I did meet;在莎莉花园深处，吾爱与我曾经相遇。She passed the salley gardens with little snow-white feet.她穿越莎莉花园，以雪白的小脚。She bid me take love easy, as the leaves grow on the tree;她嘱咐我要爱得轻松，当新叶在枝桠萌芽。But I, being young and foolish, with her would not agree.但我当年年幼无知，不予轻率苟同。In a field by the river my love and I did stand,在河边的田野，吾爱与我曾经驻足。And on my leaning shoulder she laid her snow-white hand.她依靠在我的肩膀，以雪白的小手。She bid me take life easy, as the grass grows on the weirs;她嘱咐我要活得轻松，当青草在堤岸滋长。But I was young and foolish, and now am full of tears.但我当年年幼无知，而今热泪盈眶.
最初翻译为《柳园里》，是叶芝早年的诗作。他的早年诗歌韵律优美，感情细腻，辞藻华丽，象征意味浓郁，明显受到英国浪漫主义和法国象征主义诗歌的影响。最初翻译为《柳园里》，是叶芝早年的诗作。他的早年诗歌韵律优美，感情细腻，辞藻华丽，象征意味浓郁，明显受到英国浪漫主义和法国象征主义诗歌的影响。 • 这首诗貌似简单，但却向人们揭示了生活的哲理：对待爱情和生活，人们应当顺其自然，就像“绿叶长在树枝上”，“青草长在河堰上”。不然，回因为一时的“愚蠢”而遗恨终生。 • 这首诗很美给人很飘逸的感觉 ，音乐也很棒让人有置身大海的意境 。它有蓝色的忧郁； 绿色的清新； 白色的恬淡。
8. Li Po/Li Bai/Li Bo. 李白 • 李白（701年2月28日—762），字太白，号青莲居士。中国唐朝诗人，有“诗仙”之称，是伟大的浪漫主义诗人。汉族，祖籍陇西郡成纪县（今甘肃省平凉市静宁县南），出生于蜀郡绵州昌隆县（今四川省江油市青莲乡），一说出生于西域碎叶（今吉尔吉斯斯坦托克马克）。逝世于安徽当涂县。存世诗文千余篇，代表作有《蜀道难》、《行路难》、《将进酒》、《静夜思》等诗篇，享年61岁。
8. Li Po/Li Bai/Li Bo. • Pick your transliteration, it's the same guy. The most talented of the great trinity of Tang poets, including Wang Wei and Tu Fu, Li Po's influence is incalculable. Overt references to Li Po appear in Ezra Pound, James Wright, and Charles Wright, and even Gustav Mahler composed a piece about him.
Though he did many things well, he remains the great poet of drunkenness. He could poem-drink Bukowski under the table. No contest. Of the roughly 1,000 poems attributed to him, about 998 involve wine. The other two are about how sad he is without wine. That's an exaggeration, but I'm not exaggerating when I say that the range of his poetry is unmatched: friendship, nature, death, trees, water, poetry, wine, walking, the passage of time, romantic love, and the human emotion evoked by all of these. He was also not afraid to write about war and to make his otherwise serene poetic spaces political ones.
Li Po lived a poet's life, and he believed in the poetic project as a way to make sense of one's relation to the world, as in this passage: • Chuang Tzu in dream became a butterfly, • And the butterfly became Chuang Tzu at waking. • Which was the real â€â€, the butterfly or the man ? • Who can tell the end of the endless changes of things?
李白：《静夜思》床前明月光，疑是地上霜。举头望明月，低头思故乡。李白：《静夜思》床前明月光，疑是地上霜。举头望明月，低头思故乡。
Night Thoughts I wake and moon beams play around my bed, Glittering like hoary-frost to my wandering eyes; Up towards the glorious moon I raise my head, Then lay me down - and thoughts of home arise. (Herbert A. Giles 译) • 作为英国汉学家的Giles,深知此诗的意境,故在译此诗时,他没有照字面去译,而是采用了英语常见的格律体,以阐释的手法完成的。因为原诗难译之处就在于人们无法知道诗人是如何望月思乡的。 • Giles正是假设诗人深秋之夜猛醒恍惚之际而作的, 因而他的首句I wake和末句的lay me down也就合乎情理了。
The Moon Shines Everywhere Seeing the Moon before my couch so bright, I thought hoar frost had fallen from the night. On her clear face I gaze with lifted eyes; Then hide them full of Youth's sweet memories. (W. J. B. Fletcher 译) • 以信、达、雅而论, 此译“达、雅”有余,“信”字不足。“疑”字译成thought太直, 传达不出原诗意境; “望明月”译成“凝视着她的明亮脸庞”, 有些矫揉造作, her clear face会干扰读者的思绪, 与原诗思乡主题太远。 • 据金堤教授的一项调查, 许多读者欣赏译诗时感觉第三句"幻想、浪漫色彩过重, 不能产生什么具体的感情"(1997), 不过有人觉得第三行的三个头韵frost (had) fallen from颇具诗意(马红军2000)。诗译的标题也太离题了。
Nostalgia A splash of white on my bedroom floor. Hoarfrost? I raise my eyes to the moon, the same moon. As scenes long past come to mind, my eyes fall. again on the splash of white, and my heart aches of home. (翁显良译) • 翁显良教授是意象派的代表。他的译文完全体现了自己一贯的翻译主张,即“舍形取神,保持本色”。此译是他观点的最好脚注。 • 其实,他的观点还是值得商榷的。因为既然是译诗就得尽量传达原诗的特点,一味强调意象而忽略其它,意象将难以体现。译诗并不是“借尸还魂”, 不然则无异于创作。 • 就"意象"而言, 此译意境并不深远。对于西方读者来说,他们并不能从阅读译文中体会出月夜思乡的意境, 更说不上欣赏体味李白绝句之精薇玄妙了。这样的译诗方法还是慎用为好。
Quiet Night Thoughts Moonlight be fore my bed, Could it be frost instead? Head up, I watch the moon; Head down, I think of home.(赵甄陶译) • 此译与原诗字数最接近, 原诗20个字,译诗译成21个词以保存原诗简练的风格(赵甄陶, 1986)。 • 第二句省略了“地上(on the floor或on the ground)”。用赵先生自己的话说,省译“地上”是“只求神似”,“还是不译出为好” 。三、四句与原诗偶句相称, “以保存原诗的修辞和韵律效果”。 • 但另一种看法认为“举头”、“低头”译成Head up, Head down即令英语读者感到“突兀“, ”不自然”“使我头晕”或是使人立刻联想到“体操口令”(金堤,1999)。操英语的人这种感觉或印象真令诗译者始料不及。
Night Thoughts The bright moon shines on the bed foot around, Can it be instead the frost on the ground? Lifting my head, I look at the bright moon; Dropping it, I think of my homeland soon. (刘重德 • 刘教授也是翻译大家,对古典诗词颇有研究。此译虽无大碍,但似乎仍有几处值得商榷。 • 其一,首句用on the bed foot around 译"床前",为求准确适得其反,因为精确的英译倒使汉语"床前"二字的解释空间缩小了。人们或许要问,为何月亮只照到the bed foot?床的位置到底在何处?around是非要不可,还是仅仅为了与下句押韵? • 其二,frost之前的the是否必要?有许多人就没用 the,但也有一些人用。 • 其三,末句 soon似不大需要,因为诗人在"望"的刹那"思故乡"的动作已经开始,而并非在dropping it时才 soon开始的。有凑韵之嫌。
Abed, I see a silver light, I wonder if it‘s frost aground. Looking up, I find the moon bright; Bowing, in homesickness I’m drowned. 许渊冲译 • 从结构看,与原诗相同都是四句,韵式是英语格律体常用的abab韵式。简洁多了,也较接近原诗风格,若按许教授提出的“三美”标准来衡量,意美、音美、形美基本上都达到了。尤其是第二、四行的韵脚和原韵霜、乡的韵母相近,并且每行少了两个音节,更加精简,这就可以说是不但传达了原诗的 “音美”而且和原韵 “音似”(许渊冲,1983)。 • 句末与第四种译文相同,都用drowned,把moonlight和homesickness比作water,以求"日光"与"思乡"之间的相关性,体现了原诗"思故乡"的深远意境,可谓传神之笔。
Thoughts in the Silent Night Beside my bed a pool of light—— Is it hoarfrost on the ground? I lift my eyes and see the moon, I bend my head and think of home. (杨宪益、戴乃迭译) • 译文简练晓畅,颇具意似,胜于平实。 • a pool of light使"明月光"的视觉形象更加具体、可触,正好使人"疑是"地上的一片白霜,信口拈来,绝妙之笔。
李白：《静夜思》床前明月光，疑是地上霜。举头望明月，低头思故乡。Tranquil Night • Fore the bed is moon light, • On the ground, like frost. • Looking up, there’s the moon, • Deep down, my hometown. • 冀翼 译 • 2011-4-17 晚
耶鲁大学开放课程. • http://video.sina.com.cn/v/b/36785487-1742454033.html现代诗歌 • http://video.sina.com.cn/v/b/48899414-2040713623.html聆听音乐 • http://www.tudou.com/programs/view/Tq7KIoaTCaU/哲学.死亡
7.Emily Dickinson 迪金森 • 狄金森(1830—1886)在一八八六年与世长辞；而她深锁在盒子里的大量创作诗篇，则是她留给世人的最大厚礼。纵然在她有生之年，她的作品未能获得当时的青睐，然而周遭众人对她的不解与误会，却丝毫无法低损她丰富的创作天分。根据现存作品，艾米莉惊人的创作力为自己，也为世人留下一千八百首诗，包括了定本的一千七百七十五首与新近发现的二十五首。
I have taught Emily Dickinson for well over a decade now, and she is the one poet who, when I return to her, makes me feel like I'm starting all over. No major poet is more dense, more compressed, more elliptical, more elusive. • Dickinson was so far ahead of her time, it seems like we are only now learning how to read her. The great poet Paul Celan has described a poem as a message in a bottle--the poet flings it out into the world never knowing where it will wash ashore. Dickinson's bottle floated around a long time, but I think she knew, one day, her readership would grow into itself: "This is my letter to the world, / That never wrote to me--."
I'm nobody! Who are you? • I'm nobody! Who are you? • Are you nobody, too? • Then there's a pair of us -don't tell! • They'd banish us, you know. • How dreary to be somebody! • How public, like a frog • To tell your name the livelong day • To an admiring bog!
我是个小人物！你呢？ • 狄金森 • 我是个小人物！你呢？ • 是否也是个小人物？ • 那么我俩便是一对？不要声张！ • 他们会饶舌的，你知道！ • 太无趣了，做个大人物！ • 抛头露面——像只青蛙—— • 在漫漫六月把自己的名字 • 告诉充满敬意的水洼！ • 2006年 于硕士研究生复试考场 冀翼 译
6. John Donne邓约翰 • 鄧約翰 (John Donne，西元一五七三～一六三一年)，年輕時縱情於遊樂、酒色之間，為風流詩人。老年獻身於宗教。於一六一五年就聖職，擅於講道。 • 鄧約翰的詩作，一部分是關於宗教、神學方面的詩，另一部分他寫非宗教的諷刺詩、歌謠、頌詞等。由這些詩作中，可見其淵博的學識、睿智及其對人性的洞察力。他的情詩，特別強調愛的靈、肉二者並重論，愛的無奈及愛的激情等。他巧妙地將理性及情慾並列，相互成對比，更增詩之效果。 • 他常自哲學、心理學及神學等學說中選用意象，發展而成了玄派詩(Metaphysical Poetry)。其詩所用的意象，乍看似極怪異，相互矛盾。但細想後，卻可發現這種意象原來是智慧的結晶，使他的想像力發揮致盡。
One thing I love about Donne's poetic project is its ambition. Poetry is a discourse rooted in connotation over denotation, and Donne is among the most connotative. He can make meaning on many levels. • Donne is also one of the great love poets. No poet is better at demonstrating the relationship between the corporeal and the eternal, the erotic and the divine.
THE FLEA. by John Donne • MARK but this flea, and mark in this, How little that which thou deniest me is ; It suck'd me first, and now sucks thee, And in this flea our two bloods mingled be. Thou know'st that this cannot be said A sin, nor shame, nor loss of maidenhead ; Yet this enjoys before it woo, And pamper'd swells with one blood made of two ; And this, alas ! is more than we would do.
仔细看这个跳蚤，看它体内，你的拒绝还有何意义；它吸我的血，又吸你的，我们的血在跳蚤体内混合。你知道这不能称为罪恶，羞耻或者丧失贞操；它享受，甚至不屑求爱，娇纵者的肚皮被混合之血涨圆。唉！这超出了我们理应的行为。仔细看这个跳蚤，看它体内，你的拒绝还有何意义；它吸我的血，又吸你的，我们的血在跳蚤体内混合。你知道这不能称为罪恶，羞耻或者丧失贞操；它享受，甚至不屑求爱，娇纵者的肚皮被混合之血涨圆。唉！这超出了我们理应的行为。
O stay, three lives in one flea spare, Where we almost, yea, more than married are. This flea is you and I, and this Our marriage bed, and marriage temple is. Though parents grudge, and you, we're met, And cloister'd in these living walls of jet. Though use make you apt to kill me, Let not to that self-murder added be, And sacrilege, three sins in killing three.
在那跳蚤身上，三个生命汇集，在那里我们几乎，哦，且只行洞房之礼。这只跳蚤是你，也是我，这是我们的婚床，婚礼的殿堂。尽管父母唠叨，你也反对，但我们相聚，隐居在这宝石般黝黑的活物内。尽管习惯让你老想杀死我，但不要也杀了你自己，罪孽啊，三条生命，三重罪。在那跳蚤身上，三个生命汇集，在那里我们几乎，哦，且只行洞房之礼。这只跳蚤是你，也是我，这是我们的婚床，婚礼的殿堂。尽管父母唠叨，你也反对，但我们相聚，隐居在这宝石般黝黑的活物内。尽管习惯让你老想杀死我，但不要也杀了你自己，罪孽啊，三条生命，三重罪。
Cruel and sudden, hast thou since Purpled thy nail in blood of innocence? Wherein could this flea guilty be, Except in that drop which it suck'd from thee? Yet thou triumph'st, and say'st that thou Find'st not thyself nor me the weaker now. 'Tis true ; then learn how false fears be ; Just so much honour, when thou yield'st to me, Will waste, as this flea's death took life from thee.
