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惠特曼《我歌唱那带电的肉体》

美国 星期一诗社 2024-01-10

沃尔特·惠特曼(英语:Walt Whitman,1819年5月31日-1892年3月26日),出生于纽约州长岛,美国著名诗人、人文主义者,创造了诗歌的自由体(Free Verse),其代表作品是诗集《草叶集》(Leaves of Grass)。




I Sing the Body Electric


1

I sing the body electric,

The armies of those I love engirth me and I engirth them,

They will not let me off till I go with them, respond to them,

And discorrupt them, and charge them full with the charge of the soul.


Was it doubted that those who corrupt their own bodies conceal themselves?

And if those who defile the living are as bad as they who defile the dead?

And if the body does not do fully as much as the soul?

And if the body were not the soul, what is the soul?



2

The love of the body of man or woman balks account, the body itself balks account,

That of the male is perfect, and that of the female is perfect.


The expression of the face balks account,

But the expression of a well-made man appears not only in his face,

It is in his limbs and joints also, it is curiously in the joints of his hips and wrists,

It is in his walk, the carriage of his neck, the flex of his waist and knees, dress does not hide him,

The strong sweet quality he has strikes through the cotton and broadcloth,

To see him pass conveys as much as the best poem, perhaps more,

You linger to see his back, and the back of his neck and shoulder-side.


The sprawl and fulness of babes, the bosoms and heads of women, the folds of their dress, their style as we pass in the street, the contour of their shape downwards,

The swimmer naked in the swimming-bath, seen as he swims through the transparent green-shine, or lies with his face up and rolls silently to and fro the heave of the water,

The bending forward and backward of rowers in row-boats, the horse-man in his saddle,

Girls, mothers, house-keepers, in all their performances,

The group of laborers seated at noon-time with their open dinner-kettles, and their wives waiting,

The female soothing a child, the farmer's daughter in the garden or cow-yard,

The young fellow hoeing corn, the sleigh-driver driving his six horses through the crowd,

The wrestle of wrestlers, two apprentice-boys, quite grown, lusty, good-natured, native-born, out on the vacant lot at sun-down after work,

The coats and caps thrown down, the embrace of love and resistance,

The upper-hold and under-hold, the hair rumpled over and blinding the eyes;

The march of firemen in their own costumes, the play of masculine muscle through clean-setting trowsers and waist-straps,

The slow return from the fire, the pause when the bell strikes suddenly again, and the listening on the alert,

The natural, perfect, varied attitudes, the bent head, the curv'd neck and the counting;

Such-like I love—I loosen myself, pass freely, am at the mother's breast with the little child,

Swim with the swimmers, wrestle with wrestlers, march in line with the firemen, and pause, listen, count.


3

I knew a man, a common farmer, the father of five sons,

And in them the fathers of sons, and in them the fathers of sons.


This man was of wonderful vigor, calmness, beauty of person,

The shape of his head, the pale yellow and white of his hair and beard, the immeasurable meaning of his black eyes, the richness and breadth of his manners,

These I used to go and visit him to see, he was wise also,

He was six feet tall, he was over eighty years old, his sons were massive, clean, bearded, tan-faced, handsome,

They and his daughters loved him, all who saw him loved him,

They did not love him by allowance, they loved him with personal love,

He drank water only, the blood show'd like scarlet through the clear-brown skin of his face,

He was a frequent gunner and fisher, he sail'd his boat himself, he had a fine one presented to him by a ship-joiner, he had fowling-pieces presented to him by men that loved him,

When he went with his five sons and many grand-sons to hunt or fish, you would pick him out as the most beautiful and vigorous of the gang,

You would wish long and long to be with him, you would wish to sit by him in the boat that you and he might touch each other.



4

I have perceiv'd that to be with those I like is enough,

To stop in company with the rest at evening is enough,

To be surrounded by beautiful, curious, breathing, laughing flesh is enough,

To pass among them or touch any one, or rest my arm ever so lightly round his or her neck for a moment, what is this then?

I do not ask any more delight, I swim in it as in a sea.


There is something in staying close to men and women and looking on them, and in the contact and odor of them, that pleases the soul well,

All things please the soul, but these please the soul well.



5

This is the female form,

A divine nimbus exhales from it from head to foot,

It attracts with fierce undeniable attraction,

I am drawn by its breath as if I were no more than a helpless vapor, all falls aside but myself and it,

Books, art, religion, time, the visible and solid earth, and what was expected of heaven or fear'd of hell, are now consumed,

Mad filaments, ungovernable shoots play out of it, the response likewise ungovernable,

Hair, bosom, hips, bend of legs, negligent falling hands all diffused, mine too diffused,

Ebb stung by the flow and flow stung by the ebb, love-flesh swelling and deliciously aching,

Limitless limpid jets of love hot and enormous, quivering jelly of love, white-blow and delirious juice,

Bridegroom night of love working surely and softly into the pros-trate dawn,

Undulating into the willing and yielding day,

Lost in the cleave of the clasping and sweet-flesh'd day.


This the nucleus—after the child is born of woman, man is born of woman,

This the bath of birth, this the merge of small and large, and the outlet again.


Be not ashamed women, your privilege encloses the rest, and is the exit of the rest,

You are the gates of the body, and you are the gates of the soul.


The female contains all qualities and tempers them,

She is in her place and moves with perfect balance,

She is all things duly veil'd, she is both passive and active,

She is to conceive daughters as well as sons, and sons as well as daughters.


As I see my soul reflected in Nature,

As I see through a mist, One with inexpressible completeness, sanity, beauty,

See the bent head and arms folded over the breast, the Female I see.



6

The male is not less the soul nor more, he too is in his place,

He too is all qualities, he is action and power,

The flush of the known universe is in him,

Scorn becomes him well, and appetite and defiance become him well,

The wildest largest passions, bliss that is utmost, sorrow that is utmost become him well, pride is for him,

The full-spread pride of man is calming and excellent to the soul,

Knowledge becomes him, he likes it always, he brings every thing to the test of himself,

Whatever the survey, whatever the sea and the sail he strikes soundings at last only here,

(Where else does he strike soundings except here?)


The man's body is sacred and the woman's body is sacred,

No matter who it is, it is sacred—is it the meanest one in the laborers' gang?

Is it one of the dull-faced immigrants just landed on the wharf?

Each belongs here or anywhere just as much as the well-off, just as much as you,

Each has his or her place in the procession.


(All is a procession, The universe is a procession with measured and perfect motion.)


Do you know so much yourself that you call the meanest ignorant?

Do you suppose you have a right to a good sight, and he or she has no right to a sight?

Do you think matter has cohered together from its diffuse float, and the soil is on the surface, and water runs and vegetation sprouts,

For you only, and not for him and her?



7

A man's body at auction,

(For before the war I often go to the slave-mart and watch the sale,)

I help the auctioneer, the sloven does not half know his business.


Gentlemen look on this wonder,

Whatever the bids of the bidders they cannot be high enough for it,

For it the globe lay preparing quintillions of years without one animal or plant,

For it the revolving cycles truly and steadily roll'd.


In this head the all-baffling brain,

In it and below it the makings of heroes.


Examine these limbs, red, black, or white, they are cunning in tendon and nerve,

They shall be stript that you may see them.


Exquisite senses, life-lit eyes, pluck, volition,

Flakes of breast-muscle, pliant backbone and neck, flesh not flabby, good-sized arms and legs,

And wonders within there yet.

Within there runs blood,

The same old blood! the same red-running blood!

There swells and jets a heart, there all passions, desires, reachings, aspirations,

(Do you think they are not there because they are not express'd in parlors and lecture-rooms?)


This is not only one man, this the father of those who shall be fathers in their turns,

In him the start of populous states and rich republics,

Of him countless immortal lives with countless embodiments and enjoyments.


How do you know who shall come from the off-spring of his offspring through the centuries?

(Who might you find you have come from yourself, if you could trace back through the centuries?)



8

A woman's body at auction,

She too is not only herself, she is the teeming mother of mothers,

She is the bearer of them that shall grow and be mates to the mothers.


Have you ever loved the body of a woman?

Have you ever loved the body of a man?

Do you not see that these are exactly the same to all in all nations and times all over the earth?

If any thing is sacred the human body is sacred,

And the glory and sweet of a man is the token of manhood untainted,

And in man or woman a clean, strong, firm-fibred body, is more beautiful than the most beautiful face.


Have you seen the fool that corrupted his own live body? or the fool that corrupted her own live body?

For they do not conceal themselves, and cannot conceal themselves.



9

O my body! I dare not desert the likes of you in other men and women, nor the likes of the parts of you,

I believe the likes of you are to stand or fall with the likes of the soul, (and that they are the soul,)

I believe the likes of you shall stand or fall with my poems, and that they are my poems,

Man's, woman's, child's, youth's, wife's, husband's, mother's, father's, young man's, young woman's poems,

Head, neck, hair, ears, drop and tympan of the ears,

Eyes, eye-fringes, iris of the eye, eyebrows, and the waking or sleeping of the lids,

Mouth, tongue, lips, teeth, roof of the mouth, jaws, and the jaw-hinges,

Nose, nostrils of the nose, and the partition,

Cheeks, temples, forehead, chin, throat, back of the neck, neck-slue,

Strong shoulders, manly beard, scapula, hind-shoulders, and the ample side-round of the chest,

Upper-arm, armpit, elbow-socket, lower-arm, arm-sinews, arm-bones,

Wrist and wrist-joints, hand, palm, knuckles, thumb, forefinger, finger-joints, finger-nails,

Broad breast-front, curling hair of the breast, breast-bone, breast-side,

Ribs, belly, backbone, joints of the backbone,

Hips, hip-sockets, hip-strength, inward and outward round, man-balls, man-root,

Strong set of thighs, well carrying the trunk above,

Leg-fibres, knee, knee-pan, upper-leg, under-leg,

Ankles, instep, foot-ball, toes, toe-joints, the heel;

All attitudes, all the shapeliness, all the belongings of my or your body or of any one's body, male or female,

The lung-sponges, the stomach-sac, the bowels sweet and clean,

The brain in its folds inside the skull-frame,

Sympathies, heart-valves, palate-valves, sexuality, maternity,

Womanhood, and all that is a woman, and the man that comes from woman,

The womb, the teats, nipples, breast-milk, tears, laughter, weeping, love-looks, love-perturbations and risings,

The voice, articulation, language, whispering, shouting aloud,

Food, drink, pulse, digestion, sweat, sleep, walking, swimming,

Poise on the hips, leaping, reclining, embracing, arm-curving and tightening,

The continual changes of the flex of the mouth, and around the eyes,

The skin, the sunburnt shade, freckles, hair,

The curious sympathy one feels when feeling with the hand the naked meat of the body,

The circling rivers the breath, and breathing it in and out,

The beauty of the waist, and thence of the hips, and thence downward toward the knees,

The thin red jellies within you or within me, the bones and the marrow in the bones,

The exquisite realization of health;

O I say these are not the parts and poems of the body only, but of the soul,

O I say now these are the soul!



我歌唱那带电的肉体


我歌唱那带电的肉体,

我喜爱的成群人围拢着我,我围拢着他们,

他们一定要我跟他们一同行动,对他们作出反应,

还要使他们免于腐烂,给他们满满装足灵魂。


曾否有人怀疑那些败坏了自己肉体的人们必然会隐藏住自己?

而那些玷污了活人的人们和玷污了死者的人们同样都是坏人?

如果肉体不能像灵魂那样起同样大的作用时又怎么办?

如果肉体不就是灵魂,灵魂又是什么?



爱上了男人或女人的肉体这件事是难以说清楚的,肉体本身就难以说清楚,

男性的肉体是完美的,女性的肉体是完美的。


面部表情是难以说清楚的,

但是一个体格健美的男子的表情不只显现在脸上,

也在他的四肢和关节上,也奇妙地在他臀部和手腕的关节上,

在于他走路的体态,他颈脖的姿势,他的腰和膝盖是如何弯曲的,衣服遮不住他,

他那健壮甘甜的实质会透过棉花和毛葛显露出来,

看见他走过时给人们的印象,和一首最美的诗一样丰富,可能还不止于此,

你久久看不厌他的背影,他的颈脖和肩膀的背影。


婴儿伸开着四肢又长得十分丰满,妇女们的胸部和头部,她们衣服的皱褶,我们在街上走过时她们的风度,她们的体形自上至下的线条,

游泳池中的赤身游泳者,看着他游过那透明的碧绿晶体,或仰卧着随同溅起的水花默默地来回翻滚,

划船的在划艇里前仰后合地弯着身子,马鞍上的骑士,

少女们,母亲们,管家们,在做着她们的各项工作,

一群工人在正午时坐下来打开他们装饭的锅子,妻子们在一旁守候着,

那女性在哄着一个娃娃,庄稼汉的女儿在花园或牛栏旁,

小伙子在锄玉米,赶雪车的在赶着那六匹马穿过人群,

角力者在角力,两个学徒,都已长成,体格健壮,性情和蔼,本地人,日落时歇工后来到空地上,

外衣和帽子都脱了扔在地上,投入了爱和拒绝的拥抱,

抱着上身又抱着下身,头发散乱着挡住了眼睛;

救火员穿着他们自己的服装在前进,透过他们齐整的裤子和腰带可以看见男性的肌肉在活动,

慢慢从火场回来,在钟声突然又敲响时又站住脚,机警地听着,

那自然而完美的各种姿势,低着的头,弯着的颈脖,又在计着数,

我爱这些人——我自己松弛下来,自在地向前走去,和那小娃娃一起靠在母亲的胸口,

和游泳者一起游泳,和角力者一起角力,和救火员一起排队走路,站住了脚,听着,计着数。



我认识一个人,一个普通的庄稼汉,五个儿子的父亲,

这些儿子当了儿子的父亲,儿子的儿子又当了父亲。


这个人精力充沛,安详,一表人材,

他头颅的轮廓,淡黄又雪白的头发和胡须,他那双黑眼睛里猜不透的含义,他举止的多变和落落大方,

为了观看这些,我常去往访,他同时还很有智慧,

他身高六英尺,已经八十多岁,他的儿子都魁梧,整洁,长着胡子,脸色微黑,很英俊,

他们和他的女儿都爱他,看见过他的人们都爱他,

他们爱他不是因为对他宽大,而是有着个人的深情,

他只喝水,透过他脸上那光洁而褐色的皮肤,可以看到皮下近似鲜红的血,

他经常打猎捕鱼,自己驾船,他有一只很精致的船,是一个造船工送给他的,他又有猎枪,是爱他的人们送给他的,

他和他的五个儿子和许多孙子去打猎或捕鱼的时候,你会立即认出他是众人中最美最有活力的一个,

你会愿意尽量和他待在一起,你会愿意挨着他、坐在船里,以便碰到彼此的身体。



我懂得只要和我喜欢的人们在一起就足够了,

傍晚时能和其余的人们作伴就足够了,

只要周围是美丽的、奇妙的、呼吸着的、欢笑着的肉体就足够了,

在他们中间活动或碰一碰谁,或只是短暂地让我的胳臂轻轻搭在他或她的颈脖上,这是什么呢?

我不要求更大的快乐,我就像是在大海里游泳了。


和男人和女人们亲热地待在一起、望着他们,和他们接触、闻到他们的气味,这会使灵魂十分愉快,

一切都使灵魂愉快,但是这些则是使灵魂非常愉快。



这是女性的形体,

它从头到脚都散发着那神圣的光轮,

它强烈而不可抗拒地吸引着人们,

我就像无能为力的气体那样被它的呼吸所吸引,一切都让了路,只剩下我自己和它,

书籍、艺术、宗教、时间、那眼面前的结实的大地、天堂的希望或地狱的恐惧现在都消失了,

狂热的丝状体,从中发出的不可控制的电流,反应也同样不可控制,

头发、胸脯、臀部、大腿的弯曲、随便挂着的双手都已松弛,我的一切也已松弛,

低潮受到了高潮的刺激,高潮受到了低潮的刺激,爱的肉体在膨胀、在甜蜜地隐隐作痛,

爱的无限清澈的浆液炽热而多量,微微颤抖着的爱的浆液,白色而销魂的液汁,

新郎在爱情之夜坚定而温柔地一直活动到疲惫的黎明,

波澜起伏地进入了甘心顺从的白天,

消失在依依不舍的紧抱和肉体似香甜的白天中。


这是核心——此后孩子由女人生出来,男人由女人生出来,

这是诞生时的沐浴,这是小和大的结合,又是再一次性的解放。


不要害羞,妇女们,你们的特权包括其他一切,也是其他一切的出路,

你们是肉体的大门,你们也是灵魂的大门。


女性包含一切品质,并能调节它们,

她处在她自己的地位,绝对平衡地行动着,

她是被充分掩盖着的一切事物,她既是被动的又是主动的,

她将既能怀女儿也能怀儿子,既能怀儿子又能怀女儿。


在我看见我的灵魂在“大自然”里得到反映时,

在我透过迷雾看见“那一个”有着无法形容的完整性、理智与美丽时,

我看见了那低垂的头,那合抱在胸前的双臂,我看见了女性。



男性不多也不少,也是灵魂,他也占据着他的地位,

他也是一切品质,他是行动与力量,

那已知的宇宙的活力在他身上,

轻蔑对他是完全适合的,欲望和对抗对他也是完全适合的,

最放肆最宽广的激情,最大的幸福,最大的忧伤对他是完全适合的,骄傲是为他设置的,

男子那完全铺开的骄傲对于灵魂十分有利而且起镇定作用,

知识对他很相宜,他一直喜欢知识,他让一切都经受他自己的考验,

不管怎样调查,不管是什么大海和航程,他最后只在这里探测水深,

(除了这里他还能到哪里去探测呢?)


男人的肉体是神圣的,女人的肉体是神圣的,

不管是谁,它是神圣的——他是劳工队伍里最卑贱的一个吗?

他是刚登上码头、面容呆板的移民中的一个吗?

每个人都属于此地或任何别的地方,富裕的人和你都一样,

每个人都在队伍里有他或她的地位。


(一切都是一个队伍,

宇宙就是一个有节奏有完美动作的队伍。)


你自己是否就那么博学竟把最卑贱的叫作无知?

你是否认为你有权利有一副好目力,而他或她就无权有?

你是否认为物质已从散乱的漂浮状态中凝聚起来,土壤在表面,水在奔流,植物在萌芽,

都是为了你,而并非为了他或她?



一个男人的肉体在拍卖,

(因为在战前我常去奴隶市场观看这种买卖,)

我帮助那拍卖者,那懒鬼对这种生意连一半都不懂。


绅士们看着这种怪事,

不管出价的人出什么价钱,总还是不够高,

为了这件商品地球已在没有动植物的状况下准备了亿万 ① 年,

为了它,那循环着的周期还确实在不停地转动。


在这个头颅里是那十分微妙的脑浆,

在它里面和下面是制造英雄的材料。


细细检查这些肢体,红的,黑的,或是白的,它们的肌肉和神经都十分精巧,

且把它们剥光了让你们看个明白。


灵敏的感觉,充满生气的眼睛,勇敢,意志,

片片胸肌,柔韧的脊骨和颈脖,并不松弛的肌肉,相当粗壮的臂和腿,

而且那里面还有奇迹。

那里面还奔流着血液,

那同样并不陌生的血液!同样鲜红而奔流着的血液!

那里还有一颗心脏在隆起着、喷射着,那里还有全部激情,欲念,企求,抱负,

(就因为它们没有在客厅和讲堂里发表过,你就认为它们并不存在吗?)


这不仅是一个人,这是那些自己也要做父亲的人们的父亲,

在他身上开始了人口众多的国家和富有的共和国,

属于他的是数不清的不朽生命,有着数不清的各种具体体现和欢乐。


你怎么知道几个世纪之后他的后代的后代中会出现些什么样的人物?

(如果你能追溯到几个世纪以前,你自己的祖先又是谁?)



一个女人的肉体在拍卖,

她也不仅仅是她自己,她是那将要繁殖许多后代的母亲们的母亲,

她生下的人将长大成人并成为母亲们的配偶。


你爱过一个女人的肉体吗?

你爱过一个男人的肉体吗?

你难道不清楚这对于全世界所有国家和时代的所有人都是完全一样的吗?

如果有什么东西是神圣的,那么人的肉体就是神圣的,

一个男子的光荣和甜蜜就是那未被污损的男性的标志,

在一个男子或妇女身上,一个干净、健壮、结实的肉体比最美丽的脸庞更加美丽。


你见过那个败坏他自己生气勃勃的肉体的蠢男人没有?见过那个败坏她自己生气勃勃的肉体的蠢女人没有?

因为他们藏不住自己,也不可能藏住自己,



啊,我的肉体!我不敢遗弃那些具备你这样肉体的其他男人和女人,也不敢遗弃那些具备你这样肉体的局部,

我相信像你这样的肉体将和类似的灵魂休戚相关,(它们就是灵魂,)

我相信像你这样的肉体将和我的诗篇休戚相关,它们就是我的诗篇,

那些男子的、妇女的、儿童的、青年的、妻子的、丈夫的、母亲的、父亲的、青年男子的、青年妇女的诗篇,

头、颈、头发、耳朵、耳坠和耳鼓,

眼睛、睫毛、眼球的虹膜、眉毛、眼皮的启和合,

嘴、舌、唇、牙、上颚、上下颌和咬合处,

鼻子、鼻孔、鼻梁,

面颊、鬓角、前额、下巴、喉咙、颈的背部、颈椎,

健壮的肩膀、男性的胡子、肩胛、后肩、广阔的胸膛,

上臂、腋下、肘拐、下臂、臂的肌肉、臂骨,

手腕和腕关节、手、手掌、指节、大拇指、食指、指关节、指甲,

宽阔的前胸、胸前的卷曲的毫毛、胸骨、上腰,

肋骨、肚子、脊骨、脊骨的关节,

臀部、尾椎、坐骨、朝里朝外的圆周、睾丸、阳物,

粗壮的大腿、胜任地支撑着上面的躯干,

腿的纤维、膝盖、膝盖骨、大腿、小腿,

脚踝、脚背、脚拇趾、脚趾、趾关节、脚踵;

一切姿势,一切美好的形态,属于我或你的肉体或任何别人的肉体的一切,不论男性或女性,

肺的海绵体、胃囊、喷香而洁净的肚肠,

在颅骨里面褶皱着的脑子,

交感能力、心的瓣膜、味觉、性欲、母爱,

女性的气质和属于女性的一切,和那来自女人的男人,

子宫、乳房、奶头、乳汁、眼泪、欢笑、哭泣、爱的眼神、爱的不安和兴奋,

声音、发音、语言、悄语、大叫,

食物、饮料、脉搏、消化、汗水、睡眠、走路、游泳,

臀部保持平衡、跳跃、斜靠、拥抱、臂膀的弯曲和紧抱,

口型和眼睛周围的不断变化,

皮肤、晒黑了的肤色、雀斑、头发,

用手抚摸赤裸着的肉体时所感到的奇异共鸣,

呼吸像转着圆圈流动着的河水,吸进又呼出,

腰肢的美、由此而下的臀部的美、再下去到了膝盖,

在你里面或我里面是稀薄而鲜红的浆汁、骨头和骨髓,

健康的美妙体现,

啊,我是说这些不仅是肉体的各个部分和肉体的诗篇,也是灵魂!

啊,我现在说这些就是灵魂!

赵 萝 蕤 译




古 巴 比 伦 文 学

公元前3500年,在亚洲西部被希腊人称为“美索不达米亚”(意为“两河之间的地方”,即底格里斯河和幼发拉底河流域)的南部住着苏美尔人。他们建立起世界上最早的城邦国家,发展起繁荣的城市文明。1500年后,来自叙利亚草原、属于闪族部落的阿摩利人征服了苏美尔人,并以巴比伦为中心建立了巴比伦王国。此后,一位名叫汉谟拉比的强有力的国王统一了两河流域,使这个王国达到鼎盛时期。他制定的《汉谟拉比法典》被认为是人类有史以来第一部完备的法典。汉谟拉比死后,巴比伦王国渐趋衰落,公元前538年被波斯征服。
从文物遗存来看,苏美尔人无疑是古代东方一个非常聪明、优秀的族群。他们发明了人类最早的图画文字符号,并利用当地随手可得的芦苇秆作笔,淤泥作书写板,把文字书写(不如说刻印)在柔软潮湿的泥板上,然后在太阳下晒干,烧制成坚硬的泥板保存下来。这些书写在泥板上的文字由于其横断面上粗下细、形似楔子而被称为楔形文字。楔形文字很难辨认,直到近代才译读成功,使我们有可能了解原来世界上最古老的文学作品不是在西方,而是在东方。
巴比伦人继承并融合了苏美尔人的文学传统,创造了丰富的神话、史诗、故事、歌谣和寓言等作品。以泥板文书的形式保存下来的巴比伦文学经亚述人的传播,对希伯来文学、波斯文学和阿拉伯文学都产生了重要影响,并辗转影响了欧洲文学。
第一节 神话与仪式
《咏世界创造》是一个在古代西亚地区流传很广的关于世界起源的神话。考古学家们认为,该神话成书在公元前1000年左右,但从内容和风格上分析,神话故事实际发生的时间可能要早得多。记载在七块泥板上的这部创世神话以作品开头的几个字“埃努玛·艾立什”为名,描写众神之王马尔都克和女神梯阿马特之间的斗争。按照这个神话,世界是在男神和女神的斗争中诞生的。梯阿马特原来是伟大的女神,大地母亲,生育出了最早的众神。但后来变得非常邪恶,企图毁灭所有的孩子。这时,男神马尔都克挺身而出,与梯阿马特展开了斗争。他把梯阿马特的身体撕为两半,一半做天,另一半做地,同时造出了星宿和人类。马尔都克还刺破了梯阿马特的眼睛,使底格里斯河和幼发拉底河向前流动,然后把她的躯体变成了山脉,使底格里斯河的各条支流从她的乳房中流出。这样,马尔都克就在旧秩序的废墟上建立了新秩序。在他的统治下,混沌中产生了秩序,死亡中诞生了生命,大自然一年一度复活更新。于是,马尔都克就成了巴比伦城和整个巴比伦的保护神,巴比伦人为他建立起雄伟的神庙,对他顶礼膜拜。历史学家认为,马尔都克的胜利实际上代表了男权统治的胜利,与人类社会从母权制迈向父权制的历史进程一致。
按照某些神话学家的观点,神话和仪式在远古时代是紧密相关的。神话不过是仪式的一种文字记录,后来仪式消亡了,而神话文本却保存下来了。《咏世界创造》也是如此。在古代巴比伦,每年秋季开始时,都要举行为期十天的新年节日活动,在此期间人们要庄严地背诵《咏世界创造》,并用象征性的戏剧表演其中的内容。首先是扮演混沌力量的人们在巴比伦的大街小巷上行走,然后,扮演马尔都克的人们从监狱中逃出来加入这个行列,象征着秩序之神反对梯阿马特及其恶魔。经过一场模拟的战斗,马尔都克打败了梯阿马特和那些反叛的力量。于是巴比伦人抬着马尔都克的神像穿过大街小巷狂欢游行,欢呼宇宙重建秩序、生命复活更新,并祈祷来年的丰收、繁荣和好运。古巴比伦人也许还认为,这个仪式能对底格里斯河和幼发拉底河产生魔力。每年春天这两条河流的泛滥会淹没两岸的村庄。人们希望用咒语和仪式表演来保护自己,抵挡那可怕的春洪。
另一则著名神话《伊什妲尔赴冥府》讲述爱情与生命女神伊什妲尔赴冥府拯救丈夫——植物之神坦姆兹的故事。神话中讲到,当这一对司爱情与繁殖的神癨身陷冥界之后,阳间万物凋零,一片衰败景象。诸神害怕生灵灭绝后无人献祭,只好指令冥神将这一对神癨放还阳间,于是世界又恢复了生机和活力,大地上一年一度的草木荣枯、四季轮回也就因此而来。这种以人格化的神的活动表现自然界演变的神话是建立在“万物有灵论”的基础上,在世界各民族神话(如古希腊的帕尔塞福涅神话、北欧的伊童神话等)中都有类似表现,表明了人类原始思维的同构性。
第二节 《吉尔伽美什》:追寻永生
巴比伦文学的最高成就是长达3000行的英雄史诗《吉尔伽美什》,这是目前所知的世界文学中最古老的英雄叙事诗,也被认为是世界上第一部史诗。据考证,至少在荷马写作或编纂他的《伊利亚特》和《奥德赛》之前1300年,即巴比伦第一王朝时期(约公元前18世纪),《吉尔伽美什》的最初文本已经用楔形文字刻写在泥板上了。而史诗的基本内容则包括了公元前3000纪苏美尔人创造的神话传说。
记载着史诗的12块泥板可分为两大部分。第一部分(第1~8块泥板)主要写吉尔伽美什对外在的武功的追求。根据史诗的叙述,吉尔伽美什是乌鲁克城一个半神半人的王。他有着强健的体魄、过人的精力和暴虐的性格。由于他的统治过于残酷,人们祷告天神阿卢卢来灭掉他。天神造出一个体魄、力气非凡的恩启都来与吉尔伽美什抗衡,决斗的结果是胜负未分,两人结为好友。然后,他们一起出发去征讨一位名叫芬巴巴的杉妖。初战失利,恩启都受伤。吉尔伽美什求助于太阳神舍马什,在神的佑助下杀死杉妖,并救出了被杉妖软禁的女神伊什妲尔。吉尔伽美什的英姿使女神一见钟情,她要求英雄做她的丈夫,但遭到拒绝。羞怒的伊什妲尔图谋报复,要挟父亲天神为她造了一只天牛降灾人间。但天牛被吉尔伽美什和恩启都合力杀死。绝望的女神对他们发出诅咒。众神会议决定,杀死天牛的英雄中必死一个。此后,恩启都一病不起,12天后死去。吉尔伽美什悲痛不已。
史诗从此进入第二部分(第9~11块泥板)。风格从喜转悲,由高昂变低沉,从英雄业绩的颂歌转变为英雄末路的挽歌。挚友的死亡使吉尔伽美什感到,自己也逃脱不了同样的命运。于是他开始从追求外在的武功转向内心的探求,思索生命与死亡的奥秘。他历尽艰辛找到了人类的始祖乌特那庇什提牟。后者向他讲述了天神发洪水毁灭人类,自己受到特赦,并造了一只大船幸免于难的故事,结论是人之必死由神决定,但海底有棵生命之草可使人长生不老。吉尔伽美什入海取得生命草,却又在返城途中不慎被蛇叼走,失望而归。史诗的最后部分(第12块泥板,有学者认为是后人所加)是吉尔伽美什与恩启都的对话。恩启都的灵魂从阴间地洞中逃出,向吉尔伽美什描述了地下世界的阴惨景象,哀求吉尔伽美什不要违抗“世界的命运”。
从黑格尔到海德格尔,近现代西方哲学家一致认为,从根本上说,死亡意识与自我意识是紧密联系在一起的。正是对无法避免的“终有一死”的恐惧,才使人意识到“我是他事物无法取代的一种存在”,从而形成了最初的自我意识。《吉尔伽美什》正是通过主人公对死的恐惧和对永生的追寻,显示了人类自我意识的朦胧觉醒。从文学角度看,史诗中的“英雄历险”、“洪水神话”、“圣爱”等原型—母题,影响了包括荷马史诗、圣经神话、《贝奥武甫》、《天方夜谭》等在内的一大批世界文学经典的创作。《圣经》中的洪水神话和诺亚方舟的故事原型无疑来自于《吉尔伽美什》;恩启都在神妓的色相引诱下,由女性魅力开启了智慧,摆脱了愚昧状态的情节,与《圣经》中关于亚当在夏娃引诱下吞食智慧之果的故事有着异曲同工之妙。吉尔伽美什对人类的死亡之谜的执著探索也为后世作家的精神历险提供了最初的范例。它表明,人类对自身之谜和未知世界的探索,自古以来就是文学表现的永恒主题。在后世的欧洲文学经典文本中,从但丁的《神曲》、莎士比亚的《哈姆雷特》直到乔伊斯的《尤利西斯》,我们仿佛都能听到《吉尔伽美什》第10块泥板中那凄美的歌声:
吉尔伽美什哟,你要流浪到哪里?
你所探求的生命将无处寻觅。
自从诸神把人创造,
就把死给人派定无疑,
生命就在人们自己的手里!




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