楊牧自少年即活躍詩壇,筆耕六十年,始終創作不輟,詩、散文、評論、翻譯皆卓然成家,並分別於美國、臺灣、香港等地大學任教,從事教育和研究工作。作品曾譯為英、法、德、日、韓、荷蘭、瑞典等文,獲頒多項重要文學獎,影響後進無數。

其詩藝的展現,鎔鑄中西文學傳統,兼以現代主義為擴充。散文的經營,講究詩化的修辭和造境,體製嚴謹,格局宏大。評論的建構,融匯豐富的美學及人文涵養,譯作精準深入各方文化根源。楊牧的創作風格與時俱進,堅持對藝術性的超越,而對人性,社會,現實是非的關懷,寓批判和規勸於文字指涉與聲籟跌宕之中,卻未曾稍減。

楊牧不僅介入社會現實,也往返於具象和普遍的抽象間,在神話,歷史,民間和傳奇裏汲取靈感,渲染臺灣,福爾摩莎的色彩。德國知名評論家Tilman Spengler曾言:「在詩行,散文,詩劇的天地裏,他從容於平達耳,與歌德、蓋文、葉慈遊。在德國,我們一定會把楊牧歸於博學詩人之列。」奚密教授則推崇:「楊牧是現代漢詩史上,最偉大的詩人。」

「來和我們舞蹈在一起。」見證楊牧從臺灣出發,為文學塑造的人文典範和精神傳統,為追求一個更合理更完美的有情文化世界的承諾,包含著何其多樣令我們嚮往,可以借鏡,啟發志向,以及朝向那志向的各種模式,藝術的力量。────謝旺霖(2014)

出版書籍

長短歌行(2013)


《長短歌行》 ( Songs Long and Short: A Collection of Poems )( 台北:洪範

Four Poems by Yang Mu, translated into English by Göran Malmqvist (馬悅然英譯四首都出自「長短歌行(Ch’ang-duan ko-hsing)」)

FLOWING RHYTHM  (跌宕〉, pp.104-105)
The evening sun recklessly hits the snowline, in the empty forest 
a flock of crows beat their frozen wings and fly, stirring up confusion,
into the lost landscape; their dreary flitting to and fro
causes the light to be dismembered
like memories on a nightmare’s thin coating
showing themselves as fleeting images of uncertain forms; suppose
I were able to master my own self and know all that I know
the entire set−up would suddenly be transformed, I would turn to fix my eyes
on parts as yet unknown, and allow my senses
to stock up contrarieties in time and space, or abandon them in a sense of frustration,
unresistingly follow the rapid current
and with flowing rhythm enter into the floodtide of the sea.

AS YET UNATTAINED (未及〉, pp.106-107)
Waking up with a start: if there are old matters as yet unattained
in a remote region somehow
never properly investigated and now disappearing without trace, one after another…
Half are empty thoughts in this barely awake state,
the rest form hordes and surge forward, their backs against
the gigantic darkness, tearing it apart,
just as fireflies disintegrate in early autumn
to gather again around the pools or 
at the farthest side of an embankment where undercurrents are born.
Saffrons and the tastes of tropical fruits in brilliant profusion,
autumn ripeness so swelled that all senses tremble
─ judging from my oblivious spirit, one way or another ─
it’s only that this time waking up with a start makes me hesitate: stay put
or pursue the remains as yet unattained at the very moment it has been foretold?
Stopping short, I turn and see myself, exhausted, confined
to suspended speed and inert metre
and raise my hand to assign the sluggish light to a place out of reach
just as the autumn fireflies twinkle faintly in the distance.


ON MEETING  (有會而作〉, pp.58-59)
I wonder, that which left so quietly last night and was lost in the incomplete
parabel, if it were able to manage the twists and turns of the road
and return, I might not be able to recognize it –
Just as two stray stars, having by chance encountered each other
on the slanting plane of the universe, without finding time to light up,
turned pale with anxiety and decided to rush to
an even more distant as yet unknown – but perhaps
they might appear on the scene at this very moment, bearing witness
that they had agreed to meet but failed to keep that promise.

LECTURES (講學〉, pp.110-111)
Yes, it does seem that I have climbed innumerable levels of clouds
to land from a strange world and yet fearlessly walk along
the path of moist red tiles, seeking, to confirm
that on the road ahead a small two-storied library will float up
before my eyes in the moonlight; when the rain is over
the evening breeze will fan us where we sit cross-legged to listen to lectures
by the water’s edge, fanning away all our concerns and worries, cinnabar and
ferules and the discipline that might otherwise be forgotten
and the customs we have been forced to obey ─ under the old pine tree a volume
thread-bound in a yellow case that will never fade, its fragrance never evaporate.


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