查看原文
其他

柯尔律治诗11首

英国 星期一诗社 2024-01-10
塞缪尔·泰勒·柯尔律治(Samuel Taylor Coleridge1772-1834),也有翻译为柯勒律治的。英国诗人、评论家。1772年10月21日生于英格兰西南部德文郡一个乡镇牧师的家庭,父亲是教区牧师,在他9岁时去世。被送往伦敦基督慈幼学校上学,熟读希腊、罗马文学。他10岁到伦敦基督慈幼学校上学,熟读希腊、罗马文学,精习形而上学。19岁进入剑桥大学攻读古典文学。1794年,与罗伯特·骚塞合写《罗伯斯庇尔的失败》一剧。
当时两人都同情法国革命,但又都害怕革命暴力,于是设想去美洲建立乌托邦社会。计划失败后柯尔律治移居英格兰部西部湖区,致力于写诗,并与华兹华斯结成密友。他憎恶资本主义城市文明和冷酷的金钱关系,于是远离城市,隐居于昆布兰湖区,寄情山水或缅怀中世纪的宗法社会。他们创作出歌颂大自然的或美化宗法制农村生活方式的诗篇,以抵制丑恶的资本主义现实。因此被称为“湖畔派诗人”。1798年,两人合作出版著名的《抒情歌谣集》,成为浪漫主义的宣言书。同年他与华兹华斯兄妹到德国留学,被康德的哲学和耶拿派的诗歌理论和创作所吸引。翻译席勒的剧作《华伦斯坦》。1809年创办《朋友》杂志。以后大多写诗及批评文章,也曾在皇家学会讲演。1817年发表了著名的《文学传记》,以文学批评为主, 是他最完整的散文著作。 1818年作了一系列关于莎士比亚的讲演,后来收集为《关于莎士比亚讲演集》一书。回国后继续居住于湖区,与华兹华斯保持往来。柯尔律治年青时代即患有风湿痛等多种疾病。为求镇痛他长期服食鸦片竟至上瘾,故健康大受损害。晚年他贫病交加,自1816年开始,住在伦敦海格特区吉尔曼医生家。1824年被选为皇家学会成员,1834年7月25日逝世于海格特。



Frost at Midnight


The Frost performs its secret ministry,

Unhelped by any wind. The owlet's cry

Came loud—and hark, again! loud as before.

The inmates of my cottage, all at rest,

Have left me to that solitude, which suits

Abstruser musings: save that at my side

My cradled infant slumbers peacefully.

'Tis calm indeed! so calm, that it disturbs

And vexes meditation with its strange

And extreme silentness. Sea, hill, and wood,

This populous village! Sea, and hill, and wood,

With all the numberless goings-on of life,

Inaudible as dreams! the thin blue flame

Lies on my low-burnt fire, and quivers not;

Only that film, which fluttered on the grate,

Still flutters there, the sole unquiet thing.

Methinks, its motion in this hush of nature

Gives it dim sympathies with me who live,

Making it a companionable form,

Whose puny flaps and freaks the idling Spirit

By its own moods interprets, every where

Echo or mirror seeking of itself,

And makes a toy of Thought.


But O! how oft,

How oft, at school, with most believing mind,

Presageful, have I gazed upon the bars,

To watch that fluttering stranger ! and as oft

With unclosed lids, already had I dreamt

Of my sweet birth-place, and the old church-tower,

Whose bells, the poor man's only music, rang

From morn to evening, all the hot Fair-day,

So sweetly, that they stirred and haunted me

With a wild pleasure, falling on mine ear

Most like articulate sounds of things to come!

So gazed I, till the soothing things, I dreamt,

Lulled me to sleep, and sleep prolonged my dreams!

And so I brooded all the following morn,

Awed by the stern preceptor's face, mine eye

Fixed with mock study on my swimming book:

Save if the door half opened, and I snatched

A hasty glance, and still my heart leaped up,

For still I hoped to see the stranger's face,

Townsman, or aunt, or sister more beloved,

My play-mate when we both were clothed alike!


Dear Babe, that sleepest cradled by my side,

Whose gentle breathings, heard in this deep calm,

Fill up the intersperséd vacancies

And momentary pauses of the thought!

My babe so beautiful! it thrills my heart

With tender gladness, thus to look at thee,

And think that thou shalt learn far other lore,

And in far other scenes! For I was reared

In the great city, pent 'mid cloisters dim,

And saw nought lovely but the sky and stars.

But thou , my babe! shalt wander like a breeze

By lakes and sandy shores, beneath the crags

Of ancient mountain, and beneath the clouds,

Which image in their bulk both lakes and shores

And mountain crags: so shalt thou see and hear

The lovely shapes and sounds intelligible

Of that eternal language, which thy God

Utters, who from eternity doth teach

Himself in all, and all things in himself.

Great universal Teacher! he shall mould

Thy spirit, and by giving make it ask.


Therefore all seasons shall be sweet to thee,

Whether the summer clothe the general earth

With greenness, or the redbreast sit and sing

Betwixt the tufts of snow on the bare branch

Of mossy apple-tree, while the nigh thatch

Smokes in the sun-thaw; whether the eave-drops fall

Heard only in the trances of the blast,

Or if the secret ministry of frost

Shall hang them up in silent icicles,

Quietly shining to the quiet Moon.

February, 1798



午夜寒霜 


寒霜施展着神秘功能,没有风

给它鼓劲。猫头鹰尖厉地叫了;

听呵,又叫了一声,还那样尖厉。

我住的小屋里,人们都已歇息了,

留下我一个,孤单清净,正好

专注于默想冥思;身边就只有

摇篮里的婴儿,睡得安安稳稳。

多么幽静呵!幽静得这样出奇,

这样古怪,连沉思也受到牵掣,

也为之忐忑不安了。大海,山林,

这人烟密集的村落!大海,山林,

芸芸众生数不尽的营营扰扰,

都悄然如入梦乡。炉火不旺了,

细弱的蓝色火苗已不再抖动;

只有炉子上那一缕轻烟,还照旧

在那儿袅绕——只有它静不下来。 

万籁俱寂中,它独自活动着,我想

它对我这个活人,会隐约萌生

几分亲切感,会乐于和我作伴吧。

闲荡的精灵(它到处寻觅自己的

回声或影像),凭着自己的心境

来解释轻烟的袅绕和怪态奇姿,

借幽思遐想来消遣。


哦!多少次,

我在学校里,怀着真诚信念

和殷切预期,凝望着炉子,守候着

那翩然浮现的“远客”!还有多少次,

我睁着两眼,居然分明梦见了

心爱的家乡,古老的教堂钟楼, 

清脆的钟声——穷人仅有的音乐,

在热闹集日,从清晨响到黄昏,

悠扬悦耳,以酣畅淋漓的欢乐

撩拨我,纠缠我,在我听来,这音响

真像是对未来事物的分明预告!

我睁眼望着,直到梦中的佳境

诱我入眠,而睡眠又延长了美梦!

第二天,一上午我都闷闷沉沉,

害怕老师的嘴脸,便假装用功,

紧盯着叫我头昏眼花的课本;

而只要门儿半开,我便钻空子

赶忙偷觑一两眼,心儿急跳着,

巴望着门外真会有远客来临:

乡亲,婶子,或是亲爱的姐姐——

早几年和我穿相似童装的玩伴!


身边,摇篮里婴儿正在安睡,

寂静中,听得见他那轻柔的呼吸:

这声息仿佛填补了我的思绪里

那些零散空隙和短暂间歇!

玲珑姣好的婴儿!当我看着你,

心魂便因愉悦的柔情而震颤,

想到:你会在截然不同的场景中,

学到截然不同的知识!因为我

在都城长大,被关进幽暗庵堂, 

除了天空和星星,没什么可看的。

而你呢,孩子!你会像清风一般

遨游在湖滨、沙岸和山岭高崖下,

仰望浩瀚的云海——云海也幻化出

湖泽、沙岸和山岭的图形;那么,

你就会看到各种瑰丽的景象,

你就会听到各种明晰的音响,

这些,都属于上帝永久的语言, 

他在永恒中取法于万物,而又

让万物取法于他。宇宙的恩师! 

他会塑造好你的心灵,既然

向心灵颁赐,也就让心灵索取。


那么,对于你,所有季节都美妙:

要么是盛夏,大地一片绿茸茸;

要么是早春,积雪的丛林灌莽里,

知更鸟歌唱在苍苔斑驳的苹果树

光秃的枝头,旁边的茅屋顶上,

晴雪初融,蒸发着水汽;檐溜

要么滴沥着,在风势暂息的时候

声声入耳,要么,凭借着寒霜的

神秘功能而凝成无声的冰柱,

静静闪耀着,迎着静静的月光。

1798年2月




France: An Ode


I

Ye Clouds! that far above me float and pause,

Whose pathless march no mortal may controul!

Ye Ocean-Waves! that, wheresoe'er ye roll,

Yield homage only to eternal laws!

Ye Woods! that listen to the night-birds singing,

Midway the smooth and perilous slope reclined,

Save when your own imperious branches swinging,

Have made a solemn music of the wind!

Where, like a man beloved of God,

Through glooms, which never woodman trod,

How oft, pursuing fancies holy,

My moonlight way o'er flowering weeds I wound,

Inspired, beyond the guess of folly,

By each rude shape and wild unconquerable sound!

O ye loud Waves! and O ye Forests high!

And O ye Clouds that far above me soared!

Thou rising Sun! thou blue rejoicing Sky!

Yea, every thing that is and will be free!

Bear witness for me, wheresoe'er ye be,

With what deep worship I have still adored

The spirit of divinest Liberty.I


II

When France in wrath her giant-limbs upreared,

And with that oath, which smote air, earth, and sea,

Stamped her strong foot and said she would be free,

Bear witness for me, how I hoped and feared!

With what a joy my lofty gratulation

Unawed I sang, amid a slavish band:

And when to whelm the disenchanted nation,

Like fiends embattled by a wizard's wand,

The Monarchs marched in evil day,

And Britain joined the dire array;

Though dear her shores and circling ocean,

Though many friendships, many youthful loves

Had swoln the patriot emotion

And flung a magic light o'er all her hills and groves;

Yet still my voice, unaltered, sang defeat

To all that braved the tyrant-quelling lance,

And shame too long delayed and vain retreat!

For ne'er, O Liberty! with partial aim

I dimmed thy light or damped thy holy flame;

But blessed the paeans of delivered France,

And hung my head and wept at Britain's name.


III

'And what,' I said, 'though Blasphemy's loud scream

With that sweet music of deliverance strove!

Though all the fierce and drunken passions wove

A dance more wild than e'er was maniac's dream!

Ye storms, that round the dawning East assembled,

The Sun was rising, though ye hid his light!'

And when, to soothe my soul, that hoped and trembled,

The dissonance ceased, and all seemed calm and bright;

When France her front deep-scarr'd and gory

Concealed with clustering wreaths of glory;

When, insupportably advancing,

Her arm made mockery of the warrior's ramp;

While timid looks of fury glancing,

Domestic treason, crushed beneath her fatal stamp,

Writhed like a wounded dragon in his gore;

Then I reproached my fears that would not flee;

'And soon,' I said, 'shall Wisdom teach her lore

In the low huts of them that toil and groan!

And, conquering by her happiness alone,

Shall France compel the nations to be free,

Till Love and Joy look round, and call the Earth their own.'


IV

Forgive me, Freedom! O forgive those dreams!

I hear thy voice, I hear thy loud lament,

From bleak Helvetia's icy caverns sent—

I hear thy groans upon her blood-stained streams!

Heroes, that for your peaceful country perished,

And ye that, fleeing, spot your mountain-snows

With bleeding wounds; forgive me, that I cherished

One thought that ever blessed your cruel foes!

To scatter rage, and traitorous guilt,

Where Peace her jealous home had built;

A patriot-race to disinherit

Of all that made their stormy wilds so dear;

And with inexpiable spirit

To taint the bloodless freedom of the mountaineer—

O France, that mockest Heaven, adulterous, blind,

And patriot only in pernicious toils!

Are these thy boasts, Champion of human kind?

To mix with Kings in the low lust of sway,

Yell in the hunt, and share the murderous prey;

To insult the shrine of Liberty with spoils

From freemen torn; to tempt and to betray?


V

The Sensual and the Dark rebel in vain,

Slaves by their own compulsion! In mad game

They burst their manacles and wear the name

Of Freedom, graven on a heavier chain!

O Liberty! with profitless endeavour

Have I pursued thee, many a weary hour;

But thou nor swell'st the victor's strain, nor ever

Didst breathe thy soul in forms of human power.

Alike from all, howe'er they praise thee,

(Nor prayer, nor boastful name delays thee)

Alike from Priestcraft's harpy minions,

And factious Blasphemy's obscener slaves,

Thou speedest on thy subtle pinions,

The guide of homeless winds, and playmate of the waves!

And there I felt thee!—on that sea-cliff's verge,

Whose pines, scarce travelled by the breeze above,

Had made one murmur with the distant surge!

Yes, while I stood and gazed, my temples bare,

And shot my being through earth, sea, and air,

Possessing all things with intensest love,

O Liberty! my spirit felt thee there.

February, 1798




咏法兰西 


浮云呵!你们在高空飘荡又留停,

没有人能够左右你们的方向!

海浪呵!不论你们奔涌到何方,

你们只遵从造化永恒的律令!

林木呵!你们静听着鸣禽的夜歌,

倚立在溜滑险陡的半山坡上;

要么,摇曳着你们高傲的枝柯,

合成了浩浩天风的庄严吟唱!

多少回,仿佛有神灵呵护,

我走过樵夫未到的幽处,

为神奇幻影所导引,行进于

月光下花草蒙茸的弯弯路上,

除胡猜乱想外,我还动心于

种种粗犷形象和势不可遏的怪响!

你们呵,狂啸的波涛!高耸的林木!

在我头顶上飘然飞过的浮云!

升起的朝阳!愉悦的蔚蓝色天幕!

自由而又能永保自由的种种!

不论你们在何方,请为我作证:

证明我对最神圣的自由之神

是如何深心景仰,始终敬奉。 


当初,法兰西愤然扬起了巨臂,

顿足如雷,以横扫海陆的诅咒

告知天下:她誓必赢得自由——

请作证吧,那时我如何喜忧交集!

我何等欢欣(尽管与庸奴为伍), 

无畏地唱出了对她的崇高祝贺;

此后,为了压制这觉醒的民族,

像群妖在巫师魔杖下整队集合,

国王们汹汹然兴师问罪,

不列颠也加入这邪孽营垒; 

虽然我眷爱祖国的海陆,

虽然亲友情谊和早岁恋情

使这种眷爱愈益强固,

使祖国山水园林都闪射瑰异光影;

然而,我的调门没有变,唱的是

向暴君兵甲英勇抗争者的胜负,

和难以摆脱的、久远的邦家之耻!

自由神呵!我从来也不曾出于偏心

让你的圣火明辉有丝毫减损;

我只为法兰西的解放而讴歌祝福,

也为不列颠的恶名而垂头悲恨。 


“怕什么!”我说,“哪怕渎神的喧嚷

冲犯了解救生灵的福音佳调!

哪怕以激情醉意跳起的舞蹈

比狂人梦中所见的更为癫狂!

拂晓汇聚在东方的暴雨浓云

涂暗了天空,旭日却仍然升起!”

为抚慰我这期望而颤栗的灵魂,

嘈音息止了,万象光明而静谧;

法兰西用荣光灿烂的花环

把受伤滴血的额遮掩;

她勇于进击而师出无名,

她挥臂冲闯,比武夫还要狂躁;

见对手露出了惧怯神情,

猛然一顿足,叛乱之徒便被她踏倒,

有如负伤的蛟龙辗转于血泊; 

于是,我谴责我无法消除的忧惧;

“快了,在那些低矮的窝棚,”我说,

“劳苦人会增长智慧,学习成材! 

法兰西,除了沉醉于自身的欢快,

也会使各国都赢得自由,终于 

全世界都让‘爱’和‘欢乐’来主宰。” 


宽恕我,自由神!宽恕我那些梦想!

我听到:从瑞士荒寒的冰崖雪窟

传来了悲啼——是你在伤心痛哭,

一声声,在她血染的河川上回荡! 

为守卫和平国土而捐躯的英烈!

以鲜血染红了山间白雪的人们!

宽恕我——我竟然有过那样的见解,

竟然祝福过你们残虐的敌人!

在和平女神定居的福地,

法兰西!你散布暴行和叛逆;

瑞士人爱乡土,爱风雪荒原,

你却要斩断这万缕亲缘与情意;

还要用深仇大恨来污染

山民们不曾流血便享有的自由权利; 

你欺弄天公,你捣鬼,你盲目无知,

法兰西呵!你的“爱国”是歹毒骗术!

人类的骄子!你引以自豪的,难道是:

为霸权而奔逐,与各国君王结伴,

捕猎时呐喊助阵,也分享一脔; 

劫掠自由民,用夺来的赃物去亵渎

自由神殿宇;又叛卖,又坑蒙拐骗? 


“邪欲”和“愚昧”是自己的奴隶,想反抗

也反抗不成;在一场疯魔节目里,

他们把手铐挣脱了,亮出的标记

是“自由”——刻在一条更粗的锁链上!

哦,自由神!我费了多少时光

苦苦追寻你,却总是废然而止;

你不让赢家一赢了便得意扬扬,

你吐露心声也不靠人间的权势。

任何人,不管怎样称颂你,

(祈求或奉承又岂能打动你,)

都一样:教会的贪婪党羽,

渎神帮派更其鄙陋的庸奴,

都被你弃绝;你展翅飞去, 

与千顷海波戏耍,为八面天风引路!

在那儿,我发现你了!——在海畔高崖,

恍惚有微风吹过的株株松树

正低吟细语,与涛声遥相应答!

当我悄立着,凝望着,两鬓临风,

把神魂投向大地、海水和天空,

以无比浓烈的爱心去拥抱万物,

自由神呵!我感到:你真身就在其中。 

1798年2月




Lewti

Or the Circassian Love-chaunt


At midnight by the stream I roved,

To forget the form I loved.

Image of Lewti! from my mind

Depart; for Lewti is not kind.


The Moon was high, the moonlight gleam

And the shadow of a star

Heaved upon Tamaha's stream;

But the rock shone brighter far,

The rock half sheltered from my view

By pendent boughs of tressy yew.—

So shines my Lewti's forehead fair,

Gleaming through her sable hair.

Image of Lewti! from my mind

Depart; for Lewti is not kind.


I saw a cloud of palest hue,

Onward to the moon it passed;

Still brighter and more bright it grew,

With floating colours not a few,

Till it reached the moon at last:

Then the cloud was wholly bright,

With a rich and amber light!

And so with many a hope I seek,

And with such joy I find my Lewti;

And even so my pale wan cheek

Drinks in as deep a flush of beauty!

Nay, treacherous image! leave my mind,

If Lewti never will be kind.


The little cloud—it floats away,

Away it goes; away so soon!

Alas! it has no power to stay:

Its hues are dim, its hues are grey —

Away it passes from the moon!

How mournfully it seems to fly,

Ever fading more and more,

To joyless regions of the sky —

And now 'tis whiter than before!

As white as my poor cheek will be,

When, Lewti! on my couch I lie,

A dying man for love of thee.

Nay, treacherous image! leave my mind—

And yet, thou didst not look unkind.


I saw a vapour in the sky,

Thin, and white, and very high;

I ne'er beheld so thin a cloud:

Perhaps the breezes that can fly

Now below and now above,

Have snatched aloft the lawny shroud

Of Lady fair—that died for love.

For maids, as well as youths, have perished

From fruitless love too fondly cherished.

Nay, treacherous image! leave my mind—

For Lewti never will be kind.


Hush! my heedless feet from under

Slip the crumbling banks for ever:

Like echoes to a distant thunder,

They plunge into the gentle river.

The river-swans have heard my tread,

And startle from their reedy bed.

O beauteous birds! methinks ye measure

Your movements to some heavenly tune!

O beauteous birds! 'tis such a pleasure

To see you move beneath the moon,

I would it were your true delight

To sleep by day and wake all night.


I know the place where Lewti lies,

When silent night has closed her eyes:

It is a breezy jasmine-bower,

The nightingale sings o'er her head:

Voice of the Night! had I the power

That leafy labyrinth to thread,

And creep, like thee, with soundless tread,

I then might view her bosom white

Heaving lovely to my sight,

As these two swans together heave

On the gently-swelling wave.


Oh! that she saw me in a dream,

And dreamt that I had died for care;

All pale and wasted I would seem,

Yet fair withal, as spirits are!

I'd die indeed, if I might see

Her bosom heave, and heave for me!

Soothe, gentle image! soothe my mind!

To-morrow Lewti may be kind.

1798




柳蒂

切尔克西亚情歌 


我深夜徘徊在小河边上,

想忘掉心上人儿的形象。

离开我的心吧,柳蒂的倩影!

既然柳蒂她对我无情。


月儿高挂,淡淡的月光

和一颗星儿闪烁的倒影

映在塔玛哈荡漾的河上; 

那一片白岩更透亮通明——

白岩被一棵披拂的紫杉

横斜的枝叶遮挡了一半;

柳蒂的白额也同样明艳,

被黑发遮挡,也隐约半现。

离开我的心吧,柳蒂的倩影!

既然柳蒂她对我无情。


我望见一朵云,灰暗无光,

向前边,向着月亮游去;

它渐渐亮些了,越来越亮,

色泽变化着,一会儿一个样,

终于相遇了——与月亮相遇;

这时呵,只见它明辉遍体,

像琥珀一般,光鲜华丽!

犹如这朵云,我追寻不舍,

以同样的欢情,与柳蒂相会;

犹如这朵云,我灰暗的脸色

吸取了同样灿烂的明辉!

离开我的心吧,欺人的倩影!

只怕柳蒂永不会多情。


这小小浮云呵,渐游渐远,

它悄然走了,走得这么快?

它停留不住,它无法流连,

它气色灰白,它容光暗淡——

从月亮身边匆促离开!

光彩消褪了,越来越阴郁,

它神情显得多么悲哀,

游向那没有欢乐的境域——

此刻比方才更加惨白!

我面容也会同样憔悴,

柳蒂呵!我会卧床不起,

为了爱你而一命垂危。

离开我的心吧,欺人的倩影!

可是,你看去又不像无情。


我望见一片烟霭在空中,

高高的,淡淡的,白白净净;

我从未见过这么淡的云气;

也许那忽上忽下的清风

吹动的时候,曾经掀起过

一位娟秀少女的尸衣——

她是为了爱情而殒殁。

世间有多少痴女和痴郎

死去了,都只为爱情无望!

离开我的心吧,欺人的倩影!

既然柳蒂永不会多情。


别响动!我总是漫不经心

悄悄走下那断裂的河堤,

仿佛应答着悠远的雷鸣,

把双脚投入徐流的水里。

天鹅听到了我的脚步,

惊动了,从芦苇巢中游出。

俏丽的飞禽!你们的动作

宛如配合着天国的乐曲!

望见你们在月光下游过,

是何等爽心悦目的佳趣,

愿你们真正以此为乐——

白天入睡,而通宵醒着。


静夜里,柳蒂两眼已合上,

我知道她那安歇的地方:

那儿是幽闺,有微风吹拂,

有茉莉飘香,有夜莺吟唱——

静夜之歌呵!我若有门路

潜入那枝青叶翠的闺房,


步子轻轻的,就像你一样, 

我就会窥见她白嫩胸脯

在我的眼前娇柔地起伏,

恰似这一对雪白的天鹅

浮游于起伏不定的柔波。


哦!但愿她也曾梦见我,

梦见我死了——死于心事;

我一脸苍白,一身瘦弱,

却依然俊秀,有如天使!

我真想死去,只要能目睹

她胸脯起伏——为我而起伏!

宽慰我的心吧,温柔的倩影!

明天柳蒂也许会多情。

1798年




Fears in Solitude

Written in April 1798, during the alarm of an invasion


A green and silent spot, amid the hills,

A small and silent dell! O'er stiller place

No singing sky-lark ever poised himself.

The hills are heathy, save that swelling slope,

Which hath a gay and gorgeous covering on,

All golden with the never-bloomless furze,

Which now blooms most profusely: but the dell,

Bathed by the mist, is fresh and delicate

As vernal corn-field, or the unripe flax,

When, through its half-transparent stalks, at eve,

The level sunshine glimmers with green light.

Oh! 'tis a quiet spirit-healing nook!

Which all, methinks, would love; but chiefly he,

The humble man, who, in his youthful years,

Knew just so much of folly, as had made

His early manhood more securely wise!

Here he might lie on fern or withered heath,

While from the singing lark (that sings unseen

The minstrelsy that solitude loves best),

And from the sun, and from the breezy air,

Sweet influences trembled o'er his frame;

And he, with many feelings, many thoughts,

Made up a meditative joy, and found

Religious meanings in the forms of Nature!

And so, his senses gradually wrapt

In a half sleep, he dreams of better worlds,

And dreaming hears thee still, O singing lark,

That singest like an angel in the clouds!


My God! it is a melancholy thing

For such a man, who would full fain preserve

His soul in calmness, yet perforce must feel

For all his human brethren—O my God!

It weighs upon the heart, that he must think

What uproar and what strife may now be stirring

This way or that way o'er these silent hills—

Invasion, and the thunder and the shout,

And all the crash of onset; fear and rage,

And undetermined conflict—even now,

Even now, perchance, and in his native isle:

Carnage and groans beneath this blessed sun!

We have offended, Oh! my countrymen!

We have offended very grievously,

And been most tyrannous. From east to west

A groan of accusation pierces Heaven!

The wretched plead against us; multitudes

Countless and vehement, the sons of God,

Our brethren! Like a cloud that travels on,

Steamed up from Cairo's swamps of pestilence,

Even so, my countrymen! have we gone forth

And borne to distant tribes slavery and pangs,

And, deadlier far, our vices, whose deep taint

With slow perdition murders the whole man,

His body and his soul! Meanwhile, at home,

All individual dignity and power

Engulfed in Courts, Committees, Institutions,

Associations and Societies,

A vain, speech-mouthing, speech-reporting Guild,

One Benefit-Club for mutual flattery,

We have drunk up, demure as at a grace,

Pollutions from the brimming cup of wealth;

Contemptuous of all honourable rule,

Yet bartering freedom and the poor man's life

For gold, as at a market! The sweet words

Of Christian promise, words that even yet

Might stem destruction, were they wisely preached,

Are muttered o'er by men, whose tones proclaim

How flat and wearisome they feel their trade:

Rank scoffers some, but most too indolent

To deem them falsehoods or to know their truth.

Oh! blasphemous! the Book of Life is made

A superstitious instrument, on which

We gabble o'er the oaths we mean to break;

For all must swear—all and in every place,

College and wharf, council and justice-court;

All, all must swear, the briber and the bribed,

Merchant and lawyer, senator and priest,

The rich, the poor, the old man and the young;

All, all make up one scheme of perjury,

That faith doth reel; the very name of God

Sounds like a juggler's charm; and, bold with joy,

Forth from his dark and lonely hiding-place,

(Portentous sight!) the owlet Atheism,

Sailing on obscene wings athwart the noon,

Drops his blue-fringéd lids, and holds them close,

And hooting at the glorious sun in Heaven,

Cries out, 'Where is it?'

Thankless too for peace,

(Peace long preserved by fleets and perilous seas)

Secure from actual warfare, we have loved

To swell the war-whoop, passionate for war!

Alas! for ages ignorant of all

Its ghastlier workings, (famine or blue plague,

Battle, or siege, or flight through wintry snows,)

We, this whole people, have been clamorous

For war and bloodshed; animating sports,

The which we pay for as a thing to talk of,

Spectators and not combatants! No guess

Anticipative of a wrong unfelt,

No speculation on contingency,

However dim and vague, too vague and dim

To yield a justifying cause; and forth,

(Stuffed out with big preamble, holy names,

And adjurations of the God in Heaven,)

We send our mandates for the certain death

Of thousands and ten thousands! Boys and girls,

And women, that would groan to see a child

Pull off an insect's leg, all read of war,

The best amusement for our morning meal!

The poor wretch, who has learnt his only prayers

From curses, who knows scarcely words enough

To ask a blessing from his Heavenly Father,

Becomes a fluent phraseman, absolute

And technical in victories and defeats,

And all our dainty terms for fratricide;

Terms which we trundle smoothly o'er our tongues

Like mere abstractions, empty sounds to which

We join no feeling and attach no form!

As if the soldier died without a wound;

As if the fibres of this godlike frame

Were gored without a pang; as if the wretch,

Who fell in battle, doing bloody deeds,

Passed off to Heaven, translated and not killed;

As though he had no wife to pine for him,

No God to judge him! Therefore, evil days

Are coming on us, O my countrymen!

And what if all-avenging Providence,

Strong and retributive, should make us know

The meaning of our words, force us to feel

The desolation and the agony

Of our fierce doings?

Spare us yet awhile,

Father and God! O! spare us yet awhile!

Oh! let not English women drag their flight

Fainting beneath the burthen of their babes,

Of the sweet infants, that but yesterday

Laughed at the breast! Sons, brothers, husbands, all

Who ever gazed with fondness on the forms

Which grew up with you round the same fire-side,

And all who ever heard the sabbath-bells

Without the infidel's scorn, make yourselves pure!

Stand forth! be men! repel an impious foe,

Impious and false, a light yet cruel race,

Who laugh away all virtue, mingling mirth

With deeds of murder; and still promising

Freedom, themselves too sensual to be free,

Poison life's amities, and cheat the heart

Of faith and quiet hope, and all that soothes,

And all that lifts the spirit! Stand we forth;

Render them back upon the insulted ocean,

And let them toss as idly on its waves

As the vile sea-weed, which some mountain-blast

Swept from our shores! And oh! may we return

Not with a drunken triumph, but with fear,

Repenting of the wrongs with which we stung 1

So fierce a foe to frenzy!

I have told,

O Britons! O my brethren! I have told

Most bitter truth, but without bitterness.

Nor deem my zeal or factious or mistimed;

For never can true courage dwell with them,

Who, playing tricks with conscience, dare not look

At their own vices. We have been too long

Dupes of a deep delusion! Some, belike,

Groaning with restless enmity, expect

All change from change of constituted power;

As if a Government had been a robe,

On which our vice and wretchedness were tagged

Like fancy-points and fringes, with the robe

Pulled off at pleasure. Fondly these attach

A radical causation to a few

Poor drudges of chastising Providence,

Who borrow all their hues and qualities

From our own folly and rank wickedness,

Which gave them birth and nursed them. Others, meanwhile,

Dote with a mad idolatry; and all

Who will not fall before their images,

And yield them worship, they are enemies

Even of their country!

Such have I been deemed.—

But, O dear Britain! O my Mother Isle!

Needs must thou prove a name most dear and holy

To me, a son, a brother, and a friend,

A husband, and a father! who revere

All bonds of natural love, and find them all

Within the limits of thy rocky shores.

O native Britain! O my Mother Isle!

How shouldst thou prove aught else but dear and holy

To me, who from thy lakes and mountain-hills,

Thy clouds, thy quiet dales, thy rocks and seas,

Have drunk in all my intellectual life,

All sweet sensations, all ennobling thoughts,

All adoration of the God in nature,

All lovely and all honourable things,

Whatever makes this mortal spirit feel

The joy and greatness of its future being?

There lives nor form nor feeling in my soul

Unborrowed from my country! O divine

And beauteous Island! thou hast been my sole

And most magnificent temple, in the which

I walk with awe, and sing my stately songs,

Loving the God that made me!—

May my fears,

My filial fears, be vain! and may the vaunts

And menace of the vengeful enemy

Pass like the gust, that roared and died away

In the distant tree: which heard, and only heard

In this low dell, bowed not the delicate grass.


But now the gentle dew-fall sends abroad

The fruit-like perfume of the golden furze:

The light has left the summit of the hill,

Though still a sunny gleam lies beautiful,

Aslant the ivied beacon. Now farewell,

Farewell, awhile, O soft and silent spot!

On the green sheep-track, up the heathy hill,

Homeward I wind my way; and lo! recalled

From bodings that have well-nigh wearied me,

I find myself upon the brow, and pause

Startled! And after lonely sojourning

In such a quiet and surrounded nook,

This burst of prospect, here the shadowy main,

Dim-tinted, there the mighty majesty

Of that huge amphitheatre of rich

And elmy fields, seems like society—

Conversing with the mind, and giving it

A livelier impulse and a dance of thought!

And now, belovéd Stowey! I behold

Thy church-tower, and, methinks, the four huge elms

Clustering, which mark the mansion of my friend;

And close behind them, hidden from my view,

Is my own lowly cottage, where my babe

And my babe's mother dwell in peace! With light

And quickened footsteps thitherward I tend,

Remembering thee, O green and silent dell!

And grateful, that by nature's quietness

And solitary musings, all my heart

Is softened, and made worthy to indulge

Love, and the thoughts that yearn for human kind.

Nether Stowey, April 20, 1798




孤独中的忧思 

作于1798年4月,时方有外敌入侵之警 


葱翠而幽静,在群山环抱之中,

这小小一片山谷!歌吟的云雀

从未飞临过比这儿更清幽的处所。

山野长满了石楠,只除了那面

隆起的斜坡——它另有鲜妍的覆盖:

四季常开的金雀花如今最丰美, 

把斜坡染成耀眼的金黄;这一片

谷地呵,沐着潮雾,清新而淡雅,

好像春日的麦田,也像在傍晚,

平射的阳光横贯了未熟的亚麻

半透明的茎秆,闪烁着碧绿光泽。

哦,这是个苏慰心神的幽境!

我想,这幽境人人都喜爱,而首先

是他——那谦逊的凡人,他青年时期 

做过那么多蠢事,到成年以后,

总算熬炼得比较聪明懂事了。

在此幽境里,他会偃卧于野蕨

或枯枝败叶上;飞鸣的云雀(虽不见

形影,歌声却适合这幽僻地方),

朗照的红日,飘拂的清风,无不

给他以温馨陶养:他身心震颤,

多少种情怀,多少种思绪,汇成了

沉思冥想的愉悦,在自然界的

千形万态里体味出神圣内涵!

于是,他的官觉迷茫了,仿佛在

假寐,梦见了世外的洞天佳境,

而梦中仍然听到你,歌吟的云雀呵,

你高唱入云,宛若云端的天使!


上帝呵!对于这个人,他乐于享有

心魂的宁静,却又不能不关切

寰宇之内他亿兆兄弟的悲欢,

上帝呵!这真是令人忧烦的景况!

如重负压在心头,他不能不想到:

这寂寂群山之外,这边或那边,

有什么纷争与骚乱正嚣然而起,

入侵,雷轰电掣,人喊马嘶,

攻城炮火的震响,凶狂与恐怖,

胜负未卜的征战,屠杀与呻吟,

说不定,此刻,就在他祖国之岛,

就在这一片神圣阳光下发生!

我们犯下了罪孽,祖国同胞们! 

是呵!令人痛心地,我们犯下了

极其残暴的罪孽。从东方到西方,

控告我们的呼声冲破了天宇!

受苦的黎民在指斥我们:他们,

不计其数的、怒火如焚的群众,

都是上帝的子孙,我们的兄弟!

有如开罗瘴疠沼泽上蒸发的

滚滚浓云,我们曾汹汹出动,

把奴役和苦难带给远方的部族; 

更其凶险的,我们的污毒腐恶

就像软刀子慢条斯理地杀人,

把躯体和灵魂一齐摧毁!同时,

在我们国内,个人的尊严和才智

统统都被淹没了:淹没于宫廷,

委员会,机关,团体,社交圈子,

发表演说和记录演说的场所,

为互相捧场而设立的互助公会;

财富如满杯污水,我们当美酒

喝干了,像敬神那样必恭必敬;

公然鄙弃所有庄严的准则,

出卖自由,出卖穷人的性命

去赚取黄金,就像在拍卖行里!

基督教甘美的许诺,只要宣讲得

明智得体,本可以避凶防患;

却总被教士们念念叨叨,那调子

表明了他们自己也厌烦这行业;

有人因此而嘲讽教义,多数人

心神怠惰,认不出虚伪或真诚。

罪过呵!生命之书已经变成了

邪孽的文件,我们一手按着它, 

喋喋背诵着存心毁弃的誓词;

人人都得要起誓——人人,处处:

学校和码头,官府衙门和法院;

人人都得要起誓:行贿者,受贿者,

商人和律师,议员和神职人员,

富人,穷人,老年人,后生小子,

人人定出了一套发假誓的计谋;

信仰已摇摇欲坠,就连上帝的

大名,听来也像是巫师的咒语;

无神论,好似猫头鹰,得意而张狂,

扑动污秽的双翅,在堂堂中午,

从阴森隐僻的藏身处钻了出来,

(不祥的景象!)它横空飞过,垂下

蓝睫毛,闭着眼,向高天红日狂叫:

“哪里有什么太阳?”

对于和平,

我们也不知珍视(和平么,长期

是靠着舰队,靠着惊险的大海

保住的);在并无战争危险时,我们

也鼓噪喧嚣,热中于动武!多年来

茫然无知于战祸的惨烈(饥馑,

瘟疫,肉搏,围歼,雪地上的溃逃);

我们,全民族,都为了战争而呐喊,

以为那只是游戏,不付出代价,

以为那只是清谈的题目,我们

不过是看客,用不着真动刀枪!

既未预见到我们此后的恶行,

也未思忖过由此导致的后果,

或想得太少,根本不足以萌生

对恶行应有的义愤;作恶以后呢,

又是大段开场白,又是种种

神圣的名目,又是上帝的谕示,

终于,朝廷下令了,叫千千万万人

奔向注定的一死!男孩子,女孩子,

还有妇人(她们连看见顽童

扯断昆虫的腿儿也惊叫不休),

天天来阅读打仗的新闻——那才是

我们早餐时最佳的消遣!穷小子,

他出口的祝词便是咒骂,认识的

几个字,还不够向天父祷告乞恩,

如今也变得能说会道了,俨然

懂得了兵家胜负的道理,学会了

残杀骨肉的那一套高雅言词;

这些言词我们用惯了,说起来

滔滔滚滚,却那样虚浮而空洞,

既不带感情,也不成样式!仿佛

士兵战死时周身没一处创伤;

仿佛他天神一般的躯体被戳穿 

而不觉痛楚;仿佛这短命儿郎

搏斗时血流遍体,终于倒毙

是超度升天,而不是惨遭杀害;

仿佛他没有妻子一心挂念他,

也没有上帝对他作最后审判!

就为了这些,同胞们,厄运降临了!

若真是天网恢恢,果报不爽,

我们横暴的言词,凶残的行径,

都难逃罪责,都得要自食苦果,

我们又抱怨谁呢?

再宽恕一回吧,

圣父和神明!再宽恕我们一回吧!

不要让英国妇人惊惶逃命,

背儿抱女,因不堪重负而昏晕——

这些娇柔可爱的娃娃呵,昨天

还在母亲怀抱里眉开眼笑呢!

儿子,兄弟,丈夫,所有对这些

在自己家里炉火边生长的娃娃

一见就爱的人们,所有听到过

安息日钟声,而不像异教徒那样

报之以轻蔑的人们,把身心净化吧!

站出来,做堂堂男子!击退顽敌, 

那邪恶虚伪、轻浮暴戾的族类,

他们耻笑所有的美德,把欢乐

与屠杀相搅混;对别人以自由相许,

自己却沉迷于嗜欲而并不自由;

他们毒害了人间亲睦的情谊,

欺骗了虔诚的、志趣恬静的心灵,

盗走了宽慰和振奋人心的一切!

让我们站出来,赶他们回去,叫他们

在惊涛险浪上翻滚,像几簇海草

被一阵强风扫离我们的海岸!

可是呵!愿我们得胜归来的时候

也不要陶醉于战功,却怀着忧思

和忏悔,悔不该把这等狂躁的敌人 

刺激得凶性大发!

我已经说出了,

同胞们!说出了不少刻毒言语,

心底却不怀刻毒。请不要认为

我的忧愤是出于派系偏见

或是不合时宜的;国内若有人

耍手腕,回避良心,不敢正视

己方的罪责,那才是毫无勇气!

荒唐妄想把我们蒙骗太久了!

也许有些人,心怀怨恨,盼望着

换掉执政当局会迎来变革;

他们以为政府是一件袍子,

我们的恶行劣迹都缀于其上,

有如花边和流苏,可以跟袍子

一块儿扔掉。这些人懵懵懂懂,

眼见我们受到上帝的惩罚,

只知归咎于少数执政者,其实

执政者的形象和品质,全是承袭了

国民的愚妄与卑污——正是这些

劣根性诞育了他们,哺养了他们。 

另有一些人,一味醉心于狂热的

偶像崇拜,任何人只要不情愿

向他们的偶像俯伏效忠,就成了

国家的公敌!

我也被他们加上过

这样的罪名;可是呵,亲爱的不列颠!

我祖国之岛!你可以证明:对于我

这么一个儿子、兄弟、丈夫、

父亲和朋友来说,你是最珍贵

而又最神圣的名字!我虔敬地怀有

出于天性的爱心,而所爱的一切

从未越出你岩石峥嵘的海岸。

生身的不列颠!祖国之岛呵!你怎能

证明我并非如此,既然我是从

你的湖山和云霞,你的岩石

和大海,你的幽静的谷地,吸取了

我全部心智的精髓,甘美的柔情,

高洁的思想,对自然之神的崇奉,

内心世界中可爱可敬的一切,

这个肉体凡胎的一切欢乐

和他未来生命里宏伟的前程?

在我灵魂中,没有哪一种形象

或情感,不是出自我亲爱的祖国!

神奇富丽的岛呵!你是我惟一的、

最庄严雄伟的圣殿,我满怀敬畏

在殿内徐行,以肃穆颂歌来赞美

造我的上帝!

但愿我那些忧思,

儿女一般的忧思,是愚妄无稽的! 

但愿敌人报复的狂言和恫吓

犹如一股风,呼吼着,逐渐消失于

远处的树丛:风声传不出这低洼的

谷地,风力吹不弯柔弱的小草。


此刻呵,温柔的傍晚,把金雀花丛

鲜果一般的香气向四方传送;

日光已经辞别了远山峰顶,

只留下一道绮艳余晖,斜照着

青藤密布的灯塔。那么,再见吧,

下回再见吧,安适而清幽的去处!

我踏过绿野,走上长满石楠的

山丘,盘旋行进在回家路上;

摆脱了那些不快的预感,我发现

自己已登上山头,不由得停下来,

心灵也为之一震!在群山围堵的

幽僻角落里独自勾留了那么久,

眼底蓦然展现出这一片空旷:

这边,黝暗的海水,那边,丰美的

林木蔚然的盆地,场景广阔

而气度不凡,像赋有生命的群体

正在与心灵殷切对话,使心灵

怦然跃动,想象也飘然起舞!

此刻呵,可爱的斯托伊!我已望见了

教堂尖塔,和相依相聚的四棵

高大榆树,那是我友人的寓所; 

在榆树后边藏而不露的,是我那

简陋小屋,那儿有我的孩子

和他的母亲,小日子安安静静。

我加快脚步向那儿走去,却还在

惦记着你呵,葱翠清幽的山谷!

我由衷感激:那一片天然的静穆,

那一番孤独的冥想,使我的心灵

整个儿软化了,得以陶然沉醉于

满腔的眷爱,和献给人类的深情。

1798年4月20日,下斯托伊村




Fire, Famine, and Slaughter

A War Eclogue


The Scene a desolated Tract in La Vendée. FAMINE is discovered lying on the ground; to her enter FIRE and SLAUGHTER.


Fam. Sisters! sisters! who sent you here?

Slau . [to Fire ]. I will whisper it in her ear.

Fire . No! no! no!

Spirits hear what spirits tell:

'Twill make a holiday in Hell.

No! no! no!

Myself, I named him once below,

And all the souls, that damnéd be,

Leaped up at once in anarchy,

Clapped their hands and danced for glee.

They no longer heeded me;

But laughed to hear Hell's burning rafters

Unwillingly re-echo laughters!

No! no! no!

Spirits hear what spirits tell:

'Twill make a holiday in Hell!

Fam . Whisper it, sister! so and so!

In a dark hint, soft and slow.

Slau . Letters four do form his name—

And who sent you?

Both .         The same! the same!

Slau . He came by stealth, and unlocked my den,

And I have drunk the blood since then

Of thrice three hundred thousand men.

Both . Who bade you do't?

Slau .         The same! the same!

Letters four do form his name.

He let me loose, and cried Halloo!

To him alone the praise is due.

Fam . Thanks, sister, thanks! the men have bled,

Their wives and their children faint for bread.

I stood in a swampy field of battle;

With bones and skulls I made a rattle,

To frighten the wolf and carrion-crow

And the homeless dog—but they would not go.

So off I flew: for how could I bear

To see them gorge their dainty fare?

I heard a groan and a peevish squall,

And through the chink of a cottage-wall—

Can you guess what I saw there?

Both. Whisper it, sister! in our ear.

Fam . A baby beat its dying mother:

I had starved the one and was starving the other!

Both . Who bade you do't?

Fam.          The same! the same!

Letters four do form his name.

He let me loose, and cried, Halloo!

To him alone the praise is due.

Fire. Sisters! I from Ireland came!

Hedge and corn-fields all on flame,

I triumph'd o'er the setting sun!

And all the while the work was done,

On as I strode with my huge strides,

I flung back my head and I held my sides,

It was so rare a piece of fun

To see the sweltered cattle run

With uncouth gallop through the night,

Scared by the red and noisy light!

By the light of his own blazing cot

Was many a naked Rebel shot:

The house-stream met the flame and hissed,

While crash! fell in the roof, I wist,

On some of those old bed-rid nurses,

That deal in discontent and curses.

Both . Who bade you do 't?

Fire .         The same! the same!

Letters four do form his name.

He let me loose, and cried Halloo!

To him alone the praise is due.

All . He let us loose, and cried Halloo!

How shall we yield him honour due?

Fam. Wisdom comes with lack of food.

I'll gnaw, I'll gnaw the multitude,

Till the cup of rage o'erbrim:

They shall seize him and his brood—

Slau . They shall tear him limb from limb!

Fire . O thankless beldames and untrue!

And is this all that you can do

For him, who did so much for you?

Ninety months he, by my troth!

Hath richly catered for you both;

And in an hour would you repay

An eight years' work?—Away! away!

I alone am faithful! I

Cling to him everlastingly.

1798




烈火、饥馑与屠杀 


场景为旺代 荒无人烟的旷野。幕启时,女怪“饥馑”正席地而卧;“烈火”与“屠杀”两女怪登场并向她走来。


饥馑 两姐姐来此,是奉谁之命?

屠杀 [对烈火]我附耳悄悄说给她听。

烈火  不行!不行!不行!

魔怪的言语魔怪能听到:

地狱里会像过节般热闹!

不行!不行!不行!

我曾在地狱里说出他姓名,

天杀的鬼魂们刚一听到,

便一跃而起,全都乱了套,

又鼓掌欢呼,又手舞足蹈。

他们对我再也不关照;

狞笑着,听椽子毕剥燃烧,

四下里回响着他们的狂笑!

不行!不行!不行!

魔怪的言语魔怪能听到:

地狱里会像过节般热闹!

饥馑 慢慢轻轻地,透露他姓氏——

只要稍稍给一点暗示!

屠杀 他姓氏是四个字母相加。 

谁派你们来?

两怪          也是他!也是他!

屠杀 他偷偷前来,打开我洞穴,

从那时算起,我这些年月

喝足了九十万人的鲜血。

两怪 谁叫你干的?

屠杀          也是他!也是他!

他姓氏是四个字母相加。

他放我出来,吆喝我:快干!

只有他才配让我来夸赞。

饥馑 谢姐姐指教!男子们战死,

饿坏了他们的孩儿和妻子。

我站在湿漉漉一片战场上,

把枯骨、天灵盖梆梆敲响,

想吓唬豺狼、乌鸦和野狗,

这些孽畜呵,吓也吓不走。

我赶紧离开——怎忍心看到

孽畜们大嚼那美味佳肴?

又听得一声嚎哭,一声哼,

透过那破屋土墙的裂缝——

你们猜,我瞧见什么情景?

两怪 你附耳悄悄说给我们听。

饥馑 娃娃要吸奶,妈妈快毙命,

我饿杀了母亲,正饿杀幼婴。

两怪 谁叫你干的?

饥馑 也是他!也是他!

他姓氏是四个字母相加。

他放我出来,吆喝我:快干!

只有他才配让我来夸赞。

烈火 两姐姐请听!我来自爱尔兰, 

那里的庄稼、篱栅都烧完;

我的光辉比夕阳更壮丽!

我忙个不休,一气干到底;

我阔步前进,一路招摇,

我扭头回顾,捧腹大笑;

那真是一出难得的好戏:

看牛群被烫得不敢停蹄,

被红光和喧闹吓得发了昏,

彻夜不歇地撒野狂奔!

蓬屋亮晃晃,趁亮好开枪,

光身的乱党便七死八伤; 

房顶的积水见了火嗞嗞响,

哗啦啦!一下子漏进了住房,

泼洒在卧病的老嬷嬷身上,

她只得气呼呼咒骂一场。

两怪  谁叫你干的?

烈火          也是他!也是他!

他姓氏是四个字母相加。

他放我出来,吆喝我:快干!

只有他才配让我来夸赞。

三怪 他放出我们,叫我们大干,

我们该如何把他来夸赞?

饥馑 人们越挨饿,懂得就越多。

我会让千千万万人挨饿,

愤怒的狂潮会汹涌泛滥:

人们会捉住他,捉住他一伙——

屠杀 会把他肢解,砍成几段!

烈火 这两个忘恩负义的婆子!

为你们,他做了那么多好事,

你们对待他却不过如此?

我可以作证:他八年以来

总是摆盛筵将你们款待;

你们只用一小时来报答

八年的恩典?——去吧!去吧!

只有我,才对他忠贞无比,

要将他紧抱,永不分离!

1798年




The Nightingale

A Conversation Poem


No cloud, no relique of the sunken day

Distinguishes the West, no long thin slip

Of sullen light, no obscure trembling hues.

Come, we will rest on this old mossy bridge!

You see the glimmer of the stream beneath,

But hear no murmuring: it flows silently,

O'er its soft bed of verdure. All is still,

A balmy night! and though the stars be dim,

Yet let us think upon the vernal showers

That gladden the green earth, and we shall find

A pleasure in the dimness of the stars.

And hark! the Nightingale begins its song,

'Most musical, most melancholy' bird!

A melancholy bird? Oh! idle thought!

In Nature there is nothing melancholy.

But some night-wandering man whose heart was pierced

With the remembrance of a grievous wrong,

Or slow distemper, or neglected love,

(And so, poor wretch! filled all things with himself,

And made all gentle sounds tell back the tale

Of his own sorrow) he, and such as he,

First named these notes a melancholy strain.

And many a poet echoes the conceit;

Poet who hath been building up the rhyme

When he had better far have stretched his limbs

Beside a brook in mossy forest-dell,

By sun or moon-light, to the influxes

Of shapes and sounds and shifting elements

Surrendering his whole spirit, of his song

And of his fame forgetful! so his fame

Should share in Nature's immortality,

A venerable thing! and so his song

Should make all Nature lovelier, and itself

Be loved like Nature! But 'twill not be so;

And youths and maidens most poetical,

Who lose the deepening twilights of the spring

In ball-rooms and hot theatres, they still

Full of meek sympathy must heave their sighs

O'er Philomela's pity-pleading strains.


My Friend, and thou, our Sister! we have learnt

A different lore: we may not thus profane

Nature's sweet voices, always full of love

And joyance! 'Tis the merry Nightingale

That crowds, and hurries, and precipitates

With fast thick warble his delicious notes,

As he were fearful that an April night

Would be too short for him to utter forth

His love-chant, and disburthen his full soul

Of all its music!

And I know a grove

Of large extent, hard by a castle huge,

Which the great lord inhabits not; and so

This grove is wild with tangling underwood,

And the trim walks are broken up, and grass,

Thin grass and king-cups grow within the paths.

But never elsewhere in one place I knew

So many nightingales; and far and near,

In wood and thicket, over the wide grove,

They answer and provoke each other's song,

With skirmish and capricious passagings,

And murmurs musical and swift jug jug,

And one low piping sound more sweet than all—

Stirring the air with such a harmony,

That should you close your eyes, you might almost

Forget it was not day! On moonlight bushes,

Whose dewy leaflets are but half-disclosed,

You may perchance behold them on the twigs,

Their bright, bright eyes, their eyes both bright and full,

Glistening, while many a glow-worm in the shade

Lights up her love-torch.

A most gentle Maid,

Who dwelleth in her hospitable home

Hard by the castle, and at latest eve

(Even like a Lady vowed and dedicate

To something more than Nature in the grove)

Glides through the pathways; she knows all their notes,

That gentle Maid! and oft, a moment's space,

What time the moon was lost behind a cloud,

Hath heard a pause of silence; till the moon

Emerging, hath awakened earth and sky

With one sensation, and those wakeful birds

Have all burst forth in choral minstrelsy,

As if some sudden gale had swept at once

A hundred airy harps! And she hath watched

Many a nightingale perched giddily

On blossomy twig still swinging from the breeze,

And to that motion tune his wanton song

Like tipsy Joy that reels with tossing head.


Farewell, O Warbler! till to-morrow eve,

And you, my friends! farewell, a short farewell!

We have been loitering long and pleasantly,

And now for our dear homes.—That strain again!

Full fain it would delay me! My dear babe,

Who, capable of no articulate sound,

Mars all things with his imitative lisp,

How he would place his hand beside his ear,

His little hand, the small forefinger up,

And bid us listen! And I deem it wise

To make him Nature's play-mate. He knows well

The evening-star; and once, when he awoke

In most distressful mood (some inward pain

Had made up that strange thing, an infant's dream—)

I hurried with him to our orchard-plot,

And he beheld the moon, and, hushed at once,

Suspends his sobs, and laughs most silently,

While his fair eyes, that swam with undropped tears,

Did glitter in the yellow moon-beam! Well!—

It is a father's tale: But if that Heaven

Should give me life, his childhood shall grow up

Familiar with these songs, that with the night

He may associate joy.—Once more, farewell,

Sweet Nightingale! Once more, my friends! Farewell.

April, 1798




夜莺 


没有了云霞,没有了西边惹眼的

回光落照,没有了缕缕残晖,

没有了深浓而明灭不定的色彩。

来吧,在这座苍苔古桥上歇着!

看得见桥下河水的微光,却又

听不到声息:水呵,轻悄地流过

平软青翠的河床。全都安静了,

好一个温馨的夜晚!星星虽不亮,

却令人想象沛然而来的春雨 

把绿野浇得好畅快——我们会察觉

星斗无光的时刻也别有幽欢。

听呵!夜莺唱起了宛转的曲调,

这“最为悦耳,最为忧郁”的鸣禽! 

忧郁的鸣禽么?哦!无稽的想法!

自然界的生灵不知忧郁为何物。

超初,无非是一个夜游者,伤感于

记忆中萦回的旧恨,或沉疴宿疾,

或遭人白眼的爱情,这苦命人儿

便把自身的情感推及于万类:

任何甘美的调子,他听来都像是

诉他的冤苦——他,或同类角色,

最先把“忧郁”加之于夜莺的歌曲。

不少诗人也附和了这种奇谈;

诗人么,常常致力于雕章琢句,

他与其如此,远不如悠然偃卧在

树林苍翠、苔藓如茵的谷地里,

傍着溪流,沐着日光或月光,

把他的灵根慧性,全然交付给

大自然的光景声色和风云变幻,

忘掉他的歌和他的名声!那么,

在整个大自然的庄严不朽之中,

他的名声也有其一份;那么,

他的歌就会使自然更加可爱,

这歌声也会像自然一样动人!

而事实并非如此;善于吟咏的

才郎才女们,把大好春宵虚掷于

舞厅与繁嚣剧院,他们向来是

恻隐为怀,对于夜莺的啼叫

总是要深表哀怜,唏嘘叹息。


我的朋友呵,还有你,我们的姐妹! 

我们既另有志趣,就不要像他们

那样曲解大自然曼妙的嗓音——

这嗓音总是盈溢着爱和欢悦!

这是快乐的夜莺,迅疾地,迫促地,

滔滔不绝地倾吐着清婉的旋律,

仿佛它担心:四月的一夜太短了,

来不及唱完一篇篇爱情赞歌,

来不及让它载满了乐曲的灵魂

卸下这沉沉重负!

我知道有一片

广阔林地,在一座古堡近旁,

古堡已无人居住,那片树林呢,

也就荒芜了,灌木与丛莽纠结着,

平整的道路已残破不堪,而草,

驴蹄草和纤细野草滋生于路面。

有夜莺聚居于此,其数量之多

为任何别处所不及;远远近近,

林中各处的树丛灌莽间,都听到

它们此一唱彼一和,互相逗引着:

小小的口角,变化多端的争执,

佳妙动听的喁语,急速的啼唤,

笛韵一般的低吟——比什么都柔美,

以一派雍融合奏激荡着天穹,

你若是闭上两眼,简直就忘了

这是昏夜而不是白天!月光下,

灌木丛中,露水沾湿的嫩叶

半舒半卷着,有时看得见枝头

栖息的夜莺,眼睛圆圆的,亮亮的;

树下幽暗处,点点流萤燃起了

爱情的明烛。

一位温雅的少女,

住在她殷勤好客的家中,与那座

古堡相邻;她,在迟迟暮色里,

(犹如一位淑女在林中许愿,

愿为某种超凡的灵物而献身,)

轻悄地踏过小路;这温雅少女呵,

她熟悉夜莺的各种曲调;往往,

当月亮被浮云掩没,那一片歌吟

便戛然而止,霎时间声息全消;

而等到月亮重新露脸,激动了

大地和长空,这些醒着的鸣禽

又一齐倾吐出欢愉的合唱,俨如

一阵突起的天风,同时掠过了

百十架风瑟!这少女也曾窥见过

多少只夜莺,晃晃悠悠地停歇在

开花的枝头,随着清风而颠摆,

歌调也配合摆动而飘忽不定,

像欢乐之神喝醉了,在摇头晃脑。


再见了,歌手们!到明天晚上再见!

跟你们也再见,朋友们!暂时分手吧!

我们已经畅游了好一阵,现在

该回家——亲爱的家了。那歌声又响了!

想叫我留下别走!瞧我的爱儿, 

他呀,连一个词语也说不清楚,

咿咿呀呀地模仿着,把什么都说错,

这时却会把手儿,小小的手儿

举到耳旁,竖起小小的食指,

叫我们细听!我想,聪明的高招

是让他从小就成为大自然的游伴。

他认识黄昏星;有一回他梦中醒来,

哭得怪伤心的(某种潜在的痛苦

造成了那种怪物——幼童的噩梦),

我急忙抱他到屋后小小果园里,

他一眼望见月亮,立时静默了,

止住了呜咽,安恬地笑了起来,

泪水还盈盈欲滴的一双亮眼

在淡黄月色里闪闪发光!好啦,

这是个父亲所讲的故事;而只要

老天让我活下去,我就会让他

厮伴着夜莺的啼啭而成长,让他的

夜晚融合着欢乐。——又一次再见,

甜美的夜莺!又一次,朋友们,再见!

1798年4月




The Ballad of the Dark Ladié

A Fragment


Beneath yon birch with silver bark,

And boughs so pendulous and fair,

The brook falls scatter'd down the rock:

And all is mossy there!


And there upon the moss she sits,

The Dark Ladié in silent pain;

The heavy tear is in her eye,

And drops and swells again.


Three times she sends her little page

Up the castled mountain's breast,

If he might find the Knight that wears

The Griffin for his crest.


The sun was sloping down the sky,

And she had linger'd there all day,

Counting moments, dreaming fears—

Oh wherefore can he stay?


She hears a rustling o'er the brook,

She sees far off a swinging bough!

''Tis He! 'Tis my betrothéd Knight!

Lord Falkland, it is Thou!'


She springs, she clasps him round the neck,

She sobs a thousand hopes and fears,

Her kisses glowing on his cheeks

She quenches with her tears.


* * *


'My friends with rude ungentle words

They scoff and bid me fly to thee!

O give me shelter in thy breast!

O shield and shelter me!


'My Henry, I have given thee much,

I gave what I can ne'er recall,

I gave my heart, I gave my peace,

O Heaven! I gave thee all.'


The Knight made answer to the Maid,

While to his heart he held her hand,

'Nine castles hath my noble sire,

None statelier in the land.


'The fairest one shall be my love's,

The fairest castle of the nine!

Wait only till the stars peep out,

The fairest shall be thine:


'Wait only till the hand of eve

Hath wholly closed yon western bars,

And through the dark we two will steal

Beneath the twinkling stars!'—


'The dark? the dark? No! not the dark?

The twinkling stars? How, Henry? How?'

O God! 'twas in the eye of noon

He pledged his sacred vow!


And in the eye of noon my love

Shall lead me from my mother's door,

Sweet boys and girls all clothed in white

Strewing flowers before:


But first the nodding minstrels go

With music meet for lordly bowers,

The children next in snow-white vests.

Strewing buds and flowers!


And then my love and I shall pace,

My jet black hair in pearly braids,

Between our comely bachelors

And blushing bridal maids.

* * *

1798




黑女郎

残稿 


那一棵桦树,树皮银白,

白净的枝条悬空摇摆,

树下,岩石上,溪水喷溅,

处处长满了青苔!


青苔地上坐着黑女郎,

她一言不发,愁容满面;

大颗的泪水刚刚滴落,

又重新涨满了双眼。


她三次打发身边的侍童

爬上山坡(山上有城堡),

要他去寻找那一位骑士——

盔上有鹰狮徽号。


红日从高空渐渐西垂,

她已经在这儿呆了一整天,

忐忑不安,计算着时刻——

他为何久久拖延?


忽听得溪水那边有响动,

又望见花束挥动不已; 

“是他!是和我定情的骑士!

福克兰勋爵,是你!”


她跳了起来,搂住他脖子,

哭诉着千百种心愿和忧疑;

她的吻在他两颊上燃烧,

又被她泪水浇熄。


…………


“我那些同伴出言不逊,

他们奚落我,叫我投奔你;

用你的胸膛来保护我吧,

保护我,将我掩蔽!


“亨利呵,我给你给得够多了:

我给了有去无还的宝物,

我给了我的心,我的安宁,

天哪!我给了全部!”


骑士便把女郎的纤手

拉向自己的胸怀,答道:

“我高贵父亲拥有九座

无比壮丽的城堡。


“最壮丽的一座我要献给你,

九座城堡中,数它第一!

只消等到星星一露面,

那座城堡就归你!


“只消等到黄昏的巨掌

收拾干净了西方的余晖,

趁着黑夜,星光闪烁,

我们俩远走高飞!”


“黑夜?黑夜?星光闪烁?

不对!亨利!是怎么回事?” 

上帝呵!是中午,灿烂阳光下,

他立下山盟海誓!


就该在中午,灿烂阳光下,

我郎君领着我走出娘家,

男孩和女孩,白衣如雪,

在前边抛洒鲜花;


走在前头的是一队乐师,

乐曲高雅,与华屋相配;

接着是孩子们,衣衫雪白,

抛洒鲜花和蓓蕾!


我郎君和我要并肩前行,

我发辫乌黑,亮如珠玉;

两旁是一行俊俏的儿郎,

一列娇羞的少女。

…………

1798年




Kubla Khan

Or, a Vision in a Dream. A Fragment.


In Xanadu did Kubla Khan

A stately pleasure-dome decree:

Where Alph, the sacred river, ran

Through caverns measureless to man

Down to a sunless sea.

So twice five miles of fertile ground

With walls and towers were girdled round:

And there were gardens bright with sinuous rills,

Where blossomed many an incense-bearing tree;

And here were forests ancient as the hills,

Enfolding sunny spots of greenery.


But oh! that deep romantic chasm which slanted

Down the green hill athwart a cedarn cover!

A savage place! as holy and enchanted

As e'er beneath a waning moon was haunted

By woman wailing for her demon-lover!

And from this chasm, with ceaseless turmoil seething,

As if this earth in fast thick pants were breathing,

A mighty fountain momently was forced:

Amid whose swift half-intermitted burst

Huge fragments vaulted like rebounding hail,

Or chaffy grain beneath the thresher's flail:

And 'mid these dancing rocks at once and ever

It flung up momently the sacred river.

Five miles meandering with a mazy motion

Through wood and dale the sacred river ran,

Then reached the caverns measureless to man,

And sank in tumult to a lifeless ocean:

And 'mid this tumult Kubla heard from far

Ancestral voices prophesying war!


The shadow of the dome of pleasure

Floated midway on the waves;

Where was heard the mingled measure

From the fountain and the caves.

It was a miracle of rare device,

A sunny pleasure-dome with caves of ice!


A damsel with a dulcimer

In a vision once I saw:

It was an Abyssinian maid,

And on her dulcimer she played,

Singing of Mount Abora.

Could I revive within me

Her symphony and song,

To such a deep delight 'twould win me,

That with music loud and long,

I would build that dome in air,

That sunny dome! those caves of ice!

And all who heard should see them there,

And all should cry, Beware! Beware!

His flashing eyes, his floating hair!

Weave a circle round him thrice,

And close your eyes with holy dread,

For he on honey-dew hath fed,

And drunk the milk of Paradise.

1798




忽必烈汗 


忽必烈汗把谕旨颁布: 

在上都兴建宫苑楼台; 

圣河阿尔弗流经此处, 

穿越幽深莫测的洞窟,

注入阴沉的大海。

于是十里膏腴之地 

都被高墙、岗楼围起;

苑囿鲜妍,有川涧蜿蜒流走,

有树木清香飘溢,花萼盛开;

苍黯的密林,与青山同样悠久,

把阳光映照的绿茵环抱起来。


哦!那一道幽壑,深严诡谲,

沿碧山迤逦而下,横过松林!

蒙昧的荒野!圣洁而又中了邪,

恍若有孤身女子现形于昏夜,

在残月之下,哭她的鬼魅情人!

幽壑里声如鼎沸,喧嚣不已,

仿佛是大地急促地喘着粗气,

原来有大股泉水滔滔涌出,

偶有间歇,接着又急急喷吐,

水一冲,石块像冰雹纷纷跳起,

又像连枷捶打下飞迸的谷粒;

从这些蹦跳的乱石中间穿过,

片刻不歇地腾跃着那条圣河。

圣河旋绕,像迷宫曲径一样,

流程五里,越过林地和峡谷,

而后才进抵幽深莫测的洞窟,

终于,喧哗着,投入死寂的海洋。

这片喧哗里,忽必烈宛然听到

祖先悠远的声音——战争的预告!


殿宇楼台的迷离倒影

在粼粼碧波上漂摇荡漾;

在这里可以从容谛听

喷泉、溶洞的融合音响。

这真是穷工极巧,旷代奇观:

冰凌洞府映衬着艳阳宫苑!


我一度神游灵境,瞥见

一少女扬琴在手:

她是个阿比西尼亚女郎, 

她吟唱阿玻若山的风光, ?

用扬琴悠扬伴奏。

但愿那琴声曲意

重现于我的深心,

那么,我就会心醉神迷,

就会以悠长高亢的乐音

凌空造起那琼楼玉殿——

那艳阳宫阙,那冰凌洞府!

凡听见乐曲的都能瞧见;

“留神!留神!”他们会呼唤,

“他长发飘飘,他目光闪闪! ?

要排成一圈,绕他三度,

要低眉闭目,畏敬而虔诚,

因为他摄取蜜露为生, 

并有幸啜饮乐园仙乳。”

1798年




Something Childish, but very Natural

Written in Germany


If I had but two little wings

And were a little feathery bird,

To you I'd fly, my dear!

But thoughts like these are idle things,

And I stay here.


But in my sleep to you I fly:

I'm always with you in my sleep!

The world is all one's own.

But then one wakes, and where am I?

All, all alone.


Sleep stays not, though a monarch bids:

So I love to wake ere break of day:

For though my sleep be gone,

Yet while 'tis dark, one shuts one's lids,

And still dreams on.

April 23, 1799




幼稚却很自然的心事 


只要我是会飞的小鸟,

有一双翅膀,一身羽毛,

我就飞向你,我的爱!

可惜这想法太玄,飞不了,

只好留下来。


可是睡着了,我就飞向你:

睡梦中,我和你常在一起,

世界是我的地盘!

忽然醒过来——这是在哪里?

我孤孤单单!


国王下令也留不住睡眠,

我醒来总是在天亮以前;

虽说睡眠已离开,

天还黑着呢,不如闭上眼,

又做起梦来。

1799年4月23日




Home-sick

Written in Germany


'Tis sweet to him, who all the week

Through city-crowds must push his way,

To stroll alone through fields and woods,

And hallow thus the Sabbath-day.


And sweet it is, in summer bower,

Sincere, affectionate and gay,

One's own dear children feasting round,

To celebrate one's marriage-day.


But what is all to his delight,

Who having long been doomed to roam,

Throws off the bundle from his back,

Before the door of his own home?


Home-sickness is a wasting pang;

This feel I hourly more and more:

There's healing only in thy wings,

Thou breeze that play'st on Albion's shore!

May 6, 1799




乡愁

作于德国


闹市的行人,一星期六天

都在人堆里挨挨挤挤,

星期天独自到林间野外

信步闲游——有多么惬意!


夏日园亭里有人设席,

他全家围坐,儿女绕膝,

由衷地欢庆结婚纪念日,

情意绵绵——又多么甜蜜!


这种种乐趣怎么比得上

远游者经过多年漂荡,

终于回到了老家门口,

赶忙卸下背负的行囊?


乡愁是一种磨人的病痛,

时时缠着我,越来越重;

只有你呵,能把它治好,

艾尔宾海岸飘拂的清风!

1799年5月6日




Love


All thoughts, all passions, all delights,

Whatever stirs this mortal frame,

All are but ministers of Love,

And feed his sacred flame.


Oft in my waking dreams do I

Live o'er again that happy hour,

When midway on the mount I lay

Beside the ruined tower.


The moonshine, stealing o'er the scene

Had blended with the lights of eve;

And she was there, my hope, my joy,

My own dear Genevieve!


She leant against the arméd man,

The statue of the arméd knight;

She stood and listened to my lay,

Amid the lingering light.


Few sorrows hath she of her own,

My hope! my joy! my Genevieve!

She loves me best, whene'er I sing

The songs that make her grieve.


I played a soft and doleful air,

I sang an old and moving story—

An old rude song, that suited well

That ruin wild and hoary.


She listened with a flitting blush,

With downcast eyes and modest grace;

For well she knew, I could not choose

But gaze upon her face.


I told her of the Knight that wore

Upon his shield a burning brand;

And that for ten long years he wooed

The Lady of the Land.


I told her how he pined: and ah!

The deep, the low, the pleading tone

With which I sang another's love,

Interpreted my own.


She listened with a flitting blush,

With downcast eyes, and modest grace;

And she forgave me, that I gazed

Too fondly on her face!


But when I told the cruel scorn

That crazed that bold and lovely Knight,

And that he crossed the mountain-woods,

Nor rested day nor night;


That sometimes from the savage den,

And sometimes from the darksome shade,

And sometimes starting up at once

In green and sunny glade,—


There came and looked him in the face

An angel beautiful and bright;

And that he knew it was a Fiend,

This miserable Knight!


And that unknowing what he did,

He leaped amid a murderous band,

And saved from outrage worse than death

The Lady of the Land;


And how she wept, and clasped his knees;

And how she tended him in vain—

And ever strove to expiate

The scorn that crazed his brain;—


And that she nursed him in a cave;

And how his madness went away,

When on the yellow forest-leaves

A dying man he lay;—


His dying words—but when I reached

That tenderest strain of all the ditty,

My faltering voice and pausing harp

Disturbed her soul with pity!


All impulses of soul and sense

Had thrilled my guileless Genevieve;

The music and the doleful tale,

The rich and balmy eve;


And hopes, and fears that kindle hope,

An undistinguishable throng,

And gentle wishes long subdued,

Subdued and cherished long!


She wept with pity and delight,

She blushed with love, and virgin-shame;

And like the murmur of a dream,

I heard her breathe my name.


Her bosom heaved—she stepped aside,

As conscious of my look she stepped—

Then suddenly, with timorous eye

She fled to me and wept.


She half enclosed me with her arms,

She pressed me with a meek embrace;

And bending back her head, looked up,

And gazed upon my face.


'Twas partly love, and partly fear,

And partly 'twas a bashful art,

That I might rather feel, than see,

The swelling of her heart.


I calmed her fears, and she was calm,

And told her love with virgin pride;

And so I won my Genevieve,

My bright and beauteous Bride.

1799





能激动世人血肉之躯的

所有的思想、感情、趣味,

都只配充当“爱”的臣仆,

给“爱”的圣火助威。


我常常神游幻境,把从前

良辰和美事重温一遍——

那时,我躺在半山腰上,

在一座废塔旁边。


月色悄然笼罩了山野,

融合了傍晚的暧暧余晖;

她也在——我的希望和欢乐,

我的心上人珍妮薇!


她背靠一座雕像——雕的是

一名骑士,披挂着戎装;

她立在迟留未褪的余晖里,

听我把歌谣吟唱。


她自己难得有什么忧愁,

珍妮薇!我的希望和欢乐!

她最喜爱的是听我吟唱

惹她伤感的悲歌。


我弹的琴韵幽婉凄凉,

我唱的歌谣动人心曲——

古老而粗犷,正好配得上

那一片废址荒墟。


她静静听着,低垂着两眼,

怯生生,脸上泛起羞红;

因为她明知,我目不旁视,

只盯着她的面容。


我唱给她听:有一名骑士,

盾牌上刻着明晃晃火炬;

足足有十年,他苦苦思恋

当地无双的淑女。


一唱到骑士害相思,唉!

歌声也幽咽、深沉、恳挚:

我唱着别人的爱情,也就

表明了自己的心事。


她静静听着,低垂着两眼,

怯生生,脸上泛起羞红;

她已经原谅我那副痴相——

只盯着她的面容。


我唱道:那淑女冷若冰霜,

英武骑士急得发了狂,

他骑着马儿奔入山林,

没日没夜地游荡;


时而从蛮荒原始的洞穴,

时而从昏冥隐僻的树荫,

时而从阳光和煦的林地,

有仙灵蓦地现身——


是一位光明俊秀的天使,

定睛把骑士细细端详;

不幸的骑士!他心里明白:

那不是天使,是魔王!


自己也弄不清干了些什么,

他扑向一伙凶徒恶汉,

救出那淑女,使她幸免于

比死还糟的劫难;


淑女哭起来,抱住他膝盖,

细心护理他,却毫无效果——

是她的冷酷害得他发了狂,

如今她力图补过;


她在山洞里将他护理,

骑士的疯病终于消退,

他默默躺在枯黄落叶上,

已经是一命垂危。


唱到了骑士临终的遗言——

歌谣里最为动情的一段,

我嗓音战栗,琴声止息,

她呢,也柔肠欲断!


神魂和官感交相激荡,

震撼了珍妮薇纯净的身心;

这凄惨故事,这幽婉琴韵,

这芳馨浓丽的黄昏!


希望和煽起希望的羞怯

纷纭纠结,难以区分,

久经掩抑的柔情密愿,

掩抑却久久珍存!


她哭了,有悲悯也有欣幸,

脸红了,为爱情也为娇羞;

她低唤我的名字,听来

像梦呓一样轻柔。


胸脯起伏着,她移开一步,

知道我盯着她,想要闪躲;

突然,眼神里满含羞怯,

她哭着投身于我。


她轻舒双臂将我拥抱,

柔顺地贴近我的心胸;

她抬起头来向我仰视,

直盯着我的面容。


有几分是爱,有几分是怕,

也还有几分腼腆不安;

我若看不出,也能感觉出

她心胸起伏震颤。


我温存慰藉,她不再畏怯,

吐露了爱情,纯真而坦荡;

珍妮薇就这样许身于我,

成了我明艳的新娘。

杨 德 豫 译




济 慈 诗 学 的
东 方 可 比 性 因 素

济慈(1795—1821)是深受中国人民喜爱的诗人。中国写新诗的人物,不少都接受过济慈的影响。徐志摩、闻一多、鲁迅等人还在他们的文章中论及或提到过济慈。翻译家朱湘、查良铮、朱维基、屠岸等人在翻译和介绍济慈诗歌方面做过很好的工作。济慈又是一位对英国浪漫主义诗歌运动做出过重要贡献的伟大诗人。济慈的生命历程只有短短的26年。据其现存诗作看,济慈的创作时期只有六年(1814—1820)。然而,济慈似乎在和时间赛跑,他不仅留下了大量不朽的诗篇,还给人类贡献了较为丰富的诗学思想。徐志摩在《济慈的夜莺歌》一文中满怀深情地说:“《夜莺歌》依旧抱有他无比的价值:万万里外的星亘古的亮着,树林里的夜莺到时候就来唱着,济慈的夜莺歌永远在人类的记忆力存着。”  众所周知,《夜莺歌》是济慈的一首名诗,而“夜莺歌”不妨象征性地用来称谓那包括济慈的全部诗歌创作和理论篇什在内的济慈的文本存在。我们有必要发掘那些隐含在济慈的诗学思想中的可以与东方的相关思想进行比较的诸多因素,庶几全面认识济慈的诗学思想。这项工作就是在精神的层面上去发现二者的关联,并且尽可能给予合理的解释。这是一项激动人心的工作,相信它能够二维互动。一方面,在一定的程度上帮助我们更好地认识包括中国诗学思想在内的东方思想,在本体的张力场内促进中国文学批评的话语建设。另一方面,由于旁观者清的缘故,中国学者的研究或许也有利于加深对英国文学本身的理解。研究所依据的文本主要为两种。关于济慈的诗歌,采用屠岸译《济慈诗选》(北京:人民文学出版社,1997)。关于济慈的理论文章,采用周珏良生前亲自编定的《周珏良文集》(北京:外语教学与研究出版社,1994)。某些译文的其他出处,则随文说明。
一、“不闻之乐”与“大音希声”
在《希腊古瓮颂》中,济慈写道:
听见的乐曲是悦耳,听不见的旋律/更甜美;风笛呵,你该继续吹奏;/不是对耳朵,而是对心灵奏出/无声的乐曲,送上更多的温柔:/树下的美少年,你永远不停止歌唱,/那些树木也永远不可能凋枯;/大胆的情郎,你永远得不到一吻,/虽然接近了目标——你可别悲伤,/她永远不衰老,尽管摘不到幸福,/你永远在爱着,他永远美丽动人!(屠岸译文) 
这是《希腊古瓮颂》的第二节。《希腊古瓮颂》一共五节,各节的押韵方式略有变化,每一节十行,每一行均采用五步抑扬格写成。《希腊古瓮颂》写诗人面对一只古代希腊流传下来的瓦罐,从瓦罐上的彩绘画面出发,所作的种种思考和联想。瓦罐上有这样一幅画面:一群人,其中还有神,混杂在一起,在乐舞声声中,他们如醉如狂,追逐一些少女。追到后怎么样?当然少不了触摸奶子、捏掐腰身、疯打疯闹、嬉哈打跳。就人们日常生活的美学常识来看,也有所谓“你要知道爱情是什么,就是话不要太多!”一类的说法。不过,济慈在此提出的却是一个严肃的诗学命题:“听见了的旋律是甜美的,那些听不见的旋律却更甜美。”这个命题在原诗中跨行,整理为通行的句子,是这样的:Heard melodies are sweet,but those unheard are sweeter.笔者根据古代汉语的文法习惯将之概括为“不闻之乐”。人们对这句话的理解,当然可以从审美的感受出发。这时候,人们自然容易联想到白居易《琵琶行》中的诗句:“别有忧愁暗恨生,此时无声胜有声。”不过,这仅仅是从人的主观感受而考虑声音所产生的效果罢了,并没有揭示出声、音、乐、理之间的辩证关系。在我看来,济慈“不闻之乐”的诗学思想,与老子“大音希声”的理论是颇为契合的。《老子·四十一章》说:“大音希声。”按照字面这句话可以直译为现代汉语:“宏大之音是很少或不能听到其声的。”要真正理解这个命题的含义,需要把“音”、“声”和“希”的含义搞清楚。据顾易生、蒋凡著《先秦两汉文学批评史》的一条注释,当代日本学者斋藤晌对“音”和“声”有一个绝妙的解释。他说:“大音”指宏大的音乐演奏(不论是器乐、声乐,还是二者兼有),而“声”则是构成这宏大音乐的单个的管弦乐器声和人声。当它们十分和谐地融成一片的时候,其单个的声便隐没了,只是依稀可闻。  老子本人对“希”有一个绝妙的解释,《老子·二十三章》:“希言自然。故飘风不终朝,骤雨不终日。孰为此者?天地。天地尚不能久,而况人乎?故从事于道者,道者同于道,德者同于德,失者同于失。同于道者,道亦乐得之。同于德者,德亦乐得之。同于失者,失亦乐得之。信不足,焉有不信焉。”老子认为,语文言辞也必须合乎自然规律,正像自然界的风雨有作有息,语言文词的发表当然也有其需要,但是不能过量。人们常说,言多必失。老子也是反对多言的。但是,老子从来不否定语言,而恰恰是十分珍重语言。珍重语言的首要标志就是保持其真实性。歌德作自传,题为《诗与真》(Aus meinem Leben:Dichtung und Wahrheit,直译:来自我的生活:诗歌与真实)。济慈写道:
啊,雅典的形式!美的仪态!/身上雕满了大理石少女和男人,/树林伸枝柯,脚下倒伏着草莱;/你啊,缄口的形体!你冷嘲如“永恒”/叫我们超脱思虑。冷色的牧歌!/等老年摧毁了我们这一代,那时,/你将仍然是人类的朋友,并且/会遇到另一些哀愁,你会对人说:/“美即是真,真即是美”——这就是/你们在世上所知道、该知道的一切。(屠岸译文) 
这是《希腊古瓮颂》的最后一节。最后两个诗行成为人们传诵的格言:“‘美即是真,真即是美’——这就是/你们在世上所知道、该知道的一切。”(“Beauty is truth,truth is beauty,”—that is all/Ye know on earth,and all ye need to know.)“美即是真,真即是美。”这就是著名的关于真与美的“济慈公式”。在这里,济慈简直像一位哲学家,进行了严肃的辩证的思考,他把真与美等同看待,思路极其清晰。在19世纪英国诗学中,浪漫主义诗学是最先崛起的一个流派。浪漫主义诗学的崛起与浪漫主义文学的繁荣有着密不可分的联系。济慈采用诗歌创作的形式来表达他的理论见解,乃是很自然的事情。这种情形,就像在古典主义时期亚历山大·蒲伯(Alexander Pope,1866—1744)用诗歌的形式进行理论的探索一样。蒲伯的《论人》、《论批评》、《论道德》等理论著作都是用英雄偶句体写成的长篇论著。在法国,布瓦洛(Nicolas BoileauDespreaux,1636—1711)著《诗的艺术》,使用的也是诗歌体裁。有趣的是,印度诗人泰戈尔(Rabindranath Tagore,1861—1941)显然认真研究过济慈的这一诗学理论。他在《美感》一文中称济慈为“现代诗人”,他结合印度的文学传统写道:“现代诗人说:‘Truth is beauty,beauty is truth’(真实就是美,美就是真实)。我们的文艺女神就是‘Truth’(真实)和‘Beauty’(美)的化身。奥义书也说:‘所表达的东西本身就具有真实的快乐本质,或真实的永恒本质。’从我们脚底尘埃到太空的星星都是Truth(真实)的,都是Beauty(美)的,因而一切都具有‘快乐本质’和‘永恒本质’。”  请注意,泰戈尔的这篇文章系用孟加拉文写成,其中夹杂的英文是本来就有的,显然是济慈的原话。引文中的第二个系词是为了单独引用的方便而添加的。在印度古代的思想中,有不少说法重视语言的创造作用。印度人甚至认为,人们开口闭口随便发出的“唵”(读如aum)的一声就已经包括了一切创造活动。《“唵”声奥义书》第一章:“唵!此声,此宇宙万有也。其说如次:凡过去者、现在者、未来者,此一切皆唯是唵声。其余凡超此三时者,此亦皆为是唵声。盖此一切皆是大梵。此自我即是大梵。”  在印度有许许多多的《奥义书》,其中关于语言的创造作用的论述极其丰富,不过大同小异的不少。接着,泰戈尔进一步阐释了他由济慈诗学出发所作的思考,他说:“表现这种所见的真实的快乐本质和真实的永恒本质,乃是诗歌和文学的目标。当我们仅仅通过肉眼看到真实和通过智慧接受真实的时候,那时我们尚不能在文学里把它表现出来。但是一旦我们通过心灵接受真实的时候,我们就能在文学里表现它。那么,难道文学不是艺术技巧的创造吗?它难道仅仅是心灵的发掘吗?不错,文学技巧中也有一些创造。心灵通过自己美的力量用语言、声音或色彩记录下所发现的惊喜和快乐。就在这里,有着创作技巧的运用。而这就是文学,这就是音乐,这就是绘画。”  由此可知,济慈说“美即是真,真即是美”的时候,并不是不讲究文学技巧,也不是不用心从语言文字的运用上去琢磨。我们看到济慈的许多诗文稿都有反复修改的痕迹,有的诗篇再次发表的时候还有大段的删改。其实,济慈也是一个“语不惊人死不休”的诗家,难怪曾有人把济慈看作是唯美主义的诗人。
此外,济慈还在书信《一八一八年二月三日致雷诺兹》中表达了类似的思想,他写道:
我们讨厌那种看得出来是有意要影响我们的诗——你要不同意,它就好像要把两手往裤子口袋里一插,做出鄙夷不屑的样子来,诗应当是伟大而又不突出自己,应能深入人的灵魂,以它的内容而不是外表来打动或激动人。甘于寂寞的花多么动人!如果它们挤到道上,高声喊道:“羡慕我吧,我是紫罗兰!爱我吧,我是报春花!”那还会有什么美呢?(周珏良译文) 
你看,“甘于寂寞的花多么动人!”(How beautiful are the retired flowers!)在中国诗人看来,有闹春逗秋的花,有争奇斗艳的花,有含情脉脉的花,也有会说话的花,据《苏轼诗集合注》卷九,苏轼(1037—1101)《吉祥寺花将落而述古不至》诗:“今岁东风巧剪裁,含情只待使君来。对花无信花应恨,只恐明年便不开。”据同卷,苏轼《述古闻之明日即至坐上复用前韵同赋》诗:“仙衣不用剪刀裁,国色初酣卯酒来。太守问花花有语,为君零落为君开。”  也有解语的花,据《唐诗纪事》卷六九,罗隐(833—910)《牡丹花》诗:“似供东风别有因,绛罗高卷不胜春。若教解语应倾国,任是无情亦动人。芍药与君为近侍,芙蓉何处避芳尘?可怜韩令功成后,辜负秾华过此身。”  当然也有甘于寂寞的花,据《苏轼诗集合注》卷三二,苏轼《题杨次公春兰》诗:“春兰如美人,不采羞自献。时闻风露香,蓬艾深不见。丹青写真色,欲补《离骚传》。对之如灵均,官佩不敢燕。”  花不能言,其意可知。中英诗人对花的观察同样细腻,中英诗人因花而产生的联想基本相同,中英诗人对甘于寂寞之花的心态十分契合。不过在济慈这里,虽然他说的话很富于形象性,但是这句话仍然不失命题的力量。值得注意的是,济慈是在考察了诗歌发展史的情况下发表这一见解的。众所周知,浪漫主义并不是一个统一的文学运动。在欧洲各国,浪漫主义发展也不平衡。就在英国,浪漫主义也有种种区别,一般分为积极浪漫主义和消极浪漫主义两派。由于浪漫主义重视作家的想象,强调个人主观的感受,有些浪漫主义诗人也有变态的或病态的表现。比如,有情绪低沉愤世嫉俗的,有忧郁愁闷失望而作无病呻吟的,有不满于现实依赖梦境追求怪诞的,有逃避现实而美化中世纪宗法社会的。这些情形都背离了生活的真实,表现这一类情绪的作品很难说具有真美大美。正如泰戈尔在《美感》一文中所指出:“同样,真正成熟的美感不能与心灵纵欲和心不在焉同时并存,两者是格格不入的。”  济慈有感而作,他借花为喻,发表了对浪漫主义文学运动中的某些不良倾向的看法。那么,我们不禁要问:为什么甘于寂寞的花那么动人呢?原来,这是自然界中事物的本性使然,《庄子·天道》:“夫虚静、恬淡、寂漠(寞)、无为者,万物之本也。……朴素而天下莫能与之争美。”寂寞的花,如同其他寂寞的事物一样,比较容易显出其本真的状态。《庄子·渔父》:“真者,精诚之至也。不精不诚,不能动人。故强哭者虽悲不哀;强怒者虽严不威;强亲着虽孝不和。真悲无声而哀,真怒未发而威,真亲未笑而和。真在内者,神动于外,是所以贵真也。”这也是用说理的方法表达的诗学见解,从文艺心理学的角度阐明了真的重要性。济慈说:“甘于寂寞的花多么动人!”庄子说:“天地有大美而不言,四时有明法而不议,万物有成理而不说。”(《庄子·知北游》)庄子认为,天地自身由道所派生出来的美不依靠语言而能表现,四季变化的规律不依靠议论而自然显现,万事万物的道理也不依靠人们的说明而成立。庄子的不少言论,其意思与济慈乃是相近的。这些都有助于我们领会济慈的诗学思想。
二、“两个房间”与“三种境界”
在书信《一八一八年五月三日致约翰·雷诺兹》中,济慈提出了一个著名的观点,即“两个房间”说。他写道:
我把人生比做一幢有许多间屋子的宅邸,有两间屋子我可以描述一下,其余的门还锁着,我进不去。我们说先迈步进去的那间房子叫做“幼年之室”或者“无思之室”,只要我们不会思维,我们就在那里待下去。——我们会在那里待很久,纵然第二间屋子的门是敞开的,显示出一片光亮,我们可不急于进去。但我们不知不觉地受到我们内在的思维能力的觉醒所驱使而前进。——我们一走进我将叫做“初觉之室”的第二间屋子就将为那里光线和空气所陶醉,到处都是使人愉快的新奇事情,颇有乐而忘返终老于斯的想法。但是呼吸了这种空气的后果之一就是使人对人类的心灵和本性敏感起来,使我们觉得世界上充满了悲惨、伤心、痛苦、疾病和压迫。这一来“初觉之室”的光明就逐渐消失,同时他周围许多门敞开了——都是黑阒阒的,都导向黑暗的过道。——我们看不到善恶的平衡。我们在迷雾里。——这就是你我当前的处境。我们感觉到“人生之谜的负担”。以我看来渥兹渥斯在写《丁登寺》的时期就处于这种境界里。我认为他的天才当时正在这些黑暗的过道里探索。如果我们活下去并继续思维着,我们也要去探索这些过道。(周珏良译文) 
这是存在于济慈的诗学思想中的一个重要观点,值得加以充分探讨。
第一、固然,济慈的“两个房间”说接近中国诗学家王国维(1877—1927)的“三种境界”说,然而,总的说来,它还没有到达中国诗学的境界说的理论高度。在关键词的运用上,“房间”是一种间接的比喻,还不是直接的指谓。在理论的阐述上,“两个房间”说只是朦胧的猜测,还不是完整清晰的论述。译文中出现的“境界”一词,原文作state,含义为状态,此义固然接近于“境界”一词,而且周珏良先生的翻译也的确是传神之笔,但是这个单词济慈仅偶一用之,济慈大量使用的还是“房间”一语。所谓“房间”,英语原文用的是apartment一词。该词来源于意大利语的动词appartamento,意思是to separate,即分开。在英语中,apartment的原本的含义为“相隔”、“间隔”、“区分”,后来才转指“一座房子里的单独的一个房间”即单间,或“一座楼里的单独的一套房间”即“公寓房”。从济慈的原话看,这个词的含义主要是“阶段”而不是“领域”。众所周知,文学家的一生往往会经历不同的阶段,他们在不同阶段的创作可能属于不同的流派。拿中国作家来说,白居易就是一个明显的例子。在贬江州之前,其诗歌创作多感时伤怀的政治讽喻诗。诗人自贬江州之后,一变积极进取的人生态度,讽喻诗不见了。从那时候起,他知足保和,吟咏所及,不出个人生活境况及情绪,与朋友交流感情的酬唱,以及山川胜迹的观游。拿外国作家来说,德国诗人海涅(Heinrich Heine,1797—1856)的创作早先属于浪漫主义,后来倾向于革命民主主义,成为德国无产阶级第一个和最重要的诗人。拿国家的情形来说,在法国浪漫主义与现实主义长期共存。在世界文学史上,像济慈这样的生命和创作时间都很短暂因而只属于一个文学流派的诗人虽然不是个别例子,却也并不是很多。值得注意的是,人生的阶段按照历时顺序发展,人生的境界既可以按照历时顺序发展也可以按照共时方式呈现。而且,一位诗人在不同的作品中同时臻于几种境界也是有可能的。再有,虽然作品的境界与人生的境界密切相关,但是它们并非简单地相同。
第二、即使从济慈的论述本身而论,也是如此。济慈说:“我把人生比做一幢有许多间屋子的宅邸。”也就是说,在济慈看来,在人生的意义的层面上,一个人所拥有的并不止两个房间,因而一个人可能达到的也就不止两种境界了。同样,即使从文学的意义上看,也不止两个房间,因而也就不止两种境界。这是因为“同时他周围许多门敞开了。”既然有许多的门,也就通向许多的房间。如果以房间比喻境界,也就应该有许多的境界。只不过,济慈受到自身生命历程、创作经历等因素的局限,只认识两个房间罢了,而他本来是羡慕着有一天能够认识更多的房间的。也就是说,济慈渴望自己的创作再丰富一些,能够多领略几种境界乃至多创造出几种境界来。“幼年之室”(InfantChamber)或者“无思之室”(ThoughtlessChamber)指作家早期创作的境界。至于济慈叫做“初觉之室”(Chamber of MaidenThought)的第二间屋子,指的是作家在稍微成熟一些时候所达到的境界。济慈之所以觉得到处都是黑阒阒的,都是一些导向黑暗的过道,乃是因为他尚处于摸索之中。可惜的是,还没有摸索到第三种境界,他就英年早逝了。
济慈羡慕的诗人是比他创作成就更为丰富、理论建树也更多的浪漫主义诗人渥兹渥斯(华兹华斯,William Wordsworth,1770—1850)。华兹华斯所作的《丁登寺》(Lines Composed a Few Miles above Titern Abbey,on Revising the Banks of the Wye during a Tour,July13,1798),直译应是《诗行,旅游途中重游瓦伊河两岸,作于丁登寺上游几英里之处,时在一七九八年七月十三日》。华兹华斯这种兼叙述做诗的本事以及时间地点的长标题法,与中国古代诗人制诗题的方式是一致的。华兹华斯于1793年游览过丁登寺,五年后又与妹妹多萝西一起故地重游。诗人兴会空前,于是赋下此诗。华兹华斯说:“没有一首诗比这首诗的创作情景更使我愉快的了。我离开丁登寺的时候就开始构思。我同妹妹一起度过瓦伊河谷,漫游了四五天之后,于一天傍晚来到了布里斯托尔城,至此终于构思完毕。此诗一行也没有被改动过,直到我到达布里斯托尔城之前我没有动笔写下过此诗的任何部分。”  此诗在我国又译作《廷腾寺》、《丁登寺杂咏》、《丁登寺旁》、《丁登斯赋》。顺便指出,《丁登寺杂咏》,此译法有悖原诗主旨,不可取。《丁登寺旁》,译法可取。《丁登斯赋》,译法更佳。所以译作《丁登寺赋》,因为这首一百五十九行的长诗,乃诗人在一气贯注的精神状态中一气呵成。《丁登寺赋》大气磅礴,比喻丰富,意象密集,有较多的铺叙的成分,类似于中国的赋体。赋者,富也。明·徐师曾《文体明辨序说》:“诗有六义,其二曰赋。所谓赋者,敷陈其事而直言之也。”
那么,济慈为什么羡慕华兹华斯写作《丁登寺赋》的时候所达到的境界呢?这是因为华兹华斯创作《丁登寺赋》的时候,在诗人的成长过程中对于大自然的反应的变化已经历了三个阶段:少男阶段、青春阶段、当前阶段。在诗篇第66—101行中,华兹华斯隐隐约约地描述了他成长的三个阶段,它们均与诗篇中关于自然的情景有关联。一是少男阶段。这时主宰华兹华斯的是纯粹的身体反应。请看第73—75行:“童年的粗野乐趣,蠢动戏耍,/都成了往事,未有自然,主宰着/我全部的身心。”(杨德豫译文,下同)二是青春阶段。这时充满华兹华斯心中的是各种模糊的隐约的激情——这是一种有点可怕的爱情,也是他第一次游览时的心态。请看第67—72行:“我已不同于当年的旧我——当年,/我初来这一片山野,像一头小鹿/奔跃于峰岭之间,或深溪之旁,/或荒溪之侧,听凭自然来引导;/那情景,既像是出于爱慕而追寻,/更像是出于畏惧而奔逸。”又,第75—85行:“——那时的我啊,委实是难以描摹。轰鸣的瀑布/似汹涌激情,将我纠缠不舍;/高山,巨石,幽深昏暗的丛林,/它们的形态和色彩,都成了我的/强烈的嗜欲;那种爱,那种感情,本身已令人魇足,无需由思想/给它添几分韵味,也无需另加/不是由目睹得来的佳趣。——然而/那样的时光消逝了,痛切的欢乐,/眩目销魂的狂喜,都一去无踪。”三是当前阶段。这时除了感觉之外,华兹华斯还增加了一些思想。他关于人类苦难的所有知识是在过去的五年中如此痛苦地获得的,以至于净化了他的心灵,又使得眼前的景色变得丰富,像音乐的琴弦一样凄婉动人。诗人还获得了对固有的“现在”的体验,仿佛是上帝的感召将他与外部世界联系了起来。请看第85—101行:“对此,我并不沮丧或怨尤;随后/我别有所或;而这些损失,我想,/会得到充足的补偿。因为,对自然,/我已学会了如何观察,不再像/粗心的少年那样;我也听惯了/这低沉而又悲伤的人生乐曲,/不粗粝,也不刺耳,却浑厚深沉,/能净化、驯化我们的心性。我感到/仿佛有灵物,以崇高肃穆的欢欣/把我惊动;我还庄严地感到/仿佛有某种流贯深远的素质,/寓于落日的光辉,浑圆的碧海,/蓝天,大气,也寓于人类的心灵,/仿佛是一种动力,一种精神,/在宇宙万物中运行不息,推动着/一切思维的主体、思维的对象/和谐地运转。因此,我仍如往日,/喜爱草原、森林和崇山峻岭,/喜爱这绿色世界的百态千姿,/喜爱我耳目所及的森罗万象——/其中,有仅凭耳目觉察的,也有/经过加工再造的。我深为欣慰,/能从自然中,也从感官的语言中,/找到我纯真信念的牢固依托,/认出我心灵的乳母、导师、家长,/我全部精神生活的灵魂。”(杨德豫译文)  从《丁登寺赋》所描摹出的自然世界和所联系到的精神世界来看,颇类似于中国词学中“穆”之一境,这是济慈的诗歌创中所不具备的,当然令他羡慕不已!
第三、中国诗学的独特理论境界说,其形成经历了一个漫长的历史过程,其中也吸收了外来文化的营养。
首先,境界是一个来自印度文化的概念。在印度文化中,关于境界的含义是这样的。有三个梵文单词均和“境界”有关,它们是vishaya(感觉作用的区域,working,fieldofaction),artha(对象,object,thing,matter,affair,business,work,aim,purpose,cause,meaning),gocara(心的活动范围,cowpasture,sphereofaction,province,dwelling,reach,range,horizon)。这里所列出的相应的英文单词,出自麦克唐奈尔《实用梵文辞典》,  相信有助于比较研究的深入。在将佛殿翻译为汉语的时候,这三个单词都译作“境界”,有时也以做“尘”。在佛教看来,引起眼、耳、鼻、舌、身、意六根的感觉思维作用的对象,即色、声、香、味、触、法,因为它们能够污染人心的缘故,好像尘埃落在镜子上一样,所以叫做尘。这也从一个侧面告诉我们,由于诗歌是要用形象思维的,所以深受佛教影响的中国诗家最终会认识到这样的“尘”或曰“境界”的重要性并逐步建立起一套完整的理论。
其次,尽管如此,印度文化的因子对于中国诗学仅仅起着触媒的作用,中国诗学的建立毕竟还得依靠自身的文化基因。境界,其最基本的含义是疆界,汉朝时人们就使用“境界”来表达这个观念了。《诗·大雅·江汉》第三章:“江汉之浒,王命召虎:‘式辟四方,彻我疆土。匪疚匪棘,王国来极。于疆于理,至于南海。’”从那江汗水旁,周王命令召虎:你去开辟四方,整理我国疆土。不要烦扰人民,必受王家感化。整理田地划疆土,一直到达南海上。汉·郑玄笺:“于,往也。于,於也。召公于有叛戾之国,则王正其境界,修其分理,周行四方,至于南海,而功大成事终也。”  境况,后来指境况和情景。虽然这种用法的文献记载较晚,还是可以从《宋诗钞·剑南集》所载陆游(1125—1210)《怀昔》诗中见到:“偶住人间日月长,细思方觉少年狂。众中论事归多悔,醉后题诗醒已忘。鼍作鲸吞吁莫测,谷堙山堑浩难量。老来境界全非昨,卧看萦帘一缕香。”  如果从发生学的角度用长时段的眼光看问题,那么这种时代的交错对于观念的逻辑进程并无影响。在内外诸因素的作用下,“境界”一词逐渐具有诗学批评术语的力量了,即事物所达到的程度或表现的情况,尤其指诗文绘画的意境。隋·吉藏(549—623)译《无量寿经》卷上:“比丘白佛,斯义弘深,非我境界。惟愿世尊,广为敷衍,诸佛如来净土之行。我闻此已,当如说修行,成满所愿。”  在我看来,“境界”一词的这种含义是交错发生的,而文献的记载则有先有后。况且,在吉藏译经之前的大量汉译佛教文献中已经有了关于各种“境”的记载,虽然是单独使用一个“境”,在许多场合其含义与“境界”乃是一样的。
复次,具体地在诗学理论中论及境界的是活跃于中唐时期的诗僧皎然。皎然著《诗式》,在诗歌的原则上,他首先确定了诗歌的崇高地位。然后,他提出了“取境”说。所谓取境,就是意境的创造。他认为,取境决定诗歌格调的高下。皎然说:“取境之时,须至难至险,始见奇句。成篇之后,观其气貌,有似等闲,不思而得,此高手也。”  境,意境,境界。意境的创造要经过艰苦奇险的过程,才能产生雄奇峻伟的诗句。而在诗成之后,其气貌平易自然,好像全不费力,不思自得,这才是做诗的高手。皎然又说:“诗人之思初发,取境偏高,则一首举体便高;取景偏逸,则一首举体便逸。”  高与逸是作者崇尚的两种风格,这要由取境来决定,并通过所做诗的意境体现出来。《全唐诗》卷八一五皎然《秋日遥和卢使君游何山寺宿敭上人房论涅槃经义》诗:“江郡当秋境,期将道者同。嵇高怜竹寺,夜静赏莲宫。古磬清霜下,寒山晓月中。诗情缘境发,法性寄筌空。翻译推南本,何人继谢公。”  在这里,皎然提出了一个诗学命题“诗情缘境发。”他把诗歌的基本要素“情”和“境”有机地统一起来。
复次,虽然皎然提出了学说,他却没有进行深入的论述。经过历代诗学家的努力,至近代王国维提出境界说,才集其大成,形成一套完整的理论。王国维《人间词话》,其核心理论是境界说,大要如下。第一、什么是境界?《人间词话》六:“能写真景物、真感情者,谓之有境界。”  第二、造境与写境。《人间词话》二:“有造境,有写境,此理想与写实二派之所由分。然二者颇难分别。因大诗人所造之境,必合乎自然,所写之境,亦必临于理想故也。”  第三、有我之境与无我之境。《人间词话》三:“有我之境,以我观物,故物皆著我之色彩。无我之境,以物观物,故不知何者为我,何者为物。古人为词,写有我之境者为多,然未始不能写无我之境,此在豪杰之士能自树立耳。”  第四、内与外的关系。《人间词话》六零:“诗人对于宇宙人生,须入乎其内,又须出乎其外。入乎其内,故能写之。出乎其外,故能观之。入乎其内,故有生气。出乎其外,故有高致。”  第五、三种境界。《人间词话》二六:“古今之成大事业、大学问者,必经过三种植境界:‘昨夜西风凋碧树,独上高楼,望尽天涯路。’此第一境也。‘衣带渐宽终不悔,为伊消得人憔悴。’此第二境也。‘众里寻他千百度,回头蓦见,那人正在,灯火阑珊处。’此第三境也。此等语皆非大词人不能道。然遽以此意解释诸词,恐晏、欧诸公所不许也。”  由此可知,由王国维集大成的境解说,内容极为丰富,仅其中的“三种境界”部分才涉及人生的阶段,因而略与济慈“两个房间”说相接近。
三、“天然能力”与“消极修辞”
在济慈的诗学理论中,“天然能力”一说在我国影响较大,论者亦多。近几年来,这方面的论文也发表了一些,不过似乎有越说越玄乎的倾向,委实令人失望。这既不利于中国文论话语的建设工作,又不利于世界各国文学本体的研究。所以如此,除了术语方面的原因之外,主要还是由于与中国相关理论以及文学创作的情形之比较过于缺乏。有鉴于此,兹再作较为深入的比较研究。“天然能力”语出济慈书信《一八一七年约十二月二十一日及二十七日致乔治和汤姆·济慈》:
我和戴尔克讨论了一些问题,没有争辩;在思想上我弄清楚了一些问题,使我忽然感到是什么品质能使人,特别是在文学上,有所成就,而莎士比亚又怎样高度具有这种品质。我指的是“天然接受力”,也就是说有能力禁得起不安、迷惘,怀疑而不是烦躁地去弄清事实,找出道理。举个例说,柯尔立治[柯勒律治]因为不能满足于半知半解,就会放过从神秘的殿堂中得到美妙孤立的近似真理。而尽管从大量书籍中找来找去也不会使我们比下面这个道理懂得更多一点,那也就是对一个大诗人来说美感超过其他一切考虑,或者不如说消灭了其他一切考虑。(周珏良译文) 
第一、我们不得不就译名作一番辨析。原文中的negativecapability,翻译成中文的时候,有许多说法,主要有:客体感受力、反面感受力、天然接受力、消极能力、消极才能、消极接受力、消极感受力、否定能力、消解力、自我否定的才能等,这些译名都有不少人使用,并且都有人各从某一侧面进行过发挥。这些术语基本上由两方构成。一方为限定语“客体的”、“反面的”、“天然的”、“消极的”、“消解的”、“否定的”或“自我否定的”。一方为中心词“感受力”、“接受力”、“能力”、“才能”或“力”。实际上,通过自由组合,还可以产生许多其他的名目。至于两卷本的高等学校文科教材《西方文论选》下册第61页注释中提到的negativecapacity一语,显然是一个排印错误。  为研究方便,本文使用“天然能力”。这样做的理由在下边将会逐渐显现出来。
第二、再看天然能力与消极修辞的关系。笔者认为,从济慈喜欢“甘于寂寞的花”这一基本思路出发,可以断言,济慈崇尚朴实的诗风。不可否认,济慈在其诗歌创作的初期,的确刻意修辞过。由于济慈曾经受到斯宾塞(Herbert Spencer,1820—1903)和密尔顿(John Milton,1608—1674)的影响,他在创作的早期意欲追求华丽。这种情形,颇类似于中国的宋代初年诗坛,一时之间。模仿的人不少,所谓“诗家总觉西昆好,独恨无人做郑笺。”(元好问《论诗三十首》之十二)由于李商隐做诗喜欢用僻事,下奇字,晚唐及宋初人多效之,号西昆体。这样的诗歌,不加以笺注,是很难读懂的。济慈早期的诗歌,也与此情形相仿佛。比如,在济慈创作长诗《徐佩里昂》(Hyperion)的时候,他曾刻意模仿密尔顿《失乐园》(Paradise Lost)的风格,喜欢拉丁化的复杂的句子结构,喜欢大词(bigwords),喜欢雄伟豪迈的风格。但是,济慈很快就认识到了,尽管密尔顿伟大,对于自己的创作却是一种不良的影响。济慈在书信《一八一九年九月二十一日致乔治和乔治安娜·济慈》中说:“《失乐园》虽好,但是损害了我们的语言,……我最近才对密尔顿有所警惕。他之生即是我之死。密尔顿的是要雕琢才能写出来,而我则宁愿追求另一种风格。”  于是他的诗风很快就有了改变。当他于1819年9月写作长诗《许配里昂之死》(The Fall of Hyperion)的时候,他的创作态度已经完全改变了。
那么,英国文学的本土传统是什么呢?那就是史诗《贝奥伍甫》以来的传统,即北方传统。济慈在前揭书信中又说:“我们的语言——它应当被保存下来,因为它是一个独特的现象,一桩新鲜事儿,一件美丽而伟大的新鲜事儿。它是世界上一个最特别的产品,由一个北方的语言将就了希腊文和拉丁文的倒装句和特有的声律写成的。我认为最纯洁的,或者应当是最纯洁的英语是恰特顿的。我们的语言古老得没有被乔叟的法语所损害,原来的词语仍在使用着。恰特顿的语言纯粹是北方的。我喜好恰特顿诗中的本土音乐胜过密尔顿。”(周珏良译文)  所谓北方传统,就是英国本土传统。这是因为从地理位置上看,希腊和罗马都位于南欧,而英国位于欧洲的北部。英语这种语言,虽然在发展的过程中吸取了希腊文和拉丁文的某些特点,却没有丧失自身的本质特征。英国人日常使用的口语,其自身的节奏与在英国广泛使用的素诗(blankverse)或曰无韵五步抑扬格(unrhymediambicpentameter)乃是十分接近的。  乔叟(GeoffreyChaucer,1340—1400)曾随英王爱德华三世远征法国,后来又去意大利经商,回国后创作诗歌体的《坎特伯雷故事集》,深受意大利文学影响,并吸收了大量法语词汇。恰特顿(ThomasChatterton,1752—1770),英国天才诗人,所作“罗利诗篇”(Rowleypoems)享有盛名,18岁就在穷愁潦倒中自杀而死,于是成为青年诗才遭受忽视的最初的象征。华兹华斯《坚毅与自立》(ResolutionandIndependence)一诗第七节写道:“我想到奇才异禀的少年,恰特顿,/他心老神瘁,盛年便匆匆凋谢;/还想到那位躬耕陇亩的诗人,/他在山坡下犁地,豪迈而欢悦;/我们的心志便超越于凡界;/我们诗人,年少时心欢意畅;/到头来衰颓老大,只剩下沮丧癫狂。”(杨德豫译文)  是的,地道的英国文学喜欢用小词(smallwords)和克制性陈述(understatement)。英国文学作品和英国人民一样,是从朴素中见出真美和大美的。英国英语的韵味儿,需要较长时期在英国本土生活方能体会到。英国人民朴素的真美大美,也需要较长时间在英国本土生活才能体会到。在英国,你能见到的漂亮男女,大都是外国人。我曾经和英国朋友开玩笑说,你们英国人不漂亮!他们自己也承认说:是的。但是,英国的事物,也有一个突出的特点:Not beautiful,but very good.即“不漂亮,但很好。”本土英语的这种特点,有助于英国诗歌在世界上独树一帜。而且,英国诗学的相关理论,是比较多地切合英国的本土预言。无怪乎英国的诗学传统总的说来与中国自老子以来的诗统之主流乃是接近的。“美言不信”,天下之至理也。
让我们再看济慈的诗风与消极修辞的关系。济慈的诗风,可以说类似于“清水出芙蓉,天然去雕饰。”(李白《经乱离后天恩流夜郎忆旧游书怀赠江下韦太守良宰》)如果说在济慈的诗歌中也有一些优美的风格的话,那基本上是得于其本真性格的真美和大美,而并非刻意修辞的结果。正如泰戈尔在《美感》一文中所说:“美最终把人引向克制,美赐予人以甘露。人喝了甘露,逐渐控制了历来就有的饥饿。有些人本不想把毫无节制看作不幸而弃之,而现在把它看作不美而弃之。”  纵观世界各国文学的发展历程,大凡历史悠久的某一国的文学,总会有一些文学宗师站出来倡导节制,并通过该国众多文学家的创作实践而学会了消极修辞。积极修辞,使用各种辞格。消极修辞,不使用任何辞格而从语言本身体现出来。从本质上看,消极修辞具有更大的力量。《论语·卫灵公》:“子曰:辞达而已矣。”孔子认为,文辞只要能够达意就够了,不要过求文采。对此,苏轼作了重大的发展。《苏轼文集》卷四九《与谢师民推官书》:“所示书教及诗赋杂文观之熟矣,大略如行云流水,初无定质,但常行于所当行,常止于所不可不止,文理自然,姿态横生。孔子曰:‘言之不文,行之不远。’又曰:‘辞达而已矣。’夫言至于达意,疑若不文,是大不然。求物之妙,如系风捕影,能使是物了然于心者,盖千万人而不一遇也,而况能使人了然与口与手乎?不是之谓辞达。辞至于能达,则文不可胜用矣。”  苏轼对孔子的话做了新的解释。辞达,这要求是很高的。它要求作品使用普通的言辞来充分表达作者的思想和客观事物的特征,把丰富多彩的客观事物和细腻微妙主观感受准确生动地描绘出来。辞达,这是消极修辞的最简捷之表述。任何稍微有些写作经验的人都知道,这比采用积极修辞手段来写作华丽的辞章来真是困难多了。
第三、我们还得再研究那存在于济慈的“天然能力”之后的东西,即灵性思维。这里,我们不妨仍然采用比较的方式来进行研究。先看苏轼的情形。苏轼好佛,诗歌中富有灵意的作品不少。苏轼更崇尚自然,道家对他的影响是深刻而广远的。我曾经作过统计,在东坡诗歌中受道家影响的作品之数量比受佛教影响的还要多,其理论文章更是如此。这是因为,苏轼接受佛教的影响要早一些,这发生在他的少年时代。苏轼《众妙堂记》:“眉山道士张易简教小学,常百人,予幼时亦与焉。居天庆观北极院,予盖从之三年。谪居海南,一日梦至其处,见张道士如平昔,汛治庭宇,若有所待者,曰:‘老先生且至。’其徒有诵《老子》者曰:‘玄之又玄,众妙之门。’”  苏轼八岁入小学,以眉山道士张易简为师。及壮,亦常与道士交游。除自号“东坡居士”之外,曾自称“铁观道人”。因此在我看来,在苏轼的文学理论中实际上存在着灵性思维的成分。那么我们不禁要问:济慈是否具有灵性思维呢?
回答是肯定的,理由如次。首先,济慈在书信《一八二零年八月十六日致波西·比希·雪莱》说:“我的思想犹如一座寺院,而我则是寺院中的修道士;你必须自己解释我的玄学观点。”  其次,济慈在书信《一八一七年十一月二十二日致本杰明·贝莱》中说:“啊,我多么希望我能肯定的,你的一切烦恼都将终结,就像我能肯定你对想象力的可靠性的暂时吃惊会终结一样。别的我没有把握,可我深知心灵中真情的神圣性和想象力的真实性——由想象力捕捉到的美的必定是真,不管以前有过没有——因为我对人们所有的激情和爱情都是这个看法,当它们处在其崇高状态之中时,都能够创造出本质上的美来。”(拙译)  根据《基督教文学文集》编者的看法,这一段话的意思无非是说:无限就是蕴于现在的有限,而且可以通过感情和想象而得到了解(Iamcertainofnothingexcepttheholinessof theheart’saffections,andthetruthoftheimagination.)  众所周知,有限与无限的关系是一个重要的基督教神学课题,济慈的诗篇之所以优美,恰恰在于他恰当地处理了有限与无限的关系。那么,他是如何处理的呢?他的处理方式为典型的基督教方式,即在诗篇中不时用具有灵性的事物来点缀一下。在济慈的著名诗篇中,要么直接出现圣经中常见的意象,要么通过古希腊或古罗马的文化而间接地出现与基督教有关的意象。希腊原本就是一个快地区的社会,古希腊的宗教与许多东方宗教有联系,古希腊的文化和埃及乃至整个亚洲的文化也有联系。古希腊的事物出现在诗篇中,总是让人感受到一种宗教情怀的萦绕以及东方神秘主义思想的灵光。至于古罗马,与基督教的联系就更紧密了。济慈将古希腊古罗马的事物熔铸在自己的诗作中,这法子煞是简单,可谓灵丹一粒,点铁成金,吉光片羽,也生灵性。正如泰戈尔在《文学的意义》一文中所说:“玫瑰花是不同寻常的,它以自己的美向我们显示特殊性,它自然是属于我们心灵的。但是有些事物是平凡的,不美的,我们的心却能用想象的‘一’的目光,使它特殊化而显示出,并能把它从外部请到人心内部的闺房来款待它。”  毫无疑问,这个“一”就是宇宙的最高主宰大梵(Brahma)和人心的最高主宰阿特曼(Atman),而大梵和阿特漫又是同一个存在即神(God)。复次,在英国的浪漫主义诗人中,华兹华斯和柯勒律治(Samuel Taylor Coleridge,1772—1834)在诗歌创作中的宗教因素均比较明显,他们分别有诗作《丁登寺赋》和《宗教冥想》(Religious Musings)等。这样的诗作属于基督教文学的典型文献。相比之下,济慈诗歌创作的宗教性在英国的浪漫主义诗人中最不明显。不过,虽然济慈没有留下属于基督教文学的典型作品,但是他在书信《一八一七年约十二月二十一日及二十七日致乔治和汤姆·济慈》中曾明确地谈到“神秘的殿堂”(penetralium,圣殿中最隐秘深奥的部分,内殿)。这就告诉我们:济慈的诗歌具有基督宗教的性质。
第四、那么,我们不得不继续追问:是什么东西触发了济慈的灵性思维?原来是一只小小的麻雀。在书信《一八一七年十一月二十二日致本杰明·贝莱》中济慈写道:“我也没有机会像你那么苦恼。也许你曾认为在某些特定的时间内可以得到一种叫做人间乐事的东西。有你那种禀性是会这么想的,我可几乎记不得曾指望过有快乐的时候。如果当前没有快乐,我也不到哪里去寻找。除了此时此刻没有别的可以打动我。落日总使我舒畅。一只麻雀落在我的窗前,我也分享它的生活,和它一起啄食。”  原来济慈的奇妙诗思竟然是一只小小的麻雀触发的!麻雀怎么能够触发诗人的深思呢?这是因为麻雀具有灵性。首先让我们看一看古罗马诗歌中描写的麻雀。卡图卢斯(Gaius Valerius Catullus,ca.84—54BC)诗篇第三首《麻雀》写道:“悲悼吧,爱神维纳斯与丘比特!/人群中有几个比死者更加迷人?/我那俏佳人的麻雀死去了,/麻雀,就是我那俏佳人的麻雀呀。/她曾爱它,胜过自己的眼睛。/它曾经甜美,又曾经善解/自己的女主人,像女儿了解母亲。/它不曾离开主人的膝头,/跳跃着,一会儿这边走,一会儿那边行。/它啁啾着,直到太阳西沉。/现在它踏上去黄泉的路程。/到了那边,谁还能回来?大家都否认。/可是你们看,情况多糟糕,多黑暗。/在冥府,一切的好处,都只好独自吞。/你们把好麻雀,从我这里带走了。/哎,可怜的麻雀,糟糕的事情!/谢谢你,我的俏佳人,看你那一双/正在流泪的红肿的眼睛。”  当卡图卢斯的情人莱斯比娅那一只心爱的麻雀死后,他写下了这首诗以志哀悼。这是拉丁文学史上公认的卡图卢斯最精巧的诗作之一。在这首诗中,轻柔柔的优雅与半微笑的同情相结合,从而产生出艺术魅力来。看来,麻雀的确通人性。那么,原因何在呢?正如圣经所说,天上的鸟,和地上的百合花一样,都是自由的象征,它们从来不畏生命忧虑,不愁吃和穿。(马太福音6:25—31)在《诗篇》中,可拉后裔咏叹道:“万军之耶和华,我的王、我的神啊,/在你祭坛那里,麻雀为自己找着房屋,/燕子为自己找着菢雏之窝。”  毫无疑问,神的麻雀也在济慈的诗歌创作中找到了归宿。
第五、通过比较中英两国自古以来的思想,也可以从一个细节中看出济慈所受中国道家思想的影响。济慈发表长诗《徐佩里昂》之后,雪莱(Percy Bysshe Shelley,1792—1822)为该诗的美和展示的前景深深地打动,他慷慨地邀请济慈前来比萨和他一起住,可是济慈拒绝了,因为他并不同情雪莱那种对社会的反叛。不过,这邀请倒产生了一个效果,结果济慈产生了自己前往意大利的想法。他去那里是为了挽救日渐恶化的健康。1821年,济慈赴意大利。济慈和艺术家朋友塞文(Joseph Severn,1793—1879)在罗马住下来了。可是没有多久,由于诊病不治,济慈于当年2月23日逝世于罗马。他的坟墓就在罗马英国新教徒公墓里(ProtestantCemetery),至今还是成千上万旅游者前往凭吊的所在。济慈的墓志铭是最耐人寻味的:“这里躺着一个人,他的名字用水写成。”(Herelies Onewhosenamewas writin Water.)  这不就是中国道家所说的“上善若水”吗?  或许有人认为,济慈的墓志铭与中国的道家思想无关,而是受古希腊哲学影响的产物,因为米利都学派(Milesianschool)认为“万物的本原是水”。可是,这样的推论是不能成立的。虽然米利都学派认为万物的本原是水,可是古希腊哲学没有哪一个流派将水与名联系起来思考过。在世界思想体系中,将水与名联系起来思考的只有中国的道家。老子就是这样讲的,在《老子》一书中,有大量的篇幅论述水与名的关系,其中,第32章、34章、66章和78章讲得比较集中。因此,我们有理有认为,济慈的墓志铭是受中国道家思想的产物。就世界范围内考察,德国和法国的浪漫主义作家直接通过阅读中国书籍而受中国影响的人比较多。英国浪漫主义作家受中国影响的直接证据至今还不多见。不过,由这个墓志铭可知,济慈至少间接地接受过中国的思想。




推荐阅读:

阿米亥诗12首

丽玛·卡扎科娃诗27首

杜尔斯·格仁拜因诗5首

马斯特斯《匙河集》10首

米歇尔·维勒贝克诗12首

叶甫图申科诗6首

梅厄·魏塞贴尔诗3首

让·萨尔扎纳《欲望·姐妹》

米沃什诗集《此》17首

松本杏花俳句30首

k.塞奇达南丹诗10首

阿米亥诗8首

阿米亥诗11首

弗拉基米尔·霍朗诗3首

维斯瓦娃.希姆博尔斯卡诗3首

安妮-迈克尔诗5首

阿米亥诗25首

阿米亥诗10首

品特诗7首

洛尔娜·克罗齐诗8首

图维亚·鲁伯纳诗14首

叶莲娜·亨里霍芙娜·古罗诗10首

尤金·奥尼尔诗6首

扎加耶夫斯基诗10首

阿米亥诗歌15首

阿米亥诗33首

弗拉迪米尔·霍朗诗16首

米罗斯拉夫·霍卢布诗4首

伊希·沙切克诗4首

布劳提根《悉尼绿色大街的布鲁斯》

安妮·米开尔斯《双河湖》

安德拉德《白色上的白色》

穆罕默德·达维什诗30首

米洛斯拉夫·赫鲁伯诗14首

弗丽德里克·迈吕克诗7首

加瓦兹·加弗里诗3首

杰顿·凯尔门迪诗4首

纪伯伦《论孩子》

布罗茨基《我坐在窗前》

曼德尔施塔姆《哀歌》17首

聂鲁达《疑问集》

佩索阿诗5首

罗伯托·朱亚罗兹诗9首

本·琼森诗3首


死矣中丞莫谩疑 孤城援绝久知危
贺兰未灭空遗恨 南八如生定有为
继续滑动看下一个

您可能也对以下帖子感兴趣

文章有问题?点此查看未经处理的缓存