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艾吕雅诗22首

法国 星期一诗社 2024-01-10

保尔·艾吕雅(保罗·艾吕雅,Paul Éluard,1895-1952年),法国当代杰出诗人。一生写诗和战斗,参加达达运动和超现实主义运动,以及反法西斯斗争。出版诗集数十种,主要有《痛苦的都城》、《不死之死》、《公共的玫瑰》、《丰采的眼睛》、《诗与真》、《凤凰》、《为了在这里生活》、《兽与人,人与兽》、《当前的生活》、《天然的流水》、《和平咏》等。


Poet Paul Éluard was born Eugène Grindel in 1895 in Saint-Denis, France. He was an only child, and his parents eventually moved to the 10th arrondissement in Paris, where he attended school. Éluard excelled at English and spent time in England as a teenager. He also began writing poetry. While convalescing from a serious illness in Switzerland, the young Éluard read symbolist and avant-garde poets such as Arthur Rimbaud, Charles Baudelaire, and Guillaume Apollinaire. He also began reading Russian authors Fyodor Dostoevsky and Leo Tolstoy at the insistence of Helene Dmitrievna Diakanova (known as Gala), the young Russian who would be his first wife. The strands of his youthful reading—symbol, experiment, and politics—would shape Éluard’s work.

 

Éluard joined the army during World War I, and his experience as a medic and an infantry member—including being gassed—had a profound influence on his worldview. His first book was published under the name Paul Éluard in 1917 and introduced him to the world of the Parisian avant-garde. A member of Dada, Éluard was also intimately involved in the birth of surrealism. He collaborated with Max Ernst, producing works such as Répétitions (1922). Éluard’s work from this time is known for its emphasis on linguistic and semantic dislocation; in his own poems, he was attempting to allow for visual and sensory perception of poetic meaning.

 

In 1924, Éluard published Mourir de ne pas mourir, a book that seemed to suggest it would be his final volume; he also lost the financial support of his father. He disappeared in March 1924 and was presumed dead. However, he had simply fled the implications of Gala’s affair with Ernst and was traveling the world. Éluard returned to France in 1924 and became one of the leading voices in the surrealist movement. He is widely considered the best of the surrealist poets, and his surrealist books include Capitale de la douleur (1926), La Rose publique (1934) and Les Yeux fertiles (1936). Éluard and Gala divorced in 1930, and four years later, he later married Maria Benz, known as Nusch. She would inspire some of Éluard’s most beautiful poetry.

 

The last half of Éluard’s life was marked by political commitments: he was galvanized by the Spanish Civil War and renewed his commitment to communism. By the late 1930s, he had abandoned surrealism altogether. During World War II, he wrote for the resistance and penned the first collection of poetry published in occupied France, Le Livre ouvert (1940, 1942). The British Royal Air Force dropped copies of his poem "Liberté" into Europe as part of its anti-Nazi propaganda campaign, and other poems were broadcast clandestinely on pro-Allies radio stations. After the war, Éluard became a cultural ambassador of sorts, traveling extensively in Europe. Nusch died in 1946, and Éluard married Dominique Laure in 1951, the same year he published his last book, Le Phénix (The Phoenix). He died in 1952.





现 代 中 国 文 学 的 阶 级 解 放 主 题

阶级解放的主题在现代中国文学中是伴随着阶级斗争学说的传播和人们对现实阶级状况的认识而出现和发展变化的。五四时期,陈独秀、李大钊等现代知识分子从人道主义立场出发,为劳苦大众鸣不平,要求社会公正,已经具有了阶级意识的萌芽。但此时的阶级解放主题尚停留在同情呼号阶段,指向的仍是启蒙思想中的公平、正义。1920年代末,国际上左翼文化和文学思潮的巨大影响以及国内政治经济的变化,进步文化界普遍形成了阶级和阶级斗争的观念,阶级斗争意识在中国普遍觉醒。阶级解放主题是阶级斗争激烈的历史时期文学的必然选择,是1930年代文学表现和描写的中心。蒋光慈《田野的风》、叶紫《丰收》等作品真实地描绘了大革命前后农村中的阶级斗争图画。1931年以后,反帝抗日的文学主题同阶级解放主题开始呈现出分化之势,但在左翼作家的思想观念中,民族矛盾仍只是一种阶级矛盾。1940年代,解放区局部实现了劳动人民翻身做主人的阶级解放理想,《在延安文艺座谈会上的讲话》的发表为阶级解放主题的表达奠定了理论基础,将其提升到工农兵方向的高度。延安文艺整风运动之后,阶级意识迅速强化,救亡主题迅速向阶级解放主题转化。赵树理、孙犁、李季等人的创作常借助婚姻恋爱和革命斗争题材来表现阶级解放的主题。革命斗争题材将民族解放、社会解放与阶级解放相结合,在张扬英雄主义、战斗精神的同时,也将阶级解放主题自然地孕育其间,让两者互为比照,互为动力。丁玲的《太阳照在桑干河上》和周立波的《暴风骤雨》等借助对“土改”的描绘表达了阶级解放的主题。1940年代的阶级解放主题还普遍隐含着肯定和赞美新政权的政治主题,这种倾向一直延续到建国后的文学创作中,并得到了进一步的强化。新中国成立后,阶级解放的理想在全国范围内实现,人们借助这一主题表达一种获得新生之后的喜悦感和自豪感。“十七年”文学都与阶级斗争和阶级解放有关:强调表现工农兵伟大的革命实践活动,强调文艺直接对光明面的歌颂,强调文艺反映的生活要比现实生活更高、更典型、更理想。阶级解放主题不只蕴含着阶级斗争主观化、扩大化和机械化的倾向,而且与强调这一主题相对应的是对描写日常生活,表现个人欲望情感的“小叙事”的蔑视和压制。到“文革”中,阶级解放主题由于被片面强调而走向荒谬或沉沦。新时期以后,中国社会逐步进入正常的经济和政治发展轨道,人们对阶级斗争学说和理论产生了厌弃和逆反心理,阶级解放主题的表达曾一度趋向于沉寂。1990年代后出现了以《白鹿原》为代表的超越原有阶级模式的创作,阶级解放主题的表达在人性和伦理等层面获得了新的内容和意义。



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