Federico García Lorca
http://c250.columbia.edu/c250_celebrates/remarkable_columbians/federico_lorca.html
"As I have not worried to be born, I do not worry to die."
Federico García Lorca (1898–1936)
Writer
General Studies 1929
Federico García Lorca is one of Spain's greatest literary figures, and after Miguel de
Cervantes perhaps the most widely recognized Spanish writer in the English-speaking
world. Known above all for his poetry and plays, Lorca also produced novels, short
stories, paintings, drawings, and musical compositions in his brief lifetime. Many of his
works drew upon themes and imagery from folk traditions, particularly those of his
native Andalusia; others exhibited avant-garde poetic forms associated in Spain with
the Ultraist movement. In the 1920s, Lorca devoted himself to poetry and associated
himself with a group of artists that included Salvador Dali and Luis Buñuel. After
spending 12 months in the United States in 1929 and 1930, Lorca turned his
attention to theater and in 1931 formed a company, La Barraca, that toured the
Spanish countryside in order to present Spanish classical drama to provincial
audiences. The troupe produced the three "rural tragedies" that formed the basis of
Lorca's theatrical reputation: Blood Wedding (1933), Yerma (1934) and The House of
Bernarda Alba (1936). In August 1936, shortly after the outbreak of the Spanish Civil
War, Lorca was executed by a Falangist firing squad for his suspected left-wing
sympathies; his books were burned publicly, and his name forbidden by the Franco
government. Lorca's death made him a martyr and an international symbol of political
repression, adding to his legend. The House of Bernarda Alba was not produced in
Spain until 1950, and many of his works remained banned in his native country until
1971, a time of cultural liberalization in the waning years of the Franco government.
After the publication of his book of poetry, The Gypsy Ballads, made his reputation
throughout Spain, Lorca moved to New York in the summer of 1929 to study English
at Columbia. Here he came into contact with amateur theater groups and professional
repertory companies. He left Columbia after the summer session, but his 1929–30
American sojourn inspired another book of poetry, Poet in New York, that was
published posthumously.
====
最近借了本很全的洛尔伽诗,好好学习西班牙语。记得勃尔赫斯用海
涅的诗学德语,读叔本华。我发现用洛尔伽的诗学西班牙语,绝对有
一样的功效。手头有汉语洛尔伽,看到里面把赛维亚译成赛维利亚觉
得不是从西班牙语真译,这样不很好。其实洛尔伽的小诗很多,小虫
小景小爱情,还有Seville Orange,中文译桔怕也不当,应是“橙”。
书脊用的是上图照片,不是人们想象中的英俊少年。够苍老成熟的诗
人,他死难时,也只有三十八岁啊。
先抄两首小诗吧:
Murciélago (Bat)
El murciélage,
elixir de la sombra,
verdadero amante de la estrella,
muerde el talón del día.
Grito (Scream)
Cínife,
mariposa
pájaro,
estrella.
¿Qué?
Estrella,
pájaro,
mariposa
Cínife.
Ya en el suelo
mi corazón atravesado
vuela sobre las muchachas
de la feria.
- Re: 洛尔伽诗抄posted on 11/03/2009
看过达利,洛同性恋电影吗?可以看看。现在画家电影很多。
卡拉瓦瞧,伦波浪等都有了。 - posted on 11/10/2009
谢自立,昨天逮空看了The Little Ashes,达利还是达利。
洛尔伽倒是位出色的诗人,诗人讲生平的,可惜法雅的镜头少了。
洛尔伽的生平也应该是一部好电影。
Naranja y limón.
¡Ay de la niña
del mal amor!
Limón y naranja.
¡Ay de la niña,
de la niña blanca!
Limón.
(Cómo brillaba
el sol.)
Naranja.
(En las chinas
del agua.)
自立 wrote:
看过达利,洛同性恋电影吗?可以看看。现在画家电影很多。
卡拉瓦瞧,伦波浪等都有了。 - Re: 洛尔伽诗抄posted on 11/11/2009
电影好看么?影评不是太好。
Jose Guerrero: La brecha de Víznar
- Re: 洛尔伽诗抄posted on 11/13/2009
这电影我也是看不来,理解是理解,欣赏说不上。
洛尔伽的形象不错。
Paisaje sin canción
Cielo azul.
Campo amarillo.
Monte azul.
Campo amarillo.
Por la llanura tostada
va caminando un olivo.
Un solo
olivo.
- posted on 11/19/2009
xw那边给我抄Lorca,我也转给你一首我喜欢的,不顶那线了就转在这里。第二个Cordoba英译本都是Seville,更make sense,可我书上也是这个版本,不知为什么。我不懂西语,唯一看明白了的一首就是你上边的Naranja y limón,也不会发音,在家里拿来乱念可是觉着很好听 :)
Arbolé, arbolé,
seco y verdí.
La niña del bello rostro
está cogiendo aceituna.
El viento, galán de torres,
la prende por la cintura.
Pasaron cuatro jinetes
sobre jacas andaluzas,
con trajes de azul y verde,
con largas capas oscuras.
"Vente a Córdoba, muchacha."
La niña no los escucha.
Pasaron tres torerillos
delgaditos de cintura,
con trajes color naranja
y espadas de plata antigua.
"Vente a Córdoba, muchacha."
La niña no los escucha.
Cuando la tarde se puso
morada, con lux difusa,
pasó un joven que llevaba
rosas y mirtos de luna.
"Vente a Granada, muchacha."
Y la niña no lo escucha.
La niña del bello rostro
sigue cogiendo aceituna,
con el brazo gris del viento
ceñido por la cintura.
Arbolé, arbolé.
Seco y verdé.
http://www.poets.org/viewmedia.php/prmMID/15431
另:我以前不太喜欢西语的感觉,听上去很硬,但我发现西班牙人的和我们这边的不一样,软得多。再下个决心学西语吧,放在这里 :)不知要多少年才能真听得出口音的差别,象美国和英国英语那样。
再把pomegranate的词源搬过来,还有一个同源字grenade,
c.1320, poumgarnet, from O.Fr. pome grenate, from M.L. pomum granatum, lit. "apple with many seeds," from pome "apple, fruit" + grenate "having grains," from L. granata, fem. of granatus, from granum "grain." The L. was malum granatum "seeded apple." It. form is granata, Sp. is granada.
但是石榴的意象太passionate,虽然和Granada的历史契合,暂时和我对它的印象还不合拍。 - posted on 11/20/2009
西语要入门,不难。其实学诗很容易,先学会拼读。
西语字母很奇怪,没有x,倒有ll,发y。j发h,h不发音。ch单列一字
母,发英语ch,有时rr也作字母,只小写的。再有一个最特色的西班
牙字母ñ,中国人特容易,发“捏”音就行。。。
元音上有一撇的,如é,重音。
倒有一音有些歧义,就是v,有发v,有发b。b重一些。另外跟法语很
象,都有清音浊化的习惯,也许外人分辨不清。
这样就可以诵两首小小的洛尔伽了:
Rasgos(Sketches)
Aquel camino
sin gente.
Aquel camino.
Aquel grillo
sin hogar.
Aquel grillo.
Y esta esquila
que se duerme.
Esta esquila.
Rincón del cielo(Corner of Sky)
La estrella
vieja
cierra sus ojos turbios
La estrella
nueva
quiere azular
la sombra.
(En los pinos del monte
hay luciérnagas)
--Noche(Suite para piano y voz emocionada)
- posted on 11/20/2009
浮生 wrote:
再把pomegranate的词源搬过来,还有一个同源字grenade,
c.1320, poumgarnet, from O.Fr. pome grenate, from M.L. pomum granatum, lit. "apple with many seeds," from pome "apple, fruit" + grenate "having grains," from L. granata, fem. of granatus, from granum "grain." The L. was malum granatum "seeded apple." It. form is granata, Sp. is granada.
但是石榴的意象太passionate,虽然和Granada的历史契合,暂时和我对它的印象还不合拍。
我正碰到一个小问题,翻译中不想用pomegranate这个词,嫌它太长,太术语,想用granada又恐歧义。查到圣经中用过的一个老词,rimmon,楼上两位专家有何高见和建议? - posted on 11/21/2009
不敢称专家,也尝试一答:
这rimmon就绕得太远了,还不如granada,我见过有此拼写,以前还跟
grenade混同。汉石榴子是新译名,倒是源于英文字表。
又想到一个名punica,是安石榴的拉丁名,granata.
前不久翻佛经植物,佛经上译名,称“吉祥果”。鬼子母传奇:
老瓦 wrote:
浮生 wrote:我正碰到一个小问题,翻译中不想用pomegranate这个词,嫌它太长,太术语,想用granada又恐歧义。查到圣经中用过的一个老词,rimmon,楼上两位专家有何高见和建议?
再把pomegranate的词源搬过来,还有一个同源字grenade,
c.1320, poumgarnet, from O.Fr. pome grenate, from M.L. pomum granatum, lit. "apple with many seeds," from pome "apple, fruit" + grenate "having grains," from L. granata, fem. of granatus, from granum "grain." The L. was malum granatum "seeded apple." It. form is granata, Sp. is granada.
但是石榴的意象太passionate,虽然和Granada的历史契合,暂时和我对它的印象还不合拍。 - posted on 11/21/2009
这诗第二部分我书中原语是Seville,也有汉译,有机会再磨一版。有
点西班牙的华兹华斯,刈麦女的孤独,连着土地的:
The Solitary Reaper -- William Wordsworth
Behold her, single in the field,
Yon solitary Highland Lass!
Reaping and singing by herself;
Stop here, or gently pass!
Alone she cuts and binds the grain,
And sings a melancholy strain;
O listen! for the vale profound
Is overflowing with the sound.
No nightingale did ever chaunt
More welcome notes to weary bands
Of travellers in some shady haunt,
Among Arabian sands:
A voice so thrilling ne'er was heard
In spring-time from the cuckoo-bird
Breaking the silence of the seas
Among the farthest Hebrides.
Will no one tell me what she sings?
Perhaps the plaintive numbers flow
For old, unhappy, far-off things,
And battles long ago:
Or is it some more humble lay,
Familiar matter of today?
Some natural sorrow, loss, or pain,
That has been, and may be again!
Whate'er the theme, the maiden sang
As if her song could have no ending;
I saw her singing at her work,
And o'er the sickle bending;
I listened, motionless and still;
And as I mounted up the hill
The music in my heart I bore,
Long after it was heard no more.
浮生 wrote:.....
Arbolé, arbolé,seco y verdí.
La niña del bello rostro
está cogiendo aceituna.
El viento, galán de torres,
la prende por la cintura.
Pasaron cuatro jinetes
sobre jacas andaluzas,
con trajes de azul y verde,
con largas capas oscuras.
"Vente a Córdoba, muchacha."
La niña no los escucha. - Re: 洛尔伽诗抄posted on 11/21/2009
谢老瓦,又学了个新词,我去查字典才认得这个rimmon呢,所以连低见都不要指望了 :)希伯来语的石榴,圣经里也有其他用处,神、人名、地名。我想最好是你拿这个字问美国人,看他们首先想到的是什么。 - posted on 12/20/2009
Stuck in the snow storm, stayed in a hotel for the night, reading Lorca...
Poeta en Nueva York
1910
(INTERMEDIO)
Aquellos ojos míos de mil novecientos diez
no vieron enterrar a los muertos,
ni la feria de ceniza del que llora por la madrugada,
ni el corazón que tiembla arrinconado como un caballito de mar.
Aquellos ojos míos de mil novecientos diez
vieron la blanca pared donde orinaban las niñas,
el hocico del toro, la seta venenosa
y una luna incomprensible que iluminaba por los rincones
los pedazos de limón seco bajo el negro duro de las botellas.
Aquellos ojos míos en el cuello de la jaca,
en el seno traspasado de Santa Rosa dormida,
en los tejados del amor, con gemidos y frescas manos,
en un jardín donde los gatos se comían a las ranas.
Desván donde el polvo viejo congrega estatuas y musgos,
cajas que guardan silencio de cangrejos devorados
en el sitio donde el sueño tropezaba con su realidad.
Allí mis pequeños ojos.
No preguntarme nada. He visto que las cosas
cuando buscan su curso encuentran su vacío.
Hay un dolor de huecos por el aire sin gente
y en mis ojos criaturas vestidas ¡sin desnudo!
New York, agosto 1929.
- posted on 12/20/2009
The whimsical lens has captured, over my shoulder, a sort of harp, soft as a jellyfish, and the whole atmosphere has a certain finitetic, like the ash of a cigarette...
From a letter to Carlos Morla Lynch
Lullaby, little child,
in the country we'll build
a tiny hut
and live inside.
"Danger is near", Lorca says, explaining the lullaby. "We must make ourselves smaller, tiny ... Outside, they are waiting to hurt us. We must live in a tiny place. If we can, we will live in an orange, you and me. Even better, in a grape!"
Lorca, in Lullabies (1928)
- Re: 洛尔伽诗抄posted on 12/20/2009
诗人是儿童,这样童真纯洁的诗!
Lullaby, little child,
in the country we'll build
a tiny hut
and live inside.
- posted on 12/20/2009
今天读洛尔伽诗人在纽约,倒是读到洛尔伽后来的情人叫Emilio Aladren:
He is alluding to the end of his affair - one of the most important of his life
, with a Spanish sculptor, 8 years youger, Emilio Aladren. The poet's love had
not been reciprocated: Aladren seems to have played cruelly with Lorca's
emotions and used him to further his own career. The affair was a subject
of gossip in Madrid, and Lorca's disorganized...
有点王尔德!他正是在这种危机中,29年到纽约来的大半年,古巴,南美。这首诗集
即是此背景。另外又要提到“二七年一代”,西班牙歌那线的“小鸽子错了”的诗
作者Rafael Alberti说这诗集:
http://en.wikipedia.org/wiki/Generation_of_'27
Generación del 27
Poet in New York was written by "a lonely poet...lost amid docks and avenues and skyscrapers, returning in nostalgia and anguish to his little room at Columbia Univ."
估计也不确。洛尔伽倒是讲了不少真话,但洛尔伽的诗在美国不受欢迎(比聂鲁达差
远了,尤其在纽约不受欢迎:)
1910 (INTERMEDIO) 我抄一下英译,再转两首好诗。
Those eyes of mine in 1910
saw no one dead and buried,
no village fair of ash from the one who weeps at dawn,
no trembling heart cornered like a sea horse.
Those eyes of mine in 1910
saw the white wall where little girls pissed,
the bull's muzzle, the poisonous mushroom,
and an incomprehensible moon illuminating dried lemon rinds
under the hard black bottles in corners.
Those eyes of mine on the pony's neck,
on the pierced breast of Santa rosa as she sleeps,
on the rooftops of love, with moans and cool hands,
on a garden where cats devour frogs.
Attic where the ancient dust assembles astutes and moss.
Boxes that keep the silence of devoured crabs.
In the place where the dream was colliding with its reality.
My little eyes are there.
Don't ask me any questions. I've seen how things
that seek their way find their void instead.
There are spaces that ache in the uninhabited air
and in my eyes, completely dressed creatures - no one naked there!
New York, august 1929
再转一首吧:Muerte - A Isidoro de Blas
¡Qué esfuerzo!
¡Qué esfuerzo del caballo por ser perro!
¡Qué esfuerzo del perro por ser golondrina!
¡Qué esfuerzo de la golondrina por ser abeja!
¡Qué esfuerzo de la abeja por ser caballo!
Y el caballo,
¡qué flecha aguda exprime de la rosa!
¡qué rosa gris levanta de su belfo!
Y la rosa,
¡qué rebaño de luces y alaridos
ata en el vivo azúcar de su tronco!
Y el azúcar,
¡qué puñalitos sueña en su vigilia!
Y los puñales diminutos,
¡qué luna sin establos!, ¡qué desnudos,
piel eterna y rubor, andan buscando!
Y yo, por los aleros,
¡qué serafín de llamas busco y soy!
Pero el arco de yeso,
¡qué grande, qué invisible, qué diminuto,
sin esfuerzo!
Death - To Isidoro de Blas
How hard they try!
How hard the horse tries
to become a dog.
How hard the dog tries to become a swallow.
How hard the swallow tries to become a bew.
How hard the bee tries to become a horse.
And the horse,
what a sharp arrow it squeezes from the rose,
what an ashen rose rising from its lips!
And the rose,
what a flock of lights and cries
knotted in the living sugar of its trunk.
and the sugar,
waht daggers it dreams in its vigils!
And these miniature daggers,
what a moon without stables, what nakedness,
undying and rosy flesh they seek out!
And I, on the roof's edge,
what a burning angel I look for and am.
But the plaster arch,
how vast, how invisible, how minute,
without even trying!
http://www.johnmitchell.org/muerte.mp3 - RE: 洛尔伽诗抄posted on 07/13/2013
Federico García Lorca is my favorite poet!
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