| 維斯瓦娃·辛波絲卡 | |||||
| 維斯瓦娃·希姆博爾斯卡 | |||||
| 出生地： | 波蘭的布寧 | ||||
閱讀辛波絲卡 Wisława Szymborska在诗海的作品!!! | |||||
辛波丝卡於一九二三年七月二日生於波蘭的小鎮布寧的一個知識分子家庭裏。那時，她的國傢剛剛擺脫第一次世界大戰的陰影。一九三一年全家遷往波蘭南部的剋拉科夫。剋拉科夫市從十四世紀到十七世紀一直是波蘭的首都，曾被聯合國評為世界上十二座最美麗的城市之一。這時有古老的志願人員，歷代波蘭皇帝的陵墓，雄偉的廣場，收藏豐富的博物館，凡此種種，構成了濃郁的文化氛圍。與這個城市的文化氛圍相一致的，是詩人的長年飄逸書香的家庭氛圍。據詩人回憶，在她童年時代的家庭生活中，談論得最多的就是讀書。她五歲就開始作兒童詩，她的父親是第一個熱心讀者。辛波絲卡於一九四五年到一九四作年就讀於波蘭雅蓋沃大學哲學係。這是波蘭最古老的大學，建於十中世紀，以政治和宗教的寬容為建校之本，知名的天文學家哥白尼、鐳的發現者居裏夫人均畢業於這所大學。詩人一生結過二次婚，沒有生育有兒女。辛波絲卡是懂得詩和生命的滋味的，所以她這樣說：“我偏愛寫詩的荒謬勝過不寫詩的荒謬。”
一九九六年諾貝爾文學奬得主辛波絲卡(Wislawa Szymborska)，一九二三年七月二日出生於波蘭西部小鎮布寧（Bnin，今為科尼剋[Kornik]一部份），八歲時移居剋拉科夫(Cracow)，至今仍居住在這南方大城。她是第三位獲得諾貝爾文學奬的女詩人（前兩位是一九四五年智利的密絲特拉兒和一九六六年德國的沙剋絲），第四位獲得諾貝爾文學奬的波蘭作傢，也是當今波蘭最受歡迎的女詩人。她的詩作雖具高度的嚴謹性及嚴肅性，在波蘭卻擁有十分廣大的讀者。她一九七六年出版的詩集《巨大的數目》，第一刷一萬本在一周內即售光，這在詩壇真算是巨大的數目。
辛波絲卡於一九四五年至一九四八年間，在剋拉科夫著名的的雅格隆尼安大學修習社會學和波蘭文學。一九四五年三月，她在波蘭日報副刊發表了她第一首詩作〈我追尋文字〉。一九四八年，當她正打算出第一本詩集時，波蘭政局生變，共産政權得勢，主張文學當為社會政策而作。辛波絲卡於是對其作品風格及主題進行全面之修改，詩集延至一九五二年出版，名為《存活的理由》。辛波絲卡後來對這本以反西方思想，為和平奮鬥，致力社會主義建設為主題的處女詩集，顯然有無限的失望和憎厭，在一九七O年出版的全集中，她未收錄其中任何一首詩作。
一九五四年，第二本詩集《自問集》出版。在這本詩集裏，涉及政治主題的詩作大大減少，處理愛情和傳統抒情詩主題的詩作占了相當可觀的篇幅。一九五七年，《呼喚雪人》出版，至此她已完全拋開官方鼓吹的政治主題，找到了自己的聲音，觸及人與自然，人與社會，人與歷史，人與愛情的關係。 一九九六年諾貝爾文學奬得主辛波絲卡(Wislawa Szymborska)，一九二三年出生於 波蘭科尼剋(Kornik)，八歲時移居剋拉科夫(Cracow)，至今仍居住在這南方大城。她 是第三個獲得諾貝爾文學奬的女詩人 (前兩位是一九四五年智利的密絲特拉兒和一九 六六年德國的沙剋絲) ，第四個獲得諾貝爾文學奬的波蘭作傢，也是當今波蘭最受歡 迎的女詩人。她的詩作雖具高度的嚴謹性及嚴肅性，在波蘭卻擁有十分廣大的讀者。 她一九七六年出版的詩集《巨大的數目》，第一刷一萬本在一周內即售光，這在詩壇 真算是巨大的數目。
在大學修習社會學和波蘭文學的辛波絲卡，於一九四五年三月在波蘭日報副刊發表 了她第一首詩作＜我追尋文字＞。一九四八年，當她正打算出第一本詩集時，波蘭政局 生變，共産政權得勢，主張文學當為社會政策而作。辛波絲卡於是對其作品風格及主 題進行全面之修改，詩集延至一九五二年出版，名為《存活的理由》。辛波絲卡後來 對這本以反西方思想，為和平奮鬥，致力社會主義建設為主題的處女詩集，顯然有無 限的失望和憎厭，在一九七0年出版的全集中，她未收錄其中任何一首詩作。 一九五四年，第二本詩集《自問集》出版。在這本詩集裏，涉及政治主題的詩作大 大減少，處理愛情和傳統抒情詩主題的詩作占了相當可觀的篇幅。一九五七年，《呼 喚葉提》出版，至此她已完全拋開官方鼓吹的政治主題，找到了自己的聲音，觸及人 與社會，人與歷史，人與愛情的關係。在一九六二年出版的《????》裏，我們看到她對 新的寫作方向進行更深、更廣的探索。
一九六七年，《一百個笑聲》出版，這本在技巧上強調自由詩體，在主題上思索人 類在宇宙處境的詩集，可說是她邁入成熟期的作品。一九七二年的《衹因為恩典》和 一九七六年的《巨大的數目》更見大師風範。在一九七六年之前的三十年創作生涯中 ，辛波絲卡以質代量，共出版了一百八十首詩，其中衹有一百四十五首是她自認成熟 之作，她對作品要求之嚴由此可見一斑。
在辛波絲卡的每一本詩集中，幾乎都可以看到她追求新風格、嘗試新技法的用心。 她擅長自日常生活汲取喜悅，以小隱喻開發深刻的思想，寓嚴肅於幽默、機智，是以 小搏大，舉重若輕的語言大師。一九七六年之後，十年間未見其新詩集出版。一九八 六年《橋上的人們》一出，遂格外引人註目。令人驚訝的是，這本詩集竟然衹有二十 二首詩作，然而篇篇佳構，各具特色，可說是她詩藝的高峰。
辛波絲卡關心政治，但不介入政治。嚴格地說，她稱不上是政治詩人—也因此她 的書能逃過官方檢查制度的大剪，得以完整的面貌問世——但隱含的政治意涵在她詩 中到處可見。在《橋上的人們》這本詩集裏，她多半以日常生活經驗為元素，透過獨 特的敘述手法，多樣的詩風，錘鏈出生命的共相，直指現實之荒謬、局限，人性之愚 昧、妥協。此處譯介的五首詩即出自此書。
＜葬禮＞ 一詩以三十五句對白組成，辛波絲卡以類似荒謬劇的手法，讓觀禮者的話 語以不合邏輯的順序穿梭、流動、交錯，前後句之間多半無問答之關聯，有些在本質 上甚至是互相衝突的。這些對白唯一的共通點是——它們都是生活的聲音，瑣碎、空 洞卻又是真實生命的回音。在本該為死者哀慟的肅穆葬禮上，我們聽到的反而是生者 的喧嘩。藉着這種實質和形式之間的矛盾，辛波絲卡呈現出真實的生命形貌和質感， 沒有嘲諷，沒有苛責，衹有會心的幽默和諒解。
在 ＜寫履歷表＞ 一詩，辛波絲卡則以頗為辛辣的語調譏諷現代人功利導嚮的價值觀 ——將一張單薄的履歷表和一個漫長、復雜的人生劃上等號，企圖以一份空有外在形 式而無內在價值的資料去界定一個人，企圖以片面、無意義的具體事實去取代生命中 諸多抽象、無以名之的的美好經驗。然而，這樣的荒謬行徑卻在現代人不自覺的實踐 中，成為根深蒂固的生活儀式，詩人為我們提出了警訊。
在 ＜衣服＞ 一詩中，辛波絲卡不厭其煩地列出不同質料、樣式的衣服名稱，及其相 關之配件、設計細節，似乎暗示生命的局限——再嚴密的設防，也無法阻攔焦慮、心 事、病痛、疏離感的滲透。即使抽出了圍巾，在衣服外再裹一層保護膜，也衹是一個 蒼涼無效的生命手勢。
辛波絲卡的政治嘲諷和機智在 ＜對色情文學的看法＞ 一詩中發揮得淋漓盡致。八十 年代的波蘭在檢查制度之下，政治性、思想性的着作斂跡，出版界充斥着色情文學。 在這首詩裏，辛波絲卡虛擬了一個擁護政府「以思想箝製確保國傢安全」政策的說話 者，讓他義正嚴詞地指陳思想問題的嚴重性超乎色情問題之上，讓他滔滔不絶地以一 連串的色情意象痛斥自由思想之猥褻、邪惡。但在持續五個詩節嘉年華會式的激情語 調之後，辛波絲卡設計了一個反高潮——在冷靜、節制的詩的末段，他刻意呈現自由 思想者與志同道合者喝茶、翹腳、聊天的自得和無傷大雅。這樣的設計頓時瓦解了說 話者前面的論點，凸顯其對思想大力抨擊之荒謬可笑，也間接對集權國傢無所不在的 思想監控所造成的生存恐懼，提出了無言的抗議。
辛波絲卡認為生存是天賦人權，理應受到尊重。在 ＜種種可能＞ 一詩，她對自己的 價值觀、生活品味、生命認知做了相當坦率的表白。從她偏愛的事物，我們不難看出 她恬淡自得、自在從容、悲憫敦厚、不道學、不迂腐的個性特質。每個人都是獨立的 自主個體，依附於每一個個體的「種種可能」正是人間的可愛之處。透過這首詩，辛 波絲卡嚮世人宣告生命之多樣美好以及自在生存的權利，因為「存在的理由是不假外 求的」。
這也許不是一個詩的時代——或者，從來就未曾有過詩的時代——但人們依舊寫詩 、讀詩，詩依舊存活着，並且給我們快樂，安慰。辛波絲卡是懂得詩和生命的況味的， 當她這樣說：「我偏愛寫詩的荒謬╱勝過不寫詩的荒謬。」
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《辛波絲卡詩選》
陳黎‧張芬齡 譯
【目 錄】
未進行的喜馬拉雅之旅 博物館 不期而遇 金婚紀念日
寫作的喜悅 特技表演者 劇場印象
廣告 回傢 在一顆小星星底下
致谢函 微笑 隱居 一粒沙看世界 衣服
寫履歷表 葬禮 對色情文學的看法 種種可能
橋上的人們 天空 結束與開始 仇恨 一見鍾情
Maria Wisława Anna Szymborska (Polish: [viˈswava ʂɨmˈbɔrska]; 2 July 1923 – 1 February 2012) was a Polish poet, essayist, translator and recipient of the 1996 Nobel Prize in Literature. Born in Prowent, which has since become part of Kórnik, she later resided in Kraków until the end of her life. In Poland, Szymborska's books have reached sales rivaling prominent prose authors', though she wrote in a poem, "Some Like Poetry" ("Niektórzy lubią poezję"), that "perhaps" two in a thousand people like poetry.
Szymborska was awarded the 1996 Nobel Prize in Literature "for poetry that with ironic precision allows the historical and biological context to come to light in fragments of human reality". She became better known internationally as a result. Her work has been translated into English and many European languages, as well as into Arabic, Hebrew, Japanese, Persian and Chinese.
Szymborska frequently employs literary devices such as irony, paradox, contradiction, and understatement, to illuminate philosophical themes and obsessions. Szymborska's compact poems often conjure large existential puzzles, touching on issues of ethical import, and reflecting on the condition of people both as individuals and as members of human society. Szymborska's style is succinct and marked by introspection and wit.
Szymborska's reputation rests on a relatively small body of work: she has not published more than 250 poems to date. She is often described as modest to the point of shyness . She has long been cherished by Polish literary contemporaries (including Czesław Miłosz) and her poetry has been set to music by Zbigniew Preisner. Szymborska became better known internationally after she was awarded the 1996 Nobel Prize. Szymborska's work has been translated into many European languages, as well as into Arabic, Hebrew, Japanese and Chinese.
In 1931, Szymborska's family moved to Kraków. She has been linked with this city, where she studied, worked, and still resides, ever since.
When World War II broke out in 1939, she continued her education in underground lessons. From 1943, she worked as a railroad employee and managed to avoid being deported to Germany as a forced labourer. It was during this time that her career as an artist began with illustrations for an English-language textbook. She also began writing stories and occasional poems.
Beginning in 1945, Szymborska took up studies of Polish language and literature before switching to sociology at the Jagiellonian University in Kraków. There she soon became involved in the local writing scene, and met and was influenced by Czesław Miłosz. In March 1945, she published her first poem Szukam słowa ("I seek the word") in the daily paper Dziennik Polski; her poems continued to be published in various newspapers and periodicals for a number of years. In 1948 she quit her studies without a degree, due to her poor financial circumstances; the same year, she married poet Adam Włodek, whom she divorced in 1954. At that time, she was working as a secretary for an educational biweekly magazine as well as an illustrator.
During Stalinism in Poland in 1953 she has participated in defamation of Catholic priests from Kraków groundlessly condemned by Communists to death penalty. Her first book was originally to be published in 1949, but did not pass censorship as it "did not meet socialist requirements." Like many other intellectuals in post-war Poland, however, Szymborska remained loyal to the PRL official ideology early in her career, signing political petitions and praising Stalin, Lenin and the realities of socialism. This attitude is seen in her debut collection Dlatego żyjemy ("That is what we are living for"), containing the poems Lenin and Młodzieży budującej Nową Hutę ("For the Youth that Builds Nowa Huta"), about the construction of a Stalinist industrial town near Kraków. She also became a member of the ruling Polish United Workers' Party.
Like many Polish intellectuals initially close to the official party line, Szymborska gradually grew estranged from socialist ideology and renounced her earlier political work. Although she did not officially leave the party until 1966, she began to establish contacts with dissidents. As early as 1957, she befriended Jerzy Giedroyc, the editor of the influential Paris-based emigré journal Kultura, to which she also contributed. In 1964 she subscribed Communist backed protest to The Times against independent intellectuals, demanding freedom of speech.
In 1953, she joined the staff of the literary review magazine Życie Literackie ("Literary Life"), where she continued to work until 1981 and from 1968 ran her own book review column entitled Lektury Nadobowiązkowe ("Non-compulsory Reading"). Many of her essays from this period were later published in book form. From 1981 to 1983, Szymborska was an editor of the Kraków-based monthly Pismo. During the 1980s, she intensified her oppositional activities, contributing to the samizdat periodical Arka under the pseudonym "Stańczykówna", as well as to Kultura in Paris.
Szymborska has also translated French literature into Polish, in particular Baroque poetry and the works of Agrippa d'Aubigné.
In Germany, Szymborska is often associated with her translator Karl Dedecius, who did much to popularize her works there.
Prizes and awards
1954: The City of Cracow Prize for Literature
1963: The Polish Ministry of Culture Prize
1991: The Goethe Prize
1995: The Herder Prize
1995: Honorary Doctor of the Adam Mickiewicz University in Poznań
1996: The Polish PEN Club prize
1996: Nobel Prize for Literature
Major works
1952: Dlatego żyjemy ("That's Why We Are Alive")
1954: Pytania zadawane sobie ("Questioning Yourself")
1957: Wołanie do Yeti ("Calling Out to Yeti")
1962: Sól ("Salt")
1966: 101 wierszy ("101 Poems")
1967: Sto pociech ("No End of Fun")
1967: Poezje wybrane ("Selected Poetry")
1972: Wszelki wypadek ("Could Have")
1976: Wielka liczba ("A Large Number")
1986: Ludzie na moście ("People on the Bridge")
1989: Poezje: Poems, bilingual Polish-English edition
1992: Lektury nadobowiązkowe ("Non-required Reading")
1993: Koniec i początek ("The End and the Beginning")
1996: Widok z ziarnkiem piasku ("View with a Grain of Sand")
1997: Sto wierszy - sto pociech ("100 Poems - 100 Happinesses")
2002: Chwila ("Moment")
2003: Rymowanki dla dużych dzieci ("Rhymes for Big Kids")
2005: Dwukropek ("Colon")
Reviews
1998 Boston Review: Poems - New and Collected 1957-1997 by Francis Padorr Brent
2006 The Christian Science Monitor: A fascinating journey with two women poets by Elizabeth Lund
2006 Moondance magazine: Stories/Poems. Plain and Simple. -- Mapping the Words of Wislawa Szymborska on Her Latest Book, Monologue of a Dog by Lys Anzia
2006 Sarmatian Review: Wislawa Szymborska's 'Conversation With a Stone' -- An Interpretation by Mary Ann Furno
2006 Words Without Borders: Monologue of a Dog -- New Poems of Wislawa Szymborska by W. Martin
External links
Wislawa Szymborska: Including biography and Nobel speech - NobelPrize.org
Poems of Wislawa Szymborska
Wislawa Szymborska in translation
Wislawa Szymborska poems in English
More translated Wislawa Szymborska poems
Poems of Wislawa Szymborska in light projections by artist Jenny Holzer in London
Wislawa Szymborska's "True Love" in Poem for Rent project.
Enciclopædia Britannica article about Szymborska
See also
Polish poets
^ Wojciech Czuchnowski Blizna. Proces kurii krakowskiej 1953, Kraków 2003
^ Stanisław Krajski Wisława Szymborska: Zabić księży
^ Sebastian Pasławski Ludzie: Wisława Szymborska Admiratorka Lenina i Stalina