落葉在火中沈思

內(nèi)容概要

火中的落葉，這個(gè)意象有點(diǎn)形而上的詭異，這與火中的鳳凰其實(shí)同樣是一種超越，一種涅槃。落葉在火中沉思，這就更加令人苦思不得其解，生死的問(wèn)題最好去問(wèn)莊子，但也許有人不假思索，恍然而悟。
落葉習(xí)慣在火中沉思　火中的落葉，這個(gè)意象有點(diǎn)形而上的詭異，這與火中的鳳凰其實(shí)同樣是一種超越，一種涅槃。落葉在火中沉思，這就更加令人苦思不得其解，生死的問(wèn)題最好去問(wèn)莊子，但也許有人不假思索，恍然而悟?！∵@本來(lái)是作者的一句詩(shī)，原句是：「落葉習(xí)慣在火中沉思」，現(xiàn)刪除「習(xí)慣」二字，成了新出版的散文集的書(shū)名。可是這個(gè)集子裡並沒(méi)有這麼一篇文章；按照慣例，書(shū)名通常是選自書(shū)內(nèi)文章的篇名；這個(gè)集子最初叫《雪樓雜記》，但出版人說(shuō)：甚麼「記」甚麼「集」的，這類書(shū)名稍嫌陳舊，對(duì)讀者已失去吸引力，勸說(shuō)另取一個(gè)新的書(shū)名，於是略加思考，便決定採(cǎi)用這個(gè)和這些文章全不搭調(diào)的名字。

作者簡(jiǎn)介

洛 夫 小 傳
洛夫，本名莫洛夫，一九二八年生于湖南衡陽(yáng)，淡江大學(xué)英文系畢業(yè)。曾任教于東吳大學(xué)外文系，現(xiàn)聘為中國(guó)華僑大學(xué)，廣西民族大學(xué)客座教授，加拿大漂木藝術(shù)家協(xié)會(huì)會(huì)長(zhǎng)。
1954年與友人共同創(chuàng)辦《創(chuàng)世紀(jì)》詩(shī)刊，歷任總編輯數(shù)十年。作品被譯成英、法、日、韓、荷蘭、瑞典、南斯拉夫等文，并收入各大詩(shī)集，包括《中國(guó)當(dāng)代十大詩(shī)人選集》。
洛夫著作甚豐。出版詩(shī)集《時(shí)間之傷》等三十一部，散文集《一朵午荷》等六部，評(píng)論集《詩(shī)人之鏡》等五部，譯著《雨果傳》等八部。他的名作《石室之死亡》廣受詩(shī)壇重視，三十多年來(lái)評(píng)論不斷，英譯本已于一九九四年由美國(guó)舊金山道朗出版社出版。一九八二年他的長(zhǎng)詩(shī)《血的再版》獲中國(guó)時(shí)報(bào)文學(xué)推薦獎(jiǎng)。同年，詩(shī)集《時(shí)間之傷》獲中山文藝創(chuàng)作獎(jiǎng)，一九八三年獲吳三連文藝獎(jiǎng)。一九九一年獲臺(tái)灣文藝獎(jiǎng)。一九九九年，洛夫詩(shī)集《魔歌》被評(píng)選為臺(tái)灣文學(xué)經(jīng)典之一。二零零一年三千行長(zhǎng)詩(shī)《漂木》出版，震驚華語(yǔ)詩(shī)壇。二零零三年獲中國(guó)文藝協(xié)會(huì)頒贈(zèng)終身成就榮譽(yù)獎(jiǎng)。二零零四年獲北京“新詩(shī)界國(guó)際詩(shī)歌獎(jiǎng)”的北斗星獎(jiǎng)。
研究洛夫作品之專著很多，已出版者有《詩(shī)魔的蛻變：洛夫詩(shī)作評(píng)論集》，《洛夫與中國(guó)現(xiàn)代詩(shī)》，《洛夫評(píng)傳》，《一代詩(shī)魔洛夫》，《漂泊的奧義》，《悲劇主體價(jià)值的體驗(yàn)——洛夫詮釋》，《洛夫：詩(shī)?魔?禪》等。洛夫早年為一超現(xiàn)實(shí)主義詩(shī)人，表現(xiàn)手法近乎魔幻，故被詩(shī)壇譽(yù)為詩(shī)魔。他多年沉潛于書(shū)法之探索，不僅長(zhǎng)于魏碑漢隸，尤精于行草，書(shū)風(fēng)靈動(dòng)瀟散，境界高遠(yuǎn)。曾多次應(yīng)邀在臺(tái)北、臺(tái)中、菲律賓、馬來(lái)西亞、溫哥華、紐約、濟(jì)南、深圳、杭州、衡陽(yáng)等地展出。現(xiàn)居于加拿大溫哥華市。
Lo Fu is the pen name of Mo Lo-fu, who was born in Hunan Province of China in 1928. A graduate from the English Department of Tamkang University in Taiwan, he lectured at Soochow University in the middle 1970’s. He is probably the most widely read contemporary poet on both sides of the Taiwan Strait and in other Chinese-speaking regions. He has exerted immense influence on modern Chinese poetry as the Long-term chief editor of the Epoch Poetry Quarterly, which he co-founded with two other poets in 1954.
He has published 31collections of poems, 6 collections of prose, 5 books of critical essays and translated 8 English books. Many of his poems have been translated into English, French, Japanese, Korean, Dutch, Swedish and Yugoslavian, and are include in many poetry anthologies, one of which is Anthology of Ten Major Contemporary Chinese Poets. His most noted book of poems, DEATH IN THE STONE CELL, has been the focus of heated discussions among literary critics for decades since its first appearance in 1964. An English translation of the book was published by Taoran Press of San Francisco in 1994.
In 1982, his long poem A REPRINT OF BLOOD won him a prestigious China Times Literary Award. And in the same year he also won the Sun Yat-sen Memorial Literary Award for his poetry collection WOUNDS OF TIME. Subsequently, he received a Wu San-lien Literary and Art Award in 1983 and a National Literary Award in 1991. His book of poems, SONGS OF A WIZARD, was chosen as one of the classics of Taiwan Literature in 1999. When his 3000-line long poem DRIFTWOOD was published in 2001, it received great critical acclaim in the Chinese literary world. He was then given a lifetime achievement award by Chinese Literary Association in 2003, and received the big Dipper Award of International Poetry from Beijing New Poetry Society in 2004.
Lo Fu was dubbed the “Wizard of Poetry” for the surrealistic themes and spellbinding imagery in his early poems. There have been a number of books devoted to the study of his poetry, among them. The Metamorphoses of the: “Wizard of Poetry” , Lo Fu and Modern Chinese Poetry, Lo Fu, A Critical biography, The Wizard of Poetry, Biography of Lo Fu, The Profound Meaning of Drifting, Personal Experience of Tragic Subjective Value. An Interpretation of Lo Fu’s Drift wood.
Lo Fu’s other crowning achievement is calligraphy. With tireless practice for many years, he has grasped the secret of calligraphic expressiveness. The stroke movement of his calligraphy is brisk yet relaxed, evoking lofty sentiments and imagination in the viewer’s mind. His calligraphic works have been widely exhibited in Taiwan, the Philippines, Malaysia, Vancouver and New York, as will as many cities in China.
He currently lives in Vancouver, serving as the president of the Driftwood Artist Society and often travels to China as guest lecturer in the Chinese Huaqiao University and Kuangxi Nationality University.

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