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ROBERT SIEGEL, HOST:
Poet and playwright1 Derek Walcott has died. Walcott wrote some two dozen books of poetry and an equal number of plays, among them his epic2 poem "Omeros" and his Obie-winning drama "Dream On Monkey Mountain." Walcott won the Nobel Prize for literature in 1992 for work that explores the beauty of his Caribbean homeland and its brutal3 colonial history. Derek Walcott died this morning at his home in Cap Estate, St. Lucia. He was 87 years old. Tom Vitale has this appreciation4.
TOM VITALE, BYLINE5: For most of his life, Derek Walcott taught poetry at universities in the United States, England and Canada. But his work never strayed far from the island where he was born, St. Lucia in the West Indies.
(SOUNDBITE OF ARCHIVED RECORDING)
DEREK WALCOTT: Islands hissing6 in the rain. Light rain and governments falling. Follow through cloud again the bittern's lonely calling. Can this be the right place? These islands of the blest, cheap package tours replaced by politics, rain, unrest? The edge-erasing...
VITALE: In 1984, when he was teaching at Boston University, Derek Walcott told me that a book-length poem like "Midsummer" was a natural extension of the language all around him.
(SOUNDBITE OF ARCHIVED BROADCAST)
WALCOTT: You would get some fantastic syntactical phenomena7. I mean, you would hear people talking in Barbados in the exact melody of a minor8 character in Shakespeare because here you had a thing that was not immured9 and preserved and mummified, but a voluble language - very active, very swift, very sharp. And that is going on still in all the languages in the Caribbean so that you didn't make yourself a poet. You entered a situation in which there was poetry.
VITALE: Derek Walcott's father was a poet and painter. He died when Derek was an infant. His mother was a school teacher who recited Shakespeare to him. He borrowed $200 to publish his first book of poetry when he was 19, and he sold it on street corners. Then he attended the University of the College of West Indies on a scholarship.
(SOUNDBITE OF ARCHIVED RECORDING)
WALCOTT: When I went to college - when I read, you know, Shakespeare or Dickens or Scott, I just felt that as a citizen of England - a British citizen, this was as much my heritage as any schoolboy's. You know, I mean, that was one of the things the empire taught that apart from citizenship10, the synonymous inheritance of the citizenship was the literature.
DAVID BIESPIEL: He sort of represents an elegant West Indies murmur11 against history's violent colonial narrative12 of bondage13.
VITALE: David Biespiel is a literary critic and author of a book on poetry called "A Long High Whistle."
BIESPIEL: His poems expose the discrepancy14 between, you know, blooming flowers and sparkling waters with these island economies built on a violent history of sugar plantations15 and slavery and forced labor16. It's kind of grandeur17 mixed in with imprisonment18.
(SOUNDBITE OF ARCHIVED RECORDING)
WALCOTT: The world had no time to change to a doorman's braid from the loincloths of Africa. So when the stores draw their blinds, like an empire's ending, and the banks fade like the peaks of the Hindu Kush, a cloaked wind bent19 like a scavenger20 rakes the trash in the gutters21.
VITALE: In all of his work, Walcott fused his classical education with the language and history of the Caribbean. Critic David Biespiel says the result was poetry of the highest order.
BIESPIEL: I think people will be reading Derek Walcott as long as we've been reading John Milton.
VITALE: The energy to write, said Derek Walcott, came from being part of a generation of Caribbean writers who were the first to describe the world outside their doorsteps.
(SOUNDBITE OF ARCHIVED RECORDING)
WALCOTT: I go back to St. Lucia, and the exhilaration I feel is not simply an exhilaration of homecoming and of nostalgia22, it is almost an irritation23 feeling - well, you never got it right. I mean, now you have another chance. Maybe you can try and look harder.
VITALE: Many would say Derek Walcott did get it right.
(SOUNDBITE OF ARCHIVED RECORDING)
WALCOTT: My palms have been sliced by the twine24 of the craft I have pulled out for more than 40 years. My Ionia is the smell of burnt grass, the scorched25 handle of a cistern26 in August squeaking27 to rusty28 islands. The lines I love have all their knots left in.
VITALE: For NPR News, I'm Tom Vitale in New York.
(SOUNDBITE OF JOSHUA HYSLOP SONG, "INSTRUMENTAL")
1 playwright | |
n.剧作家,编写剧本的人 | |
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2 epic | |
n.史诗,叙事诗;adj.史诗般的,壮丽的 | |
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3 brutal | |
adj.残忍的,野蛮的,不讲理的 | |
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4 appreciation | |
n.评价;欣赏;感谢;领会,理解;价格上涨 | |
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5 byline | |
n.署名;v.署名 | |
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6 hissing | |
n. 发嘶嘶声, 蔑视 动词hiss的现在分词形式 | |
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7 phenomena | |
n.现象 | |
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8 minor | |
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修 | |
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9 immured | |
v.禁闭,监禁( immure的过去式和过去分词 ) | |
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10 citizenship | |
n.市民权,公民权,国民的义务(身份) | |
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11 murmur | |
n.低语,低声的怨言;v.低语,低声而言 | |
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12 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
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13 bondage | |
n.奴役,束缚 | |
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14 discrepancy | |
n.不同;不符;差异;矛盾 | |
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15 plantations | |
n.种植园,大农场( plantation的名词复数 ) | |
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16 labor | |
n.劳动,努力,工作,劳工;分娩;vi.劳动,努力,苦干;vt.详细分析;麻烦 | |
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17 grandeur | |
n.伟大,崇高,宏伟,庄严,豪华 | |
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18 imprisonment | |
n.关押,监禁,坐牢 | |
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19 bent | |
n.爱好,癖好;adj.弯的;决心的,一心的 | |
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20 scavenger | |
n.以腐尸为食的动物,清扫工 | |
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21 gutters | |
(路边)排水沟( gutter的名词复数 ); 阴沟; (屋顶的)天沟; 贫贱的境地 | |
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22 nostalgia | |
n.怀乡病,留恋过去,怀旧 | |
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23 irritation | |
n.激怒,恼怒,生气 | |
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24 twine | |
v.搓,织,编饰;(使)缠绕 | |
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25 scorched | |
烧焦,烤焦( scorch的过去式和过去分词 ); 使(植物)枯萎,把…晒枯; 高速行驶; 枯焦 | |
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26 cistern | |
n.贮水池 | |
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27 squeaking | |
v.短促地尖叫( squeak的现在分词 );吱吱叫;告密;充当告密者 | |
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28 rusty | |
adj.生锈的;锈色的;荒废了的 | |
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