the sound of silence 故事和歌词翻译# LeisureTime - 读书听歌看电影
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oct 13 2016, bob dylon won nobel. also paul simon's b-day. why not nobel
prize as his b-day gift. sound of silence, my favorite song, my favorite
poem too.
The Sound of Silence
Paul Simon
Hello darkness, my old friend
I've come to talk with you again
Because a vision softly creeping
Left its seeds while I was sleeping
And the vision that was planted in my brain
Still remains
Within the sound of silence
In restless dreams I walked alone
Narrow streets of cobblestone
'Neath the halo of a street lamp
I turned my collar to the cold and damp
When my eyes were stabbed by the flash of a neon light
That split the night
And touched the sound of silence
And in the naked light I saw
Ten thousand people, maybe more
People talking without speaking
People hearing without listening
People writing songs that voices never share
And no one dared
Disturb the sound of silence
Fools, said I, you do not know
Silence like a cancer grows
Hear my words that I might teach you
Take my arms that I might reach you
But my words, like silent raindrops fell
And echoed in the wells of silence
And the people bowed and prayed
To the neon god they made
And the sign flashed out its warning
In the words that it was forming
And the sign said, the words of the prophets are written on the subway walls
And tenement halls
And whispered in the sounds of silence
沉默的声音
黑暗， 我的老朋友
我又来和你聊天
因为一个轻轻蠕动的幻影
在我熟睡时留下了它的种子
在我头脑里种下的幻影
仍停留在
沉默的声音里
在焦虑不安的梦里我独行
在卵石的窄巷
在街灯的晕圈下
我竖起衣领抵挡湿寒
而我的双眼被霓虹灯的闪烁刺痛
霓虹灯划开了黑夜
触动了沉默的声音
在无罩的灯泡里我看见
万人， 或者更多
人们无心地说着
人们无心地听着
人们写着不被传唱的歌
没有人敢
扰乱沉默的声音
傻瓜们， 我要说， 你们不知道
沉默像肿瘤一样生长
听我开导的话语
抓住我伸出的手臂
可我的话， 像无声的雨滴洒落
回荡在沉默的井里
而人们躬身祈祷
对着他们创造的发光的神
而标志闪着警告
那是它要说的话
标志说， 先知的话写在地铁的墙上
公寓楼的走廊里
也耳语在沉默的声音里
Today, their acclaim is universal, but in 1964 Simon & Garfunkel’s debut LP
, Wednesday Morning, 3 A.M., flopped. Subtitled “Exciting new sounds in the
folk tradition,” the acoustic album sold about only 2,000 copies. A mix of
Paul Simon originals, folk covers and traditional tunes, its highlight was
a Simon composition recorded on March 10, 1964, “The Sounds of Silence.”
Simon wrote “The Sounds of Silence” the year before while living with his
parents. “The main thing about playing the guitar was that I was able
to sit by myself and play and dream,” Simon later told Playboy.
“And I was always happy doing that. I used to go off in the bathroom,
because the bathroom had tiles, so it was a slight echo chamber. I’d turn
on the faucet so that water would run – I like that sound, it’s very
soothing to me – and I’d play. In the dark. ‘Hello darkness, my old
friend / I’ve come to talk with you again.’”
Simon and tenor Art Garfunkel honed the song in Greenwich Village
coffeehouses before they recorded “The Sounds of Silence” with producer
Tom Wilson. Backed by just two acoustic guitars and an upright bass, “The
Sounds of Silence” was drowned out by the wave of Beatlemania that swept
America in 1964. Discouraged, the longtime friends split up. Simon moved to
England and Garfunkel returned to college in New York.
In an interview with NPR, Simon explained the appeal of the song, which was
retitled “The Sound of Silence” on later compilations. “The key to ‘The
Sound of Silence’ is the simplicity of the melody and the words, which are
youthful alienation,” he explained. “It’s a young lyric, but not bad for
a 21-year-old. It’s not a sophisticated thought, but a thought that I
gathered from some college reading material or something. It wasn’t
something that I was experiencing at some deep, profound level – nobody’s
listening to me, nobody’s listening to anyone – it was a post-adolescent
angst, but it had some level of truth to it and it resonated with millions
of people. Largely because it had a simple and singable melody.”
“Ahhh, what a tune!” Garfunkel told MusicRadar in 2012. “‘Sound of
Silence’ has more melodic, genius, simple power than I ever realized. As
the years go by, there’s something extraordinarily hooky about that simple
melody – I didn’t know that. I knew it was a good-sounding record when it
emerged … It was the sixth song Paul ever wrote. He would come to my
apartment on Amsterdam Avenue, where the roaches were in the kitchen, and he
’d play me his songs. When he got to this one, I said, ‘Best one yet!’”
Like many young songwriters of the era, Simon admired Bob Dylan but
struggled to maintain his own lyrical voice. “I tried very hard not to be
influenced by him, and that was hard,” Simon told Mojo magazine. “‘The
Sound of Silence,’ which I wrote when I was 21, I never would have wrote it
were it not for Bob Dylan. Never, he was the first guy to come along in a
serious way that wasn’t a teen language song. I saw him as a major guy
whose work I didn’t want to imitate in the least.”
By June 1965, folk-rock had its first number one hit with the Byrds’ amped-
up version of Dylan’s “Mr. Tambourine Man.” That month Wilson produced “
Like a Rolling Stone,” Dylan’s landmark electric rocker. When Wilson
learned that the “The Sounds of Silence” had gotten some East Coast
airplay, he had an idea. Without the knowledge of Simon or Garfunkel, Wilson
hired session players – bassist Joe Mack, drummer Buddy Salzman and
guitarists Vinnie Bell and Al Gorgoni – to overdub an electric backing
track onto “The Sounds of Silence.”
“‘The Sound of Silence’ just knocked me out the first time I heard it,”
recalled Gorgoni in Studio Stories. “The song was already great in its
original form – it just needed that extra touch to put it over the top and
turn it into a hit. I remember listening to Paul’s acoustic guitar
part through the headphones and basically just copping it. I had this
Epiphone Casino, which had the right sound. People used to think it was a 12
-string electric like the Byrds – it’s not, it’s just me and Vinnie
playing together mixed together onto the same track. And Vinnie added a few
bluesy fills that you can hear in there as well. It took us a couple hours
and it was done.”
Today Gorgoni believes the overdubbing was a mistake. “I love the song –
but those guitars … they’re just awful. I really can’t listen to it now.
… Of course, all the things that are wrong with the recording didn’t stop
it from becoming a huge success. So there you go.”
Garfunkel was also unimpressed with the electrified version. “It was in
that electric 12-string style of the Byrds,” he told Blue Railroad magazine
. “It’s cute. They’ve drowned out the strength of the lyric and they’ve
made it more of a fashion kind of production. And you never know. I was
mildly amused and detached with the certainty that it was not a hit. I don’
t have hits.”
But he was wrong. Released in November 1965, the single raced up the charts
and within months reached No. 1. Simon learned of his hit record as he read
Billboard magazine in the U.K. The discovery would upend his life in London
with girlfriend Kathy Chitty, the inspiration for “Kathy’s Song” and “
America.” Simon had also recorded a British solo album, The Paul Simon
Songbook. The LP included a new version of “The Sounds of Silence.”
Despite the record’s success in the States, Simon was reluctant to leave
the U.K. “He was in love with Kathy and England and his life as a free
young Yankee,” Garfunkel continued. “And he hated to have to relate to a
hit record in America. Even though it was the thing we had long wanted, it
came at an unfortunate time. It was the winter of ’65. And he only knew
that it was happening when it broke the Top 10.
“So Paul came home, we met in the basement, we said, ‘All right, this
thing we’ve been looking for all these years has finally happened. It
behooves us to be smart and see if we could have a follow-up hit.’ We
turned all our attention to what would be the single we would put out, to
secure this toe-hold we had in the business. To show people it wasn’t a
fluke and to show people we could make an interesting record in a whole
other vein. So our goal was to have a hit that was nothing like ‘The Sounds
of Silence.’ Just to show chart muscle in a different way.”
They would accomplish that goal. In January 1966 the duo released their
second album, Sounds of Silence. The LP also included their next hit, “I Am
a Rock,” which was recorded the same afternoon (as was “Homeward Bound,”
which ended up on their third album, Parsley, Sage, Rosemary and Thyme).
In recognition of its importance in music history, the Library of Congress
in 2013 chose “The Sounds of Silence” for long-term preservation in its
archives. Upon the announcement, Garfunkel told the Associated Press, “When
you look at the little mesh wire microphone … and you address people on
the other side of the mic, you hope that your performance will be special,
and you hope that it will have lasting power.” Garfunkel recalled that in
the ‘60s, he believed “if we do really good and give a very special
performance to these great Paul Simon songs, we might last right into the
next century and be appreciated.”
prize as his b-day gift. sound of silence, my favorite song, my favorite
poem too.
The Sound of Silence
Paul Simon
Hello darkness, my old friend
I've come to talk with you again
Because a vision softly creeping
Left its seeds while I was sleeping
And the vision that was planted in my brain
Still remains
Within the sound of silence
In restless dreams I walked alone
Narrow streets of cobblestone
'Neath the halo of a street lamp
I turned my collar to the cold and damp
When my eyes were stabbed by the flash of a neon light
That split the night
And touched the sound of silence
And in the naked light I saw
Ten thousand people, maybe more
People talking without speaking
People hearing without listening
People writing songs that voices never share
And no one dared
Disturb the sound of silence
Fools, said I, you do not know
Silence like a cancer grows
Hear my words that I might teach you
Take my arms that I might reach you
But my words, like silent raindrops fell
And echoed in the wells of silence
And the people bowed and prayed
To the neon god they made
And the sign flashed out its warning
In the words that it was forming
And the sign said, the words of the prophets are written on the subway walls
And tenement halls
And whispered in the sounds of silence
沉默的声音
黑暗， 我的老朋友
我又来和你聊天
因为一个轻轻蠕动的幻影
在我熟睡时留下了它的种子
在我头脑里种下的幻影
仍停留在
沉默的声音里
在焦虑不安的梦里我独行
在卵石的窄巷
在街灯的晕圈下
我竖起衣领抵挡湿寒
而我的双眼被霓虹灯的闪烁刺痛
霓虹灯划开了黑夜
触动了沉默的声音
在无罩的灯泡里我看见
万人， 或者更多
人们无心地说着
人们无心地听着
人们写着不被传唱的歌
没有人敢
扰乱沉默的声音
傻瓜们， 我要说， 你们不知道
沉默像肿瘤一样生长
听我开导的话语
抓住我伸出的手臂
可我的话， 像无声的雨滴洒落
回荡在沉默的井里
而人们躬身祈祷
对着他们创造的发光的神
而标志闪着警告
那是它要说的话
标志说， 先知的话写在地铁的墙上
公寓楼的走廊里
也耳语在沉默的声音里
Today, their acclaim is universal, but in 1964 Simon & Garfunkel’s debut LP
, Wednesday Morning, 3 A.M., flopped. Subtitled “Exciting new sounds in the
folk tradition,” the acoustic album sold about only 2,000 copies. A mix of
Paul Simon originals, folk covers and traditional tunes, its highlight was
a Simon composition recorded on March 10, 1964, “The Sounds of Silence.”
Simon wrote “The Sounds of Silence” the year before while living with his
parents. “The main thing about playing the guitar was that I was able
to sit by myself and play and dream,” Simon later told Playboy.
“And I was always happy doing that. I used to go off in the bathroom,
because the bathroom had tiles, so it was a slight echo chamber. I’d turn
on the faucet so that water would run – I like that sound, it’s very
soothing to me – and I’d play. In the dark. ‘Hello darkness, my old
friend / I’ve come to talk with you again.’”
Simon and tenor Art Garfunkel honed the song in Greenwich Village
coffeehouses before they recorded “The Sounds of Silence” with producer
Tom Wilson. Backed by just two acoustic guitars and an upright bass, “The
Sounds of Silence” was drowned out by the wave of Beatlemania that swept
America in 1964. Discouraged, the longtime friends split up. Simon moved to
England and Garfunkel returned to college in New York.
In an interview with NPR, Simon explained the appeal of the song, which was
retitled “The Sound of Silence” on later compilations. “The key to ‘The
Sound of Silence’ is the simplicity of the melody and the words, which are
youthful alienation,” he explained. “It’s a young lyric, but not bad for
a 21-year-old. It’s not a sophisticated thought, but a thought that I
gathered from some college reading material or something. It wasn’t
something that I was experiencing at some deep, profound level – nobody’s
listening to me, nobody’s listening to anyone – it was a post-adolescent
angst, but it had some level of truth to it and it resonated with millions
of people. Largely because it had a simple and singable melody.”
“Ahhh, what a tune!” Garfunkel told MusicRadar in 2012. “‘Sound of
Silence’ has more melodic, genius, simple power than I ever realized. As
the years go by, there’s something extraordinarily hooky about that simple
melody – I didn’t know that. I knew it was a good-sounding record when it
emerged … It was the sixth song Paul ever wrote. He would come to my
apartment on Amsterdam Avenue, where the roaches were in the kitchen, and he
’d play me his songs. When he got to this one, I said, ‘Best one yet!’”
Like many young songwriters of the era, Simon admired Bob Dylan but
struggled to maintain his own lyrical voice. “I tried very hard not to be
influenced by him, and that was hard,” Simon told Mojo magazine. “‘The
Sound of Silence,’ which I wrote when I was 21, I never would have wrote it
were it not for Bob Dylan. Never, he was the first guy to come along in a
serious way that wasn’t a teen language song. I saw him as a major guy
whose work I didn’t want to imitate in the least.”
By June 1965, folk-rock had its first number one hit with the Byrds’ amped-
up version of Dylan’s “Mr. Tambourine Man.” That month Wilson produced “
Like a Rolling Stone,” Dylan’s landmark electric rocker. When Wilson
learned that the “The Sounds of Silence” had gotten some East Coast
airplay, he had an idea. Without the knowledge of Simon or Garfunkel, Wilson
hired session players – bassist Joe Mack, drummer Buddy Salzman and
guitarists Vinnie Bell and Al Gorgoni – to overdub an electric backing
track onto “The Sounds of Silence.”
“‘The Sound of Silence’ just knocked me out the first time I heard it,”
recalled Gorgoni in Studio Stories. “The song was already great in its
original form – it just needed that extra touch to put it over the top and
turn it into a hit. I remember listening to Paul’s acoustic guitar
part through the headphones and basically just copping it. I had this
Epiphone Casino, which had the right sound. People used to think it was a 12
-string electric like the Byrds – it’s not, it’s just me and Vinnie
playing together mixed together onto the same track. And Vinnie added a few
bluesy fills that you can hear in there as well. It took us a couple hours
and it was done.”
Today Gorgoni believes the overdubbing was a mistake. “I love the song –
but those guitars … they’re just awful. I really can’t listen to it now.
… Of course, all the things that are wrong with the recording didn’t stop
it from becoming a huge success. So there you go.”
Garfunkel was also unimpressed with the electrified version. “It was in
that electric 12-string style of the Byrds,” he told Blue Railroad magazine
. “It’s cute. They’ve drowned out the strength of the lyric and they’ve
made it more of a fashion kind of production. And you never know. I was
mildly amused and detached with the certainty that it was not a hit. I don’
t have hits.”
But he was wrong. Released in November 1965, the single raced up the charts
and within months reached No. 1. Simon learned of his hit record as he read
Billboard magazine in the U.K. The discovery would upend his life in London
with girlfriend Kathy Chitty, the inspiration for “Kathy’s Song” and “
America.” Simon had also recorded a British solo album, The Paul Simon
Songbook. The LP included a new version of “The Sounds of Silence.”
Despite the record’s success in the States, Simon was reluctant to leave
the U.K. “He was in love with Kathy and England and his life as a free
young Yankee,” Garfunkel continued. “And he hated to have to relate to a
hit record in America. Even though it was the thing we had long wanted, it
came at an unfortunate time. It was the winter of ’65. And he only knew
that it was happening when it broke the Top 10.
“So Paul came home, we met in the basement, we said, ‘All right, this
thing we’ve been looking for all these years has finally happened. It
behooves us to be smart and see if we could have a follow-up hit.’ We
turned all our attention to what would be the single we would put out, to
secure this toe-hold we had in the business. To show people it wasn’t a
fluke and to show people we could make an interesting record in a whole
other vein. So our goal was to have a hit that was nothing like ‘The Sounds
of Silence.’ Just to show chart muscle in a different way.”
They would accomplish that goal. In January 1966 the duo released their
second album, Sounds of Silence. The LP also included their next hit, “I Am
a Rock,” which was recorded the same afternoon (as was “Homeward Bound,”
which ended up on their third album, Parsley, Sage, Rosemary and Thyme).
In recognition of its importance in music history, the Library of Congress
in 2013 chose “The Sounds of Silence” for long-term preservation in its
archives. Upon the announcement, Garfunkel told the Associated Press, “When
you look at the little mesh wire microphone … and you address people on
the other side of the mic, you hope that your performance will be special,
and you hope that it will have lasting power.” Garfunkel recalled that in
the ‘60s, he believed “if we do really good and give a very special
performance to these great Paul Simon songs, we might last right into the
next century and be appreciated.”