| xìng： | dài | ||||
| míng： | chéng | ||||
| zì： | cháo 'ān | ||||
| wǎngbǐhào： | hǎi shān ; dài mèng 'ōu ; jiāng 'ēn ; ài 'áng fǔ | ||||
yuèdòudài wàng shū Dai Wangshuzài诗海dezuòpǐn!!! | |||||
戴望舒笔名有戴梦鸥、江恩、艾昂甫等。生于浙江抗州。是中国现代著名的诗人。
1923年，考入上海大学文学系。1925年，转入震旦大学法文班。1926年同施蛰存、杜衡创办《璎珞》旬刊，在创刊号上发表处女诗作《凝泪出门》和译魏尔伦的诗。1928年与施蛰存、杜衡、冯雪蜂一起创办《文学工场》。1929年4月，第一本诗集《我的记忆》出版，其中《雨巷》成为传诵一时的名作，他因此被称为“雨巷诗人”。
1932年参加施蛰存主编的《现代》杂志的编辑工作。 11月初赴法留学，入里昂中法大学。1935年春回国。1936年10月，与卞之琳、孙大雨、梁宗岱、冯至等创办《新诗》月刊。
抗战爆发后，在香港主编《大公报》文艺副刊，发起出版《耕耘》杂志。1938年春在香港主编《星岛日报.星岛》副刊。1939年和艾青主编《顶点》。1941年底被捕入狱。在狱中写下了《狱中题壁》、《我用残损的手掌》、《心愿》、《等待》等诗篇。
1949年6月，在北平出席了中华文学艺术工作代表大会。建国后，在新闻总署从事编译工作。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).