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Eavan Boland, poet, died on April 27th, aged 75
詩人伊萬·博蘭德于4月27日去世，享年75歲。
When summernights were warm, Eavan Boland liked to stand in the front doorway of her small suburban house in Dun- drum, outside Dublin. She would look at the buddleia, and at the lamplight glossing the leaves of the hedge. Yet these things were not simply visible to her. She saw them with her body. It was as if she was part of some great continuum, or stood in a place of myth, like the women singers she imagined in the hard west of Ireland whose mouths were filled with "Atlantic storms and clouded-over stars/and exhausted birds".
在溫暖的夏夜，伊萬·博蘭德喜歡站在她位于都柏林郊外頓鼓鎮的小房子的門口。她常常會看著醉魚草，還有照著樹籬葉子的燈光。然而，她不僅僅是看到了這些東西。伊萬是全身心地感受到了它們。伊萬就好像是一個偉大的連續體的一部分，或者是處在一個神話之境，就像她想象中的愛爾蘭西部的女歌手一樣，他們總是歌唱著“大西洋風暴和烏云遮住的星星以及疲憊的鳥兒”。
This sense of communality, which led her to be one of Ireland's finest poets, was essentially a woman's feeling. And it was missing almost entirely from Irish poetry. There the voice was male, bardic, authoritative, grown sweet and self-confident on the flattery of princes. It was "I", not "we". The poet was a hero, a seer, a towering figure (Yeats above all), whose themes were history, epic and elegy. This was not a world for women.
這種集體的感覺本質上就是女性的感覺，它讓伊萬成為了愛爾蘭最好的詩人之一。而且它幾乎不存在于愛爾蘭詩歌中。愛爾蘭詩歌中全是男性的、吟游詩人的、權威的聲音，在王子們的奉承下變得和諧而自信。它關乎于“自我”，而不是“我們”。詩人是英雄，是先知，也是豪杰（尤其是耶茨），他們創作的主題是歷史，史詩和挽歌。這不是一個女性的世界。
When they featured in the work they were mostly objectified, passive and silent. No page recorded "the low music/of our outrage". Their own poems were not encouraged, as if they were women's-magazine things that would defile the pure, visionary flow. If she were to write in the men's style, with their assurance, she would fit right in, as she fitted into the clever literary conversations in the pubs round St Stephen's Green when she was at Trinity College.
當女性出現在詩歌里，她們通常會被客觀化，被動而沉默。沒有描寫“低微的聲音或我們的憤怒”的內容。人們不鼓勵女性寫詩，把她們寫的詩當做是女性雜志里面的東西，這些東西會玷污詩意的純潔和遠見。如果伊萬按照男性的風格寫作，帶著男性的自信，那她會完美融入他們，就像她在三一學院的圣斯蒂芬格林酒店附近的酒吧里，融入了那些睿智的文學對話一樣。
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