【人物百科】
Ungarétti, Giuseppe.?朱塞培·翁加雷蒂(1888 - 1970)
意大利現(xiàn)代詩人欲鹏、記者、散文家空扎、評論家藏鹊。與蒙塔萊、夸西莫多并稱意大利隱逸派詩歌三杰转锈。
1888年出生在埃及亞歷山大的一個意大利僑民家庭盘寡，在非洲度過童年和少年。1912年赴巴黎求學撮慨。第一次世界大戰(zhàn)期間竿痰，應征入伍，戰(zhàn)后返回巴黎甫煞。
Giuseppe Ungaretti was born in Alexandria, Egypt, in 1888, and lived in North Africa as a youth. He studied in Paris before serving in the Italian infantry during World War I. His poetry was influenced by the nomadic culture of North Africa, by the friendships he formed with the literary and avant-garde circles of Paris, and by his European war experiences.?
Ungaretti's early poetry, written in the trenches of WWI, dealt with love and the precariousness of life. Later, when influenced by the French symbolists, he inaugurated the Hermeticism movement in poetry. He pioneered the Modernist movement in Italian poetry and is widely regarded as one of the leading Italian poets of the twentieth century. His poetry is sparse and intense, contains elaborate rhetorical structures, and is renowned for its powerful insights and emotions.?
After World War II, Ungaretti's writing returned to the traditional meters of Italian poetry, and he wrote many erotic and religious poems. He also wrote essays and translated the works of Shakespeare, Racine, and others into Italian.?
Ungaretti taught at the University of S?o Paolo in Brazil between the two world wars, then accepted a literary chair at the University of Rome in 1942. He died in Italy in 1970. His works are collected in twelve volumes under the title Vita d’un uomo (Life of a Man). A good English translation of his poetry is Allen Mandelbaum’s Selected Poems, published in 1975.
http://www.treccani.it/enciclopedia/giuseppe-ungaretti/
朱塞培·翁加雷蒂早年受法國象征主義菇曲、意大利未來主義的影響，對其進行了轉(zhuǎn)化并納入到意大利傳統(tǒng)之中抚吠，從彼特拉克至萊奧帕爾迪的偉大的抒情詩流派中汲取養(yǎng)分進行新的創(chuàng)作常潮。被視為現(xiàn)代意大利詩歌革新第一人。
之后他摒棄偏愛的短句楷力，回歸意大利傳統(tǒng)的十一音節(jié)詩句喊式，作品隨之轉(zhuǎn)向長詩。時代的災難萧朝、文明的崩塌岔留、個人如覆舟般的命運與二戰(zhàn)給人類造成的悲劇感相互交織，組成了貫穿翁加雷蒂后期是個的主題變奏检柬。
“他的詩歌密度特別大献联，力量非常集中，瘦了伯格森很多影響，有很強的哲學意味里逆，但不容易讀出來进胯。”? ? ? ——劉國鵬
L'Allegria, previously calledL'Allegria di Naufragi, is a decisive moment of the recent history of Italian literature: Ungaretti revises with novel ideas the poetic style of thepoètes maudits(especially the broken verses without punctation marks ofGuillaume Apollinaire’s?Calligrammes?and the equality between verse and a single word),connecting it with his experience of death and pain as a soldier at war. The hope of brotherhood between all the people is expressed strongly, together with the desire of searching for a renovated "harmony" with the universe, impressive in the famous verses of?Mattina:
M’illumino
d’immenso
I illuminate (myself)
with immensity
—Flora, August 2010
A famous poem regarding the First World War is?Soldati?(soldiers):
Si sta come
d'autunno
sugli alberi
le foglie
It's like being
in the autumn
on the trees
the leaves
—M. Tanzy, November, 2015
In the successive works he studied the importance of the poetic word (marked byHermeticismandsymbolism), as the only way to save the humanity from the universal horror, and was searching for a new way to recuperate the roots of the Italian classical poetry.?His last verses are on the poeml'Impietrito e il Velluto, about the memory of thebright universe eyedDunja, an old woman that was house guest of his mother in the time of his childhood in theBay of Kotor. Here is the end:
Il velluto dello sguardo di Dunja
Fulmineo torna presente pietà
The velvet in the bright gaze of Dunja
Rapid returns as present mercy
https://it.wikipedia.org/wiki/Giuseppe_Ungaretti
【譯作賞析】
天地
我與大海一道
成為
一口清新的
棺材
?（戴維達克 1916年8月24日）
重量
那位農(nóng)夫
信賴圣安東尼
的像章
他無憂無慮
而我攜帶著我的靈魂
全然孤單原押，全然赤裸
毫無幻想
（瑪利亞諾 1916年6月29日）
時間的意識
因著恰如其分的光線胁镐，
唯有一道淺紫色的陰影跌落于
略高的桎梏之上，
遠方向著尺度敞開诸衔，
我的每一次心跳盯漂，一如在使用著心臟，
但而今我聽到了它笨农，
時間就缆，請快些將我抿在你的唇間
你最后的唇間
（1931年）
詛咒
猶如火山口尖銳的巖石，
猶如溪流中筋疲力盡的石子磁餐，
猶如孤獨而赤裸的夜晚违崇，
上主果斷的手
為何不將你的靈魂
自投擲器和恐懼中贖回阿弃？
這靈魂
通曉心的虛榮
和無恥的圖謀
熟識世界的尺度
和我們思想的盤算
審斷驕傲自大诊霹，
除了塵世的狂喜
為何人們不能承受苦難？
你不再眷顧我渣淳，上主
在肉體的盲目中
除了遺忘脾还，我無計可施。
（1931年）
卡爾索的圣瑪爾提諾
這些房屋
僅留下
幾堵
殘垣斷壁
那么多
患難與共的同伴
活下來的
屈指可數(shù)
然而我的心里
誰的十字架也不曾缺少
我的心啊
是備受毀損的家園
一個偶然的機會接觸到“俄耳甫斯詩譯叢”入愧，盡管“詩歌是翻譯中失去的東西”鄙漏，在這些文字里面仍然可以感受到文字照射出來的詩歌的生命力。
朱塞培·翁加雷蒂的詩歌被翻譯后某種程度上一定因為語言文字的差異性喪失了某些東西棺蛛，這也是所有譯作會面臨的問題怔蚌。但是對于一個不懂意大利語的人來說，譯作總能帶來某種與不同文化接觸的興奮感旁赊。更何況劉國鵬先生的翻譯本身就是一種再創(chuàng)作——在他的解讀下桦踊，朱塞培·翁加雷蒂是這樣的朱塞培·翁加雷蒂，姑且就欣賞這樣的翁加雷蒂终畅。
畢竟人類具有普遍的情感感受籍胯。
