2007年9月1日 星期六


去年2006-07-05在 Simon University 寫的筆記 ""想像花園中的真實癩蝦蟆:福特汽車公司著名的慘敗新車之命名" (如附錄)

我猜 當時我或許想討論 "inspection"的翻譯

不過更有收穫的 我想應該是重讀
Theory of Literature by R Wellek 相關的部分

我這次還注意到 R Wellek說:
對此Sidney和 Johnson博士回答說

Theory of Literature by R Wellek有一自注: Sidney:"對詩人來說 他什麼也不肯定 因此他從來不說謊"
我想這可能是出自The Defence of Poesy (also known as the An Apology for Poetry)

比較有趣的是 Johnson的 他並沒有注解
幸虧我的Oxford 版的 LIFE OF JOHNSON 有詳細索引

according to Boswell, as to project a work. which would prove "how small a quantity of REAL FICTION there is in the world; ...

不過我不知道Boswell 是否確實根據Johnson對於 Oliver Cromwell 等人傳記已完善的說法....


韋勒克, 沃倫合著
Theory of Literature by R Wellek, A Warren - 1973 - Penguin Books

引美國詩人Moore, Marianne Craig (1887–1972) 的一著名句子【有時誤為另外一詩人之說法:What Elizabeth Bishop well said about poets also applies to novelists: they too place imaginary toads into real gardens. And even the toads ...】:

for inspection :imaginary gardens with real toads in them.



(『文學理論』北京:生活• 讀書• 新知三聯書店,1984 年版;修訂版 『文學理論』江蘇教育,2005,p.248。)

***** 要評這句,似乎要了解整首詩:
Moore’s often-quoted advice in ’Poetry’ was that poets should present for inspection "imaginary gardens with real toads in them".


I, too, dislike it: there are things that are important beyond all this fiddle.
Reading it, however, with a perfect contempt for it, one discovers in
it after all, a place for the genuine.
Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important not because a
high-sounding interpretation can be put upon them but because they are
useful. When they become so derivative as to be unintelligible,
the same thing may be said for all of us, that we
do not admire what
we cannot understand: the bat
holding on upside down or in quest of something to
eat, elephants pushing, a wild horse taking a roll, a tireless wolf under
a tree, the immovable critic twitching his skin like a horse that feels a
flea, the base-
ball fan, the statistician–
nor is it valid
to discriminate against ‘business documents and
school-books’; all these phenomena are important. One must make a dis-
however: when dragged into prominence by half poets, the result is not
nor till the poets among us can be
‘literalists of
the imagination’–above
insolence and triviality and can present
for inspection, ‘imaginary gardens with real toads in them’, shall we have
it. In the meantime, if you demand on the one hand,
the raw material of poetry in
all its rawness and
that which is on the other hand
genuine, you are interested in poetry.

Characteristic of her interest in using animals for ironic social commentary is a major verse translation, The Fables of La Fontaine (1954). The brilliant and hilarious "Letters from Me to the Ford Motor Company"--concerning the choice of a product name for what became the Edsel when her suggestions were rejected--shows her semantic mastery and playfulness as well as a profound, multifaceted understanding of the "economy" of words and advertisement in social intercourse. Always honored by younger poets, Moore has recently attracted the wider critical attention of literary historians and feminists.
Edsel consulting
In 1955, Moore was informally invited by Ford’s David Wallace, Manager of Marketing Research for Ford’s proposed "E" car project and co-worker Bob Young for input and suggestions. Wallace’s rationale was "who better to understand the nature of words than a poet."
Moore, a loyal Ford owner, submitted numerous lists which included: "Silver Sword," "Thundercrest" (and "Thundercrester"), "Resilient Bullit," "Intelligent Whale," "Pastelogram," "Adante con Moto" "Varsity Stroke," and "Mongoose Civique." (One name she suggested, "Chaparral", later coincidentally was used for a racing car.) Against the strong objection from her brother, Moore also submitted the name TURCOTINGA, which was a play on the Cotinga (a South American finch) and the color turquoise; however she noted in her letter to Wallace that it was simply a suggestion that if wanted to go in direction of nature, that she had several volumes of works that she could review. In a letter dated December 8th 1955, Moore wrote the following:
Mr Young,
May I submit UTOPIAN TURTLETOP? Do not trouble to answer unless you like it. Marianne Moore
All these outside ideas were rejected, although Miss Moore received two dozen roses and a thank you note affectionately addressed to the Top Turtletop which Moore found amusing. In her reply to Young she regretted that she could not have been more help, and noted that she was looking forward to trying out the vehicle when it was introduced. While Moore’s contributions were meant to stir creative thought, and were not officially authorized or contractual in nature, history has greatly exaggerated her relationship to the project.