失去是一種藝術(shù)嗎蛉腌？

伊麗莎白·畢肖普在詩(shī)里說(shuō)官份，是的只厘。

她是一位特立獨(dú)行的美國(guó)詩(shī)人，一生動(dòng)蕩不安舅巷。她是一位同性戀懈凹，在詩(shī)中將愛(ài)情娓娓道來(lái)。她經(jīng)歷過(guò)常人未曾體會(huì)過(guò)的痛苦悄谐，她也得到過(guò)舉世的贊美與殊榮。

接下來(lái)库北，就讓我們?cè)陂喿x中了解這位女詩(shī)人爬舰，以及她眼中的the art of losing。

The art of losing

［1］ELIZABETH BISHOP did not like to give much away about herself. While others were writing confessional poetry, she ensured that she wrote at a distance. Poems which in original drafts mentioned characteristics of a lover were revised, sometimes as many as 17 times, in order to make the final work as polished and as impersonal as possible. She was a lesbian who never publicly admitted to the term, even as younger gay poets in the 1970s embraced it (partners were friends or even a “secretary”). She was an alcoholic who was ashamed of her drinking, but never sought long-term treatment. Poetry was a way of "thinking with one’s feelings”, but those feelings were often obscured, hidden within a parenthesis or written from the perspective of someone very different from herself. This is why she makes a fascinating subject for a biographer.

confessional：懺悔室寒瓦，（教堂內(nèi)的）告解室;懺悔的; 自白的; “confession”的派生;

impersonal：沒(méi)有人情味的; 非個(gè)人的情屹，和個(gè)人無(wú)關(guān)的; 不具人格的，一般性的; [語(yǔ)] 非人稱(chēng)的;非人稱(chēng)動(dòng)詞; 非人稱(chēng)代名詞; 不具人格的事物;

lesbian：女同性戀的; 萊斯博斯島的;女同性戀者; 萊斯博斯島人;

alcoholic：酒精的杂腰，含酒精的垃你；酒精中毒的;酗酒者，酒鬼; 酒精中毒者;

obscured：使…模糊不清喂很，掩蓋(obscure的過(guò)去式和過(guò)去分詞);[例句]The veil she was wearing obscured her features.她罩的面紗遮掩了她的面容惜颇。

parenthesis：圓括號(hào);插入語(yǔ);插入成分;間歇;[例句]In parenthesis, I'd say that there were two aspects to writing you must never lose sight of.插一句，關(guān)于寫(xiě)作少辣，我認(rèn)為有兩個(gè)方面你絕不能忽視凌摄。

biographer：傳記作者;[例句]She's a successful novelist and biographer.她是一個(gè)成功的小說(shuō)家和傳記作家。

伊麗莎白·畢肖普不愿意交待太多自己的事漓帅。當(dāng)其他人都在寫(xiě)自白詩(shī)時(shí)锨亏，她卻堅(jiān)持自己和寫(xiě)出的詩(shī)保持距離。初版里提到情人特征的詩(shī)都會(huì)被修訂17次之多忙干，為了保證最終版本盡可能的完美和無(wú)關(guān)乎個(gè)人器予。她是一個(gè)女同性戀，但未曾公開(kāi)承認(rèn)過(guò)捐迫。即使是20世紀(jì)70年代乾翔，更年輕的同性戀詩(shī)人公開(kāi)擁抱著另一半（伴侶是朋友甚至是一個(gè)“秘書(shū)”）的時(shí)候。她是一個(gè)為自己的貪飲而深感羞愧的酗酒者弓乙，但一直沒(méi)有尋求長(zhǎng)期治療末融。詩(shī)歌是一種“用情感思考”的方式，但是那些情感常常被掩蓋暇韧，隱藏在一個(gè)括號(hào)里勾习，或是寫(xiě)自與她自己非常不同的視角。這也是為什么她對(duì)于傳記作者來(lái)說(shuō)非常有吸引力懈玻。

［2］ “A Miracle for Breakfast”, the first full-length biography in two decades, ably manages to bring Bishop to life. Megan Marshall, who was taught by the poet at Harvard in 1976, recalls how she could seem prim and aunt-like to her students: “a grimmer, grayer, possibly even smaller woman than I’d remembered…dressed smartly but uncomfortably” Yet beneath this prim veneer of control was a rich, turbulent personality. Bishop herself was aware of the contrast, writing to one lover while she was teaching at the University of Washington in 1966: “Everyone treats me with such respect and calls me Miss B—and every once in a while I feel a terrible laugh starting down in my chest…h(huán)ow different I am from what they think, I’m sure.”

ably：巧妙地; 熟練地; 精明強(qiáng)干地; 靈巧地;[例句]He was ably assisted by a number of other members.他得到其他一些成員的鼎力相助巧婶。

prim：整潔的; 循規(guī)蹈矩的;（人）一本正經(jīng);循規(guī)蹈矩地，整潔地;[例句]On her blonde wavy hair, the white hat looked nicely prim.這頂白色的帽子戴在她金色的卷發(fā)上顯得非常雅致。

grim：冷酷的艺栈，殘忍的; 嚴(yán)厲的; 陰冷的; 可怕的英岭，討厭的;[例句]They painted a grim picture of growing crime他們描繪了犯罪率上升的嚴(yán)峻情形。

veneer：飾面湿右，護(hù)面; 外飾诅妹，虛飾; 表層飾板; 薄木片;膠合; 給…鑲以飾片; 虛飾，粉飾; 鑲蓋;

turbulent：騷亂的毅人，混亂的; 激流的吭狡，湍流的; 吵鬧的; 強(qiáng)橫的;[例句]They had been together for five or six turbulent years of rows and reconciliations他們?cè)谝黄鹕盍宋辶辏恢背吵臭[鬧丈莺，分分合合划煮，沒(méi)有片刻安寧。

給早餐的一個(gè)奇跡缔俄，二十年來(lái)第一部長(zhǎng)篇傳記弛秋，巧妙地把畢肖普帶到生活中。1976年在哈佛大學(xué)師從這位詩(shī)人的摩根·馬歇爾回憶她對(duì)于她的學(xué)生來(lái)說(shuō)她看起來(lái)如何整潔俐载，像阿姨一樣：比我記憶的更加嚴(yán)厲蟹略，更加蒼白，更小的女人瞎疼，穿得很精致但不舒服科乎。但是在這嚴(yán)謹(jǐn)之下，是一個(gè)豐饒動(dòng)蕩的性子贼急。畢肖普自己知道這種反差茅茂，1996年當(dāng)她在華盛頓大學(xué)教書(shū)時(shí)，給一個(gè)戀人的信中這樣寫(xiě)：每個(gè)人都非常尊敬我太抓，空闲，叫我畢小姐，每次我想放聲大笑時(shí)走敌，就覺(jué)得碴倾，我和他們以為的樣子是多么不同啊，我敢保證掉丽〉疲”

［3］Bishop’s past was indeed more complicated than many knew, even those close to her. Ms Marshall has had access to a previously unknown trove of letters that Bishop wrote to her psychiatrist and to various lovers, which became available after the death of her executor and last lover, Alice Methfessel, in 2009. These depict an unsettled, unhappy childhood. When Bishop was just three her mother was hospitalised for mental illness. She was brought up by a series of relatives. One uncle molested her and was violent, grabbing her by the hair and dangling her over of the railing of a second-floor balcony. “Maybe lots of people have never known real sadists at first hand,” Bishop later wrote to her psychiatrist. “I got to thinking that they [men] were all selfish and inconsiderate and would hurt you if you gave them a chance.”

trove：（物主不明的）發(fā)掘出來(lái)的金銀財(cái)寶;[例句]This Islington shop is a treasure trove of beautiful bridalwear.這家位于伊斯靈頓區(qū)的商店里匯聚了各種漂亮的新娘服裝。

psychiatrist：精神病醫(yī)生; 精神病專(zhuān)家捶障，精神病醫(yī)生;

executor：遺囑執(zhí)行人; 執(zhí)行者; 實(shí)行者;

molest：妨害; 騷擾僧须，干擾; 調(diào)戲，（對(duì)女性）動(dòng)手動(dòng)腳;

dangle：懸蕩项炼，垂著擺動(dòng); 尾隨担平，追逐;使搖晃地掛著或擺蕩; 懸而未定;[例句]A gold bracelet dangled from his left wrist一只金手鐲在他的左手腕上晃來(lái)晃去示绊。

balcony：陽(yáng)臺(tái); 包廂; （電影院等的） 樓廳，樓座;[例句]She led us to a room with a balcony overlooking the harbour她把我們領(lǐng)進(jìn)了一個(gè)帶陽(yáng)臺(tái)的房間暂论，從那里可以俯瞰海港面褐。

sadist：（性）施虐狂者;

inconsiderate：輕率的; 不替別人著想的; 不體諒別人的; 考慮不周的;

畢肖普的過(guò)去實(shí)際上比很多人知道的更復(fù)雜，即使是那些和她很親近的人取胎。馬歇爾女士已經(jīng)接觸到了之前不為人知的信件展哭，這些信件是畢肖普寫(xiě)給她的心理咨詢(xún)師和不同的情人的，這些信件在2009年她的遺囑執(zhí)行人和她最后一個(gè)愛(ài)人愛(ài)麗絲·梅思費(fèi)塞爾死后流傳出來(lái)的闻蛀。這些信描述了一個(gè)居無(wú)定所的不幸童年摄杂。當(dāng)畢肖普僅僅三歲時(shí)，她的母親就因?yàn)榫駟?wèn)題住院了循榆。她是被許多不同的親戚撫養(yǎng)長(zhǎng)大的。一個(gè)叔叔猥褻她墨坚，非常殘暴秧饮，曾抓著她的頭發(fā)并將她吊在二樓陽(yáng)臺(tái)欄桿上≡罄海“也許許多人從沒(méi)和性虐狂直接接觸過(guò)”盗尸，畢肖普不久寫(xiě)給她的精神醫(yī)生說(shuō)：我開(kāi)始認(rèn)為他們都很自私，不體諒別人帽撑，只要你給他機(jī)會(huì)就會(huì)傷害你泼各。

［4］Bishop’s adult life was no less tumultuous. A man she briefly dated committed suicide a year after she rejected his marriage proposal. He sent her a postcard as a suicide note: “Elizabeth, Go to hell.” One of her lovers managed to crash a car carrying Bishop and one of her friends (whom she was also in love with); Bishop and her lover were fine, but her friend, who had been a painter, lost her arm and could not paint again. Bishop often drank herself into a stupor, starting “the hour before dawn” and sometimes continuing even until she was hospitalised. Her partner of over a decade, Lota de Macedo Soares, a Brazilian self-taught landscape designer, overdosed after a breakdown partly caused by Bishop’s infidelity.

tumultuous：騷亂的; 吵鬧的; 狂暴的; 激烈的;

stupor：昏迷; 恍惚; 目光呆滯; 驚愕;[例句]He fell back onto the sofa in a drunken stupor他爛醉如泥，癱倒在沙發(fā)上亏拉。

overdosed：使…用藥過(guò)量(overdose的過(guò)去式和過(guò)去分詞);[例句]The city, he concluded, had overdosed on design.他的結(jié)論是這座城市過(guò)分重視規(guī)劃設(shè)計(jì)了扣蜻。

infidelity：無(wú)信仰; 不忠實(shí); 不貞的行為;[例句]George ignored his partner's infidelities喬治對(duì)伴侶的不忠行為視而不見(jiàn)。

畢肖普的成人生活也很混亂及塘。一個(gè)她短期約會(huì)過(guò)的男人莽使，在她拒絕他的求婚的一年后自殺身亡。他給她送了一張明信片作為自殺信條：“伊麗莎白笙僚，下地獄去吧芳肌。”她的一個(gè)情人撞車(chē)了肋层，車(chē)上帶著她和她的一個(gè)朋友（也是一個(gè)她愛(ài)的人）亿笤；她和她的愛(ài)人沒(méi)事，但是她的朋友栋猖，原本是個(gè)畫(huà)家净薛，失去了她的胳膊再也不能畫(huà)畫(huà)了。畢肖普常常喝的不省人事掂铐，從“黎明前的那一刻”甚至到她住院時(shí)罕拂。她的伴侶揍异，一個(gè)巴西的自學(xué)成才的景觀(guān)設(shè)計(jì)師，由于畢肖普不忠而崩潰服藥過(guò)量爆班。

［5］Ms Marshall’s skill prevents this narrative from becoming depressing. The Bishop that emerges from her telling may be at times morose or ashamed of her drinking (wishing, as she wrote to Methfessel, that she could be more like writers who “drink worse than I do, at least badly & all the time, and don’t seem to have any regrets or shame—just write poems about it”). But she also appears vivacious, attractive and full of life. Even the worst heartbreak brought out wonderful poetry, such as her most famous poem, “One Art”, which starts: “The art of losing isn’t hard to master;/so many things seem filled with the intent/to be lost that their loss is no disaster.”

narrative：故事; 記敘文; 敘述衷掷，記事; 敘述手法;敘述的，敘事體的; 善于敘述的;

morose：悶悶不樂(lè)的柿菩，陰郁的;

vivacious：活潑的戚嗅，快活的;快活地，活潑地;

馬歇爾女士的寫(xiě)作技巧使這篇故事不那么沉悶枢舶。她的講述中出現(xiàn)的畢肖普有時(shí)悶悶不樂(lè)或因酗酒而羞愧（像她寫(xiě)給愛(ài)人的信中提到懦胞，畢肖普希望自己能更像那些“比我喝的更嚴(yán)重，至少很沉迷凉泄，或者一直躏尉，沒(méi)有任何羞愧——只是寫(xiě)相關(guān)的詩(shī)”）的詩(shī)人。但這個(gè)畢肖普也顯得活潑后众，迷人胀糜，充滿(mǎn)活力。即使是最糟糕的心碎也帶來(lái)了美妙的詩(shī)歌蒂誉，就像她最著名的詩(shī)歌《一種藝術(shù)》所描繪的：“失去這種藝術(shù)并不難掌握教藻；這么多事物似乎充滿(mǎn)被丟失的意圖，那失去它們也就不算災(zāi)禍”右锨。

［6］Three relationships in particular illuminate a lighter side to Bishop: her time with Soares in Brazil, which inspired some of her finest work (“Hidden, oh hidden/in the high fog/the house we live in,/beneath the magnetic rock…”); her later years with Methfessel; and her friendship with Robert “Cal” Lowell, the one other writer with whom she immediately felt at ease.

illuminate：照亮括堤，照明; 闡明，說(shuō)明; 裝飾; 使?fàn)N爛;照亮;[例句]No streetlights illuminated the street這條街上沒(méi)有照明的路燈绍移。

三段關(guān)系對(duì)畢肖普而言比較輕松：她和索爾斯在巴西的日子悄窃，激勵(lì)了她一些最好的作品（躲了又躲，隱藏在高高的霧里蹂窖，我們棲居的房子广匙，上邊是磁性的巖石……）她接下來(lái)幾年和梅思費(fèi)塞爾在一起的日子，和她和羅伯特·羅威爾的友誼——另一位能讓她感到輕松自在的作家恼策。

［7］Bishop first met Lowell in 1947 at a dinner party in New York. They stayed in touch for the rest of their lives, writing over 400 letters to one another. Lowell supported her and helped her find grants and postings, and praised her work. He carried around a poem of hers in his wallet as a talisman. They were so different; Lowell wrote hundreds of confessional poems, often quoting from other people’s letters to him.

postings：任命鸦致，委派(posting的名詞復(fù)數(shù));

talisman：護(hù)身符; 法寶; 驅(qū)邪物; 有不可思議的力量之物;

畢肖普是在1947年紐約一次晚餐上首次遇到羅威爾的。他們余生一直保持聯(lián)系涣楷，彼此來(lái)信有400多封分唾。羅威爾支持幫助她查找基金和任命，并表?yè)P(yáng)了她的作品狮斗。他總是隨身帶著她的一首詩(shī)在錢(qián)包里作為護(hù)身符绽乔。他們是如此的不同，羅威爾寫(xiě)了幾百首自白詩(shī)碳褒，常常引用別人寫(xiě)給他的信中的話(huà)折砸。

［8］The relationship between the two is one of the joys of this book. As Ms Marshall puts it: “Elizabeth would always remember the younger poet’s endearingly ‘rumpled’ dark-blue suit and the ‘sad state of his shoes’ on the night of their first meeting, how handsome he was despite needing a haircut, and, most of all, ‘that it was the first time I had ever actually talked with someone about how one writes poetry’.”

endearingly：討人喜歡地;[例句]Rather endearingly, Mr Goh admitted he did not quite know what people wanted.有點(diǎn)可愛(ài)的是看疗，吳作棟承認(rèn)，他不太清楚人們的需求睦授。

rumpled：弄皺两芳，使凌亂(rumple的過(guò)去式和過(guò)去分詞);

這兩人的關(guān)系是這本書(shū)一個(gè)趣味所在。就像馬歇爾女士所說(shuō)：“伊麗莎白將會(huì)永遠(yuǎn)記住第一次見(jiàn)面的晚上去枷，年輕詩(shī)人穿的討人喜歡的皺巴巴的深藍(lán)西裝和臟臟的鞋子怖辆，雖然沒(méi)有理發(fā)但是依然各種帥氣，還有最重要的是他是第一個(gè)她可以真正討論如何寫(xiě)詩(shī)的人删顶∈Γ”

［9］Ms Marshall intersperses chapters about Bishop with chapters of memoir, which touch upon her time as Bishop’s student. This gives the biography a sense of authenticity, but it interrupts the flow of the narrative. It also seems in sharp contrast with her intensely private subject. But this is a small price to pay for a biography which at last illuminates one of America’s finest, and most elusive, poets.

intersperse：點(diǎn)綴; 散布，散置;

memoir：回憶錄逗余，自傳; 記事錄;

Authenticity：可靠性特咆，確實(shí)性，真實(shí)性;[例句]The entire production evinces authenticity and a real respect for the subject matter整部作品表現(xiàn)出真實(shí)性以及對(duì)主題的真正尊重录粱。

elusive：難以捉摸的; 不易記住的; 逃避的; 難以找到的;

馬歇爾女士 的回憶錄散布有關(guān)于畢肖普的章節(jié)坚弱，當(dāng)她還是畢肖普學(xué)生的那段時(shí)間。這給了傳記真實(shí)感关摇，但它打斷了敘事的流程。這也與她強(qiáng)烈的私人話(huà)題形成鮮明對(duì)比碾阁。但是對(duì)于一部記錄了美國(guó)最優(yōu)秀的也最難以捉摸的詩(shī)人之一的傳記输虱，這點(diǎn)代價(jià)實(shí)在是太微不足道了。

當(dāng)畢肖普寫(xiě)下失去是一種藝術(shù)脂凶，是不是想著自己半生的坎坷宪睹，幼年流離，疾病纏身蚕钦，感情周折亭病，也許，她把這些痛苦的經(jīng)歷都看作對(duì)自己的磨練嘶居，那獨(dú)特的靈魂從中升騰起來(lái)罪帖，化到詩(shī)中流傳于世，這就是the art of losing邮屁。

英文原文：

http://www.economist.com/news

講解：霞姐 / Tiassa / Angel

編排 / 校對(duì)：Angel

版權(quán)歸魔力學(xué)院所有整袁，鼓勵(lì)轉(zhuǎn)發(fā)，轉(zhuǎn)載也可