These 70 writers are actually all the same person - Ilan Stavans
Summary
TLDR这段视频剧本讲述了葡萄牙作家费尔南多·佩索阿的独特文学世界。佩索阿不仅仅使用笔名,而是创造了多个“异名”——他通过这些虚构的人物身份进行创作,每个人物都有自己的生活背景、性格特点和文学风格。这些异名之间甚至会互相交流、批评对方的作品。佩索阿将自己描述为在自己意识中漫游的“游牧者”,通过这种方式,他探索了身份的多重性和文学的无限可能。他的大量作品——包括诗歌、信件、散文和文学评论——大部分是在他去世后从他遗留的几乎30,000页手稿中发现的,其中《不安之书》尤为著名,被认为是“一个从未存在过的人的自传”。
Takeaways
- 📚费尔南多·佩索阿是一个神秘的作家,他创造了数十个化名,这些化名代表了不同的作者,他们有着不同的背景、信仰和写作风格。
- 🔍佩索阿使用了他所称的“异名”来写作,不是作为自己,而是作为他所创造的其他人物。
- 🎨他为这些异名构建了详细的生平、独特的怪癖以及各自独有的文学声音。
- 📖佩索阿的异名有时会相互交流,甚至批评彼此的作品。
- 🤔佩索阿将自己描述为“通过[自己的]意识漫游的游牧者”,“一种媒介”,在他的异名之间“分裂”。
- 🇵🇹出生于1888年的里斯本,佩索阿从大约六岁开始就以不同的人物身份写作。
- 🌍在他的继父将家庭搬到南非后,佩索阿学会了新的语言,并在高中时期采用了几个英文异名。
- 💼佩索阿建立了艺术和文学期刊以及一家出版社,尽管这些公共事业未能成功,但他在私下里进行了最伟大的实验。
- 📝他使用三个异名最为频繁:牧羊人诗人阿尔贝托·卡埃罗、倾向于古典诗人史诗风格的医生里卡多·雷斯以及双性恋海军工程师兼游民阿尔瓦罗·德坎波斯。
- 📚佩索阿一生中出版了诗歌、信件、散文和文学批评——一些以异名之名,其他则以自己的名义。
- 🔍佩索阿去世后,人们从他的箱子里发现了近30,000页的未发表作品,其中包括1982年最终组装的《不安之书》。
Q & A
费尔南多·佩索阿是谁?
-费尔南多·佩索阿是一位葡萄牙诗人,以其创造性地使用“异名”(不同于笔名的虚构人物身份)进行写作而闻名,这些异名具有独立的个性、风格和观点。
异名(heteronyms)和笔名(pen names)有什么区别?
-笔名通常是作者用来隐藏真实身份的假名,而异名是佩索阿创造出来的完全独立的虚构人物,具有自己的生平、性格和文学风格。
佩索阿的异名之间有什么相互关系?
-佩索阿的异名不仅各自独立,有时还会相互交互,甚至批评对方的作品,展现了一种复杂的内在对话。
佩索阿为什么会使用异名?
-佩索阿使用异名是为了进行艺术性的实验,通过不同的身份探索多样的文学风格和哲学思想,同时反映他对自我认同和现实的深刻思考。
佩索阿最著名的三个异名是谁?
-佩索阿最著名的三个异名是阿尔贝托·卡埃罗(Alberto Caeiro),一个以简单直白的语言描述世界的牧羊人诗人;里卡多·雷伊斯(Ricardo Reis),一个喜欢古典诗风的医生;以及阿尔瓦罗·德坎波斯(Álvaro de Campos),一个热爱生活奇迹和苦难的双性恋海军工程师和流浪者。
佩索阿在他的一生中公开发表了多少作品?
-在他的一生中,佩索阿发表了一些诗歌、信件、散文和文学评论,但只出版了少数几本书,其中只有一本是葡萄牙语诗集《信息》。
《不安之书》(The Book of Disquiet)是什么?
-《不安之书》是佩索阿花费二十年时间开发的作品,它被认为是他的半异名伯纳多·苏亚雷斯的虚构日记,探讨了自我认同和现实逃避的主题。
佩索阿的《不安之书》如何定义自我?
-在《不安之书》中,佩索阿通过其半异名伯纳多·苏亚雷斯的视角,挑战了自我作为单一可靠单位的观念,而是将身份视为不定的、由各部分不断变化的总和。
佩索阿的作品为什么在他去世后才被充分认识?
-佩索阿去世后,在他留下的近30,000页未发表手稿中,才逐渐揭示了他创作的全貌,这些手稿包含了他生前未能出版的广泛作品。
佩索阿如何描述自己与异名之间的关系?
-佩索阿描述自己作为一个在自己意识中游荡的“游牧者”,一个被他的异名分割和影响的“中介”,甚至认为自己比他的异名更不真实、更无实质、更不个人化。
Outlines
📚费尔南多·佩索阿及其异名
1935年11月30日,在葡萄牙里斯本的一个公寓里,一只装满文稿的箱子揭示了一个神秘的故事,这些文稿来自许多不同背景、信仰和风格的作家,但它们实际上都是出自一个人之手——费尔南多·佩索阿。佩索阿通过创造“异名”(完全不同于笔名的概念),以完全不同的身份进行创作,这些身份各自拥有独特的生活经历、性格特点和文学声音。他们甚至会相互交流和批评。佩索阿用这种方式探索了身份、创造力和文学的界限,将自己描述为一个在自我意识中游荡的“游牧者”,被他的异名所影响,感到自己比他们更不真实、更不具体。他从六岁开始就以不同的人格写作,一生中创作了大量的作品,包括诗歌、信件、散文和文学评论,既有以异名身份创作的,也有以自己的名字发表的。但直到他去世后,人们才逐渐发现他留下的近30,000页未发表的手稿,其中《不安之书》被认为是他的代表作之一,展现了他对身份、现实与文学逃避的深刻思考。
Mindmap
Keywords
💡异名
💡多重人格
💡文学实验
Highlights
佩索亚创造了许多文字人格表达自我
佩索亚的文字人格有独特的人生和文学风格
佩索亚的文字人格之间有时候互相批评
佩索亚把自己描述为媒介,被文字人格所影响
佩索亚6岁时就开始创作不同文字人格的文字
佩索亚在南非学到新语言,创作更多文字人格
佩索亚返回里斯本,继续文字人格实验
佩索亚创作了大量未发表作品,身后才被发现
佩索亚一生发表的作品获得些许认可
佩索亚探索自我认同的流动性
佩索亚文字人格否定自我存在的稳定性
佩索亚将自我比喻为隐藏的交响乐团
佩索亚留下近3万页遗稿,结集出版
佩索亚半成文字人格描写自我为虚无
佩索亚通过文字探索内心,逃离现实
Transcripts
On November 30th, 1935, dozens of writers passed away.
They came from different backgrounds, espoused divergent beliefs,
and wrote in a variety of styles.
Yet all of their work was stashed in a single trunk
in an apartment in Lisbon, Portugal.
So, what mysterious string tied all these writers together?
Well, the trunk belonged to one enigmatic author, Fernando Pessoa,
who was, in fact, all of them.
Some authors use pseudonyms and pen names
to protect their identities or bolster their artistic personas.
But Pessoa used what he called “heteronyms” to write not as himself
but as other people he invented,
giving way to generative, artistic experimentation.
He fleshed out their imagined lives, devised their distinct quirks,
and cultivated their unique literary voices.
Sometimes Pessoa's heteronyms interacted with each other,
even criticizing one another's work.
Pessoa described himself as a “nomadic wanderer through [his own] consciousness,”
“a kind of medium,” “divided” among his heteronyms.
“But,” he wrote, “I’m less real than the others,
less substantial, less personal, and easily influenced by them all.”
Born in Lisbon in 1888, Pessoa began writing as different people
when he was around six years old,
authoring letters as an imaginary Frenchman, Chevalier de Pas.
When Pessoa’s stepfather moved their family to South Africa,
Pessoa picked up new languages.
He adopted several English-language heteronyms in high school
and published booklets of poems featured by the British press.
In 1905, Pessoa returned to Lisbon for good.
He gained a reputation for his formal dress, affinity for the occult,
and for being cordial and charming while always keeping people at arm’s length.
Pessoa established art and literary journals and a publishing house.
But while these public ventures failed to take off
and Pessoa amassed debt and relocated frequently,
his greatest experiments were unfolding in private.
Scrawling in various languages on envelopes, book jackets and loose papers,
Pessoa crafted a dreamy love letter as Maria José,
a teenager with a spinal disorder who was infatuated with a metalworker;
he scribbled detective stories as Horace James Faber;
and analyzed astrological charts as Raphael Baldaya.
He used three heteronyms most frequently.
Alberto Caeiro was a shepherd-poet who used simple diction
to describe the world as he saw it.
Ricardo Reis, a doctor, favored the epic style of Classical poets.
And Álvaro de Campos, a bisexual naval engineer and nomad,
wrote poetry extolling the wonder and hardship of daily life.
Using de Campos, Pessoa said he could channel all the emotions
he denied himself.
And at one point, de Campos claimed it was Pessoa who didn’t truly exist.
During his lifetime,
Pessoa published poems, letters, essays, and literary criticism—
some as heteronyms, others under his own name.
He also produced a handful of books, just one in Portuguese—
a poetry collection about Portugal’s mythic history called “Message.”
He gained local recognition,
but the full scope of his creative endeavours only revealed itself
when Pessoa died a year after the book’s release.
From among almost 30,000 pages of unpublished work stashed in his trunk,
critics eventually assembled “The Book of Disquiet” in 1982,
which Pessoa spent two decades developing.
It declares itself, in typically cryptic fashion,
“the autobiography of someone who never existed.”
Pessoa wrote it as the fictional diary of his so-called semi-heteronym,
Bernardo Soares,
whose personality he described as a “mere mutilation” of his own.
Often frustrated by life’s demands,
the book’s narrator explores how delving inwards through literature
helps him escape reality’s confines.
He continuously challenges conceptions of the self as a singular, reliable unit—
instead grappling with identity as indefinite,
each person a shifting sum of their parts.
“My soul is a hidden orchestra,” the first entry reads.
“I do not know what instruments, what violins and harps,
drums and tambours sound and clash inside me.
I know myself only as a symphony.”
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