雙語譯林壹力文庫：泰戈爾迴憶錄下載 mobi epub pdf 電子書 2024

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拉賓德拉納特·泰戈爾著，冰心譯

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圖書介紹

齣版社：譯林齣版社

ISBN：9787544765763

版次：1

商品編碼：11986625

包裝：平裝

叢書名：雙語譯林壹力文庫

開本：16開

齣版時間：2016-09-01

用紙：膠版紙

頁數：456

字數：94000

正文語種：中英文

圖書描述

編輯推薦

適讀人群：英文學習者、傳記讀者、青年讀者

　　印度詩人泰戈爾自傳

　　泰戈爾手繪插圖

　　著名文學傢冰心譯本

　　閱讀詩人內心理解大傢本真

　　雋永語言+大師細碎往事、成長曆程+詩歌創作剖析

　　買中文版送英文版

內容簡介

　　《泰戈爾迴憶錄》是印度詩人泰戈爾於1916年寫成的自傳。書中記錄泰戈爾從齣生到二十四歲這一時期的生活與理想，講述自己的童年往事、親人、友人事跡，可貴的是詳細記錄一部分詩集是如何寫成的。充滿詩意、文筆優美。譯林雙語版《泰戈爾迴憶錄》采用著名文學傢冰心先生譯本，品質卓越。

作者簡介

　　作者

　　拉賓德拉納特?泰戈爾（1861-1941），印度著名詩人、文學傢、社會活動傢、哲學傢和印度民族主義者。他的詩中含有深刻的宗教和哲學的見解，泰戈爾的詩在印度享有史詩的地位，代錶作有《吉檀迦利》《園丁集》《飛鳥集》等。

　　譯者

　　冰心（1900-1999），原名謝婉瑩，現代著名詩人、作傢、翻譯傢。冰心創作瞭一大批深受讀者喜愛的兒童文學作品，影響瞭好幾代中國人，被稱為中國富詩性的散文大傢、中國兒童文學奠基人。她翻譯的泰戈爾詩集清新婉麗、雋永雅緻，深受讀者歡迎。代錶作有《小橘燈》《繁星?春水》等，代錶譯作有《吉檀迦利》《園丁集》等。

精彩書評

　　泰戈爾！謝謝你以快美的詩情，救治我天賦的悲感；謝謝你以超卓的哲理，慰藉我心靈的寂寞。

　　——冰心

精彩書摘

　　第30章?《晚歌集》

　　在我把自己關在自己心裏的情況下，像我上麵說過的，我寫瞭一些詩，在穆海達先生編的我的作品集中，在《心的荒野》書名之下收集在一起。其中有一首本來是在《晨歌集》中的，有幾句是：

　　有一片廣漠的荒野名字叫作“心”；

　　它的交錯的樹枝舞弄搖晃著黑暗像一個嬰兒。

　　我在它的深處迷路瞭。

　　取瞭這詩裏的意思，我給這一組詩取瞭這個名字。

　　在我的生活和外界沒有交往，在我沉迷在我自己的心的冥想之中，在我想象的種種僞裝在無原因的情感、無目的的漫遊中所寫的許多詩，都沒有收進這集裏去；隻有很少的幾首本來發錶在《晚歌集》中的，在《心的荒野》中有瞭地位。

　　我哥哥喬提任德拉和他的妻子齣去做一次長途旅行，他們住的三層樓上的屋子，對著屋頂涼颱的，就空瞭起來。我占有瞭這幾間屋子和涼颱，靜靜地過著日子。這樣自己獨對，我不知道我是怎樣從我陷進的詩的溝壑中溜脫齣來的。也許是因為我和我所想取悅的人們隔斷瞭，他們對於詩的嗜好做成瞭我把思想放進的模型的形式，現在很自然地我從他們強加於我身上的體裁中解放瞭齣來。

　　我開始用石闆來寫作。這也有助於我的解放。我從前在上麵亂塗的那個稿本，似乎要求有一種相當高度的詩思，我必須以和彆人比較的方法來激起這種詩思。但是這石闆很明顯地適閤於我這時期的心情。它似乎說：“彆怕，隨意寫吧，一抹就都擦掉瞭！”

　　我在這樣無拘無束地寫瞭一兩首之後，我感到有極大的快樂從我心上湧起。我的心說：“我寫齣的詩，最後總算是我自己的瞭！”大傢韆萬不要把這個說成我的自豪。我倒是曾為我從前所寫過的作品感到驕傲，因為我必須給它們以一切贊賞。但是我不肯把它們叫作自我實現和自我滿足。父母在頭生孩子身上感到喜悅，並不是因他的容貌而自豪，而是因為他是他們自己的孩子。如果他竟然是一個非凡的孩子，他們也許感到光榮——但這是不同的。

　　在這種喜悅的第一陣浪潮中，我不顧韻律形式的束縛，就像泉水不是直流下去，而是隨意地彎彎麯麯地流的，我的詩也是這樣。以前就會覺得這是一種罪過，但是現在我卻感到很坦然，自由先把法則破壞瞭，而又做齣法則，把自由放在真正的自製之下。

　　我的這些不規律的詩的唯一聽眾是阿剋謝先生，當他第一次聽到我對他讀這些詩的時候，他是又驚訝又高興，在他的贊賞下，我的自由的路子又加寬瞭。

　　微哈裏?查剋拉瓦蒂的詩，用的是三個節拍的韻律。這個三節拍的時間産生一種圓轉的效果，不像兩節拍那樣平闆。它自在地流轉下去，它像應和腳鐲的叮舞蹈著掠過。有一個時期我非常喜歡這種韻律。它不像步行而像騎著自行車。我已經習慣於這種走法。在《晚歌集》裏，在無意之中，我居然甩掉瞭這個習慣。我也沒有受其他任何一種束縛。我感到完全地自由無忌。我不想到也不怕受什麼申斥。

　　我在從傳統束縛瞭解放齣來的寫作中得到的力量，使我發現我以前總在不可能的地方去搜尋我自己已有的東西。缺乏自信阻礙瞭我的自我迴歸。我感到我像從桎梏的夢中醒來，發現我是沒有帶著枷鎖的。我特意格外地跳躍嬉戲，隻要證明我的確是能夠自由活動的。

　　對於我，這是我寫詩生涯中最可紀念的一個時期。作為詩歌，我的《晚歌集》也許沒有什麼價值，事實上，就是這樣，它們是夠粗糙的。這些詩在韻律上、語言上、思想上都沒有固定的形式。它們唯一的好處就是我第一次隨心所欲地寫齣我真想說的東西。即使這些作品沒有什麼價值，而這愉快卻是有價值的。

　　30 Evening Songs

　　In the state of being confined within myself, of which I have been telling, I wrote a number of poems which have been grouped together, under the title of the , in Mohita Babu’s edition of my works. In one of the poems subsequently published in a volume called , the following lines occur:

　　There is a vast wilderness whose name is ;

　　Whose interlacing forest branches dandle and rock darkness

　　like an infant.

　　I lost my way in its depths.

　　from which came the idea of the name for this group of poems.

　　Much of what I wrote, when thus my life had no commerce with the outside, when I was engrossed in the contemplation of my own heart, when my imaginings wandered in many a disguise amidst causeless emotions and aimless longings, has been left out of that edition; only a few of the poems originally published in the volume entitled finding a place there, in the group.

　　My brother Jyotirindra and his wife had left home travelling on a long journey, and their rooms on the third storey, facing the terraced-roof, were empty. I took possession of these and the terrace, and spent my days in solitude. While thus left in communion with my self alone, I know not how I slipped out of the poetical groove into which I had fallen. Perhaps being cut off from those whom I sought to please, and whose taste in poetry moulded the form I tried to put my thoughts into, I naturally gained freedom from the style they had imposed on me.

　　I began to use a slate for my writing. That also helped in my emancipation. The manuscript books in which I had indulged before seemed to demand a certain height of poetic flight, to work up to which I had to find my way by a comparison with others. But the slate was clearly fitted for my mood of the moment. “Fear not,” it seemed to say. “Write just what you please, one rub will wipe all away!”

　　As I wrote a poem or two, thus unfettered, I felt a great joy well up within me. “At last,” said my heart, “what I write is my own!” Let no one mistake this for an accession of pride. Rather did I feel a pride in my former productions, as being all the tribute I had to pay them. But I refuse to call the realisation of self, self-sufficiency. The joy of parents in their first-born is not due to any pride in its appearance, but because it is their very own. If it happens to be an extraordinary child they may also glory in that—but that is different.

　　In the first flood-tide of that joy I paid no heed to the bounds of metrical form, and as the stream does not flow straight on but winds about as it lists, so did my verse. Before, I would have held this to be a crime, but now I felt no compunction. Freedom first breaks the law and then makes laws which brings it under true Self-rule.

　　The only listener I had for these erratic poems of mine was Akshay Babu. When he heard them for the first time he was as surprised as he was pleased, and with his approbation my road to freedom was widened.

　　The poems of Vihari Chakravarti were in a 3-beat metre. This triple time produces a rounded-off globular effect, unlike the square-cut multiple of 2. It rolls on with ease, it glides as it dances to the tinkling of its anklets. I was once very fond of this metre. It felt more like riding a bicycle than walking. And to this stride I had got accustomed. In the , without thinking of it, I somehow broke off this habit. Nor did I come under any other particular bondage. I felt entirely free and unconcerned. I had no thought or fear of being taken to task.

　　The strength I gained by working, freed from the trammels of tradition, led me to discover that I had been searching in impossible places for that which I had within myself. Nothing but want of self-confidence had stood in the way of my coming into my own. I felt like rising from a dream of bondage to find myself unshackled. I cut extraordinary capers just to make sure I was free to move.

　　To me this is the most memorable period of my poetic career. As poems my 雙語譯林壹力文庫：泰戈爾迴憶錄下載 mobi epub pdf txt 電子書格式