摘要
本文从文本与编辑的视角重新审视海伦•文德勒的《花朵与漩涡:细读狄金森诗歌》(2010)。作为诗歌细读者,文德勒始终对诗歌文本的形态变化感有兴趣,《花朵与漩涡》书中,文德勒在两条路径上充分展演了一首诗是如何运作的,一是诗歌如何从起首行行进至结尾行,一是诗歌如何从手稿演化为定稿。审辨文本时,本文发现文德勒的手稿可能被其助理或编辑篡改过,书中狄金森诗歌的分行与文德勒所参考的版本有出入。这似乎在提醒读者,即使在对手稿异常热忱的今日,对狄金森诗歌的编辑实践仍在延续。事实上,文德勒也加入进这一行列,她始终都不是一个唯手稿派,文德勒注重演化和文本的手稿性质,注重狄金森诗歌中的异文与替换词,但在文德勒那里,演化有终点,文本有定稿,她不懈地审词度句,只为排除缺憾以拣选出最佳版本,诗歌不断演化,最终被承认的乃是不再包孕着演化的定本,诗歌不断打破风格,以致打破风格最终固化为一种风格,而这,与狄金森的“过程诗学”相违悖。
This article is aimed at a re-reading of Helen Vendler’s Dickinson:Selected Poems and Commentaries(2010)from the perspective of text and editing.As a close reader,Vendler has always been interested in the shape-changes of the poem.In her book,Vendler tries to discover the laws of being of a poem in two approaches:how a poem moves from the opening line to the closing line,and how a poem evolves from a developing manuscript to a developed final draft.In examining her book,this review finds that Vendler’s manuscript may have been tampered with by her assistant or editor,as the lineation of Dickinson’s poems differs from Vendler’s reference of The Poems of Emily Dickinson:Reading Edition.Even today,with its extraordinary enthusiasm for manuscripts,the practice of editing Dickinson’s poetry continues.In fact,Vendler herself is not a scripturalist but a editor.Even though she concentrates on evolution and the manuscript dimension of the text,and on variations and alternative words or phrases in Dickinson’s poems,evolution has an end,the text has a final version,poetry continues to break style so that breaking style eventually solidifies into a style.
作者
孙昊
Sun Hao(student of Comparative Literature and World Literature at the Department of Chinese Literature,Fudan University,Shanghai 200433,China)
出处
《外国语文研究》
2022年第2期20-26,共7页
Foreign Language and Literature Research
