| 姓： | 戴 | ||||
| 名： | 承 | ||||
| 字： | 朝安 | ||||
| 網筆號： | 海山; 戴夢鷗; 江恩; 艾昂甫 | ||||
閱讀戴望舒 Dai Wangshu在诗海的作品!!! | |||||
戴望舒筆名有戴夢鷗、江恩、艾昂甫等。生於浙江抗州。是中國現代著名的詩人。
1923年，考入上海大學文學係。1925年，轉入震旦大學法文班。1926年同施蟄存、杜衡創辦《瓔珞》旬刊，在創刊號上發表處女詩作《凝淚出門》和譯魏爾倫的詩。1928年與施蟄存、杜衡、馮雪蜂一起創辦《文學工場》。1929年4月，第一本詩集《我的記憶》出版，其中《雨巷》成為傳誦一時的名作，他因此被稱為“雨巷詩人”。
1932年參加施蟄存主編的《現代》雜志的編輯工作。 11月初赴法留學，入裏昂中法大學。1935年春回國。1936年10月，與卞之琳、孫大雨、梁宗岱、馮至等創辦《新詩》月刊。
抗戰爆發後，在香港主編《大公報》文藝副刊，發起出版《耕耘》雜志。1938年春在香港主編《星島日報.星島》副刊。1939年和艾青主編《頂點》。1941年底被捕入獄。在獄中寫下了《獄中題壁》、《我用殘損的手掌》、《心願》、《等待》等詩篇。
1949年6月，在北平出席了中華文學藝術工作代表大會。建國後，在新聞總署從事編譯工作。不久在北京病逝。
Dai Wangshu (Chinese: 戴望舒; pinyin: Dài Wàngshū; Wade–Giles: Tai Wang-shu; March 5, 1905 – February 28, 1950), also Tai Van-chou, was a Chinese poet, essayist and translator active from the late 1920s to the end of the 1940s. A native of Hangzhou, Zhejiang, he graduated from the Aurora University, Shanghai in 1926, majoring in French.
He was closely associated with the Shanghai Modernist school, also known as New Sensibility or New Sensation School, a name inspired by the Japanese modernist writer Riichi Yokomitsu. Other members of the group were Mu Shiying, Liu Na'ou, Shi Zhecun, and Du Heng, whose Third Category thesis (that a writer could be on the left but remain independent) Dai defended against the hard line taken by the May Fourth Movement veteran Lu Xun.
Between 1932 and 1935 Dai studied in France at the University of Lyon's Institut Franco-chinois and published several poems in French. He collaborated in translating modern Chinese literature with French writer and academic Étiemble, and met contemporary French poets such as Jules Supervielle.
During the Sino-Japanese War, Dai worked in Hong Kong as a newspaper editor. He was arrested and put into jail for several months during the Japanese occupation of Hong Kong. During this period Dai developed acute asthma. After the war, he returned to Shanghai and then Beijing, and died there having accidentally overdosed on the ephedrine he took to control his asthma.
His early poetry has numerous intertextual links with the French Neo-symbolist poetry of Paul Fort and, in particular, Francis Jammes. Yet many references to pre-modern Tang Chinese lyric texts can also be discerned in his early poems. Some scholars have assumed that this "symbolist influence" came from more well-known French poets such as Verlaine and Baudelaire. However, while Dai Wangshu and other poets in China knew Verlaine's work through the versions of the English symbolist Ernest Dowson, there is no evidence of an early close inter-textual relationship with Baudelaire.
In the late 1940s, when he had returned from Europe and shifted from Neo-symbolism to a more generally modernist style (that drew also on Daoist texts), Dai translated Baudelaire's Les Fleurs du mal into Chinese. Dai, who had visited Spain before the Spanish Civil War, was the first to translate the poetry of Federico García Lorca and Pedro Salinas into Chinese.
Portrait
- Dai Wangshu. A Portrait by Kong Kai Ming at Portrait Gallery of Chinese Writers (Hong Kong Baptist University Library).
Further reading
- Chinese Writers on Writing featuring Dai Wangshu. Ed. Arthur Sze. (Trinity University Press, 2010).
References
- Gregory B. Lee, Dai Wangshu: The Life and Poetry of a Chinese Modernist (Hong Kong: Chinese University Press, 1989).
- Dai Wangshu, "Mis recuerdos". Introducción y traducción del chino de Javier Martín Ríos (Barcelona: La poesía, señor hidalgo, 2006).