惊声尖叫2的凶手是谁( 二 ) 惊声尖叫2的凶手是谁|玛丽安娜

他精选了W•B•叶芝（W.B. Yeats）、伊丽莎白•毕肖普（Elizabeth Bishop）、玛丽安娜•莫尔（Marianne Moore）及其他诗人的一些诗歌，并将其完整地刊登在本书各章节的开头。这些诗歌多为长篇大作，难以节录，也难以重组。穆尔杜以一种非同寻常、别致新颖的方式寓教于乐。他深入研究各词汇之词源，然后将这些发现同遥不相及的作者生平或历史事件联系起来。有时，他的见解颇为尖锐，其他情况下则显得风马牛不相及，甚至令人感觉凭空捏造，难以忍受。更有甚者，他为追求奇特，常常深入诗歌那些最隐晦、最微小的细节进行细致地研究，而令整首诗歌含糊不清，因此，最糟的时候，他的诗评读来像是搞笑版“文本校勘（textual criticism）” 。
A major thrust of Mr Muldoon's argument is that a poem is not a self-sufficient construct made of words which can stand alone without any knowledge of the biography of its author. Biographical information can be enormously informative, he says, enlightening the reader as to the poet's real preoccupations. But this can be problematic.
穆尔杜颇具影响力的一大论点是：诗歌不是一种自给自足式的遣词造句，因而对诗歌的理解离不开对作者生平的了解。他认为，作者的生平事迹可能包含极其广泛的讯息，能帮助读者理解诗歌的真正思想内涵。然而这一论点还有待证实。
Mr Muldoon writes at some length, for example, about the hostility between Ted Hughes and Marianne Moore. He teases out subtle linkages between the two of them, tiny “crypto-currents”, as he calls them, which demonstrate the extent to which the writers were preoccupied by each other, even without being fully aware of it themselves. Mr Muldoon speculates that the title of one of Hughes's early books, “Moortown”, together with some of its subject matter, amount to evidence of the fact that the idea of Marianne Moore was gnawing away at him because the name Moore is “present” in Moortown. As he puts it, this “fact” is “as clear an indicator as one might find of Hughes's desire simultaneously to include and occlude her influence.” Is this ridiculous? Or is it a brilliant aperçu?
例如，穆尔杜颇为详尽地阐述了特德•休斯（Ted Hughes）与莫尔间的敌意。他调侃两人微妙的关系为微小的“暗涌”，这体现了两名作家互相关注的程度，甚至他们自己都没有完全意识到。穆尔杜推测到，休斯早期著作的书名“摩尔镇（Moortown）”，连同该书的部分主题证明了下述事实：想到玛丽安娜•莫尔就令休斯苦恼不已，因为莫尔这个名字在诗集《摩尔镇》中“出现” 。他这样说道，休斯与莫尔存在敌意这个“事实”，“就像人们可能同时发现休斯欲囊括并保留莫尔之影响力的愿望一样，如指示器般清楚明了。”究竟这是荒谬可笑的猜测，还是精彩绝伦的洞见？
Poems are often difficult to understand, but Mr Muldoon's literary method, for all his delightfully readable questings, seems to add hurdles rather than eliminate them. To try to argue that the real meaning of a poem can be discovered only if the reader brings to bear upon it abstruse, quasi-biographical “evidence”, and tiny, washed-up bits of etymological detritus, makes the reading and understanding of poetry into an elitist sport-cum-parlour game, undermining the notion that poetry has a universal appeal. Still, not many books of literary criticism make you laugh.
诗歌通常难以理解，然而穆尔杜的那些俏皮易懂的使得其文学评论非但无益于理解诗歌，反而令情况更复杂。如果说，只有当读者能够使用诗歌深奥的、传记般的“证据”，以及微小无用的语源学零星，才能发掘诗歌的真意，那么，阅读和理解诗歌就变成了一场只有精英才能参与的半运动半消遣的游戏，破坏了诗歌具有大众感染力这个观念。尽管如此，能让您开口一笑的文学评论书籍实在不多。
The End of the Poem: Oxford Lectures
关于一位画家的电影是这一部：Modigliani (2004)
中文翻译英文我找了常见英美人名表里m开头的所有名字，没有墨雪这个名字，类似的可能是
Matthew['m ju:]((s.))马修(马太)
Matthews['m ju:z]((s.))马修斯
Marcia['ma: ]((f.))马西娅
Moses['m uziz]((s.&m.))摩西
如果你不满意可以自己看一下
附：常见英美人名表m开头的所有名字
Maas[ma:z]((s.))马斯
Mabel['meib l]((f.))梅布尔
MacAdam[m 'k d m,m k' d m]((s.))麦克亚当
MacArthur[m 'ka: ,m k'a: ]((s.))麦克阿瑟
Macaulay[m 'k :li]((s.))麦考利(麦考莱)
MacCracken[m 'kr k n]((s.))麦克拉肯
MacDonald[m k'd n ld]((s.))麦克唐纳
MacDonnell[ m kd 'nel]((s.))麦克唐奈