Ⅰ 波兰的女诗人的辛波斯卡的《一见钟情》的完整翻译
一见钟情
[波兰]辛波丝卡
They're both convinced
他们两人都相信
that a sudden passion joined them.
是一股突发的热情让他俩交会。
Such certainty is beautiful,
这样的笃定是美丽的,
but uncertainty is more beautiful still.
但变化无常更是美丽。
Since they'd never met before, they're sure
既然从未见过面,所以他们确定
that there'd been nothing between them.
彼此并无任何瓜葛。
But what's the word from the streets, staircases, hallways---
但是听听自街道、楼梯、走廊传出的话语——
perhaps they've passed by each other a million times?
他俩或许擦肩而过一百万次了吧?
I want to ask them
我想问他们
if they don't remember---
是否记不得了——
a moment face to face
在旋转门
in some revolving door?
面对面那一刻?
perhaps a "sorry" muttered in a crowd?
或者在人群中喃喃说出的“对不起”?
a cut "wrong number" caught in the receiver?
或者在听筒截获的唐突的“打错了”?
but I know the answer.
然而我早知他们的答案。
No, they don't remember.
是的,他们记不得了。
They'd be amazed to hear
他们会感到诧异,倘若得知
that Chance has been toying with them now for years.
缘分已玩弄他们多年。
Not quite ready yet
尚未完全做好,
to become their Destiny,
成为他们命运的准备,
it pushed them close, drove them apart,
缘分将他们推近,驱离,
it barred their path,
阻挡他们的去路,
stifling a laugh,
憋住笑声
and then leaped aside.
然后闪到一边。
There were signs and signals,
有一些迹象和信号存在,
even if they couldn't read them yet.
即使他们尚无法解读。
Perhaps three years ago
也许在三年前
or just last Tuesday
或者就在上个星期二
a certain leaf fluttered from one shoulder to another?
有某片叶子飘舞于肩与肩之间?
Something was dropped and then picked up.
有东西掉了又捡了起来?
Who knows, maybe the ball that vanished
天晓得,也许是那个
into childhood's thicket?
消失于童年灌木丛中的球?
There were doorknobs and doorbells
还有事前已被触摸
where one touch had covered another
层层覆盖的
beforehand.
门把和门铃。
Suitcases checked and standing side by side.
检查完毕后并排放置的手提箱。
One night, perhaps, the same dream,
有一晚,也许同样的梦,
grown hazy by morning.
到了早晨变得模糊。
Every beginning
每个开始
is only a sequel, after all,
毕竟都只是续篇,
and the book of events
而充满情节的书本
is always open halfway through.
总是从一半开始看起.
一九九六年诺贝尔文学奖得主辛波丝卡(Wislawa Szymborska),一九二三年七月二日出生于波兰西部小镇布宁(Bnin,今为科尼克[Kornik]一部份),八岁时移居克拉科夫(Cracow),至今仍居住在这南方大城。她是第三位获得诺贝尔文学奖的女诗人(前两位是一九四五年智利的密丝特拉儿和一九六六年德国的沙克丝),第四位获得诺贝尔文学奖的波兰作家,也是当今波兰最受欢迎的女诗人。她的诗作虽具高度的严谨性及严肃性,在波兰却拥有十分广大的读者。她一九七六年出版的诗集《巨大的数目》,第一刷一万本在一周内即售光,这在诗坛真算是巨大的数目。
辛波丝卡于一九四五年至一九四八年间,在克拉科夫著名的的雅格隆尼安大学修习社会学和波兰文学。一九四五年三月,她在波兰日报副刊发表了她第一首诗作〈我追寻文字〉。一九四八年,当她正打算出第一本诗集时,波兰政局生变,共产政权得势,主张文学当为社会政策而作。辛波丝卡于是对其作品风格及主题进行全面之修改,诗集延至一九五二年出版,名为《存活的理由》。辛波丝卡后来对这本以反西方思想,为和平奋斗,致力社会主义建设为主题的处女诗集,显然有无限的失望和憎厌,在一九七O年出版的全集中,她未收录其中任何一首诗作。
一九五四年,第二本诗集《自问集》出版。在这本诗集里,涉及政治主题的诗作大大减少,处理爱情和传统抒情诗主题的诗作占了相当可观的篇幅。一九五七年,《呼唤雪人》出版,至此她已完全抛开官方鼓吹的政治主题,找到了自己的声音,触及人与自然,人与社会,人与历史,人与爱情的关系。
Ⅱ 辛波丝卡
辛波丝卡是1996年诺贝尔文学奖得主,波兰女诗人,台湾著名绘本作家几米的很多作品灵感都来自于她的诗作,在几米比较经典的《向左走向右走》、《地下铁》、《履历表》等作品中都出现过不少辛波丝卡的诗句,很多我都很喜欢:)
如果说一个人性格或思想上像辛波丝卡的话可能指的是比较像她诗中所表现的积极向上、热爱自然等特点吧,要是说样子上像我就不知道了,因为也没看过她的照片之类的,呵呵
Ⅲ 诗人辛波丝卡的简介 辛波丝卡作品有什么特点
波兰诗人辛波丝卡
波兰诗人辛波丝卡全名是维斯瓦娃·辛波丝卡,她不仅是波兰杰出的女作家也是非常优秀的翻译家。辛波丝卡生于公元1923年,1996年的时候荣获诺贝尔文学奖,她是史上第三个获得诺贝尔文学奖的女性作家。她的诗歌作品被称为是“具有不同寻常和坚韧不拔的纯洁性力量”,其代表作品有《一见钟情》、《呼唤雪人》等。
辛波丝卡代表作
辛波丝卡是波兰籍的女作家、女诗人,是第三个获得诺贝尔文学奖的女诗人,也是第四个获得诺贝尔文学奖的波兰作家。辛波丝卡代表作有很多,如诗集《巨大的数目》、《呼唤雪人》等。
《巨大的数目》是1976年出版的诗歌集,这本诗歌集在当时引起很大的轰动,1986年的《桥上的人们》更事让不少读者为之倾倒。这本诗歌集只有短短二十二首诗歌,但是篇篇都可以被称为是精品,各具特色,有不少学者认为这是辛波斯卡的诗歌艺术的巅峰。在这本书的诗歌集中,几乎每句诗歌都透露着道德和哲理,辛波丝卡用独特和多样化的手法将这些到的和哲理以幽默的方式向世人展现出来,深受读者的喜爱。
诗集《呼唤雪人》是辛波丝卡在2000年出版的,在这本诗歌集中她已经完全抛开了政治的主题,开始以人为主体,写人与社会、自然、历史等的关系。书中她还一直用怀疑的眼光去看待世间的事物,所以在这本诗歌集中,读者可以感受到辛波丝卡的讽刺,但是这种讽刺又是不是直露的,而是非常微妙的,因为她总是从生活中人们不容易注意到的方向去入手,一些最常见的东西在辛波丝卡的笔下却又是那么的别有见地。
辛波丝卡被誉为是波兰最受欢迎的诗人,也是被公认的最迷人的诗人之一,被世人誉为“诗歌届的莫扎特”,是一位非常有魅力的女性作家。
Ⅳ 穿临时停车场的辛波丝卡出去玩会被lo娘说吗
你好,这里lo娘念念。
不会。
不穿山就不会。
而且辛波丝卡好像是软妹吧。
Ⅳ 求辛波丝卡《一见倾心》(或一见钟情)原文及最顺畅的翻译版
这个怎么说呢,翻译过的都不怎么样,目前没有几个牛人的
Ⅵ lolita辛波丝卡哪个颜色好看,在纠结粉色还是莺色,黑色就算了吧
莺色最热门
Ⅶ 求一见钟情---辛波丝卡
夜空中有
许多的星
一颗是你
一颗是我
我们都在摩肩接踵中
品尝
寂寞的闲情
我们相遇过
但
这之后却是
掩盖一切的黎明
以后的夜里
你我继续着
孤独的滑行
无论欣喜,悲伤
生命的钟摆
一刻
也不会停
于是你我的故事
还会重复
关于
一见钟情
Ⅷ 辛波丝卡短诗
写履历表
辛波丝卡
需要做些什么?
填好申请书
再附上一份履历表。
尽管人生漫长
但履历表最好简短。
简洁、精要是必需的。
风景由地址取代,
摇摆的记忆屈服于无可动摇的日期。
所有的爱情只有婚姻可提,
所有的子女只有出生的可填。
认识你的人比你认识的人重要。
旅行要出了国才算。
会员资格,原因免填。
光荣记录,不问手段。
填填写写,彷佛从未和自己交谈过,
永远和自己只有一臂之隔。
悄悄略去你的狗,猫,鸟,
灰尘满布的纪念品,朋友,和梦。
价格,无关乎价值,
头衔,非内涵。
他的鞋子尺码,非他所往之地,
用以欺世盗名的身份。
此外,再附张露出单耳的照片。
重要的是外在形貌,不是听力。
反正,还有什么好听的?
碎纸机嘈杂的声音
天 空
[波] 维丝拉娃•辛波丝卡
英译:Stanislaw Barańczak & Clare Cavanagh
汉译:得一忘二
本来就该如此开头:天空。
一扇窗子,减去了窗台、窗框、玻璃。
一个光圈,如此而已,
不过展开得很大。
我不必等待星夜,
不必伸长脖子
探头去看。
我的背后、手边、眼皮上已经有了天空。
天空将我捆紧,
它一扫我便倒。
甚至最高的山峦
也不会比最深的峡谷
更接近天空多少。
一个地方的天空不会比另一个地方
拥有更多的天。
鼹鼠不见得就比展开翅膀的猫头鹰
更靠近第七重天。
在深渊中会坠落的物体
一样能从天空落入天空。
天空:颗粒的、砂砾的、液体的、
燃烧的、挥发的,
片状的、点状的,
阵发的、堆积的。
天空无处不在,
甚至在你皮下的暗处。
我吃进天空,拉出天空。
我是陷阱内的陷阱,
成为栖息地的居民;
我是怀抱中的拥抱,
作为一个答案的问题。
截然分出天与地——
照这样来思考完整性,
方法不当。
这不过是令我继续
住在一个更确切的地址,
如果真有人找,
我便能被立刻找到。
界定我的特征
是狂喜与绝望。
Sky
Wislawa Szymborska
tr. Stanislaw Barańczak & Clare Cavanagh
I should have begun with this: the sky.
A window minus sill, frame, and panes.
An aperture, nothing more,
but wide open.
I don't have to wait for a starry night,
I don't have to crane my neck
to get a look at it.
I've got the sky behind my back, at hand, and on my eyelids.
The sky binds me tight
and sweeps me off my feet.
Even the highest mountains
are no closer to the sky
than the deepest valleys.
There's no more of it in one place
than another.
A mole is no less in seventh heaven
than the owl spreading her wings.
The object that falls in an abyss
falls from sky to sky.
Grainy, gritty, liquid,
inflamed, or volatile
patches of sky, specks of sky,
gusts and heaps of sky.
The sky is everywhere,
even in the dark beneath your skin.
I eat the sky, I excrete the sky.
I'm a trap within a trap,
an inhabited inhabitant,
an embrace embraced,
a question answering a question.
Division into sky and earth—
it's not the proper way
to contemplate this wholeness.
It simply lets me go on living
at a more exact address
where I can be reached promptly
if I'm sought.
My identifying features
are rapture and despair.
无 需 标 题
[波] 维丝拉娃•辛波丝卡
英译:Stanislaw Barańczak & Clare Cavanagh
汉译:得一忘二
是这样的:我坐在一棵树下,
树在河边,
这个早晨阳光明媚。
这不是什么了不得的事件,
不会写进历史。
不是战争也不是条约,
无需细究什么动机,
也无轰动的弑君事件。
然而我就坐在这条河边,事实如此。
既然我在这里,
我必然是从某处而来,
这就与民族征服者
扬帆出征前毫无区别。
甚至一个稍纵即逝的时刻也有丰富的过去,
也有星期六前的星期五,
也有六月之前的五月,
一个元帅可以用望远镜探实四方的地界,
而它的地界也不会显得虚幻。
这是一棵白杨,扎根于此已经多年;
这条河叫拉巴,自然不是昨天才冒出来;
这条穿过灌木丛的小路
也绝非上星期才被踩出印子;
风吹云散,但总得先将云
吹来然后才吹走。
虽然这附近没有什么事件发生,
但世界不会因此在细节上更显贫乏。
它仍是那般扎根地下、那般确凿笃定,
犹如迁移的人民将世界俘虏。
阴谋并非是唯一要隐藏在沉默中的事情。
理智的随从并非只是守着加冕礼。
革命纪念日可能会再被卷起,
而围绕着海湾的鹅卵石又何曾不是。
环境的织锦盘错而细密。
蚂蚁在草丛中穿针走线。
青草缝进了地面。
小树枝正在刺绣波浪的图案。
我如此因此是我自己,此刻在这儿观看。
我的上方有一只白蝴蝶扑闪着穿过半空,
它的翅膀仅仅属于它自己,
这是一个影子掠过我的双手,
影子便是它自己,除了自己不属他人。
当我看到这样的事物,我不再敢说
那些重要的就必定
比不重要的更为重要。
No Title Required
Wislawa Szymborska
tr. Stanislaw Barańczak & Clare Cavanagh
It has come to this: I'm sitting under a tree
beside a river
on a sunny morning.
It's an insignificant event
and won't go down in history.
It's not battle and pacts,
where motives are scrutinized,
or noteworthy tyrannicides.
And yet I'm sitting by this river, that's fact.
And since I'm here
I must have come from somewhere,
exactly like the conquerors of nations
before setting sail.
Even a passing moment has its fertile past,
its Friday before Saturday,
its May before June.
Its horizons are no less real
than those that a marshal's field glasses might scan.
This tree is a poplar that's been rooted here for years.
The river is the Raba; it didn't spring up yesterday.
The path leading through the bushes
wasn't beaten last week.
The wind had to blow the clouds here
before it could blow them away.
And though nothing much is going on nearby,
the world is no poorer in details for that.
It's just as grounded, just as definite
as when migrating races held it captive.
Conspiracies aren't the only things shrouded in silence.
Retinues of reasons don't trail coronations alone.
Anniversaries of revolutions may roll around,
but so do oval pebbles encircling the bay.
The tapestry of circumstance is intricate and dense.
Ants stitching in the grass.
The grass sewn into the ground.
The pattern of a wave being needled by a twig.
So it happens that I am and look.
Above me a white butterfly is fluttering through the air
on wings that are its alone,
and a shadow skims through my hands
that is none other than itself, no one else's but its own.
When I see such things, I'm no longer sure
that what's important
is more important than what's not.
有些人喜爱诗
[波] 维丝拉娃•辛波丝卡
英译:Stanislaw Barańczak & Clare Cavanagh
汉译:得一忘二
有些人——
这意味着并非所有人。
甚至不是大多数人,而是为数不多。
学校不好算,因为在校时必须读诗,
诗人也不能算,
那么恐怕也只能有千分之二左右。
喜爱——
就这个词而言,你可以说喜爱鸡汤面、
或者恭维话、某种蓝色、
你的旧围巾、
你自己的做事方式,
如宠爱一条狗。
诗——
不过到底诗又是什么?
这个问题提出以来,人们已捣鼓出
太多软骨症似的答案。
但我总是不明白,而我却坚持着,
犹如扶着防护栏杆。
Some People Like Poetry
Wislawa Szymborska
tr. Stanislaw Barańczak & Clare Cavanagh
Some people—
that means not everyone.
Not even most of them, only a few.
Not counting school, where you have to,
and poets themselves,
you might end up with something like two per thousand.
Like—
but then, you can like chicken noodle soup,
or compliments, or the color blue,
your old scarf,
your own way,
petting the dog.
Poetry—
but what is poetry anyway?
More than one rickety answer
has tumbled since that question first was raised.
But I just keep on not knowing, and I cling to that
like a redemptive handrail.
衣 物
[波] 维丝拉娃•辛波丝卡
英译:Stanislaw Barańczak & Clare Cavanagh
汉译:得一忘二
你们脱下、我们脱下、他们脱下
外套、夹克、罩衫、双排扣上衣,
羊毛的、全棉的、涤棉的,
裙子、衬衫、内衣、家居服、拖鞋、短袜,
将它们或平放或横搭或者斜挂
在椅背上或金属屏风的侧翼;
好了,医生说,目前还不算糟,
可以穿起来了,多多休息,出城住住,
要不就吃一颗求个心安,睡前和午饭后,
过几个月来复查,或开春或明年;
你也知道,你们就要那样想、我们就是害怕、
他就那么自己吓唬自己,你们全都信以为真;
该系起来了,你的手颤颤悠悠,
鞋带、鞋襻子、尼龙贴、拉链、摁扣,
皮带、钮扣、袖扣、领口、领带、风纪扣,
从手袋、衣袋或者袖笼里抽出
一条皱巴巴的大花带点的方格围巾,
它的有用期突然被延长了。
Clothes
Wislawa Szymborska
tr. Stanislaw Barańczak & Clare Cavanagh
You take off, we take off, they take off
coats, jackets, blouses, double-breasted suits,
made of wool, cotton, cotton-polyester,
skirts, shirts, underwear, slack, slips, socks,
putting, hanging, tossing them across
the backs of chairs, the wings of metal screens;
for now, the doctor says, it's not too bad,
you many get dressed, get rested up, get out of town,
take one in case, at bedtime, after lunch,
show up in a couple of months, next spring, next year;
you see, and you thought, and we were afraid that,
and he imagined, and you all believed;
it's time to tie, to fasten with shaking hands
shoelaces, buckles, velcro, zippers, snaps,
belts, buttons, cuff links, collars, neckties, clasps
and to pull out of handbags, pockets, sleeves
a crumpled, dotted, flowered, checkered scarf
whose usefulness has suddenly been prolonged.
时代的孩子
[波] 维丝拉娃•辛波丝卡
英译:Stanislaw Barańczak & Clare Cavanagh
汉译:得一忘二
我们都是时代的孩子,
这是个政治化的时代。
整日、彻夜,
一切事——你们的、我们的、他们的——
都是政治化的事件。
无论你乐意与否,
你的基因已有了政治背景,
你的皮肤,政治铸件,
你的眼睛,政治视角。
你的任何语言都产生反响,
你的任何沉默都显示含义,
不管怎样你都在谈及政治。
甚至当你抬脚走向森林,
你也是在政治的场地上
踱着政治的步子。
非政治化的诗篇也有政治色彩,
而我们头上的月亮
不再倾泻着纯然的蟾光。
To be or not to be, 这是个问题。
虽说这不过是理解上的小小结症,
正如以往一样,这一问题关乎政治。
要想获取一份政治意味,
你甚至不必是人。
原始材料也行,
或者蛋白质、或者原油,
或者一张会议桌,仅其形状
就需要数个月的争吵:
我们裁决生死时,
应该围着圆桌还是方桌?
与此同时,人们在死亡,
动物在灭绝,
房屋在烧毁,
良田在荒芜,
正如无从记忆的从前
没这么政治化的时代。
Children of Our Age
Wislawa Szymborska
tr. Stanislaw Barańczak & Clare Cavanagh
We are children of our age,
it's a political age.
All day long, all through the night,
all affairs—yours, ours, theirs—
are political affairs.
Whether you like it or not,
your genes have a political past,
your skin, a political cast,
your eyes, a political slant.
Whatever you say reverberates,
whatever you don't say speaks for itself.
So either way you're talking politics.
Even when you take to the woods,
you're taking political steps
on political grounds.
Apolitical poems are also political,
and above us shines a moon
no longer purely lunar.
To be or not to be, that is the question.
And though it troubles the digestion
it's a question, as always, of politics.
To acquire a political meaning
you don't even have to be human.
Raw material will do,
or protein feed, or crude oil,
or a conference table whose shape
was quarreled over for months:
Should we arbitrate life and death
at a round table or a square one?
Meanwhile, people perished,
animals died,
house burned,
and the fields ran wild
just as in times immemorial
and less political.
Ⅸ 求辛波斯卡的一见钟情 的全诗,要中英文
Love at First Sight
by Wislawa Szymborska
They both thought
that a sudden feeling had united them
This certainty is beautiful,
Even more beautiful than uncertainty.
They thought they didn't know each other,
nothing had ever happened between them,
These streets, these stairs, this corridors,
Where they could have met so long ago?
I would like to ask them,
if they can remember -
perhaps in a revolving door
face to face one day?
A "sorry" in the crowd?
"Wrong number" on the 'phone?
- but I know the answer.
No, they don't remember.
How surprised they would be
For such a long time already
Fate has been playing with them.
Not quite yet ready
to change into destiny,
which brings them nearer and yet further,
cutting their path
and stifling a laugh,
escaping ever further;
There were sings, indications,
undecipherable, what does in matter.
Three years ago, perhaps
or even last Tuesday,
this leaf flying
from one shoulder to another?
Something lost and gathered.
Who knows, perhaps a ball already
in the bushes, in childhood?
There were handles, door bells,
where, on the trace of a hand,
another hand was placed;
suitcases next to one another in the
left luggage.
And maybe one night the same dream
forgotten on walking;
But every beginning
is only a continuation
and the book of fate is
always open in the middle.
Translation from Polish by Roman Gren
Translation from French by Sarah Hardenberg
他们彼此深信
是瞬间迸发的热情使他们相遇
这样的确定是美丽的
但变幻无常更为美丽
他们素未谋面,所以他们确定彼此并无瓜葛。
但是自街道、楼梯、大堂传来的话语... ...
他们也许擦肩而过一百万次了吧。
我想问他们
是否记得... ...
在旋转门
面对面那一刹
或是在人群中喃喃道出的“对不起”,
或是在电话的另一端道出的“打错了”。
但是我早知道答案。
是的,他们并不记得。
他们会很惊讶,原来缘分已经戏弄他们多年。
时机尚未成熟变成他们的命运,
缘分将他们拉近,驱离。
阻挡着他们的去路
忍着笑声
然后闪到一旁... ...
有一些迹象和信号存在,
即使他们尚无法解读。
也许在三年前
或者就在上个星期二,
有某片叶子飘舞于
肩与肩之间?
有东西掉了又捡了起来?
天晓得,也许是那个
消失于童年灌木丛中的球?
还有事前已被触摸
层层覆盖的
门把和门铃。
检查完毕后并排放置的手提箱。
有一晚,也许同样的梦,
到了早晨变得模糊。
每个开始
毕竟都只是续篇,
而充满情节的书本
总是从一半开始看起。
Ⅹ 维斯瓦娃·辛波丝卡的作品年表
作品名称 原文名 年份 《存活的理由》 Dlatego yjemy 1952 《自问集》 Pytania zadawane sobie 1954 《呼唤雪人》 Wo anie do Yeti 1957 《盐》 Sól 1962 《101首诗》 101 wierszy 1966 《无止境的乐趣》 Sto pociech 1967 《诗选》 Poezje wybrane 1967 《种种可能》 Wszelki wypadek 1972 《巨大的数目》 Wielka liczba 1976 《桥上的人们》 Ludzie na mocie 1986 《诗集,波兰语-英语双语诗》 Poezje: Poems 1989 《选读札记》 Lektury nadobowi zkowe 1992 《结束与开始》 Koniec i pocztek 1993 《一粒沙看世界》 Widok z ziarnkiem piasku 1996 《一百个笑声》 Sto wierszy - sto pociech 1997 《瞬间》 Chwila 2002 《给大孩子的诗》 Rymowanki dla ych dzieci 2003 《冒号》 Dwukropek 2005