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柯尔律治诗16首

英国 星期一诗社 2024-01-10
塞缪尔·泰勒·柯勒律治(Samuel Taylor Coleridge,1772-1834年),英国诗人和评论家,他一生是在贫病交困和鸦片成瘾的阴影下度过的,诗歌作品相对较少。尽管存在这些不利因素,柯勒律治还是坚持创作,确立了其在幻想浪漫诗歌方面的主要浪漫派诗人地位。
柯勒律治主要居住在伦敦,讲授莎士比亚和英国诗歌。1813年他的悲剧作品《悔恨》(Remorse)在特鲁里街成功上演。1816年,詹姆士·吉尔曼医生给他提供了一处寄居所,并且帮助柯勒律治戒除毒瘾。他明智地接受了医生的照料,直到十八年后去世。在一部结构凌乱的文学杂记《文学传记》(1817年)中,他还纳入了自己关于诗歌的本质和文艺评论准则等一些有价值的片段。
柯勒律治的晚年生活是在撰写和讲授文学论题中度过的。《对沉思的援助》(1825年)是一篇关于哲学、文学和宗教的专题论文,意在调和正统基督教教义与德国先验哲学之间的关系,它对美国的先验论者有着特别的影响。《政教宪法》(The Constitution of Church and State)(1829年)是他最后的散文作品。
柯勒律治的名著《古舟子咏》是一首令人难以忘怀的音乐叙事诗,该诗简洁的结构和朴素的语言向人们讲述了一个生动的罪与赎罪的故事。在这首诗中,一位古代水手讲述了他在一次航海中故意杀死一只信天翁的故事(水手们认为它是象征好运的一种鸟)。这个水手经受了无数肉体和精神上的折磨后,才逐渐明白“人、鸟和兽类”作为上帝的创造物存在着超自然的联系。这首诗有许多超自然的人物和事件,充满激昂的语调,男主人公自我纠缠,所有这一切都构成了浪漫主义文学的标志。英国浪漫主义运动中,柯勒律治在诗歌和评论方面都占有重要地位。他认为莎士比亚是旷世奇才,并得到广泛认可。一生致力于把伊曼纽尔·康德以及其他德国哲学家的理论介绍给英国读者。



To the Autumnal Moon


Mild Splendour of the various-vested Night!

Mother of wildly-working visions! hail!

I watch thy gliding, while with watery light

Thy weak eye glimmers through a fleecy veil;

And when thou lovest thy pale orb to shroud

Behind the gather'd blackness lost on high;

And when thou dartest from the wind-rent cloud

Thy placid lightning o'er the awaken'd sky.

Ah such is Hope! as changeful and as fair!

Now dimly peering on the wistful sight;

Now hid behind the dragon-wing'd Despair:

But soon emerging in her radiant might

She o'er the sorrow-clouded breast of Care

Sails, like a meteor kindling in its flight.




致秋月 


缤纷多彩之夜的柔和灯盏!

匆匆流转的万象之母后!万岁!

我望见你悄然游动,慵倦的娇眼

从云雾轻纱里透出似水清辉;

有时,你乐意把苍白脸盘儿藏入

叠叠乌云的后边,在高空隐去;

有时,又从吹散的乱云间射出

恬静光华,照遍醒觉的天宇。

与你同样美、同样多变的,是“希望”:

它时而在阴沉背景上幽幽闪现,

时而在“绝望”巨龙翅翼下隐藏,

不一刻又灵光赫赫,重新露脸,

飞越“忧思”那愁云密布的胸膛,

似流星疾驶,一路上进发火焰。




The Gentle Look


Thou gentle Look, that didst my soul beguile,

Why hast thou left me? Still in some fond dream

Revisit my sad heart, auspicious Smile!

As falls on closing flowers the lunar beam:

What time, in sickly mood, at parting day

I lay me down and think of happier years;

Of joys, that glimmer'd in Hope's twilight ray,

Then left me darkling in a vale of tears.

O pleasant days of Hope—for ever gone!

Could I recall you!—But that thought is vain.

Availeth not Persuasion's sweetest tone

To lure the fleet-wing'd Travellers back again:

Yet fair, though faint, their images shall gleam

Like the bright Rainbow on a willowy stream.




温柔的容态


温柔的容态呵,你逗我灵魂出窍!

为什么离开我?照旧在痴迷梦境

探望我凄苦的心吧,吉祥的微笑!

就像是月光洒落于闭合的红英;

那时呵,我心情抑郁,分手的当天

躺下来回想有幸相逢的年岁;

欢情,也曾在希望的微光里闪现,

却将我委弃于暗夜,淹没于泪水。

希望与愉悦的日子已永远逝去,

但愿还唤得回来!——空想而已;

好言相劝的调子再甜美,也难于

引诱那飞奔的过客重回旧地; 

但往事依然会浮现:淡弱,却鲜明,

像绿柳成荫的河上那一弯虹影。



Epitaph on an Infant


Ere Sin could blight or Sorrow fade,

Death came with friendly care:

The opening Bud to Heaven convey'd,

And bade it blossom there .




一个幼童的墓志铭


趁罪恶、忧患未及摧残,

死神慈爱地光降,

把这枝蓓蕾携上云端,

让它在天国盛放。




On the Prospect of Establishing a Pantisocracy in America


Whilst pale Anxiety, corrosive Care,

The tear of Woe, the gloom of sad Despair,

And deepen'd Anguish generous bosoms rend;—

Whilst patriot souls their country's fate lament;

Whilst mad with rage demoniac, foul intent,

Embattled legions Despots vainly send

To arrest the immortal mind's expanding ray

Of everlasting Truth;—I other climes

Where dawns, with hope serene, a brighter day

Than e'er saw Albion in her happiest times,

With mental eye exulting now explore,

And soon with kindred minds shall haste to enjoy

(Free from the ills which here our peace destroy)

Content and Bliss on Transatlantic shore.




在美洲建立大同邦的展望 


当灰暗的愁闷,腐蚀心性的忧伤,

悲哀的泪水,惨恻阴沉的绝望,

深重的苦楚,磨灭了豪情英气;

当爱国志士为国运艰危而痛哭;

当暴君狂躁如厉鬼,居心歹毒,

派精兵,妄图扑灭不朽心灵里

永恒真理向四方流布的光焰;——

这时节,我呵,便以心智的眼光,

欢悦地,察看另一片疆宇——那边 

天光破晓,新日子带来了希望,

它比艾尔宾最好的辰光还灿烂; 

快了,我怀着亲族之情前往,

(告别此间扰攘不宁的苦况,)

获得满足和福祉——在大洋彼岸。




The Eolian Harp

Composed at Clevedon, Somersetshire


My pensive Sara! thy soft cheek reclined

Thus on mine arm, most soothing sweet it is

To sit beside our Cot, our Cot o'ergrown

With white-flower'd Jasmin, and the broad-leav'd Myrtle,

(Meet emblems they of Innocence and Love!)

And watch the clouds, that late were rich with light,

Slow saddening round, and mark the star of eve

Serenely brilliant (such should Wisdom be)

Shine opposite! How exquisite the scents

Snatch'd from yon bean-field! and the world so hush'd!

The stilly murmur of the distant Sea

Tells us of silence.

And that simplest Lute,

Placed length-ways in the clasping casement, hark!

How by the desultory breeze caress'd,

Like some coy maid half yielding to her lover,

It pours such sweet upbraiding, as must needs

Tempt to repeat the wrong! And now, its strings

Boldlier swept, the long sequacious notes

Over delicious surges sink and rise,

Such a soft floating witchery of sound

As twilight Elfins make, when they at eve

Voyage on gentle gales from Fairy-Land,

Where Melodies round honey-dropping flowers,

Footless and wild, like birds of Paradise,

Nor pause, nor perch, hovering on untam'd wing!

O! the one Life within us and abroad,

Which meets all motion and becomes its soul,

A light in sound, a sound-like power in light,

Rhythm in all thought, and joyance every where

—Methinks, it should have been impossible

Not to love all things in a world so fill'd;

Where the breeze warbles, and the mute still air

Is Music slumbering on her instrument.


And thus, my Love! as on the midway slope

Of yonder hill I stretch my limbs at noon,

Whilst through my half-clos'd eye-lids I behold

The sunbeams dance, like diamonds, on the main,

And tranquil muse upon tranquility;

Full many a thought uncall'd and undetain'd,

And many idle flitting phantasies,

Traverse my indolent and passive brain,

As wild and various as the random gales

That swell and flutter on this subject Lute!

And what if all of animated nature

Be but organic Harps diversely fram'd,

That tremble into thought, as o'er them sweeps

Plastic and vast, one intellectual breeze,

At once the Soul of each, and God of all?


But thy more serious eye a mild reproof

Darts, O belovéd Woman! nor such thoughts

Dim and unhallow'd dost thou not reject,

And biddest me walk humbly with my God.

Meek Daughter in the family of Christ!

Well hast thou said and holily disprais'd

These shapings of the unregenerate mind;

Bubbles that glitter as they rise and break

On vain Philosophy's aye-babbling spring.

For never guiltless may I speak of him,

The Incomprehensible! save when with awe

I praise him, and with Faith that inly feels ;

Who with his saving mercies healéd me,

A sinful and most miserable man,

Wilder'd and dark, and gave me to possess

Peace, and this Cot, and theé, heart-honour'd Maid!




风瑟 


沉思的萨拉呵!最令人快慰的便是:

你,腮颊偎着我臂膀,同坐在

这小小家宅旁边,眼前开满了

洁白的茉莉,叶片宽阔的桃金娘,

(它们宛然是“纯真”和“爱”的化身!)

看天上云霞,刚才还明光照眼,

渐渐已暗了下来;黄昏星亮了,

璀璨而雍容(“智慧”就该是这样);

从那边豆田飘来的清香缕缕

好叫人心醉!世间竟这样悄然!

远方海水的幽幽喁语,向我们

诉说着宁静。

那简朴无华的风瑟呵,

纵长地,倚在敞亮的窗前——听吧, 

它是怎样被清风任情爱抚,

像娇羞少女对情郎半推半就,

甜甜腻腻地嗔怨着——其实倒像是

引诱他再放肆一番!此刻,风儿呢,

抚弄得更加大胆了,悠长柔婉的

旋律,起伏有如潋滟的沧波;

音响的魔力,曼妙而飘忽无常,

恍若出之于精魅——他们在暮色里

乘煦煦微风,飞离幻异的灵境,

那儿,旋绕着滴蜜的娇花,妙曲

没有脚儿却快捷,恰似乐园的

仙鸟,不停息,不栖止,振翮回翔。

我们身内、身外的同一生命,

是寓于一切活动之中的灵魂,

是声中之光,光中的如声之力,

是全部思维的节奏,是随处的欢愉——,

我想,谁又能不喜爱缤纷万象,

既然这世界是如此丰满多姿;

你听,清风在歌吟,而缄默的空气

是偶尔假寐于管弦之畔的乐曲。 


为此,亲爱的!午刻,我躺在那边

半山坡上,把肢体怡然伸展,

眼帘半闭着,也能看得见:阳光

在海上跳荡不定,晶亮如宝石;

我静穆冥想,冥想这一片静穆;

有多少不召自来、阻留不住的

思绪,和忽来忽去的无稽幻想,

一一掠过这慵懒温顺的脑膜,

轻狂,善变,犹如任性的雄风

在这驯服风瑟上扬威鼓翼!

又何妨把生意盎然的自然界万类

都看作种种有生命的风瑟,颤动着

吐露心思,得力于飒然而来的

心智之风——慈和而广远,既是

各自的灵魂,又是共同的上帝? 


可是呵,亲爱的!你以庄重的目光

向我投来了温和谴责——对这种

冒渎神明的念头,你不能不抵拒,

吩咐我:要谦卑恭谨,随上帝而行。

你呵,基督大家庭的柔顺女儿!

你也曾严正责备,剀切指明:

我那些冥顽邪孽的构想,无非是

从虚妄哲理之泉泛起的水沫,

涌现时闪闪有光,却终成泡影。

只要说到他,神奇莫测的他呵! 

我总是自觉有罪——除非我怀着

虔诚的畏敬,怀着深挚的信仰

将他礼赞的时候;他出于仁慈,

解救了我这迷途的、愚暗的、受苦的

罪人,给我以厚赐,让我拥有了

安宁,家宅,还有你,我敬慕的淑女!




Sonnet

To a Friend who asked how I felt when the Nurse first presented my Infant to me


Charles! my slow heart was only sad, when first

I scann'd that face of feeble infancy:

For dimly on my thoughtful spirit burst

All I had been, and all my child might be!

But when I saw it on its mother's arm,

And hanging at her bosom (she the while

Bent o'er its features with a tearful smile)

Then I was thrill'd and melted, and most warm

Impress'd a father's kiss: and all beguil'd

Of dark remembrance and presageful fear,

I seem'd to see an angel-form appear—

'Twas even thine, belovéd woman mild!

So for the mother's sake the child was dear,

And dearer was the mother for the child.




十四行

一友人问,当保姆初次把我的新生儿抱给我看时我作何感想,以此答之 


查尔斯!我迟钝的心中只有忧郁,

当我刚看到柔弱婴儿的小脸;

自己的往事,这孩子未来的境遇,

一齐在幽思冥想中隐约浮现!

而后呢,见他让母亲轻轻抱拢,

偎在她胸前(这时,她含泪微笑,

低下头,细看孩子的五官容貌),

我不禁神魂震颤,心意俱融,

给了他深情的一吻;阴郁的前尘,

殷忧的预感,都忘到九霄云外;

仿佛见到了翩翩天使的神态——

他模样宛然就是你,至爱的亲人! 

有这位母亲,孩子便可亲可爱;

有这个孩子,母亲更可爱可亲。




Lines on the Portrait of a Lady


Tender as the sweets of Spring

Wafted on the western gale,

When the breeze with dewy wing

Wanders thro' the Primrose vale;


Tranquil as the hush of night

To the Hermit's holy dream;

While the Moon with lovely light,

Quivers on the ripling stream;


Cheerful as the Beams of Morn,

Laughing on the Mountain's side;

Spotless as the Cygnet's form,

Heaving on the silver'd Tide.


Who can paint this varied grace

Charms that mock the mimic art?

Yet, my Laura! these I trace,

With the pencil of the Heart.




题一位女士的画像


柔婉有如春日的浓香

随着清风而袅袅飘浮, 

风儿用沾了露水的翅膀

飞过樱草花盛放的溪谷;


恬静有如无声的幽夜

伴守着隐士高洁的梦境,

那映入河心的娟娟明月

在浅浪微波里摇摇不定;


愉悦有如晨曦在东隅

开颜欢笑着,光照山坡;

皎洁有如天鹅的雪羽

在银色潮流上翩翩游过。


谁能描绘出这千般风韵?

 笑煞那仿制临摹的技艺!

萝拉呵!我却能传神写真, 

 因为——我以心灵为画笔。




This Lime-tree Bower my Prison

[Addressed to Charles Lamb, of the India House, London]


Well, they are gone, and here must I remain,

This lime-tree bower my prison! I have lost

Beauties and feelings, such as would have been

Most sweet to my remembrance even when age

Had dimm'd mine eyes to blindness! They, meanwhile,

Friends, whom I never more may meet again,

On springy heath, along the hill-top edge,

Wander in gladness, and wind down, perchance,

To that still roaring dell, of which I told;

The roaring dell, o'erwooded, narrow, deep,

And only speckled by the mid-day sun;

Where its slim trunk the ash from rock to rock

Flings arching like a bridge;—that branchless ash,

Unsunn'd and damp, whose few poor yellow leaves

Ne'er tremble in the gale, yet tremble still,

Fann'd by the water-fall! and there my friends

Behold the dark green file of long lank weeds,

That all at once (a most fantastic sight!)

Still nod and drip beneath the dripping edge

Of the blue clay-stone.

Now, my friends emerge

Beneath the wide wide Heaven—and view again

The many-steepled tract magnificent

Of hilly fields and meadows, and the sea,

With some fair bark, perhaps, whose sails light up

The slip of smooth clear blue betwixt two Isles

Of purple shadow! Yes! they wander on

In gladness all; but thou, methinks, most glad,

My gentle-hearted Charles! for thou hast pined

And hunger'd after Nature, many a year,

In the great City pent, winning thy way

With sad yet patient soul, through evil and pain

And strange calamity! Ah! slowly sink

Behind the western ridge, thou glorious Sun!

Shine in the slant beams of the sinking orb,

Ye purple heath-flowers! richlier burn, ye clouds!

Live in the yellow light, ye distant groves!

And kindle, thou blue Ocean! So my friend

Struck with deep joy may stand, as I have stood,

Silent with swimming sense; yea, gazing round

On the wide landscape, gaze till all doth seem

Less gross than bodily; and of such hues

As veil the Almighty Spirit, when yet he makes

Spirits perceive his presence.

A delight

Comes sudden on my heart, and I am glad

As I myself were there! Nor in this bower,

This little lime-tree bower, have I not mark'd

Much that has sooth'd me. Pale beneath the blaze

Hung the transparent foliage; and I watch'd

Some broad and sunny leaf, and lov'd to see

The shadow of the leaf and stem above

Dappling its sunshine! And that walnut-tree

Was richly ting'd, and a deep radiance lay

Full on the ancient ivy, which usurps

Those fronting elms, and now, with blackest mass

Makes their dark branches gleam a lighter hue

Through the late twilight: and though now the bat

Wheels silent by, and not a swallow twitters,

Yet still the solitary humble-bee

Sings in the bean-flower! Henceforth I shall know

That Nature ne'er deserts the wise and pure;

No plot so narrow, be but Nature there,

No waste so vacant, but may well employ

Each faculty of sense, and keep the heart

Awake to Love and Beauty! and sometimes

'Tis well to be bereft of promis'd good,

That we may lift the soul, and contemplate

With lively joy the joys we cannot share.

My gentle-hearted Charles! when the last rook

Beat its straight path along the dusky air

Homewards, I blest it! deeming its black wing

(Now a dim speck, now vanishing in light)

Had cross'd the mighty Orb's dilated glory,

While thou stood'st gazing; or, when all was still,

Flew creeking o'er thy head, and had a charm

For thee, my gentle-hearted Charles, to whom

No sound is dissonant which tells of Life.




这椴树凉亭——我的牢房 


也罢,他们都走了,我可得留下,

这椴树凉亭便成了我的牢房!

我早已失去了美的风致和情感——

这些呵,哪怕我老得眼睛都瞎了,

也还是心底无比温馨的回忆!

此刻,我那些不可再得的友人,

在松软湿润的荒野,在山顶近旁,

正怡然漫步,也许,还盘旋而下,

走向我说过的那片呼啸的山谷;

那山谷幽深狭仄,林木蔚然,

中午才偶有阳光斑驳洒落;

细长的白蜡树,从一块岩石伸向

另一块,弯得像拱桥;它没有枝桠,

又湿又暗,几片枯黄的叶子

风来了也不摇摆,如今摇摆着,

是受到瀑布的激荡!我那些友人

正伫望一列墨绿的野蕨,蓦地

(绝妙的奇观!)野蕨都抖动起来,

还淋漓滴水,原来高处的青岩

也往下淋漓滴水呢。

茫茫天宇下

又见我那些友人,正纵目远眺

壮阔的青山绿野——有教堂尖顶

错落其间;他们还望见海上

秀逸的轻舟,银帆也许映照着

绛紫暝色里两片绿岛之间

那一泓柔滑明净的海水!是呵,

他们遨游着,人人都饶有兴致;

而照我想来,兴致最高的是你,

温良的查尔斯!因为你渴慕自然, 

多年来却困居都市,如人樊笼,

心境悲凉而坚忍,在忧患艰危

和奇灾横祸中夺路前行!哦,

缓缓落下西山吧,堂堂的红日!

在落日斜晖中吐艳吧,紫色石楠花!

烘染出更加绮丽的霞彩吧,云层!

在金黄火焰里流连吧,幽远的林苑!

闪耀吧,碧蓝的大海!让我的友人

也像我那样,感受到深沉的欢愉,

肃立无言,思潮涌溢;环视着

浩茫景象,直到万物都俨如

超越了凡俗形体;全能的神明

为缤纷色相所掩,威灵仍足以

令众生憬然于他的存在。

蓦地

喜悦涌上我心头,我欣然,仿佛

也陪着友人在那边游览!在这边,

这小小凉亭里,我也不曾怠慢过

种种悦目怡神的景象:霞光下,

纷披的树叶浅淡而透明;我观赏

那些阳光闪闪的阔大叶片,

也爱看枝叶洒下的阴影,给阳光

印上花纹!夕照里,胡桃树变得

斑斓多彩;被深浓光影笼罩的

苍老常春藤,缠住对面的榆树,

树上的晦暗枝柯,在漆黑一团的

藤蔓阴影衬映下,在昏沉暮色里,

闪着幽微的光泽。虽然这会儿

旋绕的蝙蝠不声不响,也不闻

燕子呢喃,却还有孤寂的野蜂

在豆花丛里哼唱!从此,我懂得

自然决不会离弃明慧的素心人;

庭园再狭小,也有自然驻足,

荒野再空旷,也可以多方施展

我们的耳目官觉,让心弦得以

保持对“爱”和“美”的灵锐感应!

有时候好事落空也安知非福, 

这可以使我们心境更为高远,

怀着激奋的欢欣,去沉思冥想

那未获分享的佳趣。温良的查尔斯!

当最后的归鸦掠过暮霭,径直地

飞返栖巢,我为它祝福!我猜想,

你伫立凝眸的时候,它那双翅膀

(此刻只剩个黑点了——此刻消失了)

曾飞越万彩交辉的夕照;要么,

一片沉寂里,它飞来,羽翼拍击声

引得你悠然神往;在你听来呵,

凡宣示生命的音响都和穆雍融。




The Exchange


We pledged our hearts, my love and I,—

I in my arms the maiden clasping;

I could not guess the reason why,

But, oh! I trembled like an aspen.


Her father's love she bade me gain;

I went, but shook like any reed!

I strove to act the man—in vain!

We had exchanged our hearts indeed.




换心


我把亲爱的姑娘抱住,

彼此把心儿许给对方;

可是,不知是什么缘故,

我浑身直抖,像飒飒白杨。


她要我讨得她爹的欢心;

去见他,我抖得像芦苇一样!

我想摆男人架势——白费劲!

真像换成了少女的心房!




Reason for Love's Blindness


I have heard of reasons manifold

Why Love must needs be blind,

But this the best of all I hold—

His eyes are in his mind.


What outward form and feature are

He guesseth but in part;

But that within is good and fair

He seeth with the heart.




爱神瞎眼的缘由 


听到过众说纷纭,解释

爱神为什么瞎眼;

我看,最好的解答便是:

他的眼长在心间。


看不见情人外在的形貌,

他只能猜到几成;

可是,内在的温良美好,

他看得真切——用心灵。




Fancy in Nubibus

Or the Poet in the Clouds


O! It is pleasant, with a heart at ease,

Just after sunset, or by moonlight skies,

To make the shifting clouds be what you please,

Or let the easily persuaded eyes

Own each quaint likeness issuing from the mould

Of a friend's fancy; or with head bent low

And cheek aslant see rivers flow of gold

'Twixt crimson banks; and then, a traveller, go

From mount to mount through Cloudland, gorgeous land!

Or list'ning to the tide, with closéd sight,

Be that blind bard, who on the Chian strand

By those deep sounds possessed with inward light,

Beheld the Iliad and the Odyssee

Rise to the swelling of the voiceful sea.




云乡幻想


那才快意呢:在心境安闲的时刻,

当红日刚刚西下,或月色清明,

随意把舒卷的浮云说成是什么,

或依着友人的幻想,让轻信的眼睛

把云朵看成是千奇百怪的活物;

要么低着头,侧着脸,从容俯瞰

那金色长河,在绛色两岸间流注;

也不妨当个游客,一山又一山,

穿越那云乡雾境——绮丽的佳境!

要么去倾听浩荡潮声,闭着眼,

像那位盲诗人立在开俄斯海滨, 

因潮声而神往,凭心智之光瞥见

《伊利亚特》和《奥德赛》中的场景

在奔涌鸣啸的海涛上历历纷呈。 




To Nature


It may indeed be Phantasy, when I

Essay to draw from all created things

Deep, heartfelt, inward joy that closely clings;

And trace in leaves and flowers that round me lie

Lessons of love and earnest piety.

So let it be; and if the wide world rings

In mock of this belief, it brings

Nor fear, nor grief, nor vain perplexity.

So will I build my altar in the fields,

And the blue sky my fretted dome shall be,

And the sweet fragrance that the wild flower yields

Shall be the incense I will yield to Thee,

Thee only God! and thou shalt not despise

Even me, the priest of this poor sacrifice.




致自然


也许这真是虚妄的空想:我想要

从上帝创造的宇宙万物中吸取

深沉、内在、紧贴心底的欢愉;

想在周遭的繁花密叶中找到

关于爱、关于真诚虔敬的教导。

就算它虚妄吧;哪怕偌大的寰宇

都嘲笑我这种信念,我也不至于

为此而惶恐、忧伤或徒然困恼。

那么,我来把圣坛设在旷野里,

让蓝天替代那精雕盛饰的穹顶,

让朵朵野花吐放的清醇香气

替代那炷炷仙香,向你敬奉:

惟一的上帝,你呵!决不会鄙薄

这寒伧祭品的献祭人——哪怕是我。




Youth and Age


Verse, a breeze mid blossoms straying,

Where Hope clung feeding, like a bee—

Both were mine! Life went a-maying

With Nature, Hope, and Poesy,

When I was young!


When I was young?—Ah, woful When!

Ah! for the change 'twixt Now and Then!

This breathing house not built with hands,

This body that does me grievous wrong,

O'er aery cliffs and glittering sands,

How lightly then it flashed along:—

Like those trim skiffs, unknown of yore,

On winding lakes and rivers wide,

That ask no aid of sail or oar,

That fear no spite of wind or tide!

Nought cared this body for wind or weather

When Youth and I lived in't together.

Flowers are lovely; Love is flower-like;

Friendship is a sheltering tree;

O! the joys, that came down shower-like,

Of Friendship, Love, and Liberty,

Ere I was old!


Ere I was old? Ah woful Ere,

Which tells me, Youth's no longer here!

O Youth! for years so many and sweet,

'Tis known, that Thou and I were one,

I'll think it but a fond conceit—

It cannot be that Thou art gone!

Thy vesper-bell hath not yet toll'd:—

And thou wert aye a masker bold!

What strange disguise hast now put on,

To make believe, that thou art gone?

I see these locks in silvery slips,

This drooping gait, this altered size:

But Spring-tide blossoms on thy lips,

And tears take sunshine from thine eyes!

Life is but thought: so think I will

That Youth and I are housemates still.


Dew-drops are the gems of morning,

But the tears of mournful eve!

Where no hope is, life's a warning

That only serves to make us grieve,

When we are old:

That only serves to make us grieve

With oft and tedious taking-leave,

Like some poor nigh-related guest,

That may not rudely be dismist;

Yet hath outstay'd his welcome while,

And tells the jest without the smile.




青春和老境 


“诗情”像清风,在花间转悠,

“希望”像蜂儿,在花心采蜜——

两样我都有!生活像春游, 

游伴有“自然”、“希望”和“诗艺”,

那时我年青!


好一个“那时”!真叫人懊恼!

那时到如今,我变了多少!

这活的屋宇,非人手所造, 

这形骸,到如今病痛交加, 

那时却多么轻捷灵巧,

越过沙碛,又翻过高崖——

像翩翩快艇,前所未见, 

在弯弯湖中,茫茫河上,

不靠帆,不靠桨,飞驶向前,

怕什么风暴或怒潮冲荡!

这形骸,当青春与我同住,

对风霜雷电它全不在乎。

花朵招人爱;爱情像花朵;

友谊是浓荫如盖的绿树;

自由、友谊、爱情的欢乐

像霖雨一样淋漓倾注!

那时我未老!


好一个“那时”!真叫人不快!

它只是表明:青春已不在!

谁不知,有多少甜蜜年头,

青春呵!你与我融为一体;

我不信那种荒唐念头——

怎么可能呢?你把我离弃!

你的晚祷钟还不曾敲响,

你常戴假面,惯用伪装;

如今又披上了什么隐身衣,

想叫人相信,你已经逃匿?

只见我头上银丝闪闪,

体态龙钟,步子踉跄;

而你的红唇似春花初绽,

泪珠儿映出眼底的阳光!

生活即思想:我不妨想象

青春仍与我欢聚一堂。


露水,早上是晶莹的珠宝,

晚上却成了哀怨的泪珠!

希望已无踪,残生似警号,

徒然使我们忧惶凄苦——

老境已来临!

残生徒然使我们悲痛,

它频频告辞,却迟迟不动;

像个穷亲戚,留得太久,

主人又不便催他快走;

早不受欢迎了,还坐着闲聊,

说着笑话,却无人发笑。




First Advent of Love


O fair is Love's first hope to gentle mind!

As Eve's first star thro' fleecy cloudlet peeping;

And sweeter than the gentle south-west wind,

O'er willowy meads, and shadow'd waters creeping,

And Ceres' golden fields;—the sultry hind

Meets it with brow uplift, and stays his reaping.




爱情的初次来临


多美呵,爱情初次向心灵闪现!

像淡云夕照里最先露脸的星星;

比西南好风更舒爽——那好风吹遍

绿柳青芜,溟濛水域,和万顷

金灿灿田畴;燥热的农夫一见

风来了,便扬眉举目,银镰也暂停。 




Work without Hope


All Nature seems at work. Slugs leave their lair—

The bees are stirring—birds are on the wing—

And Winter slumbering in the open air,

Wears on his smiling face a dream of Spring!

And I the while, the sole unbusy thing,

Nor honey make, nor pair, nor build, nor sing.


Yet well I ken the banks where amaranths blow,

Have traced the fount whence streams of nectar flow.

Bloom, O ye amaranths! bloom for whom ye may,

For me ye bloom not! Glide, rich streams, away!

With lips unbrightened, wreathless brow, I stroll:

And would you learn the spells that drowse my soul?

Work without Hope draws nectar in a sieve,

And Hope without an object cannot live.




无所希望的劳作


自然界好像都忙着。虫儿出洞,

蜂儿乱飞,鸟儿也拍动翅膀;

冬神露宿于旷野,睡意矇眬,

腮边笑影透露出梦里春光!

这会儿,只有我闲着,无事可忙:

不采蜜,不求偶,不营巢,也不歌唱。


可是我熟悉不凋花开放的河洲, 

我也寻访过甘泉——流的是仙酒。 

开放吧,不凋花!为谁开放都听便,

可不要为我!流往别处吧,甘泉!

彷徨着,我花冠失落,嘴唇惨白,

是什么咒语咒得我神魂倦怠?

无所希望的劳作——竹篮舀酒,

无所寄托的希望——易逝难留。




Song


Though veiled in spires of myrtle-wreath,

Love is a sword which cuts its sheath,

And through the clefts itself has made,

We spy the flashes of the blade!


But through the clefts itself has made

We likewise see Love's flashing blade,

By rust consumed, or snapt in twain;

And only hilt and stump remain.




歌 


尽管有桃金娘花环遮掩, 

爱情是利剑,把剑鞘刺穿;

从鞘上划破的道道裂痕,

看得见里边闪光的白刃!


从鞘上划破的道道裂痕,

同样看得出:爱情这利刃

已经锈损了,断成了两截,

剩下的只有残柄和废铁!

杨 德 豫 译




后现代主义文学体现了怎样的情节观?

亚里士多德认为,情节是指“事件的安排”,是悲剧的六个成分中“最为重要的”。E·M·福斯特(Edward Morgan Forster)通过与故事相比来解释何为情节:“故事是按时间安排的事情,情节也是叙述事情,不过重点放在因果关系上。‘国王死了,后来王后死了’,这是一个故事。‘国王死了,后来王后由于悲伤死了’,这是一段情节。”故事的发展遵照事件自身的逻辑,而情节要为事件之间建构联系,前者是事件的时间或逻辑的抽象排列(ordering),后者是叙述中的实际顺序(sequence),是故事中的话语。
现实主义小说家往往遵循亚氏的情节观,按照“合理”的情节叙述故事,这类小说的可读性很强,就像狄更斯所言,能让读者笑,也能让读者哭。现代主义作品中的情节观念大大淡化,更多关注人物的内心和瞬间的呈现,比如意识流等现代主义手法。现实主义文学中的情节仍然遵循着因果律,是动态的,现代主义文学关注时间(瞬间),其情节倾向于静止,而后现代主义文学则在很大程度上以荒诞和迷宫般的情节消解了情节,是情节零度。
情节在后现代主义文学作品中被简化为碎片般的叙事拼贴,相互之间并无联系,情节“可能成为了一种借口”,它“没头,没身,没尾,没有连贯性”。汉森(Clare Hanson)认为“后现代主义小说中的情节,常常要么少得可怜,要么多得疯狂”。无论是少还是多,都是一种情节的虚无,因为情节众多就是对情节的解构和颠覆,其本质仍是无情节,就仿佛中心多了也就无所谓中心了。后现代主义文学的情节零度还表现在情节的荒诞和迷宫般的叙述中,无论是荒诞的情节,还是迷宫般的情节,都指向后现代现实的不确定性和无序状态。后现代主义文学作品的情节“内爆”、互文,及开放的结构就像博德里亚谓之的“拟像”,表征出后现代状态下真实与虚构、历史与事实、主体与语言之间的二元对立模式已然失效。



后现代主义文学体现了怎样的叙述观?

后现代主义文学的主要叙述特征呈现为碎片化和拼贴状,是叙述本体论的。巴塞尔姆曾借《看见月亮了吗?》中的一个人物之口说,“碎片是我唯一信任的形式。”这是因为“破碎远远超出了叙事代码的简单破裂。它不仅仅是一种技巧或花招——或者说如果它是的话,其效果是有限的——它是理解世界和概念的一种模式;它是一种过程,而不是一种常规(formula)”。作为理解世界和概念的一种模式,后现代主义文学自我指涉式的破碎叙述把我们从一个想象的统一理性的世界图景中解放出来,我们得以了解,历史是一种叙述,语言才是主体。我们知道,存在着两种叙述:线性叙述结构和水平式叙述结构。线性叙述结构以真实为圭臬,是一种封闭式叙述,多为现实主义创作所采用;水平式叙述结构呈发散型,没有封合(enclosure),碎片状的叙述互为主体,不存在中心,多出现在现代主义和后现代主义作品中,尤其是后现代主义文学作品之中。
伽达默尔(Hans-Georg Gadamer)认为艺术的本质是游戏,游戏是艺术作品本身存在的方式,游戏活动的主体是游戏活动自身而不是游戏者,因此重复性就成为游戏的本质。游戏的另一个特征是无目的性,游戏是一个过程。游戏需要观者,观者的在场是游戏得以进行的必要组成部分。在伽达默尔的艺术即游戏说基础之上,德里达提出了解释即游戏,解释的目的不再是为着寻求隐蔽的意义,相反,解释的过程是开放的和无终止性的,解释的目的就是解释自身。据此,我们也可将后现代主义文学的自反性碎片化叙述视为后现代写作的游戏,叙述即游戏,重要的是叙述结构自身,是读者的参与共同完成了叙述的过程。在这个意义上,我们认为,后现代主义文学是叙述本体论的,能够回答麦克黑尔(Brian McHale)所列的后现代主义作品所提出的世界是什么的问题:世界是叙述,世界类型的多少就是叙述类型的多少,世界的组成就是叙述的组成,不同之处在于叙述的不同……文本存在的方式是叙述,等等。与现代主义要认识和解释世界不同,后现代主义将世界按其本来的面目呈现在读者面前,意义不是现代主义的精英意识所赋予的,而是读者个体经验性的创造和发现。



后现代主义文学体现了怎样的历史观?

以编史元小说为代表的后现代主义文学重返历史现场、重构历史真相的实践正是20世纪后半叶人们对历史的真相重新思考的重要表现,海登·怀特在1978年曾宣称:“当代文学的鲜明特征之一在于执着地坚信:历史意识必须被抛在脑后,如果作家想严肃地审视人类经验中那些现代艺术特别要揭示的层面。”在怀特之前,费舍(David Hackett Fisher)也注意到了文学作品对历史观念的敌视,“小说家、剧作家、自然科学家、社会学家、诗人、预言家、学术权威和具有多种信念的哲学家,都强烈表现出对历史观念的敌视。我们许多同代人特别难以接受过去时代和往昔事件的真实性,顽强地抵制对历史知识的可能性和实用性的论断。”的确,在后现代主义小说里,对历史真实性的怀疑,及作为社会约定的语言符号的观念已经深入元小说、编史元小说等后现代主义文本之中。
西方史学发展史上存在三种重要的史学理论:重构论、建构论和解构论。重构论认为存在一个单一、统一的过去,历史事实存在于史料之中,因而历史是可以还原的。建构论史家把过去分为真实的过去、史料中的过去和历史学家的过去。建构论史观认为历史研究不是研究过去,而是研究过去的痕迹,因此在历史研究中史家精神、史学理论与观念工具都非常重要,这就引发了人们对历史研究主观性的重新认识。后现代主义的历史观就是解构论的历史观,以海登·怀特的新历史主义为代表,认为历史也是叙述,历史学是一种话语的结构,其内容既是被发现的,又是被发明的。因而历史学家在历史书写中也像文学家一样诉诸想象,将凌乱无序的事件整理成“合乎历史规律”的历史,使得这些历史素材看起来像是自然有序地发生在过去。怀特强调指出,在历史文本的表层下面还存在着一个潜在的具有诗性、语言特征的深层结构。诗性结构说明历史与想象有关,而语言结构则说明历史的本质乃在于语言的阐释,因而具有语言构成物的虚构性。怀特指出历史话语通过“形式论证”、“情节设置”及“意识形态的暗示”三种策略进行自我解释。怀特拆除了历史与文学的界限,“历史作为一种虚构形式,与小说作为历史真实的再现,可以说是半斤八两、大同小异。”
后现代主义历史观并不反对历史——如詹姆逊和伊格尔顿所认为的那样,它正视历史中的偶然性、不确定性,甚至虚构性,并不是要否认历史知识,而是要破除目的论、因果论和连续性的历史观。艾柯曾说,“后现代对现代主义的回答即承认必须返回过去。既然过去是完全无法消除的,解构它将导致沉寂(现代主义的发现);但却不是单纯地返回过去,而是带着嘲讽。”简而言之,后现代主义史观并不意味着对历史事实的全盘否定,也并不意味着文学可以取代历史文献,过去的实在并不会因为历史的文本性而丧失其效用和意义,而是要我们看到历史的历史性,看到历史文本在形成过程中如何受到历史环境、认识条件和学术体制等各种力量的影响和约束。




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