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托马斯·哈代诗15首

英国 星期一诗社 2024-01-10
哈代把坦诚表现现实当作他文学创作的最根本原则。他没有像浪漫主义者那样赞美自然,号召人们回归自然,以此表现对人类社会的厌恶。他的作品主要关注的不是自然,而是人本身。因此,他不满足于“事物的表象”,而“要探寻事物表面之下隐藏着的深刻现实”。对他来说,自然并不是值得人们羡慕的东西,值得钦佩的是人的理想和不屈不挠的精神。
由于哈代文学创作的主要目的是描绘现实生活,他在小说中对人物的刻画完全遵循现实主义的原则。他笔下的人物是社会中的普通人,身上存在着人性的弱点。出于艺术上的原因,他也不愿意塑造彻头彻尾的恶棍。他的所有人物都有着人性,即使《德伯家的苔丝》中的亚雷也不例外。
哈代作品聚焦于普通人的生活。他认为,“在普通人生活中搏动的强烈兴致、激情和生活谋略”是足以让艺术家创作一生的主题,所以,文学作品应当是“普通生活的精确描述”。他在作品中描写自己所熟悉的乡村生活,表现人们壮志未酬的悲剧。关注普通人的生活是由菲尔丁开创、哈代忠实效仿的英国小说传统。
然而,普通人的生活也许会很平淡。哈代认为,艺术家所要解决的问题是如何既要忠实于生活,又要吸引读者,因此,艺术家应当描写“人类精神和肉体方面非同寻常的爱情”。所谓“非同寻常”指的是事件,而不是人性,因为“人性决不可以是变态的,否则就会失去可信性”。只有这样,作家才能在平凡与不平凡之间寻求平衡,一方面引起读者的兴趣,另一方面增加作品的现实性。
哈代的诗冷峻、深刻、细腻、优美,言简意赅,自成一格,较他的小说更具有现代意识。诗剧《列王》是哈代思想艺术集大成之佳作。它以拿破仑战争为题材,囊括了欧洲与战争有关的种种地区和场所,出场人数达数百人。它属于不供演出用的案头剧,气势宏伟,语言优美,运用无韵诗、有韵诗及散文3种文体形式。哈代凭借战争进程中的各个重要环节,进一步深入阐发了他已往在小说和短诗中表达的思想。这部诗剧是作者近60年文学创作的深化和总结。



At a Lunar Eclipse


Thy shadow, Earth, from Pole to Central Sea,

Now steals along upon the Moon's meek shine

In even monochrome and curving line

Of imperturbable serenity.


How shall I link such sun-cast symmetry

With the torn troubled form I know as thine,

That profile, placid as a brow divine,

With continents of moil and misery?


And can immense Mortality but throw

So small a shade, and Heaven's high human scheme

Be hemmed within the coasts yon arc implies?


Is such the stellar gauge of earthly show,

Nation at war with nation, brains that teem,

Heroes, and women fairer than the skies?




观月食


地球啊,你的影子,从月海到极地,

正在明朗柔和的月面上悄悄潜行,

呈现为黑白素淡的一道弧形,

如此沉稳踏实,安详而静谧。


我怎能把太阳映射出的匀称范例,

对应我熟悉的你撕裂的面容?

怎能把这圣容般淡定的侧影

与苦难深重的五洲视为同一?


天下芸芸苍生,怎么会仅仅投去

这么小小的影?天对人的无限期盼

怎么能圈进远方这弧形一隅?


难道天尺一寸,就量尽人间活剧——

列国的厮杀争战,思潮哲人的涌现,

以及英雄豪杰,及赛天仙的美女?




A Broken Appointment


You did not come,

And marching Time drew on, and wore me numb. —

Yet less for loss of your dear presence there

Than that I thus found lacking in your make

That high compassion which can overbear

Reluctance for pure lovingkindness' sake

Grieved I, when, as the hope-hour stroked its sum,

You did not come.


You love not me,

And love alone can lend you loyalty;

— I know and knew it. But, unto the store

Of human deeds divine in all but name,

Was it not worth a little hour or more

To add yet this: Once you, a woman, came

To soothe a time-torn man; even though it be

You love not me?




爽约


你没赴约,

步步逼近的时间使我僵硬,冻结。

但我悲伤的首先不是缺少你,

而是由于今晚我发觉你身上

缺少同情——它能纯粹为了仁慈

而克服心中的勉强,——我悲伤,

当最后一响希望的钟声熄灭,

你没赴约。


你不爱我,

而唯有爱,能开出忠诚的花朵,

——这我早知。但在美好行为当中,

在不带高尚名义的高尚行为里,

难道不值得花上小小的一点钟

去添上:你,女人,有一次来到此地,

让一个男人免受时间折磨;哪怕说

你不爱我?



A Spot


In years defaced and lost,

Two sat here, transport-tossed,

Lit by a living love

The wilted world knew nothing of:

Scared momently

By gaingivings,

Then hoping things

That could not be.


Of love and us no trace

Abides upon the place;

The sun and shadows wheel,

Season and season sereward steal;

Foul days and fair

Here, too, prevail,

And gust and gale

As everywhere.


But lonely shepherd souls

Who bask amid these knolls

May catch a faery sound

On sleepy noontides from the ground:

"O not again

Till Earth outwears

Shall love like theirs

Suffuse this glen!"




纪念地


在记忆磨灭的年代

一对情侣在此恩爱,

在爱的火光里燃烧,

全然不知世界变得萧条;

时而感到

疑虑惊慌,

时而怀抱

无望的希望。


我们的爱情在此地

没留下丝毫痕迹;

太阳和阴影轮转,

季节交替悄然走向凋残;

时而晴天,

时而风雨,

这个地点

与别处无异。


但是孤独的牧羊人

在这山间午休时分,

于睡意朦胧里

会听得此地有仙界声息:

“他俩的爱

充满幽谷,

天老地荒

永不再重复!”




His Immortality


I


I saw a dead man's finer part

Shining within each faithful heart

Of those bereft. Then said I: "This must be

His immortality."



II


I looked there as the seasons wore,

And still his soul continuously bore

A life in theirs. But less its shine excelled

Than when I first beheld.



III


His fellow-yearsmen passed, and then

In later hearts I looked for him again;

And found him — shrunk, alas! into a thin

And spectral mannikin.



IV


Lastly I ask — now old and chill —

If aught of him remain unperished still;

And find, in me alone, a feeble spark,

Dying amid the dark.

February 1899




他的永生


1


我曾见一位死者的荣光

在亲故们忠诚的心中闪亮。

当时我说:“我看到了保证——

他将得到永生。”


2


我看见:经过岁月磨损,

他们心中继续活着他的灵魂;

可是他的光辉已渐渐黯淡——

比起我初见的那天。


3


当他的同年人都已死亡,

我再在晚辈的心中把他寻访,

呀!他已萎缩得难以认出——

一个幽灵般的侏儒。


4


如今我已年衰气冷,

我查问:他是否还有什么残存?

只在我心中有一颗火星摇曳——

在黑暗中渐渐熄灭。




The Last Chrysanthemum


Why should this flower delay so long

To show its tremulous plumes?

Now is the time of plaintive robin-song,

When flowers are in their tombs.


Through the slow summer, when the sun

Called to each frond and whorl

That all he could for flowers was being done,

Why did it not uncurl?


It must have felt that fervid call

Although it took no heed,

Waking but now, when leaves like corpses fall,

And saps all retrocede.


Too late its beauty, lonely thing,

The season's shine is spent,

Nothing remains for it but shivering

In tempests turbulent.


Had it a reason for delay,

Dreaming in witlessness

That for a bloom so delicately gay

Winter would stay its stress?


— I talk as if the thing were born

With sense to work its mind;

Yet it is but one mask of many worn

By the Great Face behind.




最后一朵菊花


为什么这朵花延误至今,

才展示颤抖的羽毛?

此刻百花都已寿终正寝,

红胸鸟哀哀啼叫。


太阳在那漫长的夏季里

曾招呼众叶群芳,

说他为促开花已尽了全力,

她为何还不绽放?


她一定听到这热情招呼

却并未引起重视,

此刻方醒,已是万木萧疏,

植物收干了液汁。


她孤独的美色姗姗来迟,

错过了季节爱抚,

剩下的唯有以战栗之躯

承受寒风的冷酷。


她来迟有何缘由可说?

莫非幻想过于天真,

以为对如此娇美的花朵

严冬也会手下留情?


——我似乎是在说物件

也有智力有情意;

而它只是那伟大的隐藏的脸

戴的无数面具之一。




The Darkling Thrush


I leant upon a coppice gate

When Frost was spectre-gray,

And Winter's dregs made desolate

The weakening eye of day.

The tangled bine-stems scored the sky

Like strings of broken lyres,

And all mankind that haunted nigh

Had sought their household fires.


The land's sharp features seemed to be

The Century's corpse outleant,

His crypt the cloudy canopy,

The wind his death-lament.

The ancient pulse of germ and birth

Was shrunken hard and dry,

And every spirit upon earth

Seemed fervourless as I.


At once a voice arose among

The bleak twigs overhead

In a full-hearted evensong

Of joy illimited;

An aged thrush, frail, gaunt, and small,

In blast-beruffled plume,

Had chosen thus to fling his soul

Upon the growing gloom.


So little cause for carollings

Of such ecstatic sound

Was written on terrestrial things

Afar or nigh around,

That I could think there trembled through

His happy good-night air

Some blessed Hope, whereof he knew

And I was unaware.

31 December 1900




黑暗中的鸫鸟


我倚在以树丛作篱的门边,

寒霜像幽灵般发灰,

冬的沉渣使那白日之眼

在苍白中更添憔悴。

纠缠的藤蔓在天上划线,

宛如断了的琴弦,

而出没附近的一切人类

都已退到家中火边。


陆地轮廓分明,望去恰似

斜卧着世纪的尸体,

阴沉的天穹是他的墓室,

风在为他哀悼哭泣。

自古以来萌芽生长的冲动

收缩得又干又硬,

大地上每个灵魂与我一同

似乎都已丧失热情。


突然间,头顶上有个声音

在细枝萧瑟间升起,

一曲黄昏之歌满腔热情

唱出了无限欣喜,——

这是一只鸫鸟,瘦弱、老衰,

羽毛被阵风吹乱,

却决心把它的心灵敞开,

倾泻向渐浓的黑暗。


远远近近,任你四处寻找,

在地面的万物上

值得欢唱的原因是那么少,

是什么使它欣喜若狂?

这使我觉得:它颤音的歌词,

它欢乐的晚安曲调

含有某种幸福希望——为它所知,

而不为我所知晓。




The Comet at Yell'ham


I


It bends far over Yell'ham Plain,

And we, from Yell'ham Height,

Stand and regard its fiery train,

So soon to swim from sight.



II


It will return long years hence, when

As now its strange swift shine

Will fall on Yell'ham; but not then

On face of mine or thine.




耶勒姆观彗星


1


它在平原上空远远地转身,

而我们站在耶勒姆高地遥望:

看它曳着火一般的长裙

很快就要游出视野隐进穹苍。


2


经漫长岁月,它将回归此处,

它迅捷的奇光像今天一样,

将临照耶勒姆,却不能再度

临照我的或你的面庞。




The Ruined Maid


"O 'Melia, my dear, this does everything crown!

Who could have supposed I should meet you in Town?

And whence such fair garments, such prosperi-ty?" —

"O didn't you know I'd been ruined?" said she.


— "You left us in tatters, without shoes or socks,

Tired of digging potatoes, and spudding up docks;

And now you've gay bracelets and bright feathers three!" —

"Yes: that's how we dress when we're ruined," said she.


— "At home in the barton you said 'thee' and 'thou',

And 'thik oon', and 'theäs oon', and 't'other'; but now

Your talking quite fits 'ee for high compa-ny!" —

"A polish is gained with one's ruin," said she.


— "Your hands were like paws then, your face blue and bleak,

But now I'm bewitched by your delicate cheek,

And your little gloves fit as on any la-dy!" —

"We never do work when we're ruined," said she.


— "You used to call home-life a hag-ridden dream,

And you'd sigh, and you'd sock; but at present you seem

To know not of megrims or melancho-ly!" —

"True. One's pretty lively when ruined," said she.


— "I wish I had feathers, a fine sweeping gown,

And a delicate face, and could strut about Town!" —

"My dear — a raw country girl, such as you be,

Cannot quite expect that. You ain't ruined," said she.




堕落的姑娘


“哟!密莉亚,亲爱的,这可真希奇!

谁料得到我会在城里碰见你?

而且哪来这么漂亮的衣裳,这么阔?”

“哦,你不知道我已经堕落?”她说。


“你厌倦了锄草,也不想再把土豆挖,

你一身破烂离了家,没鞋也没袜;

而如今你有华丽的羽毛和手镯!”

“是的,堕落的人这样打扮,”她说。


“在家乡,在农场,你说的是‘你’和‘咱’,

还有‘啥家伙’和‘咋个办’,可是今天,

你说出来的话在上等社会完全合格!”

“堕落能换得高雅的表面,”她说。


“那时你手像爪子,脸儿又瘦又青,

如今你戴着小手套,就像贵妇人,

你如花如玉的脸蛋简直迷住了我!”

“我们堕落后从来就不干活,”她说。


“你老是说,家乡的生活是一场恶梦,

你老是叹气叹个不停,可如今,

你看起来无忧无愁,似乎挺快活!”

“真的,堕落的人表现很活泼,”她说。


“我真想有羽毛、华丽的拖地长袍,

还有漂亮的脸蛋,能在城里炫耀!”

“一个新来的乡下姑娘,我亲爱的,

别指望这一切。你没有堕落,”她说。




Memory and I


"O Memory, where is now my Youth,

Who used to say that life was truth?"


"I saw him in a crumbled cot

Beneath a tottering tree;

That he as phantom lingers there

Is only known to me."


"O Memory, where is now my Joy,

Who lived with me in sweet employ?"


"I saw him on a lonely lawn,

Where laughter used to be;

That he as phantom wanders there

Is known to none but me."


"O Memory, where is now my Hope,

Who charged with deeds my skill and scope?"


"I saw her in a tomb of tomes,

Where dreams are wont to be;

That she as spectre haunteth there

Is only known to me."


"O Memory, where is now my Faith,

One time a champion, now a wraith?"


"I saw her in a ravaged aisle,

Bowed down on bended knee;

That her poor ghost outflickers there

Is known to none but me."


"O Memory, where is now my Love,

That rayed me as a god above?"


"I saw her in an ageing shape

Where beauty used to be;

That her fond phantom lingers there

Is only known to me."




记忆和我


“记忆

 呀,我的


青春

 在哪里?

他以前总说:生活就是真理。”


“我见他在摇摇欲倒的树下

呆在一间破棚里;

如今他像个幽灵在那里栖身,

除我之外无人知悉。”


“记忆呀,我的


欢乐

 在哪里?

他以前总是给我带来甜蜜。”


“我见他徘徊在寂寞的草地,

那里欢笑已绝迹;

如今他像个幽灵在那里流连,

除我之外无人知悉。”


“记忆呀,我的


希望

 在哪里?

他总是要我发挥才干和志气。”


“我看见她在书堆的坟场里,

那是梦境萦回之地;

如今她像个鬼魂在那里萦绕,

除我之外无人知悉。”


“记忆呀,我的


信仰

 在哪里?

曾位居第一,而今破灭无遗。”


“我看见她在毁圮的教堂里,

低垂着头,屈着膝;

她可怜的鬼影在那儿摇曳明灭,

除我之外无人知悉。”


“记忆呀,我的


爱情

 在哪里?

他曾像天神一样许我福祉。”


“我到美的旧址去把她寻访,

却只见苍老的影子,

她痴痴的幽灵在那儿流连不舍,

除我之外无人知悉。”




The End of the Episode


Indulge no more may we

In this sweet-bitter pastime:

The love-light shines the last time

Between you, Dear, and me.


There shall remain no trace

Of what so closely tied us,

And blank as ere love eyed us

Will be our meeting-place.


The flowers and thymy air,

Will they now miss our coming?

The dumbles thin their humming

To find we haunt not there?


Though fervent was our vow,

Though ruddily ran our pleasure,

Bliss has fulfilled its measure,

And sees its sentence now.


Ache deep; but make no moans:

Smile out; but stilly suffer:

The paths of love are rougher

Than thoroughfares of stones.




曲终


我们莫再迷恋

这又甜又苦的游戏,——

爱情之光最后一次

闪耀在你我之间。


我俩紧密的联系

将不留踪迹地消失,

我俩约会的地址

将恢复早先的孤寂。


百花和香草的薰风

是否会把我们思念?

野蜂不见我们流连,

是否会压低嗡鸣?


尽管我们盟誓热烈,

尽管欢乐如泉水涌出,

幸福达到了它的限度,

如今看到了最后判决。


深深地痛,但不呻吟,

出声地笑,无声地受苦,——

爱之路比那石头路

要更为崎岖难行。




The Night of the Dance


The cold moon hangs to the sky by its horn,

And centres its gaze on me;

The stars, like eyes in reverie,

Their westering as for a while forborne,

Quiz downward curiously.


Old Robert draws the backbrand in,

The green logs steam and spit;

The half-awakened sparrows flit

From the riddled thatch; and owls begin

To whoo from the gable-slit.


Yes; far and nigh things seem to know

Sweet scenes are impending here;

That all is prepared; that the hour is near

For welcomes, fellowships, and flow

Of sally, song, and cheer;


That spigots are pulled and viols strung;

That soon will arise the sound

Of measures trod to tunes renowned;

That She will return in Love's low tongue

My vows as we wheel around.




跳舞的夜


冷月如钩在天边高挂,

她对我特别注意;

星星眯着眼如在梦里,

暂时停下了西去的步伐,

对下界深表好奇。


老罗伯把烧半截的柴塞进,

生柴吱吱冒汽泡;

从破漏如筛的屋顶茅草

飞出半醒的麻雀,猫头鹰

也在墙洞鸣叫。


周围的一切好像都知道

甜蜜一幕将拉开;

万事齐备,时刻即将到来:

欢迎着伴侣打趣说笑,

唱着歌儿乐开怀;


酒桶已开塞,琴已调好弦,

马上就要奏起乐曲,

舞步就要踩着新的韵律;

回应我的盟誓,在旋舞间

她将报以爱的低语。




Misconception


I busied myself to find a sure

Snug hermitage

That should preserve my Love secure

From the world's rage;

Where no unseemly saturnals,

Or strident traffic-roars,

Or hum of intervolved cabals

Should echo at her doors.


I laboured that the diurnal spin

Of vanities

Should not contrive to suck her in

By dark degrees,

And cunningly operate to blur

Sweet teachings I had begun;

And then I went full-heart to her

To expound the glad deeds done.


She looked at me, and said thereto

With a pitying smile,

"And this is what has busied you

So long a while?

O poor exhausted one, I see

You have worn you old and thin

For naught! Those moils you fear for me

My nature revels in!"




误会


我忙忙碌碌,努力寻觅

舒适的隐居,

以保护我的爱人躲避

人世的乱局;

那里没有彻夜酗酒放荡,

没有烦人车马喧,

也没有帮派的倾轧吵嚷

回响在她门前。


我全力防范那浮华炫富

每日的熏陶

终于会逐步地把她吸入

黑暗的泥沼,

把我刚开始的爱的教育

狡诈地抹掉痕迹。

之后我挺得意地找她去

汇报我的成绩。


她瞧瞧我,怜悯地微笑,

然后对我说:

“这么长时间你的辛劳,

全是为


这个

 ?

哦可怜你累得又老又瘦,

枉费了一片情怀!——

你为我忧惧的浑潮浊流

恰恰是我本性的最爱!”




Let Me Enjoy


I


Let me enjoy the earth no less

Because the all-enacting Might

That fashioned forth its loveliness

Had other aims than my delight.



II


About my path there flits a Fair,

Who throws me not a word or sign;

I'll charm me with her ignoring air,

And laud the lips not meant for mine.



III


From manuscripts of moving song

Inspired by scenes and dreams unknown

I'll pour out raptures that belong

To others, as they were my own.



IV


And some day hence, towards Paradise

And all its blest — if such should be —

I will lift glad, afar-off eyes,

Though it contain no place for me.




让我享受尘世之乐


1


让我享受尘世之乐吧,

尽管那制定一切的伟力

创造出世间的美好甜蜜

不是以我的欢乐为目的。


2


我身旁掠过一位丽人,

她没有向我说话或示意;

我赞美不属于我的樱唇,

以她的冷漠陶醉自己。


3


我捧着动人的歌的抄本,

不知它来自何种灵感,

我借它倾注狂喜的心情——

别人的,就像自己的一般。


4


有朝一日,向着那天堂

及其居民(假设真有其事)

我会高兴地抬眼遥望,

尽管那里没我的位置。




The Ballad-Singer


Sing, Ballad-singer, raise a hearty tune;

Make me forget that there was ever a one

I walked with in the meek light of the moon

When the day's work was done.


Rhyme, Ballad-rhymer, start a country song;

Make me forget that she whom I loved well

Swore she would love me dearly, love me long,

Then — what I cannot tell!


Sing, Ballad-singer, from your little book;

Make me forget those heart-breaks, achings, fears;

Make me forget her name, her sweet sweet look —

Make me forget her tears.




歌谣手 


唱吧,歌谣手,唱出热情的歌,

让我忘却曾经有过一个人,——

每当干完一天活,趁月光柔和,

我常和她同行。


唱吧,歌谣手,唱一支家乡的歌,

让我忘却我最爱的那一个,

她发誓要深深爱我,长久爱我;

后来呢,我没法说!


唱吧,歌谣手,唱你的小歌本,

让我忘却烦忧、悲痛和心碎,

让我忘却她的名字、她的甜美,

忘却她的眼泪。




Former Beauties


These market-dames, mid-aged, with lips thin-drawn,

And tissues sere,

Are they the ones we loved in years agone,

And courted here?


Are these the muslined pink young things to whom

We vowed and swore

In nooks on summer Sundays by the Froom,

Or Budmouth shore?


Do they remember those gay tunes we trod

Clasped on the green;

Aye; trod till moonlight set on the beaten sod

A satin sheen?


They must forget, forget! They cannot know

What once they were,

Or memory would transfigure them, and show

Them always fair.




以前的美人


这些市场上的婆子,一身旧纱布,

紧绷着薄嘴唇,

莫非这就是我们当年所爱慕

和追求的美人?


莫非这就是那些粉红色的少女,

每逢夏天的星期日,

我们曾在溪边和海岸隐蔽之处

向她们山盟海誓?


她们可还记得,合着快乐的舞曲,

我们相抱欢舞不已,

直到月光用一幅光洁的缎子

盖住踩乱了的草地?


唉,她们肯定忘了,她们不可能

记得从前的自己,

否则,回忆定会改变形象,使她们

永远显得美丽。

飞 白 译




创 造 社 的 浪 漫 主 义 文 学 主 张

创造社是继文学研究会之后成立的第二个新文学社团。1921年7月,由郭沫若、郁达夫、成仿吾、张资平、田汉、郑伯奇等人发起成立于日本。创造社从初期到中后期,经历着不断的发展、转折和变化,先后有34位作家、艺术家聚集在它的旗下。他们不仅活跃在20世纪20年代,而且驰骋于30年代、40年代甚至是解放后的中国思想文化战线,为新文学的建设和发展做出了重大贡献。创造社作家中比较著名的有郭沫若、郁达夫、成仿吾、田汉、张资平、郑伯奇、穆木天以及王独清、倪贻德、叶灵凤、朱镜我、冯乃超、李初梨等。创造社的主要刊物有《创造》《创造周报》《创造月刊》《创造日》《洪水》《文化批判》等。
晚于文学研究会半年在文坛上出现的创造社,历来被看作是“异军突起”。这里的所谓“异”,指的就是与文学研究会所代表的现实主义倾向不同甚至相反的另一种文学主张和审美追求,即主情的浪漫主义。但实际上,文学研究会与创造社作家们的理论和实践并不完全是按照现实主义和浪漫主义整齐划一的。关于这个问题,郑伯奇在《中国新文学大系·小说三集·导言》中说得很清楚:“文学研究会被认为写实主义的一派,创造社是被认为有浪漫主义的倾向。这也不过是个大概的区分。文学研究会里面,也有带浪漫主义色彩的作家;创造社的同人中也有不少的人发表有写实倾向的作品。但若就集团的主要倾向来说,这样的区别还相当正确。”就创造社的文学主张来说,最重要的是强调作家内心的要求,注重作家的主观情感,提倡主观抒情的创作手法,强调艺术表现自我和内心的自然流露,强调文学的本质是感情,以感情为生命,尤其注重灵感在创作中的作用,在某些方面体现出一定程度的艺术至上的追求。应该看到,这种追求并不是简单的对纯艺术的标榜,而是发自于对某些粗制滥造的不满。因此,创造社诸作家尤其排斥模仿,反对偶像,注重个性与创造,富于反抗精神,显示了他们对艺术的严肃的态度。作为创造社的主要代表,郭沫若深受德国浪漫主义诗人歌德的影响,并在主情主义、泛神思想、赞美自然、遵从儿童及敬仰原始生命力等方面产生了强烈共鸣。创造社诸作家的浪漫主义倾向还表现在,他们对歌德、雪莱、海涅、济慈、雨果、罗曼·罗兰、惠特曼等的热情译介上。创造社对在中国传播浪漫主义思潮起到过积极而重要的作用。
至于创造社作家倾向于浪漫主义的原因,郑伯奇《中国新文学大系·小说三集·导言》中也有过系统的分析:
第一,他们都是在外国住得很久,对于外国的(资本主义的)缺点,和中国的(次殖民地的)病痛都看得比较清楚;他们感受到两重失望,两重痛苦。对于现社会发生厌倦憎恶。而国内国外所加给他们的重重压迫只坚强了他们反抗的心情。第二,因为他们在国外住得很久,对于祖国便常生起一种怀乡病;而回国以后的种种失望,更使他们感到空虚。未回国以前,他们是被爱怀念;既回国以后,他们又变成悲愤激越;便是这个道理。第三,因为他们在外国住得长久,当时外国流行的思想自然会影响到他们。哲学上,理知主义的破产;文学上,自然主义的失败,这也使他们走上了反理知主义的浪漫主义的道路上去。
作为创造社的主要代表之一,郑伯奇的这番表白不仅相当全面,而且是相当真切的。创造社的浪漫主义美学主张及其表现出的浪漫主义文学风格,在中国现代文学史上具有开创性的贡献和意义。
创造社在1925年“五卅”运动前后开始转向,他们积极提倡无产阶级革命文学,在创作方法和审美追求上越来越倾向于客观写实的现实主义文学,这就是所谓的“后期创造社”。应该看到,前后两个时期的创造社,在文学主张和创作方法方面都有了根本的变化。




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