我們走吧，你和我， 當暮色緩緩漫向天空



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閱讀書評

詩心瀚選

Mary May

You can also listen to the same poem from:
Sir Anthony Hopkins: https://www.youtube.com/watch?v=FBsDJ4vpqLY
Xander Berkeley: https://www.youtube.com/watch?v=3tafJ_NkndI
Jeremy Irons: https://www.youtube.com/watch?v=adNOs1izBls
Sir  Alec Guinness: https://www.youtube.com/watch?v=FUL4O4RTgh8

What do you think about the different interpretations? Leave your comment below.

• ────────────────────────────────── •
"Next, is one of the 20th century’s most noted poets, T. S. Eliot, born in Missouri, USA, who moved to England at the age of 25. Many of TS Eliot’s works contains historical literary reference and this is a poem that comes with an epigraph: from Dante’s Inferno, Dante wrote this first paragraph in Italian, hereby presented with an English translation:

"If I but thought that my response were made
to one perhaps returning to the world,
this tongue of flame would cease to flicker.
But since, up from these depths, no one has yet
returned alive, if what I hear is true,
I answer without fear of being shamed."

Dante writes about being trapped and a concern with self-image and reputation - which T.S Eliot channels as the theme of his own poem."

Music: Shoreline Memory by Philip Sheppard (https://www.youtube.com/watch?v=cRPdRG5PY6w)

"The Love Song of J. Alfred Prufrock" by T. S. Eliot

Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question ...
Oh, do not ask, “What is it?”
Let us go and make our visit.

In the room the women come and go
Talking of Michelangelo.
 
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes,
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
 
And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
 
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
 
In the room the women come
and go Talking of Michelangelo.
 
And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair —
(They will say: “How his hair is growing thin!”)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin —
(They will say: “But how his arms and legs are thin!”)
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
 
For I have known them all already, known them all:
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
 So how should I presume?
 
And I have known the eyes already, known them all—
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
 And how should I presume?
 
And I have known the arms already, known them all—
Arms that are braceleted and white and bare
(But in the lamplight, downed with light brown hair!)
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
 And should I then presume?
 And how should I begin?
 
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? ...
  
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
 

[ The rest of the poem can be read here:  https://www.poetryfoundation.org/poetrymagazine/poems/44212/the-love-song-of-j-alfred-prufrock]
Source: Ximalaya FM

DISCLAIMER: This is a non-monetized channel. No copyright infringement intended. I created/edited this video for entertainment and educational purpose only. I do not own nor claim to own anything in this video. The videos/audios/photos are property of their rightful owners. All credit goes to the owners of all the materials used in this video. #poetry #poem #actorsreadingpoetry

Poetry: "The Love Song of J. Alfred Prufrock" by T.S. Eliot (read by Tom Hiddleston) (12/11)

美人魚

Prince

洛克

頭髮

眼睛

Song

玻璃

vivo

艾略特：普魯弗洛克的情歌

如今，我將一切魔法拋棄，僅存的能力皆來自於己

Today marks five years since the passing of Christopher Plummer. In honour of this extraordinary actor, one of the pioneers who helped put the Stratford Festival on the world stage and elevate the profile of theatre in Canada, we're sharing a poignant moment from our 2010 production of The Tempest. 

In this Act 5 epilogue, Prospero has relinquished his magical powers and turning to the audience utters the famous words "let your indulgence set me free." 

The full filmed production of The Tempest is available on Stratfest@Home: https://www.stratfestathome.ca/videos/the-tempest-film-2010

Produced by Melbar Entertainment Group and Barry Avrich. 

The Stratford Festival’s 2026 Season:
THIS ROUGH MAGIC
Book your tickets
1.800.567.1600 | http://www.stratfordfestival.ca

Festival Theatre:
THE TEMPEST
GUYS AND DOLLS
SOMETHING ROTTEN!
WAITING FOR GODOT

Avon Theatre:
DEATH OF A SALESMAN
THE HOBBIT
THE IMPORTANCE OF BEING EARNEST
SATURDAY, SUNDAY, MONDAY

Tom Patterson Theatre:
A MIDSUMMER NIGHT’S DREAM
OTHELLO
THE TAO OF THE WORLD

Studio Theatre:
THE KING JAMES BIBLE PLAY
_________________________________________________

What’s On ► https://www.stratfordfestival.ca/WhatsOn/ThePlays 
Stratfest@Home ► https://www.stratfestathome.ca/ 

STAY CONNECTED

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LinkedIn ► https://www.linkedin.com/company/stratford-festival/ 
Bluesky ► https://bsky.app/profile/stratfest.bsky.social 
_________________________________________________

The Stratford Festival has been setting the standard for classical theatre in North America for more than 70 years. With the works of Shakespeare at its core, this acclaimed repertory theatre presents a seven-month season of a dozen or more plays in four unique venues, in the beautiful setting of Stratford, Ontario, Canada. 

It is known for revolutionizing theatre performance in the 20th century by creating the first open or thrust stage of the modern era. This stage, not seen since Shakespeare’s time, offers incredible intimacy with each seat given proximity to the stage. 

More than 30 million people have attended the Stratford Festival since its founding, flocking to this small Canadian town for unparalleled theatrical experiences.

The Stratford Festival captures many of its productions and offers them to the world through its streaming platform, Stratfest@Home.

The Tempest (2010): Christopher Plummer as Prospero - Act 5 Epilogue | STRATFEST@HOME

釋放

莎士比亞

風雨

莎劇《暴風雨》︰巫師 Prospero 的收場白

放手圍繞著放手，溫柔輕撫著溫柔 ...



文化生活

音樂藝文

Rainer Maria Rilke

Dirait-on. Les chansons des roses. 
Morten Lauridsen

Chamber Choir of Europe
Piano: Morten Lauridsen
Conductor: Nicol Matt

Dirait-on. Morten Lauridsen

Rain

玫瑰

里爾克的法文玫瑰詩

我曾於所有的死亡中死亡，也將再度於所有的死亡中死亡

死亡

赫塞：所有的死亡

秋葉飄落，如從遠方飄落，如於天際的花園裡凋零

里爾克：是什麼溫柔捧住了你的墜落？

別立紀念碑。只要讓玫瑰每年綻放，以奧費斯之名。



國際

玫瑰花

名字

紀念

Grab

里爾克的玫瑰花魂

斑紋鷲鷹俯衝而下，控訴我，埋怨我的饒舌與逗留。

惠特曼：草葉集 自我之歌 第 52 節

一如顏料罐裡最後一抹綠，這些葉片乾枯、暗淡、粗糙

里爾克 : 繡球花 / 兩首即物詩

當我還是男孩，神祇總帶我遠離 人類的謾罵與鞭笞，讓我安心躺臥草地，於花間嬉戲