查看原文
其他

朗费罗诗16首

美国 星期一诗社 2024-01-10
亨利·沃兹沃斯·朗费罗(Henry·Wadsworth·Longfellow,1807年2月27日-1882年3月24日),美国诗人、翻译家。出生于美国波特兰,在波士顿坎布里奇逝世。在他辞世之际,全世界的人都视他为美国最伟大的诗人。他在英格兰的声誉与丁尼生并驾齐驱。人们将他的半身像安放在威斯敏斯特教堂的“诗人角”,在美国作家中他是第一个获此殊荣的人。
朗费罗最重要的贡献之一是拉近了美国文化萌芽与历史悠久的欧洲文化之间的距离。他翻译的德国、意大利、斯堪的纳维亚国家的文学作品,都表现出他的诗歌特有的直率和真诚,吸引了众多的美国读者。
当批评界盛行严格的现实主义的时期,人们更多地注意到朗费罗的缺点。他被称为“平庸的诗人”。但他恰有这样的天赋——平凡中散发光彩,音乐点缀着平凡。其诗歌的质朴和单纯虽使他深受儿童及一些成年人喜爱,但也常被说成是陈腐和平庸。然而,朗费罗依然以一个有着纯粹、亲切、温文尔雅风格的多才多艺的抒情诗人而获得了不朽的声誉。他的学术成就也令人钦敬。朗费罗对抒情诗这种诗歌形式的出色运用及他对十四行诗的精通使他广受赞誉。
其晚年的作品包括:《候鸟》(1860年)、《新英格兰悲剧》(1868年)、《潘多拉的假面舞会及其他(The Masque of Pandora, and Other Poems)》(1875年)、《凯纳梅兹及其他(Kéramos and Other Poems)》(1878年);《天涯海角(Ultima Thule)》(1880年)、《在港湾里(In the Harbor)》(1882年)。



Hymn to the Night


I heard the trailing garments of the Night

Sweep through her marble halls!

I saw her sable skirts all fringed with light

From the celestial walls!


I felt her presence, by its spell of might,

Stoop o'er me from above;

The calm, majestic presence of the Night,

As of the one I love.


I heard the sounds of sorrow and delight,

The manifold, soft chimes,

That fill the haunted chambers of the Night,

Like some old poet's rhymes.


From the cool cisterns of the midnight air

My spirit drank repose;

The fountain of perpetual peace flows there,—

From those deep cisterns flows.


O holy Night! from thee I learn to bear

What man has borne before!

Thou layest thy finger on the lips of Care,

And they complain no more.


Peace! Peace! Orestes-like I breathe this prayer!

Descend with broad-winged flight,

The welcome, the thrice-prayed for, the most fair,

The best-beloved Night!




夜的赞歌


我听见夜的曳地轻裳

拂过她的大理石厅堂!

我看见她的貂黑衣裾

缀饰着天国宫墙的荧光!


从那强大的魅力,我察觉

她的丰姿从上空俯临;

夜的端凝沉静的丰姿,

宛如我的恋人的倩影。


我听到欢愉和哀怨的歌声,

多种多样的柔和韵律,

洋溢在精灵出没的夜宫,

好似古代诗人的诗句。


午夜的空气如清凉水池,

心魂向这儿汲取安舒;

恒久宁静的澄洁泉水

就从这些深池里流出。


夜呵!你教我学会忍受

人们曾经忍受的一切!

你手指轻触“忧伤”的唇吻, 

他便悄然停止了呜咽。


像奥瑞斯忒斯,我祈求宁静! 

受欢迎、被祈求、最可爱的夜!

展开你广阔无垠的翅膀

飞来吧,降临我们的世界!



A Psalm of Life

What the Heart of the Young Man Said to the Psalmist


Tell me not, in mournful numbers,

Life is but an empty dream!—

For the soul is dead that slumbers,

And things are not what they seem.


Life is real! Life is earnest!

And the grave is not its goal;

Dust thou art, to dust thou returnest,

Was not spoken of the soul.


Not enjoyment, and not sorrow,

Is our destined end or way;

But to act, that each to-morrow

Find us farther than to-day.


Art is long, and Time is fleeting,

And our hearts, though stout and brave,

Still, like muffled drums, are beating

Funeral marches to the grave.


In the world's broad field of battle,

In the bivouac of Life,

Be not like dumb, driven cattle!

Be a hero in the strife!


Trust no Future, howe'er pleasant!

Let the dead Past bury its dead!

Act,—act in the living Present!

Heart within, and God o'erhead!


Lives of great men all remind us

We can make our lives sublime,

And, departing, leave behind us

Footprints on the sands of time;


Footprints, that perhaps another,

Sailing o'er life's solemn main,

A forlorn and shipwrecked brother,

Seeing, shall take heart again.


Let us, then, be up and doing,

With a heart for any fate;

Still achieving, still pursuing,

Learn to labor and to wait.




人生颂

年轻人的心对歌者说的话


不要在哀伤诗句里告诉我:

“人生不过是一场幻梦!”

灵魂睡着了,就等于死了, 

事物的真相与外表不同。


人生是真的!人生是实的!

它的归宿决不是荒坟;

“你本是尘土,必归于尘土”, 

这是指躯壳,不是指灵魂。


我们命定的目标和道路

不是享乐,也不是受苦;

而是行动,在每个明天

都超越今天,跨出新步。


智艺无穷,时光飞逝; 

这颗心,纵然英勇刚强,

也只如闷声擂动的鼙鼓,

奏着进行曲,向坟地送葬。


世界是一片辽阔战场,

人生是到处扎寨安营;

莫学那听人驱策的哑畜,

做一个威武善战的英雄!


别指靠将来,不管它多可爱!

把已逝的过去永久掩埋!

行动吧——趁着活生生的现在!

胸中有赤心,头上有真宰!


伟人的生平启示我们:

我们能够生活得高尚,

而当告别人世的时候,

留下脚印在时间的沙上; 


也许我们有一个弟兄

航行在庄严的人生大海,

遇险沉了船,绝望的时刻,

会看到这脚印而振作起来。


那么,打起精神来干吧,

对任何命运要敢于担戴;

不断地进取,不断地追求,

要善于劳动,善于等待。




The Light of Stars


The night is come, but not too soon;

And sinking silently,

All silently, the little moon

Drops down behind the sky.


There is no light in earth or heaven

But the cold light of stars;

And the first watch of night is given

To the red planet Mars.


Is it the tender star of love?

The star of love and dreams?

Oh no! from that blue tent above

A hero's armor gleams.


And earnest thoughts within me rise,

When I behold afar,

Suspended in the evening skies,

The shield of that red star.


O star of strength! I see thee stand

And smile upon my pain;

Thou beckonest with thy mailèd hand,

And I am strong again.


Within my breast there is no light

But the cold light of stars;

I give the first watch of the night

To the red planet Mars.


The star of the unconquered will,

He rises in my breast,

Serene, and resolute, and still,

And calm, and self-possessed.


And thou, too, whosoe'er thou art,

That readest this brief psalm,

As one by one thy hopes depart,

Be resolute and calm.


Oh, fear not in a world like this,

And thou shalt know erelong,

Know how sublime a thing it is

To suffer and be strong.




星光


夜来了,来得从容不迫;

那细小娇柔的月亮

静静地、无声无息地沉落,

藏入天穹的后方。


天上地下再没有光明,

只剩下星光幽冷;

看呵,长夜头一个更辰 

给了红色的火星。


是不是温柔的爱情之星, 

爱情和梦幻的星光?

不!在高高蓝色天篷

是英雄盔甲在闪亮。 


热切情思涌上我胸怀,

当我远远地望见

这颗红色星辰的盾牌 

高悬在薄暮天边。


力量之星!你和颜悦色

俯视着我的创伤;

举起披甲的手臂招呼我,

又使我心神俱旺。


我的内心再没有光明,

只剩下星光幽冷;

我把长夜头一个更辰

给了红色的火星。


不屈不挠的意志之星

在我的内心升起:

雍容自若,沉着坚定,

安详而又静谧。


你呵,读这首短诗的朋友!

不管你是哪一个,

当你的希望一个个溜走,

你也要坚定沉着!


在这般世界里不要畏惧,

不久,你就会明白:

受苦受难而坚强不屈,

是何等崇高的气概!




The Skeleton in Armor


"Speak! speak! thou fearful guest!

Who, with thy hollow breast

Still in rude armor drest,

Comest to daunt me!

Wrapt not in Eastern balms,

But with thy fleshless palms

Stretched, as if asking alms,

Why dost thou haunt me?"


Then, from those cavernous eyes

Pale flashes seemed to rise,

As when the Northern skies

Gleam in December;

And, like the water's flow

Under December's snow,

Came a dull voice of woe

From the heart's chamber.


"I was a Viking old!

My deeds, though manifold,

No Skald in song has told,

No Saga taught thee!

Take heed, that in thy verse

Thou dost the tale rehearse,

Else dread a dead man's curse;

For this I sought thee.


"Far in the Northern Land,

By the wild Baltic's strand,

I, with my childish hand,

Tamed the gerfalcon;

And, with my skates fast-bound,

Skimmed the half-frozen Sound,

That the poor whimpering hound

Trembled to walk on.


"Oft to his frozen lair

Tracked I the grisly bear,

While from my path the hare

Fled like a shadow;

Oft through the forest dark

Followed the were-wolf's bark,

Until the soaring lark

Sang from the meadow.


"But when I older grew,

Joining a corsair's crew,

O'er the dark sea flew

With the marauders.

Wild was the life we led;

Many the souls that sped,

Many the hearts that bled,

By our stern orders.


"Many a wassail-bout

Wore the long Winter out;

Often our midnight shout

Set the cocks crowing,

As we the Berserk's tale

Measured in cups of ale,

Draining the oaken pail,

Filled to o'erflowing.


"Once as I told in glee

Tales of the stormy sea,

Soft eyes did gaze on me,

Burning yet tender;

And as the white stars shine

On the dark Norway pine,

On that dark heart of mine

Fell their soft splendor.


"I wooed the blue-eyed maid,

Yielding, yet half afraid,

And in the forest's shade

Our vows were plighted.

Under its loosened vest

Fluttered her little breast,

Like birds within their nest

By the hawk frighted.


"Bright in her father's hall

Shields gleamed upon the wall,

Loud sang the minstrels all,

Chanting his glory;

When of old Hildebrand

I asked his daughter's hand,

Mute did the minstrels stand

To hear my story.


"While the brown ale he quaffed,

Loud then the champion laughed,

And as the wind-gusts waft

The sea-foam brightly,

So the loud laugh of scorn,

Out of those lips unshorn,

From the deep drinking-horn

Blew the foam lightly.


"She was a Prince's child,

I but a Viking wild,

And though she blushed and smiled,

I was discarded!

Should not the dove so white

Follow the sea-mew's flight,

Why did they leave that night

Her nest unguarded?


"Scarce had I put to sea,

Bearing the maid with me,

Fairest of all was she

Among the Norsemen!

When on the white sea-strand,

Waving his armèd hand,

Saw we old Hildebrand,

With twenty horsemen.


"Then launched they to the blast,

Bent like a reed each mast,

Yet we were gaining fast,

When the wind failed us;

And with a sudden flaw

Came round the gusty Skaw,

So that our foe we saw

Laugh as he hailed us.


"And as to catch the gale

Round veered the flapping sail,

'Death!' was the helmsman's hail,

'Death without quarter!'

Mid-ships with iron keel

Struck we her ribs of steel;

Down her black hulk did reel

Through the black water!


"As with his wings aslant,

Sails the fierce cormorant,

Seeking some rocky haunt,

With its prey laden,—

So toward the open main,

Beating to sea again,

Through the wild hurricane,

Bore I the maiden.


"Three weeks we westward bore,

And when the storm was o'er,

Cloud-like we saw the shore

Stretching to leeward;

There for my lady's bower

Built I the lofty tower,

Which, to this very hour,

Stands looking seaward.


"There lived we many years;

Time dried the maiden's tears;

She had forgot her fears,

She was a mother;

Death closed her mild blue eyes,

Under that tower she lies;

Ne'er shall the sun arise

On such another!


"Still grew my bosom then,

Still as a stagnant fen!

Hateful to me were men,

The sunlight hateful!

In the vast forest here,

Clad in my warlike gear,

Fell I upon my spear,

Oh, death was grateful!


"Thus, seamed with many scars,

Bursting these prison bars,

Up to its native stars

My soul ascended!

There from the flowing bowl

Deep drinks the warrior's soul,

Skoal! to the Northland! skoal! "

Thus the tale ended.




铠甲骷髅 


“可怕的客人!你说!

你那空洞的胸窝

还披着粗笨铠甲,

你到这儿来吓唬我!

不曾涂东土香膏, 

无肉的手掌伸着,

像是在乞求布施,

为什么你要缠住我?”


从那凹陷的两眼,

惨白的微光闪现,

好似严冬十二月

北国微亮的苍天; 

好似十二月河水

潜流在冰雪底层,

从心房深处吐出

含糊忧郁的语声:


“我是个古代海盗, 

有多种多样事迹——

从没有歌者唱过,

也不曾载入传奇。 

你要把这些事迹

写在你的诗篇里,

要不,当心我诅咒!

就为了这个,我找你。


“在那遥远的北国,

荒凉的波罗的海滨,

我用幼时的小手

驯养北方的大鹰; 

穿着紧缚的冰鞋,

在海湾冰上滑行,

那狼狈惊吠的猎犬

战兢兢踏上冰凌。


“我常常追逐恶熊

到它冰封的穴洞,

野兔从路旁逃窜,

影子般转眼无踪;

常常穿过黑树林,

尾随巨狼的悲鸣,

听到高飞的百灵鸟

在草原唱起歌声。


“后来我渐渐长大,

加入海盗的一帮,

和这些强徒一起

飞越阴沉的海洋。

我们的生活狂暴,

我们的号令森严:

叫多少心脏流血,

送多少灵魂上天!


“无数次饮宴作乐,

消磨漫长的冬季;

我们午夜的狂呼

常常使雄鸡惊啼;

像熊皮武士记数

用杯杯麦酒算计, 

我们喝干橡木桶,

一个个烂醉如泥。


“有一回,我兴高采烈

讲海上风暴的故事,

一双温柔的蓝眼

热情地向我凝视;

像点点银星照临

幽暗的挪威松顶,

这双星眸的清辉

照临我幽暗的心灵。


“我向这姑娘求爱,

她顺从,又有些畏怯;

密林深处,浓荫里,

我们订下了婚约。

她那娇小的胸脯

颤抖在宽弛衣衫下,

好似巢中的鸟儿

受到鹰隼的惊吓。


“她父王殿堂宽敞,

墙头金盾亮光光,

乐师们高声合唱,

赞颂他功业辉煌。

我请求老希德布兰

答应他女儿的亲事,

乐师们静下来,站着

听我讲我的身世。


“傲然畅饮黑麦酒,

王爷高声笑呵呵;

好像一阵风刮来,

海上便涌起白沫:

他那留须的唇边

发出轻蔑的大笑,

这时,深深角杯里

便轻轻泛起水泡。


“她是王爷的娇女,

我却是海上强徒;

她含羞微笑应允了,

我却被他们逐出!

这样洁白的鸽子

不该随海鸥飞走,

为什么她的香巢

那一夜却无人防守?


“我和这姑娘一起,

刚上船,离开陆地,

(所有北欧人当中,

她的美无人能比!)

只见老希德布兰

带着二十名骑兵,

挥动披甲的手臂,

来到白色的海滨。


“他们迎着风开船,

桅杆弯得像芦苇;

我们正疾驶如飞,

风却跟我们作对;

一阵急遽的狂飙

把船吹向斯科角, 

只见追踪的敌人

向我们狂呼狞笑。


“船帆遇到了回风,

拍动着,旋转不停;

听见舵手的吼声:

‘死吧!决不饶命!’

我们用铁铸龙骨

猛撞敌船的钢筋;

黑色的船身摇晃着,

沉入黑色的海心!


“像一只凶猛鸬鹚,

侧斜着翅膀飞翔,

衔着它的猎获物,

寻找栖宿的岩冈:

我带着这位少女,

面向茫茫的海洋,

再度迎风行驶,

穿越狂飙巨浪。


“西行了三个星期,

大风暴终于平息,

望见下风头展布着

云霓一般的陆地。

那儿,我盖起高塔 

作我妻子的闺房——

这座塔直到此刻

还在向大海暸望。


“在那儿一住多年,

岁月揩干了泪痕;

姑娘早忘掉了恐惧,

她成了慈爱的母亲。

死神合上她双眼,

她就在塔下安寝;

太阳底下再没有

这样可爱的美人!


“寂寞在内心生长,

寂寞如死水一汪!

世人都令我厌恶,

我也厌恶阳光!

在一望无际的深林,

我周身披着戎装,

倒在我的枪矛上——

好呵,快意的死亡!


“就这样,弄一身伤痕,

撞开监牢的铁门, 

我的灵魂升了天,

攀登故国的星辰!

武士的灵魂举盏,

把盈溢美酒饮干,

你好!北国呵!你好!”

——故事到这里讲完。




The Wreck of the Hesperus


It was the schooner Hesperus,

That sailed the wintry sea;

And the skipper had taken his little daughtèr,

To bear him company.


Blue were her eyes as the fairy-flax,

Her cheeks like the dawn of day,

And her bosom white as the hawthorn buds,

That ope in the month of May.


The skipper he stood beside the helm,

His pipe was in his mouth,

And he watched how the veering flaw did blow

The smoke now West, now South.


Then up and spake an old Sailòr,

Had sailed to the Spanish Main,

"I pray thee, put into yonder port,

For I fear a hurricane.


"Last night, the moon had a golden ring,

And to-night no moon we see!"

The skipper, he blew a whiff from his pipe,

And a scornful laugh laughed he.


Colder and louder blew the wind,

A gale from the Northeast,

The snow fell hissing in the brine,

And the billows frothed like yeast.


Down came the storm, and smote amain

The vessel in its strength;

She shuddered and paused, like a frighted steed,

Then leaped her cable's length.


"Come hither! come hither! my little daughtèr,

And do not tremble so;

For I can weather the roughest gale

That ever wind did blow."


He wrapped her warm in his seaman's coat

Against the stinging blast;

He cut a rope from a broken spar,

And bound her to the mast.


"O father! I hear the church-bells ring,

Oh say, what may it be?"

"'T is a fog-bell on a rock-bound coast!"—

And he steered for the open sea.


"O father! I hear the sound of guns;

Oh say, what may it be?"

"Some ship in distress, that cannot live

In such an angry sea!"


"O father! I see a gleaming light,

Oh say, what may it be?"

But the father answered never a word,

A frozen corpse was he.


Lashed to the helm, all stiff and stark,

With his face turned to the skies,

The lantern gleamed through the gleaming snow

On his fixed and glassy eyes.


Then the maiden clasped her hands and prayed

That savèd she might be;

And she thought of Christ, who stilled the wave,

On the Lake of Galilee.


And fast through the midnight dark and drear,

Through the whistling sleet and snow,

Like a sheeted ghost, the vessel swept

Tow' rds the reef of Norman's Woe.


And ever the fitful gusts between

A sound came from the land;

It was the sound of the trampling surf

On the rocks and hard sea-sand.


The breakers were right beneath her bows,

She drifted a dreary wreck,

And a whooping billow swept the crew

Like icicles from her deck.


She struck where the white and fleecy waves

Looked soft as carded wool,

But the cruel rocks, they gored her side

Like the horns of an angry bull.


Her rattling shrouds, all sheathed in ice,

With the masts went by the board;

Like a vessel of glass, she stove and sank,

Ho! ho! the breakers roared!


At daybreak, on the bleak sea-beach,

A fisherman stood aghast,

To see the form of a maiden fair,

Lashed close to a drifting mast.


The salt sea was frozen on her breast,

The salt tears in her eyes;

And he saw her hair, like the brown sea-weed,

On the billows fall and rise.


Such was the wreck of the Hesperus,

In the midnight and the snow!

Christ save us all from a death like this,

On the reef of Norman's Woe!




“金星号”遇难记 


这是“金星号”斯库纳帆船 

航行在严冬的海上;

船长把小女儿带在身边

陪着他一道远航。


她那双眼珠蓝得像亚麻花,

两颊像明艳朝霞,

胸肌洁白,就像五月里

娇蕾初放的山楂。


船长在舵机旁边站着,

把烟斗衔在嘴里,

他观察变换不定的风向:

烟缕向南,又向西。


船上站起来一个年老的

远航过南美的水手,

他说:“风暴快来了,我求您

开进那边的港口。


“昨晚月亮周围有风圈,

今晚看不见明月!”

船长慢慢抽了一口烟,

笑一声,充满轻蔑。


风越刮越响,越刮越冷,

是来自东北的狂飙;

飞雪絮絮地洒落海心,

波涛吐沫如发酵。


大风暴猛然从天而降,

全力向帆船冲撞;

船儿像惊马,颤栗,停顿,

又跃过缆索那么长。


“过来,过来,我的小女儿!

用不着吓得哆嗦;

不管多么凶险的风暴

我都能平安度过。”


他用海员外衣裹住她,

把刺骨寒风抵挡;

又从木杆上割下一条绳,

把她绑在桅柱上。


“爸爸!我听见教堂的钟声,

告诉我,那是什么?”

“那是岩石险岸的雾钟!”—— 

他驶向茫茫海波。


“爸爸!我听见几声枪响,

告诉我,那是什么?”

“那是风暴里有船遇险了,

它会被怒海吞没!”


“爸爸!我看见一点亮光,

告诉我,那是什么?”

可是她父亲冻成了僵尸,

回答她的是沉默。


他浑身僵硬,倒向舵轮,

仰卧着,面孔朝天,

闪烁的雪光里,闪烁的灯光

照着他呆钝的两眼。


这姑娘切望她能够遇救,

便合掌喃喃祈祷;

她想起基督在加利利湖上

平伏过险恶波涛。 


穿越阴沉惨淡的深宵,

穿越雨雪的呼啸,

帆船像裹着尸衣的鬼魅,

冲向诺曼沃暗礁。 


一阵一阵的狂风之间,

有喧哗来自海岸;

那是暴跳的波涛在猛踹

岸边的石块、沙滩。


激浪在船头下飞涌,船漂着,

漂向悲惨的毁灭;

狂澜把水手们扫离甲板,

像扫荡冰条雪屑。


白浪柔软如梳顺的羊毛,

船就在这里触礁,

凶恶的岩石把船舷戳破,

好像怒牛的尖角。


急响的支桅索覆满坚冰,

随桅柱落到水里;

像条玻璃船,碎了,沉了,

激浪还咆哮不已!


荒凉的海滨,一个渔夫

天亮时吓了一跳,

瞥见那俏丽少女的身躯

绑在桅柱上浮漂。


咸海水凝冻在她的胸前,

咸泪水凝冻在眼里;

她的秀发像暗黄的海藻,

随浪涛沉落、漂起。


这就是在那暴风雪深宵

“金星号”遇难的经过;

愿基督在人生的诺曼沃暗礁

拯救出我们大伙!




The Village Blacksmith


Under a spreading chestnut-tree

The village smithy stands;

The smith, a mighty man is he,

With large and sinewy hands;

And the muscles of his brawny arms

Are strong as iron bands.


His hair is crisp, and black, and long,

His face is like the tan;

His brow is wet with honest sweat,

He earns whate'er he can,

And looks the whole world in the face,

For he owes not any man.


Week in, week out, from morn till night,

You can hear his bellows blow;

You can hear him swing his heavy sledge,

With measured beat and slow,

Like a sexton ringing the village bell,

When the evening sun is low.


And children coming home from school

Look in the open door;

They love to see the flaming forge,

And hear the bellows roar,

And catch the burning sparks that fly

Like chaff from a threshing-floor.


He goes on Sunday to the church,

And sits among his boys;

He hears the parson pray and preach,

He hears his daughter's voice,

Singing in the village choir,

And it makes his heart rejoice.


It sounds to him like her mother's voice,

Singing in Paradise!

He needs must think of her once more,

How in the grave she lies;

And with his hard, rough hand he wipes

A tear out of his eyes.


Toiling,—rejoicing,—sorrowing,

Onward through life he goes;

Each morning sees some task begin,

Each evening sees it close;

Something attempted, something done,

Has earned his night's repose.


Thanks, thanks to thee, my worthy friend,

For the lesson thou hast taught!

Thus at the flaming forge of life

Our fortunes must be wrought;

Thus on its sounding anvil shaped

Each burning deed and thought.




乡下铁匠


一棵七叶树延伸宽广, 

乡下铁匠铺靠在树旁;

铁匠是个有力气的汉子,

一双大手又粗又强壮;

胳臂上鼓鼓囊囊的筋肉

结实得就像铁打的一样。


他鬈曲的头发又黑又长,

脸色像树皮一样焦黄;

额上淌的是老实人的汗水,

凭力气干活,取得报偿;

他扬眉睁眼望着全世界,

因为他不欠任何人的账。


星期连星期,早上到晚上,

听得见他那鸣奏的风箱;

听得见他抡起沉重的大锤,

节奏分明,缓慢地敲响,

像教堂司事把晚钟敲动,

当夕阳渐渐沉向西方。


每天,孩子们放学回家,

从敞开的门口向屋里张望;

他们爱看那红红的炉火,

爱听那呜呜吼叫的风箱,

逗弄那爆出的火花点点,

像打谷场上飞迸的谷糠。


一到星期天,他就上教堂,

坐在他的孩子们中央;

他听牧师讲道和祈祷,

也听村里唱诗班合唱,

听出了他那女儿的嗓音,

他呀,不由得心花怒放。


他听来,这嗓音就像她母亲

歌唱在光明圣洁的天堂!

他不禁又一次把她怀想:

不知墓穴里她睡得怎样?

他用又粗又硬的大手

把一滴泪水抹出了眼眶。


辛苦劳作——快乐——悲伤,

一步步走在人生的路上;

每天早上有活计开始,

每天晚上有活计收场;

有的起了头,有的干完了,

给他挣来了一夜的酣畅。


谢谢你了,我可敬的朋友!

谢谢你的教益和榜样!

我们的命运也得要锤炼,

要经受人生的炉火风箱;

在叮  震响的铁砧上锤出

火花四射的事业和思想。




The Rainy Day


The day is cold, and dark, and dreary;

It rains, and the wind is never weary;

The vine still clings to the mouldering wall,

But at every gust the dead leaves fall,

And the day is dark and dreary.


My life is cold, and dark, and dreary;

It rains, and the wind is never weary;

My thoughts still cling to the mouldering Past,

But the hopes of youth fall thick in the blast,

And the days are dark and dreary.


Be still, sad heart! and cease repining;

Behind the clouds is the sun still shining;

Thy fate is the common fate of all,

Into each life some rain must fall,

Some days must be dark and dreary.




雨天


今天天气又冷,又暗,又凄惨;

雨下个不停,风也老刮个不倦;

藤萝依旧萦绕着颓败的墙垣,

每阵风来,枯叶又落下几片。

今天天气又暗又凄惨。


我的生活又冷,又暗,又凄惨;

雨下个不停,风也老刮个不倦;

心情依旧萦绕着颓败的往昔,

青春的希望早已被狂风吹散!

日子过得又暗又凄惨。


平静些,忧伤的心!且休要嗟怨;

乌云后面依然有阳光灿烂;

你的命运是大众共同的命运,

人人生活里都会有无情的雨点,

总有些日子又暗又凄惨。




Maidenhood


Maiden! with the meek, brown eyes,

In whose orbs a shadow lies

Like the dusk in evening skies!


Thou whose locks outshine the sun,

Golden tresses, wreathed in one,

As the braided streamlets run!


Standing, with reluctant feet,

Where the brook and river meet,

Womanhood and childhood fleet!


Gazing, with a timid glance,

On the brooklet's swift advance,

On the river's broad expanse!


Deep and still, that gliding stream

Beautiful to thee must seem,

As the river of a dream.


Then why pause with indecision,

When bright angels in thy vision

Beckon thee to fields Elysian?


Seest thou shadows sailing by,

As the dove, with startled eye,

Sees the falcon's shadow fly?


Hearest thou voices on the shore,

That our ears perceive no more,

Deafened by the cataract's roar?


Oh, thou child of many prayers!

Life hath quicksand,—Life hath snares!

Care and age come unawares!


Like the swell of some sweet tune,

Morning rises into noon,

May glides onward into June.


Childhood is the bough, where slumbered

Birds and blossoms many-numbered;—

Age, that bough with snows encumbered.


Gather, then, each flower that grows,

When the young heart overflows,

To embalm that tent of snows.


Bear a lily in thy hand;

Gates of brass cannot withstand

One touch of that magic wand.


Bear through sorrow, wrong, and ruth,

In thy heart the dew of youth,

On thy lips the smile of truth.


Oh, that dew, like balm, shall steal

Into wounds that cannot heal,

Even as sleep our eyes doth seal;


And that smile, like sunshine, dart

Into many a sunless heart,

For a smile of God thou art.




少女


少女!有温柔的褐色眼睛,

瞳孔里面潜伏着阴影,

有如晚空出现的晦冥。


你的鬈发比阳光明艳,

编成一条金色的发辫,

像是汇合众流的山涧。


你两脚不由自主地站在

小溪与河川相遇的地带,

幼年与成年交替的年代。


你以畏怯的眼光凝望:

凝望小溪的急急奔忙,

凝望河川的茫茫宽广!


那流荡的河川,深沉,静默,

你看来,它似乎美妙不过,

仿佛是一条梦幻之河。


而当你望见光明的天仙

召唤你前往神奇的乐园,

为什么你又踌躇不前? 


莫非你瞥见了掠过的黑影,

犹如鸽子惊恐的眼睛

瞥见苍鹰的影子在飞行?


莫非你听见了河畔的悲声?

我们听惯了瀑布的雷鸣,

岸上的声音已经听不清。


你呵,不断祈祷的孩童!

人世有流沙,人生有陷阱! 

忧患和衰老冷不防来临!


像昂扬明快的甜美音乐,

清晨转眼掠入了午刻,

五月转眼滑到了六月。


童年是绿枝,枝上歇息着

成群的鸟雀,繁茂的花朵;

而老年:枯枝被白雪覆没。


如今,你心头春潮正涨,

快采集鲜花,趁它们盛放,

用来薰香那白雪篷帐。


拈一朵百合在你手上,

黄铜大门也不能阻挡

这根轻轻一触的魔杖。


经历了酸辛、屈辱和哀怜,

把青春的甘露留在你心间,

把真情的微笑留在你唇边。


哦!那甘露有如香油, 

会潜入难以愈合的伤口,

闭拢它,像睡眠闭拢双眸;


而那微笑如太阳的光明,

能照亮无数晦暗的心灵,

你就是上帝的一丝笑影。




Excelsior


The shades of night were falling fast,

As through an Alpine village passed

A youth, who bore, 'mid snow and ice,

A banner with the strange device,

Excelsior!


His brow was sad; his eye beneath,

Flashed like a falchion from its sheath,

And like a silver clarion rung

The accents of that unknown tongue,

Excelsior!


In happy homes he saw the light

Of household fires gleam warm and bright;

Above, the spectral glaciers shone,

And from his lips escaped a groan,

Excelsior!


"Try not the Pass!" the old man said;

"Dark lowers the tempest overhead,

The roaring torrent is deep and wide!"

And loud that clarion voice replied,

Excelsior!


"Oh stay," the maiden said, "and rest

Thy weary head upon this breast!"

A tear stood in his bright blue eye,

But still he answered, with a sigh,

Excelsior!


"Beware the pine-tree's withered branch!

Beware the awful avalanche!"

This was the peasant's last Good-night,

A voice replied, far up the height,

Excelsior!


At break of day, as heavenward

The pious monks of Saint Bernard1

Uttered the oft-repeated prayer,

A voice cried through the startled air,

Excelsior!


A traveller, by the faithful hound,

Half-buried in the snow was found,

Still grasping in his hand of ice

That banner with the strange device,

Excelsior!


There in the twilight cold and gray,

Lifeless, but beautiful, he lay,

And from the sky, serene and far,

A voice fell, like a falling star,

Excelsior!




更高的目标 


阿尔卑斯山,夜色已降临,

村子里走过一个青年人;

冰雪中,他举起一面旗帜,

旗上有一句古怪的题词:

“更高的目标!”


他面容忧郁,而他的两眼

光焰灼灼,像出鞘的短剑;

那一句神秘言词的音调

鸣响如一支嘹亮的银号:

“更高的目标!”


他看见一个个安乐的家庭,

融融的炉火温暖又光明;

而高处,冰河闪闪如鬼魅,

他唇中逸出了一声低喟:

“更高的目标!”


老人说:“莫想通过那隘口!

阴沉沉的暴风雪快要临头,

又宽又深的飞湍在咆哮!”

然而那号声响亮地答道:

“更高的目标!”


少女对他说:“别走了,停下来,

把困倦的头颈偎在我胸怀!”

他炯炯的蓝眼闪着泪花,

叹息了一声,仍然回答:

“更高的目标!”


“当心松树的断梗枯枝!

当心雪崩和滚落的土石!”

这是农夫最后的叮咛,

有声音回答,越过冈陵:

“更高的目标!”


第二天天光破晓时分,

圣伯纳德的虔敬僧人 

向苍穹念诵陈旧的祷语,

有呼声掠过受惊的天宇:

“更高的目标!”


救生犬发现了一个过客, 

半截身子被白雪覆没,

冰封的手里仍然牢执

那面旗,旗上有古怪的题词:

“更高的目标!”


躺在冰冷的灰白曙光里,

他失却生命,但是美丽;

从那明净邃远的天廷

落下一个声音,像陨星:

“更高的目标!”




To William E. Channing


The pages of thy book I read,

And as I closed each one,

My heart, responding, ever said,

"Servant of God! well done!"


Well done! Thy words are great and bold;

At times they seem to me,

Like Luther's, in the days of old,

Half-battles for the free.


Go on, until this land revokes

The old and chartered Lie,

The feudal curse, whose whips and yokes

Insult humanity.


A voice is ever at thy side

Speaking in tones of might,

Like the prophetic voice, that cried

To John in Patmos, "Write!"


Write! and tell out this bloody tale;

Record this dire eclipse,

This Day of Wrath, this Endless Wail,

This dread Apocalypse!




致威廉·埃·查宁 


一页又一页,我读着你的书,

每一页读到末了,

我的心总要响应,总要说:

“上帝的仆人!干得好!” 


干得好!你书中写下的言词

是那样崇高而勇敢,

常令我想起往日的路德

争取自由的奋战。 


干下去!从这片土地上扫除

老朽而横霸的谎言

和封建祸害——它的鞭和轭

凌辱了人的尊严。


一个声音总在你耳旁

用权威口吻讲话,

如同约翰在拔摩岛上

听到的预言:“写吧!” 


写吧!诉说这血腥的故事,

记录这无尽的哀哭,

这可怕的日蚀,这降罚的日子,

这惊心动魄的《启示录》!




The Slave's Dream


Beside the ungathered rice he lay,

His sickle in his hand;

His breast was bare, his matted hair

Was buried in the sand.

Again, in the mist and shadow of sleep,

He saw his Native Land.


Wide through the landscape of his dreams

The lordly Niger flowed;

Beneath the palm-trees on the plain

Once more a king he strode;

And heard the tinkling caravans

Descend the mountain road.


He saw once more his dark-eyed queen

Among her children stand;

They clasped his neck, they kissed his cheeks,

They held him by the hand!—

A tear burst from the sleeper's lids

And fell into the sand.


And then at furious speed he rode

Along the Niger's bank;

His bridle-reins were golden chains,

And, with a martial clank,

At each leap he could feel his scabbard of steel

Smiting his stallion's flank.


Before him, like a blood-red flag,

The bright flamingoes flew;

From morn till night he followed their flight,

O'er plains where the tamarind grew,

Till he saw the roofs of Caffre huts,

And the ocean rose to view.


At night he heard the lion roar,

And the hyena scream,

And the river-horse, as he crushed the reeds

Beside some hidden stream;

And it passed, like a glorious roll of drums,

Through the triumph of his dream.


The forests, with their myriad tongues,

Shouted of liberty;

And the Blast of the Desert cried aloud,

With a voice so wild and free,

That he started in his sleep and smiled

At their tempestuous glee.


He did not feel the driver's whip,

Nor the burning heat of day;

For Death had illumined the Land of Sleep,

And his lifeless body lay

A worn-out fetter, that the soul

Had broken and thrown away!




奴隶的梦 


他躺在没有割完的稻禾旁,

镰刀还握在手上;

蓬乱的头发埋入沙土,

露出黧黑的胸膛。

他在睡梦的烟雾阴影里

又一次看见了故乡。


穿越他梦中的辽阔大地,

尼日尔河水奔流; 

他又成了尊严的国王,

在平原棕树下行走;

又听见商队清脆的驼铃

慢悠悠下了山头。


又看见他那黑眼珠王后

站在孩子们中间;

他们搂住他脖子,抓住手,

一个劲亲着他的脸!——

他的睡眼里迸出一滴泪,

滚落到沙土里面。


沿着尼日尔河畔的沙岸,

他骑着马儿飞跑;

手上的缰绳是黄金链子,

每一次纵跳,都听到

青钢的刀鞘铿锵作响,

拍打着马儿身腰。


像血红的旌旗,一群火烈鸟

飞翔在他的前面;

他追随它们,整天奔驰在

  婆树生长的平原,

直到他望见卡菲人村舍, 

大海也闪入眼帘。


夜间,他听到狮子吼叫,

也听到鬣狗嘶鸣,

而当他双足踏倒芦苇,

走在隐僻的河滨,

又听到河马,脚步似擂鼓,

闯过他辉煌梦境。


森林转动千万条舌头,

高声呼唤着自由;

嗓门粗厉的荒漠暴风

任性地狂呼怒吼;

梦中被惊动,他含笑倾听

这一曲威猛的合奏。


再也不晓得监工的鞭挞,

不觉得烈日的炙烤;

因为死亡照亮了睡乡,

他失却生命的躯壳

像一副残破枷锁,已经

被灵魂挣脱甩掉!




The Slave in the Dismal Swamp


In dark fens of the Dismal Swamp

The hunted Negro lay;

He saw the fire of the midnight camp,

And heard at times a horse's tramp

And a bloodhound's distant bay.


Where will-o'-the-wisps and glow-worms shine,

In bulrush and in brake;

Where waving mosses shroud the pine,

And the cedar grows, and the poisonous vine

Is spotted like the snake;


Where hardly a human foot could pass,

Or a human heart would dare,

On the quaking turf of the green morass

He crouched in the rank and tangled grass,

Like a wild beast in his lair.


A poor old slave, infirm and lame;

Great scars deformed his face;

On his forehead he bore the brand of shame,

And the rags, that hid his mangled frame,

Were the livery of disgrace.


All things above were bright and fair,

All things were glad and free;

Lithe squirrels darted here and there,

And wild birds filled the echoing air

With songs of Liberty!


On him alone was the doom of pain,

From the morning of his birth;

On him alone the curse of Cain

Fell, like a flail on the garnered grain,

And struck him to the earth!




阴湿沼地的奴隶 


一个被追捕的黑奴,藏在

阴湿沼地的黑魆魆泥塘;

他望见营帐里半夜的火光,

他听到一阵阵马蹄声响,

还听到猎犬狂吠在远方。


在那些芦苇和羊齿丛间,

磷火和流萤青光闪闪;

苍苔覆盖着松树躯干,

杉树茁长,有毒的藤蔓

像蛇一样浑身是花斑。


没有什么人从这里走过,

没有什么人胆敢这么做;

青绿沼泽里,烂泥地上,

他在蓬蓬乱草中蜷缩,

像一头野兽钻进了兽窝。


这是个又老又瘸的奴隶,

他脸上留着大块疮痍,

额头烙有屈辱的印记,

破布条遮住残损的躯体,

就是他那件可耻的号衣。 


上边的一切都清朗秀丽,

周遭的万物都欢欣如意;

灵巧的松鼠跳来跳去,

野鸟儿唱着自由的歌曲,

歌声注满了共鸣的天宇。


而他,从刚刚出世的辰光

就得把痛苦的厄运承当;

该隐的诅咒从天而降, 

像连枷打着新收的稻粱,

把他重重打倒在地上。




The Slave Singing at Midnight


Loud he sang the psalm of David!

He, a Negro and enslavèd,

Sang of Israel's victory,

Sang of Zion, bright and free.


In that hour, when night is calmest,

Sang he from the Hebrew Psalmist,

In a voice so sweet and clear

That I could not choose but hear,


Songs of triumph, and ascriptions,

Such as reached the swart Egyptians,

When upon the Red Sea coast

Perished Pharaoh and his host.


And the voice of his devotion

Filled my soul with strange emotion;

For its tones by turns were glad,

Sweetly solemn, wildly sad.


Paul and Silas, in their prison,

Sang of Christ, the Lord arisen.

And an earthquake's arm of might

Broke their dungeon-gates at night.


But, alas! what holy angel

Brings the Slave this glad evangel?

And what earthquake's arm of might

Breaks his dungeon-gates at night?




奴隶的夜半歌声


他,一个当奴隶的黑人,

高声唱着大卫的诗篇, 

歌咏以色列人的胜利,

歌咏光明自由的神山。 


他唱起希伯来诗人的圣歌, 

那时的夜色最为幽静,

歌声是这么嘹亮甜美,

使我不能不侧耳倾听。


这是欢庆和赞美的歌声,

正如埃及人听到的颂歌——

当法老和他率领的追兵

在红海全军覆没的时刻。 


这虔敬歌声使我的心灵

注满了不可思议的感动;

调子忽而是欢欣,忽而是

美妙的庄严,剧烈的悲痛。


保罗和西拉,被人监禁,

歌唱基督,真主来临,

一条震天撼地的巨臂

夜间打破了阴暗的牢门。 


而这个奴隶呵!有什么天使

能给他送来快乐的福音?

有什么震天撼地的巨臂

来给他打破阴暗的牢门?




The Quadroon Girl


The Slaver in the broad lagoon

Lay moored with idle sail;

He waited for the rising moon,

And for the evening gale.


Under the shore his boat was tied,

And all her listless crew

Watched the gray alligator slide

Into the still bayou.


Odors of orange-flowers, and spice,

Reached them from time to time,

Like airs that breathe from Paradise

Upon a world of crime.


The Planter, under his roof of thatch,

Smoked thoughtfully and slow;

The Slaver's thumb was on the latch,

He seemed in haste to go.


He said, "My ship at anchor rides

In yonder broad lagoon;

I only wait the evening tides,

And the rising of the moon."


Before them, with her face upraised,

In timid attitude,

Like one half curious, half amazed,

A Quadroon maiden stood.


Her eyes were large, and full of light,

Her arms and neck were bare;

No garment she wore save a kirtle bright,

And her own long, raven hair.


And on her lips there played a smile

As holy, meek, and faint,

As lights in some cathedral aisle

The features of a saint.


"The soil is barren,—the farm is old,"

The thoughtful planter said;

Then looked upon the Slaver's gold,

And then upon the maid.


His heart within him was at strife

With such accursèd gains:

For he knew whose passions gave her life,

Whose blood ran in her veins.


But the voice of nature was too weak;

He took the glittering gold!

Then pale as death grew the maiden's cheek,

Her hands as icy cold.


The Slaver led her from the door,

He led her by the hand,

To be his slave and paramour

In a strange and distant land!




混血女


奴隶贩子把帆船停在

宽阔的咸水湖中; 

他要等待上升的月亮,

等待黄昏的海风。


他的船拴在岸边,那一群

无精打采的水手

注视着一条灰白鳄鱼

游入静静的湖口。


橙花散发的阵阵香气

飘送到他们身边,

有如天国的仙风袅袅

吹到罪恶的人间。


棕叶盖顶的屋里,农场主

想着心事,抽着烟;

奴隶贩子,像急着要走,

大拇指按着门闩。


他说:“我的帆船就停在

宽阔的咸水湖上;

我只等着晚上的潮水,

等着上升的月亮。”


他们面前,仰脸站着的

是一个混血女郎,

有几分好奇,有几分害怕,

怯生生可怜模样。


她脖子、胳臂露在外边,

一双眼又亮又大;

身上除了那鲜明的袍子,

只披着长长黑发。


一丝笑意浮现在唇边,

圣洁,温和,恬淡,

有如教堂廊道的光亮,

有如圣者的容颜。


农场主想着心事,叨咕着:

“这农场,地老,田荒;”

他看看奴隶贩子的金子,

又看看身边的女郎。


他心里有斗争,晓得是罪孽:

只有他,才最了解

是谁的情欲给了她生命,

她血管流着谁的血。


可是天性的呼声太微弱,

他抓起亮晶晶的黄金!

女郎的双颊死一样惨白,

她两手冷得像冰。


奴隶贩子拉着她的手,

把她拉出了门口,

带她去隔山隔海的异乡,

当他的奴隶、姘头!




The Warning


Beware! The Israelite of old, who tore

The lion in his path,—when, poor and blind,

He saw the blessed light of heaven no more,

Shorn of his noble strength and forced to grind

In prison, and at last led forth to be

A pander to Philistine revelry,—


Upon the pillars of the temple laid

His desperate hands, and in its overthrow

Destroyed himself, and with him those who made

A cruel mockery of his sightless woe;

The poor, blind Slave, the scoff and jest of all,

Expired, and thousands perished in the fall!


There is a poor, blind Samson in this land,

Shorn of his strength and bound in bonds of steel,

Who may, in some grim revel, raise his hand,

And shake the pillars of this Commonweal,

Till the vast Temple of our liberties

A shapeless mass of wreck and rubbish lies.




警告


当心!那撕裂狮子的以色列英雄, 

到后来那样不幸,那样痛苦:

眼睛瞎了,看不见天国的光明,

威武无敌的膂力也全被剪除,

关在监牢里推磨;最后,给领到

非利士人的宴会上,供人耍笑;


这时,他不顾死活,伸出双手,

抱定殿堂的柱子尽力摇晃,

一举摧毁了:那房子,他自己,还有

那狠心取笑他失明痛苦的一帮;

这不幸的奴隶,受尽凌辱的盲人,

与在场的三千男女同归于尽!


我们国土上也有个不幸的瞎参孙,

膂力被剪除,戴上了铁锁钢镣;

在邪孽宴会上,他也会奋不顾身,

举起臂,把这个国家的支柱动摇,

一举把我们宽广的特权殿宇

变成一堆残破的瓦砾和废墟!




The Arsenal at Springfield


This is the Arsenal. From floor to ceiling,

Like a huge organ, rise the burnished arms;

But from their silent pipes no anthem pealing

Startles the villages with strange alarms.


Ah! what a sound will rise, how wild and dreary,

When the death-angel touches those swift keys!

What loud lament and dismal Miserere

Will mingle with their awful symphonies!


I hear even now the infinite fierce chorus,

The cries of agony, the endless groan,

Which, through the ages that have gone before us,

In long reverberations reach our own.


On helm and harness rings the Saxon hammer,

Through Cimbric forest roars the Norseman's song,

And loud, amid the universal clamor,

O'er distant deserts sounds the Tartar gong.


I hear the Florentine, who from his palace

Wheels out his battle-bell with dreadful din,

And Aztec priests upon their teocallis

Beat the wild war-drums made of serpent's skin;


The tumult of each sacked and burning village;

The shout that every prayer for mercy drowns;

The soldiers' revels in the midst of pillage;

The wail of famine in beleaguered towns;


The bursting shell, the gateway wrenched asunder,

The rattling musketry, the clashing blade;

And ever and anon, in tones of thunder

The diapason of the cannonade.


Is it, O man, with such discordant noises,

With such accursed instruments as these,

Thou drownest Nature's sweet and kindly voices,

And jarrest the celestial harmonies?


Were half the power that fills the world with terror,

Were half the wealth bestowed on camps and courts,

Given to redeem the human mind from error,

There were no need of arsenals or forts:


The warrior's name would be a name abhorrèd!

And every nation, that should lift again

Its hand against a brother, on its forehead

Would wear forevermore the curse of Cain!


Down the dark future, through long generations,

The echoing sounds grow fainter and then cease;

And like a bell, with solemn, sweet vibrations,

I hear once more the voice of Christ say, "Peace!"


Peace! and no longer from its brazen portals

The blast of War's great organ shakes the skies!

But beautiful as songs of the immortals,

The holy melodies of love arise.




斯普林菲尔德兵工厂 


这是国家兵工厂。从地板到天棚,

雪亮的枪炮矗立,像巨大风琴; 

沉默的发音管还没有奏出乐曲,

以异样恐怖震骇邻近的乡村。


当死神触动这些灵敏的琴键,

会响起何等野蛮凄厉的声音!

那种可怕的交响乐会要混合着

多少人震耳的啼哭,惨痛的悲鸣!


我听见无穷无尽的凶残合唱,

痛苦挣扎的嚎叫,不断的呻吟,

经历了悠悠逝去的漫长岁月,

久远的余音一直回响到如今。


撒克逊铁锤在铁盔铁甲上震响, 

辛勃利丛林中唱起北国之歌; 

无边无际的嘈杂喧哗里,听得见

鞑靼铜锣狂鸣在辽远的荒漠。


我听见佛罗伦萨人在他的宫廷

敲动了战斗警钟,噪音可怖; 

阿兹特克的祭司站在神坛上

咚咚擂响暴烈的蟒皮战鼓; 


遭劫被焚的村庄一片哭叫;

惊呼怒吼淹没了喃喃祷告;

士兵在掠获的赃物中狂欢痛饮;

围城里处处饥民断续哀嚎;


爆炸的炮弹,歪斜破裂的门框,

相击的白刃,急急发射的步枪;

有如贯耳的雷霆阵阵轰鸣,

是火炮放开嗓门扬声高唱。


人呵!你就用这样刺耳的喧嚣,

用这些急管繁弦的粗厉合奏,

去淹没大自然甜美温柔的万籁,

去干扰天使们和谐宛转的仙喉?


只消把一半制造恐怖的力量,

把一半供给兵营和宫廷的资财,

拿来拯救人类迷误的心灵,

就再也用不着兵工厂,用不着要塞!


让武士称号成为可鄙的称号!

不管哪一个国家,再敢举起手

去打击一个弟兄,那么,就叫它

千秋万世承受该隐的诅咒! 


一代又一代,直到朦胧的未来,

喧嚣越来越微弱,终于寂静;

有如洪钟的鸣奏,庄严,甘美,

我又听到基督的声音:“和平!”


和平!战争大风琴再也不能

粗腔怪调发出震天的雷鸣!

爱的圣洁乐章会悠然响起,

像天国仙曲一般悦耳动听。

杨 德 豫 译




易 象 与 意 象


《易》是中国古人用以理解世界、把握人生的一套实用的操作系统。《易》从人的生存和命运的角度揭示了天人关系,指导人合理地应对世事的变动。宗白华说:“易之卦象,则欲指示‘人生’在世界中之地位,状态及行动之规律、趋向。此其‘范型’为适合于人生之行动的。”宗白华:《形上学》,《宗白华全集》第一卷,第627页。作为上古天人之学的精髓,《易》以广大悉备的象数模型刻画了天与人的应和方式。上古独占知识的贵族阶级把《易》作为其生存活动的参考。他们借占筮活动来认识形势和做出决断,并了解吉凶祸福的意义。在《易》中贯穿的一阴一阳之道、乾坤生化之理,对于中国哲学特质的形成,尤其对于今人的精神世界的再创造都有特殊的启发。
根据产生的时代和操作思路的不同,《易》的术数体系分为“连山易”、“归藏易”和“周易”。今人主要讨论的是“周易”。“周易”分为“易经”和“易传”两部分。《易经》是上古传续下来的实用性的卜筮手册,《易传》则是一部形成于战国时代的系统地反思易理的哲学著作。我们在后面会专章讨论《易传》的思想,这里仅限于阐释《易经》的哲学和美学的意义。
一、人世戏剧的模型
《易经》是一部上古流传下来的卜筮操作手册。它的操作方式深刻地塑造了中国人“立象”的思维方式。这种思维方式要在具体的时空环境、人事情境中形成“真”、“善”和“美”的意义。情境化思维的主要工具是“象”,在《易经》中主要是卦爻的“象”和“辞”。
《易经》的六十四个卦象都是阴爻()与阳爻(—)排列组合的结果。即出现八个基本卦象,分别指示着天地、水火、风雷、山泽这些成对出现的自然物象。八卦再交叠,即成六十四卦。经由相对简便易行的操作,求卜者可以在六十四卦、三百八十四爻的范围内,找到对于当下境遇的解释和对未来决断的指引性提示。所以,《易经》的卦、爻象跟图案、文字一样,也是一种古人呈露意义的“文”。
为了便于求卜者了解卦象、爻象的涵义,《易经》为每一卦、每一爻提供了解释性的卦辞、爻辞。如《颐》的六五爻“不可涉大川”和上九爻“利涉大川”,既是对渡江河(这在古人生活中是件难抉择的大事)时机的具体建议,也对一切涉险前进的人事境况给出了指示。有的爻辞本身就把比喻的意旨点出,如《大过•九五》:“枯杨生华,老妇得其士夫”,并给出了“无咎无誉”的结论。
大多数的卦爻辞是从自然或人世现象中提取出来的场景,如卦辞“密云不雨,自我西郊”(《小畜》)、爻辞“履霜,坚冰至”(《坤•初六》)、“过涉灭顶”(《大过•上六》)等等。有些爻辞带有社会习俗的印记,如多次出现的“匪寇,婚媾”(《屯•六二》、《贲•六四》、《睽•上九》),或与上古的抢婚风俗有关。少部分卦爻辞还借用了殷商的历史典故,透露了《易经》产生的时代背景,如多次提到“丧羊于易”(《大壮•六五》)、“丧牛于易”(《旅•上九》),就记载了殷先王亥被有易氏夺取牛羊的往事,还有“高宗伐鬼方”(《既济•九三》)的战事和“帝乙归妹”(《归妹•六五》),即商王帝乙被迫与周文王通婚的史实。不过,这些史实一旦进入到了《易》的语境,就会逐渐虚化掉其具体的意指,而与那些一般性的卦爻辞一样,成为某些普遍情境的指示牌。
《易经》的“象”与“辞”里的各种各样的物象,如风、雷、雨、大川、树林、栋梁、井、鼎、茅草、牛羊等等,一旦进入到《易》的意象体系,就溢出了具体物件本身的意义,而成为一些隐喻体,用于描摹人世间的各种事物流变、行为事态以及心理情志。冯友兰对于中国艺术的一个解释也能用来说明易象的奥妙。他说:“善画马者,其所画之马,并非表示某一马所有之特点,而乃表示马之神骏性。……不过马之神骏性,在画家作品上,必藉一马以表示之,此一马是个体;而其所表示者,则非此个体,而是其所以属于某类之某性,使观者见此个体底马,即觉马之神骏之性,而起一种与之相应之情,并仿佛觉此神骏之性之所以为神骏者,此即所谓藉可觉者以表示不可觉者。”冯友兰:《三松堂全集》,第四卷,第170—182页,郑州:河南人民出版社,1986年。在这个例子里,“马”就是一种“象”,只要带有“神骏性”的事物(甚至当今时代的越野车),都可以归于“马之象”。这样,易象就具有了多义性、可扩展性的特点。每一个生活中的切近事物都可以成为隐喻体,成为一个个富有包孕性的“意象核”。人间万事万物的意义都可以勾连于、附着于这些意象核上,由此,人可以以其所知而知其所不知。有学者指出,《易经》“是提供象的语汇的源泉,这种象使我们能够对变化中的、我们的生活条件,加以透彻地思索,并且能够对这些变化中的条件作出适当的反应”。安乐哲:《自我的圆成:中西互镜下的古典儒学与道家》,第117页,石家庄:河北人民出版社,2006年。
为了帮助人们应对变化多端的情境,《易经》的卦爻辞都具有多义性。比如,卦辞里的“见”常有两层意思,一层意思是“看见”、“发现”,另一层意思是“出现”、“显现”。《乾:九二》的“见龙在田,利见大人”究竟是指人在旷野中发现了一条龙,还是龙自顾自地显现在那里?进而,这究竟意味着利于一个人去谒见大人,还是说一位有望成为大人的君子到了该显露自己德才的时候?答案是开放的。《易经》的卦辞允许人根据不同的境遇而有不同方向的理解。卜问者主动参与到意义的生成过程中去,并没有扭曲客观事物的面貌,反而正是用这种方式成就了世界万物的意义。
易象还是一个庞大的、周流通变的体系。互卦、对卦、覆卦、错卦、综卦等卦象的变化方式把不同的“意象核”勾连在一起,隐喻着更加复杂的场景。《易经》把世间百态呈露于以图形、数字构建起来的象数体系当中,既包纳万有,因时而变,又提纲挈领,化繁为简。
易象囊括了人世间的各种境遇。《易》中一些卦象涉及对特定的活动领域的概括,如战争(师)、诉讼(讼)、婚嫁(咸)、求学(蒙)等等。这是较浅近的理解,其实,各种活动、境遇之间是互通和流动的。境遇是人所遭遇的主客观处境的总称。境遇并不能完全由人选择和掌控,但又不排除人的努力,后来的儒家以“命”概括之。《易》的每一个卦象,都好似一幕戏剧,有的悲壮,如“明夷”,有的盛大,如“观”、“大有”;有的无奈,如“无妄”、“大过”,有的和悦,如“谦”、“临”;有突如其来的转折,如“离”,也有漫长的坚守,如“屯”。时移世易,具体的布景可能不同,但人总是剧中人,剧中的忧喜也从未改变。《易》以意象的形式,把人间的各种境遇总括起来,让人根据自己的实际处境反思剧情的意义。孔子曾经感叹说“加我数年,五十以学易,可以无大过矣”(《论语•述而》)。孔子五十而知天命,《易》有助于人了解天命。
易象呈现了中国古人心目中的世界面貌。宗白华说:“‘象’如日,创化万物,明朗万物。”宗白华:《形上学》,《宗白华全集》第一卷,第628页。张彦远在《历代名画记》中转述颜光禄的话说:“图载之意有三:一曰图理,卦象是也;二曰图识,字学是也;三曰图形,绘画是也。”当今学者亦指出:“八卦是因理而取,画是因趣而取,文字则是因义而取。”朱志荣:《夏商周美学思想研究》,第212页。所谓“理”是人们从多变的世事中总结出来的普遍化的道理,较之名词概念的涵义和事物的形貌要抽象一些。但是,卦、字、画既然都是出于“图”而昭明“象”的,《易》的理也就蕴藏了识(概念涵义)与趣。如果说柏拉图式秩序的理想呈现形式是几何图形,那么中国古代意义世界的理想秩序则具有艺术化的形态。寓秩序于艺术之中的观念最早即来自于《易经》的卦象体系。
二、阴阳对待的动态之美
作为中国审美意象的源头,所有的易象都生于“一阴一阳”的参合互动。这决定了此种“象”具有如下几方面的特点。
首先,不同因素的差异和对待是一切“象”成立的基础。前面指出,“文”原为两纹交错,指示着相异因素在交合、互动中生发意义。在《易经》中,阳爻和阴爻是最基本的相异因素,指示两种最基本的动势。阳性刚健有力,富于主动进取、积极创造的活力,阴性多柔,沉静收敛而长于守护。两相配合,阳为阴灌注了生命的活力,阴则以休息呵护之功涵养了阳气的生机。孔子说“一张一弛,文武之道”,也是阳与阴和谐配合的结果。这是中国古人所欣赏的一种美。而在两相敌对的情况下,阳主躁动而阴多邪僻,或睽离闭否,或冲击交争,都是阴阳不调的表现。这大多表现为与阴阳和合之美相对立的丑。和谐与争战,恒在交替运动之中。阳与阴的不同组合,以及这些组合的反复叠加,形成了范围天地、曲尽人事的卦象体系,喻示着现实人生与精神活动的种种情态。
中国古代思想凡言天地,必归于人事。性别关系是人事当中最明显、最重要的一对阴阳关系。中国古代以男为阳,以女为阴,恒以德言之。古人论人之美,多不在外部的形貌、体格、身材,而在容色言谈举止当中呈现出来的内在品质和内在力量。阳之德为刚,在勇于担当和积极地创造,大刀阔斧,勇往直前;阴之德为柔,在甘于辅翼和稳妥地呵护,柔韧细腻,周到全面,使创造性的工作趋于圆满。中国人对性别关系的理解也本乎阴阳之理。阴阳统一于生养的事业,所以中国古人但言夫妇,不言男女。阳与阴各自发挥其所长,补对方之所短,共同实现生养之功,平等之义寓于其中。
阴与阳所以能够配合,是因为它们并不是相互外在、各自独立的因素。阴能涵摄阳的动势,以配合其创造,阳亦需回护阴之劳绩,方得其养护,此即所谓阴中含阳,阳中有阴。再结合“时”与“位”,母子、父子、婆媳、兄弟、姑嫂……家族人事的一切关系都有其阴阳对待,也都是从一夫一妇、一阳一阴的屈伸往来中渐次推衍出来。中国人的一切悲欢离合的戏剧莫外于此。故《中庸》云:“君子之道,造端乎夫妇。”
苟能经受住复杂局面的考验,阴阳各成其大,若进一步配合,则达乎天地。阳可以辉光万丈,为文明的积累推陈出新;阴可以坚贞和包容,默默成就化育万物之功。阴阳和合之美本乎人世的功业,进而配天地的文采。中国的“龙”与“凤”的意象即是对阳刚与阴柔之象的理想化呈现。龙能兴云布雨,凤则含章可贞,皆神异吉祥之灵物,盘桓天地间。“龙凤呈祥”渐成为中国古代最有代表性的审美理想之一。
龙与凤是中国古代的器物上的常见造型。夏代陶器上已经有了龙形纹。在二里头出土的陶片上即有龙纹,其上可见鳞甲、眼睛和利爪。湖北曾侯乙墓出土的龙凤佩饰,纳龙凤造型于一体,集合了阴刻、阳刻、接榫、镂雕等工艺,形象构思奇巧。
其次,易象的意义依托于一个整体的、有机的象数系统。《易》本乎一阴一阳的生发,没有哪一卦、哪一爻不与六十四卦、三百八十四爻的整体相关联,也没有任何两个卦、爻之间是彼此无关的。中国人由此相信万事万物处于一个“牵一发而动全身”的网络之中。所以,要理解《易经》的一个卦象、爻位的意义,不仅要看其自身的情况(比如是阴还是阳),而且一定要考虑其状况与其环境(context)是否协调,是否“当位”、“应时”。易理多以“当位”为吉,以“位不当”为凶,同样,阴阳能够上下配合感应为吉,否则为凶。
对于吉凶的断定原则也蕴涵着中国古人对于“和”的理解。“和”是对于整体系统的协调运转状态的一种概括。一方面,“和”内在地要求差异。史伯云:“和实生物,同则不继。以他平他谓之和,故能丰长而物生之。”(《国语•郑语》)任何一方独大的状态都是不稳定的,“以他平他”就是不同因素、功能之间的协调互补,在相互制约中达到系统整体的平稳有序。另一方面,“和”又要求在歧异因素之间的互动中避免直接的对立与激烈的摩擦,所以“和”常与“温”并提。《论语》载孔子“温而厉”,朱熹推崇“温和冲粹之气”,都刻画了异质因素之间互动的理想方式。
“和”也意味着人与环境的良性互动。《左传》云“和实生物”,《国语》云:“夫有和平之声,则有蕃殖之财。”(《周语下》)俗语所谓“和气生财”即由此衍化而来。良好的自组织环境为生物的生长壮大和事业的兴旺开展创造了条件。中国人自古以堪舆术来测知天地间的信息与人事之间的交互作用。他们既希望找到利于家国兴旺的时空位置,也同时强调人心和平之“德”、因德外化之“乐”对于整体环境的影响。他们甚至认为人心的道德力量可以扭转外在环境的不利方面。这种意识浸入中国古代的艺术创作,从诗词、文章到山水画、扇面以至印章都讲究“布局”,以疏密有秩、流通无碍的“和气”为贵。
再次,《易》所蕴涵的整体系统不是一种静态的、超时间的完满结构,而是寄寓于在自组织过程中的动态平衡。阴阳的对待是中国人把握世界的最基础的结构。阴阳对待实现于阴阳的流动之中。“对于他们[中国传统思想家]说来,用恰当的隐喻来理解宇宙,与其说是物理学的,倒不如说是生物学的。所争论的问题不是永恒的、静止的结构,而是生长和转化的动态过程。”杜维明:《存有的连续性:中国人的自然观》,载于彭国翔、张容南译《儒学与生态》,南京:江苏教育出版社,2008年,第101页。中国古人在艺术中领会这种动态的结构。以书法为例,“书道之秘只在阴阳。古往今来书家将阴阳之理贯彻于书势、书体结构、点画、墨线等一切方面。如在用笔上方是阳,圆是阴;用墨上,燥为阳,湿为阴;结构上,实为阳,空为阴……从而形成了一开一合的内在运动之势。在字的空间结构上,朝揖、避就、向背、旁插、覆盖、偏侧、回抱、附丽、借换等,都是其表现。阴阳二法,就是变汉字相对静止的空间为运动的空间。有了阴阳,才有了回荡的空间。”朱良志:《中国美学十五讲》,第183页,北京:北京大学出版社,2006年。中国古代的易、术、艺所依凭的思维方式,皆以流动的结构、因应不测的系统观念见长。这种广义的艺术不仅令人的心性易归于平和,对培养创造性思维也颇具意义。当代的前沿科学研究越来越倾向于以结构、模式、系统的思维来观察复杂的宇宙现象、生命现象和意识现象。“在20世纪晚期思想中,一个重要的转变就是从机械化约主义转向一种新的整体主义取向。……混沌理论(chaos theory)和复杂性理论(complexity theroy)发现并研究从未被怀疑过的系统组织自身的方式。因此,现在‘自组织’概念与东亚的‘自然’概念非常相似,其演变进程与一种深度的内在模式相一致,它取代了机械的观念去解释宇宙和生命自身的起源。”见迈克尔•凯尔顿(Michael C.Kalton)《拓展新儒学传统:21世纪的问题与观念重构》,载于彭国翔、张容南译《儒学与生态》,第79页,南京:江苏教育出版社,2008年。
动态平衡在《易》中的一个表现是吉凶涵义的永恒转化。《易》中的各个卦象描摹的是不同情境下的吉凶之象。有的卦是凶象,如否、剥、蹇、损等,有的卦则为吉,如乾、泰、复、益、升等。然而,中国古人并不倾向于树立纯粹的吉凶模型,反而要强调变易造成的“物极必反”的局面。这表现在卦象当中,就是卦象总体为吉者,最后一爻反而多半不吉,如《乾》之上九“亢龙有悔”,《复》之上六“迷复,凶。有灾眚。用行师终有大败,以其国君凶;至于十年,不克征”,《益》之上九“莫益之,或击之,立心勿恒,凶”,等。反过来,卦象凶者,最后一爻反而多吉,如《否》之上九“倾否,先否后喜”,《蹇》之上六“往蹇来硕,吉。利见大人”,《损》之上九“弗损益之,无咎,贞吉,利有攸往,得臣无家”,等。劳思光:《新编中国哲学史》第一卷,第63、64页,桂林:广西师范大学出版社,2005年。各卦之间的变化也通过转化而达到吉凶的平衡,最明显的如否极泰来,剥尽而复,都是前卦凶而后卦吉,反之亦然。
《易》之“泰”卦九三曰“无平不陂,无往不复”,“益”卦上九曰“莫益之,或击之”,“剥”卦上九“硕果不食”等都暗示了中国人对于“满则溢”、“全则毁”的警惕和对天道不测的敬畏。这些智慧在《老子》当中得到了进一步的概括和提炼。《老子》中的“不欲盈”(十五章)、“大巧若拙”(四十五章)、“圣人被褐而怀玉”(七十章)、“光而不耀”(五十八章)等等,也都在提醒着人们要避免艳冠群芳、光彩照人的状态,警惕“最大”、“最美”的名号。在《易经》和《老子》的影响下,“登高必跌重”、“月盈则亏”等等具有启示意义的日常现象逐渐成为中国人观察自然和人事的基本观念之一。在中国古代的审美思想中,举凡“最高”、“最大”、“最强”、“最美”都不是值得欣羡的状态,“圆满”、“至高”在艺术作品当中大多付诸虚写,保留在未实现的状态之中。
近代美学的一系列基础性观念溯源于古希腊哲学。古希腊哲学的理想范本是几何学、逻辑学、数学等“超时间”的学问。杜威在《经验与自然》中反思了西方哲学在追求哲学抽象与追求“不变”的努力之间的密切关联。他指出,“永久的东西能使我们安定,它给予我们宁静,可变化的和正在变化的东西是一种不断的挑战。在事物发生变化的地方,我们就感觉到有所危迫。它是使人烦扰不安的一个威胁。……哲学,即概括的思维,沉湎于荒诞的追求一种在理智上获得绝对概括通则的点金石,……或者(如亚里士多德所理解的)把它理解为在一切时间上始终同一的东西,或者把它当作是和时间没有关系的、超时间的东西。”杜威《经验与自然》,傅统先译,第20页,南京:江苏教育出版社,2005年。这种哲学理想在审美方面的表现就是追求简洁可把握的形式以获得一种稳定的秩序感。西方人好把园林里的植物裁剪成队列一般的几何形状,或以数学的思维方式来创作音乐和建筑作品,都是这种“形式”的外化。而在《易》中,阴阳之间的平衡是动态的。《易》的卦爻形式所模仿的天道往复中充满了“变数”,不能被套进一个固定的、可重复的公式当中。永恒变易是中国美学思考的基础性观念。两种基础性观念的差别造成了中西美学在思维方式、价值理想等方面的巨大歧异。我们在后面讨论老子、孔子美学的时候都会反复涉及这个问题。
在《易经》的影响下,中国人倾向于把审美情感寄托于动态的“游目”当中。宗白华指出,中西绘画艺术在透视法上的区别,及其背后的空间意识、世界观念等更为深层的差异,都呈露了不同文化中艺术意象之“情”的特点。他说:“西洋画在一个近立方形的框里幻出一个锥形的透视空间,由近至远,层层推出,以至于目极难穷的远天,令人心往不返,驰情入幻,浮士德的追求无尽,何以异此?中国画则喜欢在一竖立方形的直幅里,令人抬头先见远山,然后由远至近,逐渐返于画家或观者所流连盘桓的水边林下。《易经》上说:‘无往不复,天地际也。’中国人看山水不是心往不返,目极无穷,而是‘反身而诚’,‘万物皆备于我’。王安石有两句诗云:‘一水护田将绿绕,两山排闼送青来。’前一句写盘桓、流连、绸缪之情;下一句写由远至近,回返自心的空间感觉。这是中西画中所表现空间意识的不同。”宗白华:《中西画法所表现的空间意识》,《宗白华全集》第二卷,第148页。一个是驰情不返之“求”,一个是盘桓往复之“游”,其情不同,其景之显现也不同。
动态平衡的另一个表现就是一种错落驳杂的、“非完美”的形式美。
中国的艺术观念、美学思想愈溯之古远,愈见出寓秩序于驳杂的意识。“物”之古义通“文”,端在于成分之杂驳错落。王国维曰:“古者谓杂帛为物,盖由物本杂色牛之名,后推之以名杂帛。……由杂色牛之名,因之以名杂帛,更因以名万有不齐之庶物,斯文字引伸之通例矣。”(王国维:《观堂集林•释物》)“错杂”、“不齐”即蕴有意义生成的空间,以此符应无限丰富的物象。在《关雎》描画的士女往还图中,流水中的“参差荇菜”就是一个烘托了“活泼泼”之氛围的背景式的意象。为了这种具有生机的氛围,中国古代的工艺也好运用错落参差的线条、纹样,与之相比,整整齐齐、正圆正方的形式多让人联系到胶结刻板,非中国古人所喜。
整齐的形式暗示了一个掌握绝对权力的规划者,而错杂的秩序却是由每一个参与者共同造就的。这在《易经》的乾卦中体现得最为明显。喻示“大人之德”的《乾》见六爻全阳,无主可从,所以该卦的“用九”特别点出一个断言:“见群龙无首,吉。”群龙毕至造成了“无中心”的局面,大人君子在交游中各自呈现着自己独有的美好,并愉快地欣赏他人的嘉言懿行。“无首”的结构看似松散,却蕴含着丰富的自我提升的可能性。
崇尚错杂和独行的特点甚至造就了中国艺术组织形式的特点。一个突出的例子就是中国古代的合奏乐队与西方交响乐队的区别。由于每一件乐器(正如每一位乐手)都是独一无二的,不可能在一个统一的制式中服从一个数学化的规则,中国古乐的合奏也就是多个个体的不可重复的配合与交流,而非一个团队在统一指挥下的协同行动。所以,“群龙无首”的状态乃是一种有利于促进萌发、激荡的发生结构。张祥龙:《孔子的现象学阐释九讲——礼乐人生与哲理》,第38—40页,上海:华东师范大学出版社,2009年。早在漫不可考的时代,《易》的卦辞就已经为中国人的思想打下了这样的基础。
总之,在动态平衡、错落有致的秩序观念中,《易经》推崇一种独特的“群龙无首”之美。这体现了中国古代文明在思想、艺术、生活诸多方面特有的一种自由观、平等观,是了解中国艺术、中国美学之特色的切入点。




推荐阅读:

里尔克:反叛与抒情

雨果传记

惠特曼传记

艾米·洛威尔传记

约翰·弥尔顿传记

科利·西伯传记

塞缪尔·贝克特传记

拜伦传记

威廉·布莱克传记

阿斯图里亚斯传记

艾米莉·狄金森传记

多罗茜·帕克传记

奥克塔维奥·帕斯传记

人民诗人布鲁克斯传记

伊丽莎白·巴雷特·勃朗宁传记

亚历山大·蒲柏传记

里尔克传记

济慈传记

金斯伯格传记

艾略特传记

兰斯顿·休斯传记

加夫列拉·米斯特拉尔传记

聂鲁达传记

加里·斯奈德

英国桂冠诗人尼古拉斯·罗

卡尔·桑德堡,诗人和林肯传记作家

兰斯顿·休斯在20世纪20年代的哈莱姆

惠特曼与内战

失乐园学习指南

里尔克:未被认可的女权主义者还是自恋的理想主义者

里尔克与罗丹

反调:里尔克只是气体

厄休拉·勒古恩:作家,抑或谦卑的诗人

Joan Murray and the Bats of Wisdom

西尔维娅·普拉斯:耀眼的光辉,绝望的疯狂和自杀的诗意象征

奥登:若有可能,愿成为大西洋的小歌德

聂鲁达:文学巨匠的激情人生与可疑死亡

历届诺贝尔文学奖得主名录


城上春旗催日暮 柳絮沾泥 花蕊随流去
记得前时行乐处 小桥水渌初平渚
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