詩眠集:羅拔雙語詩集

詩眠集:羅拔雙語詩集
定價:250
NT $ 198 ~ 225
  • 作者:羅拔
  • 出版社:秀威資訊
  • 出版日期:2019-04-29
  • 語言:繁體中文
  • ISBN10:9863266701
  • ISBN13:9789863266709
  • 裝訂:平裝 / 184頁 / 14.8 x 21 x 1 cm / 普通級 / 單色印刷 / 初版
 

內容簡介

  All the night
  All our eyes shine
  On the sky named website
  ──Stars

  整個夜晚
  我們的雙眼閃爍
  在名為網頁的天空
  ──〈星辰〉


  《詩眠集》精選了詩人羅拔近十五年的雙語詩作,題材涵蓋日常生活、社會新聞、夢境、神話、文學、電影、音樂等等,是作者經過種種人生歷練並反芻後的集大成之作。作者善用中英雙語的「意象」、「音韻」,並以戲謔、幽默的語氣觀照世界的運行。

  A year passed like a morning piss
  You don't want to face it
  And you won't miss it
  But you must do it
  So just get up, let the rain drop
  And make a wish to Niagara Falls
  ──A New Year's Song

  一年如晨尿流逝
  不想面對
  也不會懷念
  終得執行一次
  起床了,讓雨落下
  朝尼加拉瓜瀑布許個願吧
  ──〈新年之歌〉

  他擅以現實投射意象概念,並以客觀呈現主觀體驗。全書分為兩大部分:第一輯【無眠大地】是作者人生經驗的抽象化,從主觀體驗而來的客觀呈現;第二輯【無夢天堂】是作者從現實描寫中,投射到意識思維的抽象世界,有個人的經歷、想像、思考,亦有更深入的意識抽象化的表達。

本書特色

  ★ 本書精選羅拔近十五年的雙語詩作,題材豐富多元,是作者經過種種人生歷練並反芻後的集大成之作。
  ★ 善用中英雙語的「意象」、「音韻」,以戲謔、幽默的語氣觀照世界的運行。
  ★ 名人推薦——余學林(奧克蘭大學生物醫學博士、詩人)、綠蒂(《秋水詩刊》發行人兼主編、詩人)、袁鶴翔(前香港中文大學英文系系主任、東吳大學英文系講座教授)

名人推薦

  余學林(奧克蘭大學生物醫學博士、詩人)
  綠蒂(《秋水詩刊》發行人兼主編、詩人)
  袁鶴翔(前香港中文大學英文系系主任、東吳大學英文系講座教授)
  |名人推薦.有詩好眠|
 
 

作者介紹

作者簡介

羅拔


  本名陳正立。二十歲開始用中文與英文寫詩,詩作深受西洋電影、搖滾樂、文學作品影響,為英國搖滾音樂家大衛鮑伊(David Bowie)的忠實粉絲,期許自己的作品能具備其「變色龍」的不羈特質。

  中英詩作散見《秋水詩刊》、《乾坤詩刊》、《台灣詩學季刊》、《野薑花詩集》、《有荷文學雜誌》等,現為中華民國新詩學會成員。
 
 

目錄

總序/蘇紹連
 推薦序/余學林
 推薦序/袁鶴翔
 推薦序/綠蒂
 自序

Part 1: Land Without Sleep
輯一.無眠大地


 Who Steals My Sleep?
 誰偷走我的睡眠?
 A Personal Statement
 個人論點
 Crows
 鴉
 The Murder Ballad
 殺戮歌謠
 Sashimi
 生魚片
 Street Cats
 野貓
 Vow
 誓
 The White Wine
 白酒
 Stars
 星辰
 Salmon: The Migration
 鮭魚:遷徙
 The Wall
 牆
 Sister Leaving Home
 小妹離家
 Gradually
 漸
 Dream #10
 夢境之十
 Something/Anything
 某些事,任何事
 Ann
 安
 The Abattoir
 屠宰場
 Losing Weights
 減肥
 Cake
 蛋糕
 Hint
 暗示
 Cooking
 下廚
 The Small House
 小屋
 A Drunk Ballad
 醉之謠
 The Gambler
 賭徒
 Parting
 離
 Twins
 雙生
 A New Year’s Song
 新年之歌
 Garbage Bag
 垃圾袋
 Zen
 禪說
 The Fictional Lover
 雲端情人
 Gone
 逝
 The Copyist
 臨摹者
 Amour
 愛慕
 The Whistling Kettle
 鳴笛水壺
 My Babe Monster─To Thesis
 我的妖怪娃娃─致論文
 The Siren
 海妖
 Now That We Shall Part
 別離此刻
 Mimicry
 擬態

輯二.無夢天堂
Part 2: Heaven Without Dream

 悅讀
 Reading
 煙
 Smoke
 甜食怪
 Dessert Monster
 暈
 Faint
 詩奴
 Slave of Poetry
 潛行者
 The Stalker
 雙弦
 Two Strings
 終曲
 The End
 《預言者保羅之書》─獻給章魚哥保羅與2010世足
 Book for Paul the Prophet─Dedicated to Paul the Octopus and World Cup 2010
 紅流─悼辭世的祖父母
 The Red Flood─In memory of my departed grandparents
 中年
 Middle Age
 花
 Flowers
 捉迷藏
 Seek and Hide
 夜襲
 The Night Attack
 除濕機
 Dehumidifier
 標點
 The Punctuation
 重逢
 The Reunion
 浪漫
 Romantic
 突變
 Transformation
 孩子
 The Child
 臉
 Face
 末日
 The Day the World Ends
 變形記─致宅男
 Metamorphosis─To An Otaku
 鳥─致捐血
 Bird─To Blood Donation
 怪物的孩子
 The Monster’s Child

 後記
 Epilogue

 
 

總序

台灣詩學吹鼓吹詩人叢書出版緣起

蘇紹連

  
  「台灣詩學季刊雜誌社」創辦於一九九二年十二月六日,這是台灣詩壇上一個歷史性的日子,這個日子開啟了台灣詩學時代的來臨。《台灣詩學季刊》在前後任社長向明和李瑞騰的帶領下,經歷了兩位主編白靈、蕭蕭,至二○○二年改版為《台灣詩學學刊》,由鄭慧如主編,以學術論文為主,附刊詩作。二○○三年六月十一日設立「吹鼓吹詩論壇」網站,從此,一個大型的詩論壇終於在台灣誕生了。二○○五年九月增加《台灣詩學‧吹鼓吹詩論壇》刊物,由蘇紹連主編。《台灣詩學》以雙刊物形態創詩壇之舉,同時出版學術面的評論詩學,及以詩創作為主的刊物。

  「吹鼓吹詩論壇」網站定位為新世代新勢力的網路詩社群,並以「詩腸鼓吹,吹響詩號,鼓動詩潮」十二字為論壇主旨,典出自於唐朝‧馮贄《雲仙雜記‧二、俗耳針砭,詩腸鼓吹》:「戴顒春日攜雙柑斗酒,人問何之,曰:『往聽黃鸝聲,此俗耳針砭,詩腸鼓吹,汝知之乎?』」因黃鸝之聲悅耳動聽,可以發人清思,激發詩興,詩興的激發必須砭去俗思,代以雅興。論壇的名稱「吹鼓吹」三字響亮,而且論壇主旨旗幟鮮明,立即驚動了網路詩界。

  「吹鼓吹詩論壇」網站在台灣網路執詩界牛耳是不爭的事實,詩的創作者或讀者們競相加入論壇為會員,除於論壇發表詩作、賞評回覆外,更有擔任版主者參與論壇版務的工作,一起推動論壇的輪子,繼續邁向更為寬廣的網路詩創作及交流場域。在這之中,有許多潛質優異的詩人逐漸浮現出來,他們的詩作散發耀眼的光芒,深受詩壇前輩們的矚目,諸如鯨向海、楊佳嫻、林德俊、陳思嫻、李長青、羅浩原、然靈、阿米、陳牧宏、羅毓嘉、林禹瑄……等人,都曾是「吹鼓吹詩論壇」的版主,他們現今已是能獨當一面的新世代頂尖詩人。

  「吹鼓吹詩論壇」網站除了提供像是詩壇的「星光大道」或「超級偶像」發表平台,讓許多新人展現詩藝外,還把優秀詩作集結為「年度論壇詩選」於平面媒體刊登,以此留下珍貴的網路詩歷史資料。二○○九年起,更進一步訂立「台灣詩學吹鼓吹詩人叢書」方案,鼓勵在「吹鼓吹詩論壇」創作優異的詩人,出版其個人詩集,期與「台灣詩學」的宗旨「挖深織廣,詩寫台灣經驗;剖情析采,論說現代詩學」站在同一高度,留下創作的成果。此一方案幸得「秀威資訊科技有限公司」應允,而得以實現。今後,「台灣詩學季刊雜誌社」將戮力於此項方案的進行,每半年甄選一至三位台灣最優秀的新世代詩人出版詩集,以細水長流的方式,三年、五年,甚至十年之後,這套「詩人叢書」累計無數本詩集,將是台灣詩壇在二十一世紀中一套堅強而整齊的詩人叢書,也將見證台灣詩史上這段期間新世代詩人的成長及詩風的建立。

  若此,我們的詩壇必然能夠再創現代詩的盛唐時代!讓我們殷切期待吧。
  
二○一四年一月修訂

推薦序

余學林

  
  從開始寫詩至今約莫十八年,從事外語翻譯六年,現在本業是醫學研究,什麼都要沾點邊,也總是徘徊邊緣,某種程度上堪稱自得其樂的我,接獲羅拔的邀約,對我來說是抬舉,也是一項重責大任。

  首先,我想討論「雙語詩」。

  廣義的「雙語詩」是以不同語言版本呈現同一首詩,但假設如此,「雙語詩」和「翻譯詩」又有何差別?我認為「雙語詩」的其中一種「定義」或「種類」應是「同一作者的意識流,用兩種不同語言去詮釋」。這樣的創作方式,是否可稱為「獨立雙語詩」?兩人以上所作的稱為「偕同雙語詩」?「雙語詩」的定義,尚須時光的醞釀,於此序文,我們姑且用上述的定義吧。

  詩的「原形」存在於思緒中,詩人「看見」了這樣的「原形」,以兩種語言作為媒介,創造出「雙語詩」。既然是同一作者的創作,即使文本上有歧異也是可以被接受的,(雙語詩的作者就是有這樣的「主角威能」)有時候這樣的歧異是互補的。

  下面舉幾個例子,來討論羅拔的雙語詩。

  《Stars/星辰》一詩短短三行,但言簡意深,包含起承轉合,也呈現出雙語詩的自由度。詩中首先將情景定錨於「夜晚」,接續「雙眼閃爍」,讓我們以為自己正看著星空,然而詩人話鋒一轉,解釋我們的視線其實「在名為網頁的天空」,我們的眼睛即是星星,主客互換,張力即生。

  英文內容「All the night/All our eyes shine/On the sky named website」中,可見到前兩句使用「首語重複法」(Anaphora),但中文內容「整個夜晚/我們的雙眼閃爍/在名為網頁的天空」,前兩句為求語順而放棄這樣的技法。英文後兩句使用「非全韻」(Imperfect rhyme),中文後兩句則是用「爍」與「空」這兩個不合格押韻則實音近的方式處理。

  《孩子/The Child》展現出中英文之間的差異性與互補性,中文內容其中一句「怒吼酒瓶玻璃瘀青」,乍看之下是一連串的蒙太奇,但當看見英文內容的「Winebottlesbrokenglassbruisesscreams」,才驚覺有這樣的急躁與壓迫感。雖然中文沒有類似的呈現手法,但是一個「漢字」中所蘊含的訊息量,用很少的空間傳達出很多的意思。「拭淚」、「什麼是家?」相較於「he wipes his tears」、「What is home to him?」而言,就顯得較為簡短,當然這也與英文文法非常需要主詞存在於一個完整的句子有關。

  既然羅拔找我寫序,應該早有心理準備我會套用統計方法:
  
  平均中文字數:64字
  標準差:41字
  中位數:35字
  最小值:11字
  最大值:294字
  
  平均英文字數:48字
  標準差:57字
  中位數:46字
  最小值:10字
  最大值:204字
  
  根據上述數據可以得知,羅拔偶有篇幅較長的作品,但創作的大多是短詩,易於消化,即使是忙碌的上班族亦適用。

  羅拔性格溫厚而蘊藏熱情,詩風樸實卻不時地為讀者帶來驚喜,他寫生活、寫電影、寫私人情感,有時紀念家人,有時描繪社會,作品時而溫馨,時而逗趣,時而驚悚,白天他揹著一袋玻璃瓶去採集世界各地的土壤,深夜在庭院裡栽培花草,每一瓶土壤,他會播種兩次,用不同的種子。這就是你手中的《詩眠集》。

  詩人少,雙語詩人甚少,我們的蕞爾小島能生出幾個雙語詩人?而羅拔正是其中一個孜孜不倦的少數。十年磨一劍,即使是再溫厚的詩人,也終有出鞘的一天。如今有幸見證結束修行出關的羅拔,我與有榮焉。我相信,羅拔會繼續寫,我們也會繼續讀。

  入口到了,歡迎光臨羅拔的詩園。
  
二○一九.一.二十一 於奧克蘭

Foreword

Lennex Hsueh-Lin Yu


  It has been around 18 years since I started writing poetry and 6 years since I started working as a translator. And my full-time job is a medical science researcher. I have experiences in many things, but never an expert in anything. I guess I am happy with that. Receiving the invitation from Rob to write the foreword for his poetry collection is a great honour and a worrying responsibility.

  To start, I would like to talk about “bilingual poetry”.

  A broad definition of “bilingual poetry” is one single poem with two different language versions. If this definition holds true, what then are the differences between “bilingual poetry” and “translated poetry”? I think one definition or type of “bilingual poetry” may be “the flow of consciousness of a single poet interpreted in two different languages”. Perhaps such creation can be called “independent bilingual poetry”, whereas that is created by two or more participants may be called “accompanied bilingual poetry”. A proper definition requires time to brew, and for the time being let us accept the aforementioned definition.

  The “source” of poetry exists in the mind, of which the poet “sees” and uses two languages to bring forth the abstract into physical existence of “bilingual poetry”. As each pair of poems is written by the same poet, even if there are differences in the poetry, they should be tolerable (due to the invincibility of authorship) and sometimes they may complement each other.

  I shall use a couple of examples below to discuss Rob’s bilingual poetry.

  “Stars/星辰” consists of merely three lines. While simple, it bears deep meanings, contains an introduction, elucidation of the theme, transition and a conclusion, and demonstrates the freedom a bilingual poet has. In the first line, the scene is set at “night”, followed by “our eyes shine”, hinting as if we are looking at the starry night sky. However, the last line reveals that our eyes are shining “on the sky named website”. Our eyes are in fact the stars. The change between subject and object creates tension in this poem.

  In the English version, “All the night/All our eyes shine/On the sky named website”, we can see the use of anaphora in the first two lines, which was abandoned by the poet in the Chinese version (“整個夜晚/我們的雙眼閃爍/在名為網頁的天空”) for the sake of fluency. Imperfect rhyme was used in the second and third line of the English version, whereas in the Chinese version, non-rhyming but similar-sounding characters “爍 (shuò)” and “空 (kong)” were used to accommodate for imperfect rhyme.

  “孩子/The Child” demonstrated the variability and complementarity between Chinese and English. In the Chinese version, one line wrote “怒吼酒瓶玻璃瘀青”, which seems like the use of montage. It is not until we see the English version “Winebottlesbrokenglassbruisesscreams” that we realized the irritability and pressure. Although such technique cannot be applied in Chinese, the Chinese characters are complex units that contain larger amount of information in the same space used. “拭淚” and “什麼是家?” seem more compact than “he wipes his tears” and “What is home to him?” respectively. Of course, it also has to do with the necessity of a subject in a complete sentence in English grammar.

  Since Rob asked me to write the foreword for him, then surely, he had prepared to see some statistics on his poetry collection.
  
  Chinese characters
  Mean:64
  Standard deviation: 41
  Median: 35
  Minimum: 11
  Maximum: 294
  
  English words
  Mean: 48
  Standard deviation: 57
  Median: 46
  Minimum: 10
  Maximum: 204
  
  Based on the statistics, it is known that occasionally Rob writes longer poems, but the vast majority of his work are short poems, easily digestible even for busy white-collars.

  Rob is a gentleman with immanent passion. His poems are simple yet sometimes bring you surprises. He writes about life, movies, personal feelings. Sometimes he commemorates his family members and sometimes he depicts the society. His poems are sometimes heart-warming, sometimes funny, and sometimes, straight-up horrifying. During the day, he carries a bag of glass bottles to collect different kinds of soils from all around the world. At night he plants different seeds twice in each kind of soil. And that is the poetry collection you are holding.

  There are few poets in this world, let alone bilingual poets. How many will there be in Taiwan? Well, Rob is one of the dedicated few. It is said in Chinese “ten years to make a sword”. This day would come eventually, even for the humblest poet. I have been honoured to witness Rob’s epiphany. I believe Rob will keep on writing, and we will keep on reading.

  Here we are at the entrance. Welcome to Rob’s garden of poetry.
  
21st January 2019 in Auckland

推薦序

袁鶴翔 

  
  「音」和「形」是中文的兩大構成要素,故王筠在《文字蒙求》一文中提出這兩點,認為幼兒識字須由此兩點開始。「形」指「意象」,「音」指「發聲」亦是聲音。在辭的創作方面,二者是不可缺一的,儘管在現代詩中,我們似乎對音節的重視不太在意,可是讀詩時總希望能朗朗上口,在音韻方面能夠「誦」。當然有時亦可用「意象」來代替「音韻」,近代詩即是如此,但詩的節奏仍是需要顧到。故而近代口語(白話)詩,特別注重「意象」。「意象」的巧妙運用,更是作詩者用心、用力所在之處。它一方面從簡單的「指事」,領讀者會意詩的所言,進入詩的主旨。另一方面,亦誘讀者由此產生心靈上的迴響,這是詩人從文字構成「意象」(IMAGE),引起讀者「心生共鳴」的主要原因。正立的詩做到了。

  正立的詩集共分兩大部,一為「無眠大地」,第二部是「無夢天堂」,第一部分主題是人生經驗的抽象化,有主觀經驗的客觀呈現,如〈小妹離家〉一詩中的表述,亦有現代詩中著重純「意象」的描述,如〈鴉〉這首詩即是。後者令人憶起休姆(Hulme)的〈泊橋上〉(Above the Dock)一詩中,對「意象」的著筆。第二部分是從現實描寫中,投射到意識思維的抽象世界,有個人的經歷、想像、思考,亦有更深入的意識抽象化的表達,如〈中年〉一首即是。可是一、二這部又不是那麼經緯分明;二者是相互交替地呈現出個人心靈的感受和客觀世界,雖「分」而又「合」的一種境界,既是主觀的,又是客觀的詩的創作和描述。這是難得的成就,這是詩。

  正立的詩集是集合經驗和抽象思考的一種創意的表現。希望他能在這一基礎上,更上一層樓,我拭目以待。
  
二○一九‧二月 於高雄

Foreword

YUAN, Heh-Hsiang

  
  Words create two most enduring impressions in our mind and make us stretch our imagination to an immense vision which embraces both reality and beyond.

  Nothing can catch for us this ingenious combination of the world outside of us and that inside us. Poetry is one measure that enables us to experience such wonder.

  For those who write poetry, word means sound and image. Sound gives us the musicality of language, and word the shape of things. Often, the two combine to give us, the reader, a sharpened sense of sound and sight; they echo the throe of our feelings and quicken the pace of our mental pulse. Rob’s poems give us just that, the world within and the world without; yet, the two are intricately and delicately balanced. In part one, “Land without Sleep”, we feel the personal through a recollection of parting emotions between the loved ones. There is a sense of sorrow as a brother parts with a sister, a lover with a love, youthful innocence with aging experience. Life is a journey from one end to the other. In part two, “Heaven without Dream”, the theme embraces more; there is hope unfulfilled or dreams unrealized.

  The tone varies with the theme of each poem, thus variability becomes tuneful changes as the poetic motif develops with each poem.

  In modern poetry, the attention catcher is not sound but image. If we accept the revolutionary turn in modern poetry by citing Hulme’s “Above the Dock”, we find in Rob’s work, “Crows”, a familiar emphasis. “A thousand dark refugees/Howling, crushing the setting sun” remind us just a similar imagistic vividness. That is poetry also. The two, sentiment and image, are both found in Rob’s collection of poems.

  As a young poet, this is quite an achievement. I congratulate Rob on his good work and look forward to more of them in the future.
  
February 2019 in Kaohsiung

推薦序

綠蒂

  
  中國的現代詩已有百年歷史,其中亦有不少佳作出現。我曾為了讓中國現代詩推廣到世界各地,讓世界文壇發現中國詩歌的美好,努力提倡中詩英譯或譯成他國文字,但發現詩是困難翻譯的,翻譯等於把詩作以第二種風貌呈現,文字表面意義有外文造詣者均能翻譯,但作品的意境或言外之意是難得在翻譯中呈現,也因為翻譯不出原作的文字節奏,而流於散文形式。本書作者自己創作雙語詩,可表現作品的文字美學並保存創作的意境。

  羅拔先生詩作,短小精悍,並非常長篇大論,卻言之有物,自己掌握外文能力,不管先有中文詩或英文詩,都能輕鬆駕馭,沒有翻譯障礙,這是本詩集特色。

  詩歌創道路漫長,有熱情投入者,始能持續不斷向前,盼羅拔先生更上一層樓,俯視詩歌的廣袤大地。

自序

羅拔

  
  一位詩友說:「若你能同時掌握兩種語言又能寫詩,何不試著寫寫雙語詩呢?」就此開啟了我中英文雙語詩的旅程。

  創作雙語詩的過程很有趣,相較於單純的譯詩有很大的不同;譯詩往往是翻譯他人的作品,但雙語詩是自己生下的雙胞胎,身上流著與自己相同的血,面貌相似,各自獨立卻又互補,彷彿生命共同體一般存在著。

  後來,很幸運地有些雙語詩登上了詩刊,更開心的是有些作品朋友或詩友看過之後有所感觸,且與我分享。

  本雙語詩集分兩輯,輯一的作品是英文在前而中文在後,輯二反之。會如此分別是按照誕生的順序,畢竟雙胞胎也有先出生與後出生的分別,如此以示公平。

  能夠寫詩本身就是一件幸運的事情,希望可以幸運一輩子。
 
二○一八.十二.三十一 於新北

Prologue

Rob Chen

  
  A poet once told me, “If you can write in two different languages, why don’t you try to write bilingual poems?” And so I started my journey on bilingual poetry.

  Writing bilingual poems is rather interesting. Different from translating poetry, it is like giving birth to twins. These twins are apparently alike yet actually different. Most importantly, they are complementary to each other.

  I have been fortunate to have some of my bilingual poems published in poetry magazines. I am glad that some of my friends like my works and share their thoughts with me after reading them. It is a great encouragement.

  This poetry collection is mainly divided into two parts. In part 1, the English version is put before the Chinese version in pairs. In part 2, it is the opposite. The order depends on the language of which the first poems were written in. I think it’s fair to put them in order as they were written.

  I think of myself as a lucky guy for I can write poetry. I hope I can write for my whole life.
  
31st December 2018 in New Taipei City
 

內容連載

〈Who Steals My Sleep?〉
 
A rest is too short to take
A night is too long to stay
Could we be honest
To define a sleep as an escape
And we have stocked daily anxieties
To scare away dreams
So I call myself a thief stealing my sleep
 
〈誰偷走我的睡眠?〉
 
休憩總嫌短
黑夜卻漫長
能不能誠實一些
論定睡眠為逃避
但我們終日囤積焦慮
把夢通通嚇跑
故我自詡為偷眠的賊
 
〈A Personal Statement〉
 
A poet writes for love
A love he can not take on
So he writes on
And his life goes on
Until this love is gone
So you might easily find out
A good poem about love
Is too ideal to be real
And it becomes a classic
And a little bit tragic
For you can neither touch nor taste
 
〈個人論點〉
 
詩人為愛而寫
一種他無法承受的愛
於是他寫啊寫
他的生命走啊走
直到此愛消逝
因此你或能輕易發現
一首關於愛的好詩
過度理想而不真實
於是它變成經典
於是有一點感傷
因你摸不著,也嚐不到
 
〈Crows〉
 
A thousand dark refugees
Howling, crushing the setting sun
 
〈鴉〉
 
千百個黝黑難民
悲嚎著輾過夕陽
 
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