波德莱尔诗15首

法国星期一诗社 2024-01-10

夏尔·皮埃尔·波德莱尔（Charles Pierre Baudelaire，1821年4月9日－1867年8月31日），法国十九世纪最著名的现代派诗人，象征派诗歌先驱，代表作有《恶之花》。夏尔·波德莱尔是法国象征派诗歌的先驱，在欧美诗坛具有重要地位，其作品《恶之花》是十九世纪最具影响力的诗集之一。从1843年起，波德莱尔开始陆续创作后来收入《恶之花》的诗歌，诗集出版后不久，因“有碍公共道德及风化”等罪名受到轻罪法庭的判罚。1861年，波德莱尔申请加入法兰西学士院，后退出。作品有《恶之花》、《巴黎的忧郁》、《美学珍玩》、《可怜的比利时！》等。

Charles Baudelaire is one of the most compelling poets of the 19th century. While Baudelaire’s contemporary Victor Hugo is generally—and sometimes regretfully—acknowledged as the greatest of 19th-century French poets, Baudelaire excels in his unprecedented expression of a complex sensibility and of modern themes within structures of classical rigor and technical artistry. Baudelaire is distinctive in French literature also in that his skills as a prose writer virtually equal his ability as a poet. His body of work includes a novella, influential translations of the American writer Edgar Allan Poe, highly perceptive criticism of contemporary art, provocative journal entries, and critical essays on a variety of subjects. Baudelaire’s work has had a tremendous influence on modernism, and his relatively slim production of poetry in particular has had a significant impact on later poets. More than a talent of 19th-century France, Baudelaire is one of the major figures in the literary history of the world.

The extent of the influence of Baudelaire’s family background on his life and work has been the subject of some interest to critics. In his life-story there are classic ingredients for neurosis, and his adult life was shaped by a triangle of family relations that some believe explains his complicated psyche. Baudelaire’s father, François Baudelaire (1759–1827), came from a family of woodworkers, winegrowers, farm laborers, and craftsmen who had lived near the Argonne forest since the 17th century. He went to Paris on a scholarship and in the course of a long career there became a priest; worked as a tutor for the children of Count Antoine de Choiseul-Praslin, even composing a manual to teach Latin; resigned his priesthood during the Reign of Terror; married Rosalie Janin, a painter, and had a son, Alphonse Baudelaire (1805–1862); earned a living as a painter; and from the age of thirty-eight until retirement worked his way up the ranks of the civil service.

这女人，的确是个神奇的东西，

天神般健壮，令人爱慕地苗条，

生来就是要端坐豪华的床第，

足供闲暇的主教或君王逍遥。

——再看看那微笑肉感而又细腻，

自命不凡在其中把狂喜张扬；

幽长的目光狡诈、慵倦又讥诮；

一握轻纱围住了小巧的面庞，

每个线条都得意杨扬他说道：

“肉感呼唤我，爱情给我戴花饰！”

看看这个人禀有何等的尊严，

优雅赋予她多么迷人的魅力！

这些，让我们围着她的美留连。

啊，亵渎艺术！啊，逃不脱的惊骇！

这女人许诺幸福，有神的肉体，

从上面看竟是个双头的妖怪！

——不！那不过是面具，外加的装饰，

这面庞闪耀着一种美妙怪相，

看哪，在这里，残酷地抽搐缩蜷，

她真正的脑袋，她诚挚的面庞，

朝上看，藏在骗人的脸的下面。

可怜啊，高贵的美！你的泪流成

壮丽的河，直流进我不安的心；

你的假象令我陶醉，我的魂灵

在你眼中痛苦的波涛中畅饮！

——可她为什么哭？她这完善的美，

让失败的人类在她脚下拜倒，

什么神秘的恶咬她矫健的腰腿？

——她哭，傻瓜，因为她已生活过了！

因为她还在生活，但她哀叹的，

使她两腿不住地发抖的，偏偏

就是那明天，唉！明天还得生活！

明天，后天，永远！——如同我们一般！

你的眼睛包含着落日和黎明；

你像雷雨的黄昏把芳香播散；

你的吻是春药，你的嘴是药瓶，

能使英雄怯懦，又使儿童勇敢。

你出自黑色深渊，或降自星辰？

命运受惑，像狗追随在你裙下；

你随意地播种着灾祸和欢欣，

你统治一切，却没有任何报答。

美，你在死人身上走，还要嘲弄；

你的首饰中有魅力的是恐怖，

凶杀在你最珍爱的小饰物中，

在你骄傲的肚皮上淫靡起舞。

蜉蝣花了眼，朝你这蜡烛飞去，

嘶地一声烧着，还说：火炬有福！

情郎俯在美人身上气喘吁吁，

好像垂死的人抚爱他的坟墓。

这有何妨，你来自天上或地狱？

啊美！你这怪物，巨大、纯朴、骇人！

只要你的眼、你的笑、你的双足

打开我爱而不识的无限之门！

这有何妨，你来自上帝或魔王？

天使或海妖？——目光温柔的仙女，

你是节奏、香气、光明，至尊女皇！——

只要减少世界丑恶、光阴重负！

一座慵懒的岛，大自然奉献出

奇特的树木，美味可口的果品，

身材修长和四肢强健的男人，

还有目光坦白得惊人的女子。

被你的芳香引向迷人的地方，

我看见一个港，满是风帆桅樯，

都还颠簸在大海的波浪之中，

同时那绿色的罗望子的芬芳——

在空中浮动又充塞我的鼻孔，

在我的心中和入水手的歌唱。

懒洋洋的亚洲，火辣辣的非洲，

一个世界，遥远，消失，几乎死亡，

这芳香的森林在你深处居留！

像别人的精神在音乐上飘游，

爱人！我的精神在香气中荡漾。

我将去那边，树和人精力旺盛，

都在赤日炎炎中长久地痴迷；

粗大的发辫，请做载我的浪峰！

乌木色的海，你容纳眩目的梦，

那里有风帆、桨手、桅墙和彩旗：

喧闹的港口，在那里我的灵魂

大口地痛饮芳香、色彩和音响；

船只在黄金和闪光绸中行进，

张开它们巨大的手臂来亲吻

那颤动着炎热的晴空的荣光。

我要将我那酷爱陶醉的脑袋，

埋进这海套着海的黑色大洋，

我微妙的精神，有船摇的抚爱，

将再度找到你，哦丰饶的倦怠！

香气袭人之闲散的无尽摇荡！

蓝色的头发，黑夜张起的穹庐，

你为我让天空变得浑圆深广，

在你那头发的岸边绒毛细细，

我狂热地陶醉于混合的香气，

它们发自椰子油、柏油和麝香。

长久！永远！你的头发又密又稠，

我的手把红蓝宝石、珍珠播种，

为了让你永不拒绝我的欲求！

你可是令我神游的一块绿洲？

让我大口吮吸回忆之酒的瓶？

仿佛大漠的天空和愁闷的沙，

对人类的痛苦都是麻木不仁，

仿佛海上的涌浪把巨网撒下，

她满不在乎地随意舒展腰身。

她光滑的眼，迷人的矿石做成，

在这个奇特的、象征的天性里，

有纯洁的天使，古代的人面狮，

一切都是黄金、钢、钻石和光明，

像无用的星球永远辉煌灿烂。

不育的女人显出冰冷的成严。

你的头发幽深浓密，

香气呀好冲，

像海洋芬芳而恣肆，

波涛蓝又棕，

仿佛一条苏醒的船

迎着晨风起，

我们灵魂遐想万端

扬帆远天弛。

你的眼睛丝毫不露

甜蜜或苦涩，

如两件冰冷的饰物，

混合金与铁。

看你走得袅袅娜娜，

美人好懒散。

人们都说是一条蛇，

棒端舞翩跹。

懒惰如同一记重负，

孩子般的头

软绵绵地支撑不住，

如幼象一头。

看你躯体横陈舒展，

似一叶扁舟，

摇摇晃晃永不间断，

桅桁入水流。

仿佛冰川轰然融化，

波浪添浩瀚，

你的嘴里津液增加，

汪汪上齿岸。

我像喝了波希米酒，

苦涩复醉人，

流动的天群星聚凑，

播撒在我心。

仿佛淫荡的女人，把两腿高抬，

热乎乎地冒着毒气，

她懒洋洋地，恬不知耻地敞开

那臭气熏天的肚子。

太阳照射着这腐烂的一大团，

像要把它烤得透熟，

仿佛要向大自然百倍地归还

它结为一体的万物；

天空凝视着，这尸体真是绝妙，

像花朵一样地开放。

臭气那样地强烈，你觉得就要

昏厥晕倒在草地上。

腐败的肚子上苍蝇嗡嗡聚集，

黑压压一大群蛆虫

爬出来，好像一股粘稠的液体，

顺着活的皮囊流动。

它们爬上爬下肪佛根潮阵阵，

横冲直撞亮光闪闪；

仿佛有一股混炖的气息吹迸，

这具躯体仍在繁衍。

这世界奏出一阵奇特的音乐，

好像流水，又好像风，

像簸谷者做出有节奏的动作，

把籽粒颠簸和搅动。

形式已消失，只留下依稀的梦，

一张迟来的草稿图。

在遗忘的画布上。画家的完成

仅仅凭着记忆复出。

一只母狗愤怒地把我们观望，

焦躁不安，躲在石后，

等待着时机，要从尸骸的身上，

重新咬住那一块肉。

——而将来您也会像这垃圾一样，

像这恶臭可怖可惊，

我眼睛的星辰，我天性的太阳，

您，我的天使和激情！

是的，您将如此，哦优美之女王，

领过临终圣礼之后，

当您步入草底和花下的辰光，

在累累白骨间腐朽。

那时，我的美人啊，告诉那些蛆，

接吻似地把您啃噬：

你的爱虽已解体，但我却记住

其形式和神圣本质！

把我那受辱的精神，

做成你的床和地产

——我和无耻连得紧紧，

像苦役犯拖着锁链，

像赌棍离不开赌博，

像酒鬼离不开酒瓶，

像腐尸离不开蛆虫，

——恶魔呀，你真是恶魔！

我请求有一把快刀，

斩断锁链还我自由，

我请求有一剂毒药，

来把我的软弱援救。

唉，毒药和快刀都说，

对我充满傲慢蔑视：

“你不值得人们解脱

你那可诅咒的奴役，

蠢货，如果我们努力

使你摆脱她的王国，

来充当你的卧房和你的住宅；

当碑石压住你那胆怯的胸脯

和你那慵倦迷人的袅袅腰肢，

让你那颗心停止跳动和希冀，

让你那双脚不能去情场追逐，

而坟墓，我那无边梦想的知己，

（因为啊坟墓总能够理解诗人）

在那不能成眠的漫漫长夜里，

François Baudelaire was 60 when he married the 26-year-old Caroline Dufayis (1793–1871) in 1819; Charles was their only child, born in Paris on April 9, 1821. Caroline was an orphan: her mother, who came from a family of solicitors from the same part of France as the Baudelaires, died in England, where she had emigrated for unknown reasons; little is known about Caroline’s father except that his name was Charles Dufayis and that he was supposed to have died in July 1795 at Quiberon Bay in southern Brittany when Revolutionary forces put down a peasant revolt aided by émigrés. It is not known whether or not the difference in his parents’ ages affected their son, but Baudelaire was just six when his father died, so he had no opportunity to know his father well. The death of François Baudelaire, though, set the scene for several major dramas in Baudelaire’s life: his inheritance at 21 of a respectable fortune; the establishment of a board of guardians that was to control Baudelaire’s financial fortunes for most of his adult life; and the remarriage of his mother to Jacques Aupick, a man with whom Baudelaire could not get along.

Aupick (1779?–1857), like Caroline Dufayis, was an orphan. His father was an Irishman who died in the military service in France; his mother, who might or might not have been his father’s legal wife, died shortly afterward. The young Aupick made his way successfully in the military: with no real family advantages, he was a general by the end of his life, and he had served as the head of the École Polytechnique (Polytechnic School) in Paris, as ambassador to Constantinople as well as to Spain, and as a senator. Caroline Dufayis Baudelaire met Aupick at the beginning of 1828, a year into her widowhood, and they were married rather precipitously on November 8, 1828, probably because of the stillborn child born a month later. Aupick was transferred to Lyon in December 1831, and in January 1836 he was transferred back to Paris, where he stayed until 1848, when he was sent as a diplomat to Constantinople.

It is understandable that Baudelaire might be jealous of his mother’s new husband, as he was deeply attached to his mother both materially and emotionally. Their close relationship was of enduring significance, for during the course of his life he borrowed from his mother an estimated total of 20,473 francs and much of what is known of his later life comes from his extended correspondence with her. Although quite possibly Baudelaire’s attachment to his mother did lead to his resentment and dislike of his stepfather, it is interesting to note that he did not manifest resentment early on. As a schoolboy in Lyons from 1832 to 1836 Baudelaire’s letters to his parents were mostly affectionate and he referred to Aupick as his father. Easy relations within the family persisted through Baudelaire’s high-school years at Louis-le-Grand in Paris, where Colonel Aupick had been transferred. Far from being “maudit” (cursed) in the tradition of his later legend, Baudelaire was actually a prize student of whom both parents were proud. Even when he was expelled from Louis-le-Grand in 1839 for refusing to give up a note passed him by a classmate, stepfather and stepson appeared to be on good terms.

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