The Collected Poems

出版者:Harper Perennial Modern Classics

作者:Sylvia Plath

页数:384

出版时间:2008-9-2

价格:USD 17.99

装帧:Paperback

isbn号码:9780061558894

具体描述

A new edition of Sylvia Plath's Pulitzer Prize-winning Collected Poems , edited and with an introduction by Ted Hughes

"By the time of her death, on 11 February, 1963, Sylvia Plath had written a large bulk of poetry. To my knowledge, she never scrapped any of her poetic efforts. With one or two exceptions, she brought every piece she worked on to some final form acceptable to her, rejecting at most the odd verse, or a false head or a false tail. Her attitude to her verse was artisan-like: if she couldn't get a table out of the material, she was quite happy to get a chair, or even a toy. The end product for her was not so much a successful poem, as something that had temporarily exhausted her ingenuity. So this book contains not merely what verse she saved, but-after 1956-all she wrote." -Ted Hughes, from the Introduction

作者简介

Sylvia Plath was an American poet, novelist, and short story writer.

Known primarily for her poetry, Plath also wrote a semi-autobiographical novel, The Bell Jar, under the pseudonym Victoria Lucas. The book's protagonist, Esther Greenwood, is a bright, ambitious student at Smith College who begins to experience a mental breakdown while interning for a fashion magazine in New York. The plot parallels Plath's experience interning at Mademoiselle magazine and subsequent mental breakdown and suicide attempt.

Along with Anne Sexton, Plath is credited with advancing the genre of confessional poetry initiated by Robert Lowell and W.D. Snodgrass. Despite her remarkable artistic, academic, and social success at Smith, Plath suffered from severe depression and underwent a period of psychiatric hospitalization. She graduated from Smith with highest honours in 1955 and went on to Newnham College, Cambridge, in England, on a Fulbright fellowship. Here she met and married the English poet Ted Hughes in 1956. For the following two years she was an instructor in English at Smith College.

In 1960, shortly after Plath and Hughes returned to England from America, her first collection of poems appeared as The Colossus. She also gave birth to a daughter, Frieda Rebecca Hughes’ and Plath’s son, Nicholas Farrar, was born in 1962.

Plath took her own life on the morning of February 11, 1963. Leaving out bread and milk, she completely sealed the rooms between herself and her sleeping children with "wet towels and cloths." Plath then placed her head in the oven while the gas was turned on.

Her father was Otto Emil Plath.

目录信息

Above The Oxbow
Admonitions
Aerialist
Aftermath
Alicante Lullaby
All The Dead Dears
Amnesiac
Among The Narcissi
An Appearance
The Applicant
Apprehensions
April 18
April Aubade
Aquatic Nocturne
Ariel
The Arrival Of The Bee Box
The Babysitters
Balloons
Barren Woman
Battle-scene; From The Comic Operatic Fantasy The Seafarer
The Bee Meeting
The Beekeeper's Daughter
The Beggars
Berck-plage
A Birthday Present
Bitter Strawberries
Black Pine Tree In An Orange Light
Black Rook In Rainy Weather
Blackberrying
Blue Moles
Bluebeard
Bocolics
Brasilia
The Bull Of Bendylaw
Burning The Letters
The Burnt-out Spa
By Candlelight
Candles
Channel Crossing
Child
Child's Park Stones
Childless Woman
Cinderella
Circus In Three Rings
The Colossus
The Companionable Ills
Contusion
Conversation Among Ruins
The Courage Of Shutting-up
The Couriers
Crossing The Water
Crystal Gazer
Cut
Daddy
Danse Macabre
Dark Wood, Dark Water
The Dead
Death & Co.
The Death Of Myth-making
Denouement
Departure
The Detective
Dialogue Between Ghost And Priest
Dialogue En Route
Dialogue Over A Ouija Board
Dirge For A Joker
The Dispossessed
The Disquieting Muses
Doom Of Exiles
Doomsday
The Dream
Dream With Clam-diggers
Eavesdropper
Edge
Electra On Azalea Path
Ella Mason And Her Eleven Cats
Elm; For Ruth Fainlight
Epitaph For Fire And Flower
Epitaph In Three Parts: 1
Epitaph In Three Parts: 2
Epitaph In Three Parts: 3
Event
The Everlasting Monday
The Eye-mote
Fable Of The Rhododendron Stealers
Face Lift
Family Reunion
Faun
The Fearful
Female Author
Fever 103 Degrees
Fiesta Melons
Finisterre
Firesong
For A Fatherless Son
Frog Autumn
Full Fathom Five
Getting There
The Ghost's Leavetaking
Gigolo
The Glutton
Go Get The Goodly Squab In Gold-lobed Corn
Goatsucker
Gold Mouths Cry With The Green Young
The Goring
The Great Carbuncle
Green Rock, Winthrop Bay
Gulliver
The Hanging Man
Hardcastle Crags
Heavy Women
The Hermit At Outermost House
I Am Vertical
I Want, I Want
In Midas' Country
In Plaster
Incommunicado
Insolent Storm Strikes At The Skull
Insomniac
The Jailer
Jilted
Kindness
The Lady And The Earthenware Head
Lady Lazarus
Lament; A Villanelle
Landowners
Last Words
Leaving Early
Lesbos
A Lesson In Vengeance
Letter In November
Letter To A Purist
A Life
Little Fugue
Lorelei
Love Is A Parallax
Love Letter
Lyonnesse
Magi
Magnolia Shoals
Man In Black
The Manor Garden
Mary's Song
Maudlin
Mayflower
Medallion
Medusa
Memoirs Of A Spinach-picker
Metamorphoses Of The Moon
Metaphors
Midsummer Mobile
Mirror
Miss Drake Proceeds To Supper
Monologue At 3 A.m.
The Moon And The Yew Tree
Moonrise
Moonsong At Morning
Morning In The Hospital Solarium
Morning Song
The Munich Mannequins
Mushrooms
Mussel Hunter At Rock Harbor
Mystic
Natural History
The Net-menders
Never Try To Trick Me With A Kiss
New Year On Dartmoor
Nick And The Candlestick
The Night Dances
Night Shift
Notes To A Neophyte
November Graveyard
Ode For Ted
Old Ladies' Home
On Deck
On Looking Into The Eyes Of A Demon Lover
On The Decline Of Oracles
On The Difficulty Of Conjuring Up A Dryad
On The Plethora Of Dryads
The Other
The Other Two
Ouija
Owl
Paralytic
Parliament Hill Fields
Perseus; The Triumph Of Wit Over Suffering
Pheasant
Poem For A Birthday: 1. Who
Poem For A Birthday: 2. Dark House
Poem For A Birthday: 3. Maenad
Poem For A Birthday: 4. The Beast
Poem For A Birthday: 5. Flute Notes From A Reedy Pond
Poem For A Birthday: 6. Witch Burning
Poem For A Birthday: 7. The Stones
Poems, Potatoes
Point Shirley
Polly's Tree
Poppies In July
Poppies In October
The Princess And The Goblins
Private Ground
Prologue To Spring
Prospect
Purdah
Pursuit
Queen Mary's Rose Garden
The Queen's Complaint
The Rabbit Catcher
The Ravaged Face
Recantation
Resolve
Rhyme
The Rival
Sculptor (for Leonard Baskin)
A Secret! A Secret! %how Superior
Sheep In Fog
The Shrike
Sleep In The Mojave Desert
The Sleepers
Snakecharmer
The Snowman On The Moor
Soliloquy Of The Solipist
Song For A Revolutionary Love
Song For A Summer's Day
Sonnet To Satan
Sonnet To Time
Sonnet: To Eva
A Sorcerer Bids Farewell To Seem
Southern Sunrise
Sow
Spider
Spinster
Stars Over The Dordogne
Stillborn
Stings
Stopped Dead
Street Song
Strumpet Song
Suicide Off Egg Rock
The Surgeon At 2 A.m.
The Swarm
Tale Of A Tub
Temper Of Time
Terminal
Thalidomide
The Thin People
Three Women; A Poem For Three Voices
The Times Are Tidy
Tinker Jack And The Tidy Wives
To A Jilted Lover
To Eva Descending The Stair; A Villanelle
Totem
Touch-and-go
The Tour
The Trial Of Man
Trio Of Love Songs: 1
Trio Of Love Songs: 2
Trio Of Love Songs: 3
Tulips
Two Campers In Cloud Country
Two Lovers And A Beachcomber By The Real Sea
Two Sisters Of Persephone
Two Views Of A Cadaver Room: 1
Two Views Of A Cadaver Room: 2
Vanity Fair
Virgin In A Tree
Walking In Winter
Watercolor Of Grantchester Meadows
Whiteness I Remember
Whitsun
Widow. The Word Concumes Itself
Winter Landscape, With Rooks
A Winter Ship
Winter Trees
A Winter's Tale
Wintering
Words
Words For A Nursery
Words Heard, By Accident, Over The Phone
Wreath For A Bridal
Wuthering Heights
Yaddo: The Grand Manor
Yadwigha, On A Red Couch, Among Lillies; A Sestina
Years
You're
Zoo Keeper's Wife
A Prophet
· · · · · · (收起)

读后感

爱与死的归一 —西尔维娅•普拉斯与泰德•休斯 1963年2月11日凌晨，伦敦正笼罩在百年不遇的寒冬之中。三十岁的年轻女诗人、才华横溢的西尔维娅•普拉斯正在菲茨罗伊路23号一套狭小的公寓内来回踱步。窗外，漆黑的...  

《未来是一只灰色海鸥》是美国战后女诗人、1982年普利策诗歌奖得主西尔维娅·普拉斯的诗歌全集译本，也是国内首部完整的普拉斯诗集。本书的英文原著《普拉斯诗全集》系普拉斯的丈夫、英国桂冠诗人泰德·休斯于1981年整理编纂的。也正是泰德主编的1981年版为普拉斯赢得了迟来19...  

1.读完这样一本诗集并不轻松，诗人对诗歌的痴迷已然融入骨血，她的痴狂是过分的，跳跃的，情绪化的，所有一惊一乍的跳跃都是诗歌带来的呼吸与心跳。 2.她的诗并不美丽，总是能感觉到一种搏斗，近乎眼前身无可藏，在眼睛与眼睛之间，在月亮与岩石之间，在马蹄咀嚼细风之末……她...

《未来是一只灰色海鸥》是美国战后女诗人、1982年普利策诗歌奖得主西尔维娅·普拉斯的诗歌全集译本，也是国内首部完整的普拉斯诗集。本书的英文原著《普拉斯诗全集》系普拉斯的丈夫、英国桂冠诗人泰德·休斯于1981年整理编纂的。也正是泰德主编的1981年版为普拉斯赢得了迟来19...  

因为某出版方编校另一版普拉斯诗选中的《爱丽儿》部分，其间对读了普拉斯英文原诗、上海译文版这册全集中的一部分及待出的新译本，看到全集中有两处存疑的译笔，或可商榷（页码按上海译文2013年12月第一版标注）： 《申请人》一诗，第268页最底端：“现在你的头，对不起，空无...  

用户评价

这本书的收录范围之广和其文本的深度，完全超出了我对“诗集”的传统认知。它更像是一部浓缩的、高度提炼的精神编年史。从早期的那些充满浪漫主义激情与强烈个人主义色彩的作品，到中期那些对社会结构和人性异化的深刻剖析，再到晚期那种近乎禅意的、对万物归一的探寻，整个跨度是惊人的。我注意到，即使是风格迥异的篇章之间，也存在着一种难以言喻的内在逻辑线索，仿佛诗人一生都在围绕着某几个核心母题进行着永不疲倦的探索和重构。尤其是那些关于“自然”的描写，并非简单地描摹风景，而是将其人格化，使其成为人类情感的投射，或是更高层次的道德裁判者。例如，他对暴风雨的描绘，与其说是气象记录，不如说是灵魂内部剧烈冲突的外化；而他对静谧月夜的捕捉，则充满了对超越性的、难以言喻的美的敬畏。这种从具体到抽象、从外在到内在的完美过渡，让这部作品的阅读体验极具层次感和纵深感，让人在合上书本后，依旧能感受到那种思想的余震在脑海中回荡不去。

阅读完这部作品集，留下的是一种深沉的满足感，但这满足感并非来自轻松愉快的消遣，而更像是完成了一次艰苦卓绝的内心攀登。这套诗歌的语言密度极高，每一个词语似乎都经过了无数次的打磨和筛选，几乎没有可以被轻易跳过的部分。如果说其他诗集是让你在花园中漫步，那么这部作品集则更像是在探索一座布满陷阱和秘密通道的古老迷宫，你需要不断地回头审视自己刚刚走过的路，确认自己是否遗漏了某一个关键的符号或是隐藏的转折点。它要求读者带着一种近乎朝圣般的心态去对待，每一次重读都会带来新的领悟，因为你的阅历和心境在不断变化，而诗歌深处的那些不变的真理，也因此获得了新的投射。它不是一本可以放在床头快速消化的读物，它更像是一个需要被反复召回、在不同人生阶段重新审视的“精神伴侣”，其价值是随着时间的推移而愈发醇厚的。这本书的价值，在于它提供了一种衡量和对抗现代浮躁的锚点，一种对纯粹、深刻表达的坚定捍卫。

这本书的装帧设计简直是一场视觉的盛宴，封面采用了一种近乎天鹅绒质感的深靛蓝色纸张，触感极其温润，拿在手里沉甸甸的，透着一股老派的、值得珍藏的气息。烫金的字体虽然简约，但笔画间的力度和光泽度拿捏得恰到好处，在不同的光线下会折射出微妙的暖金色光芒，仿佛在低语着那些沉睡的诗篇。内页的纸张选择了略带米黄的象牙白，厚度适中，墨水的晕染效果处理得非常到位，即便是最纤细的笔触，印制出来也清晰锐利，没有丝毫的毛边或渗透，这对于深度阅读者来说，无疑是一种极大的享受。我尤其欣赏出版社在细节上的考究，比如书脊的设计，它不像许多现代书籍那样追求扁平化，而是保留了一点圆润的弧度，这使得在大量翻阅后，书本也不会轻易散架，反而会随着阅读的轨迹逐渐“适应”读者的手型。甚至连目录的编排都充满了匠心，它不仅仅是简单的页码罗列，更像是对诗人创作生涯的一个时间轴的隐喻，初读时略感迷惘，但随着阅读的深入，便能体会到那种精心设计的叙事节奏感。我花了不少时间只是单纯地去感受这本书本身作为“物体”的存在，它散发出的那种时间沉淀后的油墨香和纸张的干燥气息，让人不由自主地放慢脚步，准备进入一个更深沉的阅读境界。

当我真正翻开书页，沉浸其中时，那种扑面而来的语言力量感是极其震撼的。这不是那种轻飘飘的、为了追求新奇意象而堆砌辞藻的现代诗集，它更像是一座由思想和情感浇筑而成的坚实建筑。诗人的叙事视角极其独特，他似乎总能站在一个近乎永恒的、俯瞰尘世的角度，审视那些人类最基本也最复杂的挣扎——爱与失落，存在与虚无。他的句法结构复杂而多变，时而如同巴洛克式的繁复乐章，层层递进，铺陈出宏大的哲学命题；时而又骤然收紧，用一个极其简洁、如同凿刻出来的词语，将所有张力瞬间引爆。最令人称奇的是他对“时间”的把握，在同一首诗中，他能将远古的记忆与眼前的瞬间无缝衔接，让读者仿佛经历了一场穿越时空的旅行，感受着历史的重量如何压在当下的呼吸之上。阅读他的诗歌，需要极大的专注力，这不是可以在嘈杂环境中随手翻阅的作品，它要求你关闭外界的干扰，全神贯注地去解析每一个断句、每一个停顿背后的潜台词。那种智力上的挑战性，反而成为了它最吸引人的魅力所在，每次读完一个段落，都仿佛经历了一次精妙的思维体操。

从文学史的角度来看，这本书所展现出的技巧和创新性，无疑是具有里程碑意义的。它巧妙地汲取了古典诗歌的韵律美感，却又毫不留恋地打破了其僵硬的格律束缚，创造出一种既熟悉又陌生的阅读节奏。我特别留意到其中几篇采用了“多声部叙事”的手法，不同的“声音”——可能是历史人物、陌生的旁观者，甚至是抽象概念——在同一空间内交织对话，极大地增强了作品的辩证性和复杂性。这种结构上的大胆实验，使得即便是对同一事件的描述，也会因视角的不同而呈现出截然不同的情感色彩和价值判断，迫使读者必须主动参与到意义的建构过程中去，而不是被动接受既定的结论。这种高度的互动性，是区分伟大作品和平庸作品的关键所在。它不是在向你讲述一个故事，而是在为你提供一组精密的语言工具，邀请你参与到对世界本质的重新解构中去。这种对形式的精益求精和对内容的毫不妥协，使得这部作品超越了单纯的文学范畴，带有一种强烈的、近乎哲学思辨的重量。

書的質量不是很好~不過內容100分~:)

書的質量不是很好~不過內容100分~:)

書的質量不是很好~不過內容100分~:)

書的質量不是很好~不過內容100分~:)

書的質量不是很好~不過內容100分~:)