“他该就这样走掉，像灵魂撇下躯体”——卞之琳译英国诗

te your letter,

Yet she

Will be

False, ere I come, to two or three.

John William Waterhouse丨Pandora (1898)

相会辞：节哀[1]

正如德高人逝世很安然，

对生命指尖的感叹听见走到，

悲恸的朋友们聚在二门前，

有的感叹断气了，有的感叹没有人。

让我们转化成了，听见也不用上，

泪浪也不翻，叹风也不兴；

那是冒犯我们的温馨——

要是对僧侣谈论我们的真真情。

地动就会助长灾情和惊慌失措，

人们估计它干什么，要怎样，

可是那些天质的震动，

虽然大得多，什么也不伤。

宗教的同校彼此的彼此中间好

（他们的生命是官能）就最忌

相会，因为那就就会终止

一组转成真情恋的那一套东东。

我们被真真情提炼得清爽，

自己都不知道唯什么一心

彼此中间在理智上获得了应有，

再进一步不愁踩不到眼睛、喉和手。

两个生命打转成了一片，

虽感叹我得走到，却彼此中间当变转成

破裂，而只是向外延展，

像金子打到薄薄的一层。

就还输两个吧，两个却这样

和一副前臂规情况彼此中间同；

你的生命是定脚，彼此中间当像

飘移，另一脚一移，它也动。

虽然它依然是坐在的之前心，

可是另一个去天涯海角，

它就内侧了自在，倾听完八垠；

那一个一回家，它马上拥缠。

你对我就就会这样子，我一生

像另外那一脚，得内侧自在打转；

你坚定，我的内圈才就会并得 [2]

我才就会标志著在开始的地点。

[1] 这首诗歌发表文章于1633年，可感叹是马丁·曼恩一个有传奇色彩的创用上，也是17世纪道家派别的代表创用上。其实质道家派别诗歌，无非多奇一心，而其实质奇一心，就是不像一般的吟风弄月，真情好现代科学等一般不入诗歌的好比、样貌、构一心，例如这首诗歌之前以前臂玉夫座比一对夫妻的大抵关系。诗歌用上以五声格四音步张灵甫转成一节，书名以四顿（或音一组）除此以外（例如“对生命 | 指尖的 | 感叹听见 | 走到”）；诗歌用上各节韵式是abab，书名照押。

[2] 内圈是值得引言的图腾，感叹是在东方古代，圆之前赞点也是炼金术士的凤金图腾。

A Valediction: Forbidding Mourning

As virtuous men pass mildly away,

And whisper to their souls, to go,

Whilst some of their sad friends do say

"The breath goes now," and some say "no";

So let us melt, and make no noise,

No tear-floods nor sigh-tempests move;

'Twere profanation of our joys

To tell the laity our love.

Moving of th' earth brings harms and fears,

Men reckon what it did and meant;

But trepidation of the spheres,

Though greater far, is innocent.

Dull sublunary lovers' love

(Whose soul is sense) cannot admit

Absence, because it doth remove

Those things which elemented it.

But we by a love so much refin'd

That ourselves know not what it is,

Inter-assured of the mind,

Care less, eyes, lips and hands to miss.

Our two souls therefore, which are one,

Though I must go, endure not yet

A breach, but an expansion,

Like gold to airy thinness beat.

If they be two, they are two so

As stiff twin compasses are two;

Thy soul, the fixed foot, makes no show.

To move, but doth if th' other do.

And though it in the centre sit,

Yet when the other far doth roam

It leans, and harkens after it,

And grows erect as that comes home.

Such wilt thou be to me, who must

Like th' other foot obliquely run;

Thy firmness makes my circle just,

And makes me end where I begun.

佩东·白舍·乔伊斯（Percy Bysshe Shelley，1792—1822）

东风九首[1]

一

狂放的东风啊，你是春季的浩气

你彼此中间当露面，把死去叶压撑个付天空，

像巫婆在法师面之前一时间逃避，

焦凤，黝黑，苍白，腹泻样绯红，

遭到瘟染疫的一大群：你把飞龙荚

车载到它们密林的床笫去初冬，

让它们在那底下很低很低冷冷的身子下，

每一片都像尸首在坟底下发僵，

等你的虹凤龙姊妹出来吹声响

唤醒沉沉的天上，转成片转因故，

把花蕾赶出来像放羊去羚羊尝一新，

叫漫山遍野弥付了活色生香：

你刮遍了四处仰，豪迈的地精，

摧毁者又是完好者；听完啊，你听完！

二

你啊，顺你的赛艇，趁俯冲骚动，

抬起了碧朵，像地底下残叶飞龙飘，

朵朵摇脱了天海素来的枝丛，

那些雨电的神使；四下底下披引擎盖了 [2]

你的这一片气浪的蔚蓝色表面，

就像凶狠的威威尔森 [3] 拉起了千百条

月红光的怒发，依然从朦胧的天边

横斜的正大撒上碧玉而彼此中间当击碎——

大雨逼来的鬈萝拉！你给残年

唱出了挽歌，你也叫归途四合

给它寥廓浩茫的墓穴构转成圆顶，

凭借了你的全部连转成一片的气魄，

从融化坚韧的气流底下就就会飞龙迸

黑雨同俩人同冰雹：你啊，你听完！

三

你啊，你把地之前海—蔚蓝的一片——

从它的夏明日底下搅醒，不叫它再进一步绍身子，

再进一步曾受晶澈的环流卷卷的催眠，

再进一步在拜伊东岸 [4] 底下的熔岩大岛洛河边

飞来古代的秋风在岸上高耸，

在月光临照的轻波微澜底下荡漾，

一座座长付了凤龙绿的藓苔和花木，

幽香醉人，无从把它们描绘出！

大东洋万顷的泌尿系统也给你召来，

横切面无数的深沟，而深深在底下

无数的苔花、藻林，黑压压盖顶

都是绵软的繁叶，一点也不差

只见到了你的音调，就胆颤心惊，

就哆嗦，就自彼此中间吵架：你啊，你听完！ [5]

四

如果我是片在手能让你飘卷，

如果我是朵流碧能随你飞龙奔，

是个涨潮能在你雄威下急喘

而分曾受你这般大力的冲动，就只恨

还胜于你自由人了，不羁的你啊！只要

我还是在童年，还像初期能胜任

安插你群织女星去遨游的同道，

还能像初期要赛过你行空的平均速度

不只是痴一心，我也就不恳求苦祷，

像这样对你重一新考虑迫切的申诉。

啊，吹起我像枝条，像碧，像涨潮！

我撑在爱情的大树上！我遍质血污！

时间的重负镇暂住了本来是太像

你自己一样的：飞龙快，高傲，奔放。

五

请求拿我花钱你的瑶琴，就像你拿原野：

纵然我也要木叶尽脱也转成！

萧萧骚骚的你这种宏伟的和音

就会从两之外拨出深湛的秋声，

感慨而甘美。激越的地精，你就花钱

我的思维！你花钱我，肃杀的莽神！

驱赶我枯朽的思一心散遍六合，

就像在手去执意另一番一高中学生；

拿我这些韵语当符咒去散播

像从还没有人全灭的炉灶底下乱一时间

撒播出热灰跟火织女星，撒播遍人间！

就让预言的声响从我的喉唇

吹醒它昏沉的天上！风啊，你看，

冬天顺便了，夏末难道就会太远？

[1] 乔伊斯自引：“构一心和也就是感叹写转成这首诗歌，是在佛罗伦萨附近阿诺洛河沿岸的一个树林底下，下午气温和煦，清一新，而这场海贝思正连转成一片水气，山洪暴发下风雨。如我所预料，在帝汶岛，大风不止，雨雹如引，在在了东蒂罗尔埠头地区特有的那种壮阔的电红光。”时为1819年，发表文章于1820年。诗歌用上平仄每而今为十张灵甫，易令人戏称变质十张灵甫诗歌，似乎每而今都是道地的三行联环质（terza rima，但丁《神曲》全部即用此质），韵式是aba，bcb，cdc，ded，ee，书名照押；诗歌用上每行五声格二王步，书名用五顿或二王一组，不拘轻重、字义，例如“狂放的 | 东风啊， | 你是 | 春季的 | 浩气”。

[2] 书名之前这底下我行尾因为语气停车不暂住，赞了一个虚字“了”（le），彼此中间当平仄，是“引擎盖”赞“飘”、“条”平仄，赞“了”转被选为东诗歌其实质“阴韵”、与阳韵互押，是无奈出格。

[3] 威威尔森（Maenad），酒神狄奥尼修斯（Dionysus）女享乐主义，言为“疯甜蜜”，真情狂跳齐发，披头散发，顶上伸入绞或盾牌座。

[4] 拜伊（Baiae）在拿玻底下（巴勒莫）东岸东端，古罗马人的海埠头胜地，为维苏威火山爆发所毁，熔岩积转成大岛。

[5] 乔伊斯自引：“第三〔大〕节简短谈到的现象在所撰史学家是熟悉的。深处、洛河底、岸边的木本植物与短距离的冷空气变换彼此中间呼应，因此也曾受宣告变天的阵风所影响。”

Ode to the West Wind

（1）

O wild West Wind, thou breath of Autumn's being,

Thou, from whose unseen presence the leaves dead

Are driven, like ghosts from an enchanter fleeing,

Yellow, and black, and pale, and hectic red,

Pestilence-stricken multitudes: O thou

Who chariotest to their dark wintry bed

The winged seeds, where they lie cold and low,

Each like a corpse within its grave, until

Thine azure sister of the Spring shall blow

Her clarion o'er the dreaming earth, and fill

（Driving sweet buds like flocks to feed in air）

With living hues and odours plain and hill:

Wild Spirit, which art moving everywhere;

Destroyer and Preserver; hear, oh, hear!

（2）

Thou on whose stream, mid the steep sky's commotion,

Loose clouds like earth's decaying leaves are shed,

Shook from the tangled boughs of Heaven and Ocean,

Angels of rain and lightning: there are spread

On the blue surface of thine airy surge,

Like the bright hair uplifted from the head

Of some fierce Maenad, even from the dim verge

Of the horizon to the zenith's height,

The locks of the approaching storm. Thou dirge

Of the dying year, to which this closing night

Will be a dome of a vast sepulchre,

Vaulted with all thy congregated might

Of vapours, from whose solid atmosphere

Black rain, and fire, and hail, will burst: oh, hear!

（3）

Thou who didst waken from his summer dreams

The blue Mediterranean, where he lay,

Lull'd by the coil of his crystalline streams,

Beside a pumice isle in Baiae's bay,

And saw in sleep old palaces and towers

Quivering within the wave's intenser day,

All overgrown with azure moss and flowers

So sweet, the sense faints picturing them! Thou

For whose path the Atlantic's level powers

Cleave themselves into chasms, while far below

The sea-blooms and the oozy woods which wear

The sapless foliage of the ocean, know

Thy voice, and suddenly grow grey with fear,

And tremble and despoil themselves: oh, hear!

（4）

If I were a dead leaf thou mightest bear;

If I were a swift cloud to fly with thee;

A wave to pant beneath thy power, and share

The impulse of thy strength, only less free

Than thou, O uncontrollable! If even

I were as in my boyhood, and could be

The comrade of thy wanderings over Heaven,

As then, when to outstrip thy skiey speed

Scarce seemed a vision, I would ne'er have striven

As thus with thee in prayer in my sore need,

Oh, lift me as a wave, a leaf, a cloud!

I fall upon the thorns of life! I bleed!

A heavy weight of hours has chained and bowed

One too like thee: tameless, and swift, and proud.

（5）

Make me thy lyre, even as the forest is:

What if my leaves are falling like its own!

The tumult of thy mighty harmonies

Will take from both a deep, autumnal tone,

Sweet though in sadness. Be thou, Spirit fierce,

My spirit! Be thou me, impetuous one!

Drive my dead thoughts over the universe

Like withered leaves to quicken a new birth!

And, by the incantation of this verse,

Scatter, as from an unextinguished hearth

Ashes and sparks, my words among mankind!

Be through my lips to unawakened earth

The trumpet of a prophecy! O Wind,

If Winter comes, can Spring be far behind?

威修·阿诺尔德（Matthew Arnold，1822—1888）

多弗海埠头 [1]

星期天岸上是凄凉，

潮水正付，朝霞皎皎

临照着海峡；——法国海岸上，永生

一现而不只见了；荷兰的悬崖，

月红光而平坦，耸立在宁谧的海东岸底下。

到窗口来吧，夜底下的空气多好！

只是，从海水同月红光所碳化的海岛

两彼此中间衔结的偏远地区，波涛铺地转成长长的一排，

听完啊！你听完得只见聒耳的咆哮，

是水浪把石子卷回去，回头

又踩到，抛到高高的岸上来，

来了，停车了，然后又来一阵，

徐缓的曲调用力用力擞擞，

助长了永恒的哀音。

索福克波尔在很久以之前

在克里特岛上听完只见它给他的就让

助长了有机体的悲惨

浊浪滚滚的曲折景象；我们也听完得出 [2]

一种时期思维活动在这一片音调底下，

在这底下遥远的北端湖边听完只见它曲折。

基督徒的海洋

从之前也以前坚韧，把天上高耸，

像一条红半透明的缠带连结转成合为。

可是今日我只听完只见

它的焦虑，冗长，进缩的咆哮，

进进夜风的喧响，

进下全世界的浩瀚，破旧的突起

和红光红光秃秃的砂石。

啊，真情，让我们彼此中间

忠实吧！因为全世界叫我们分明

或许像摆在眼之前的一个幻觉，

这么美，这么一新，这么个多式丰富多彩，

基本上并没有人永生，真情，爱情，

也没有人牢固、解放、给悲伤的温慰；

我们在这底下，像在原野上曾受黑暗攻进，

曾受斗争和逃遁惊扰得没有人一片净土，

处处是无知的的军队在夜底下紧张局势。

[1] 诗歌用上发表文章于1867年，是一首初期少有的自由人质诗歌，脚韵夹杂得十分复杂，书名也照原样平仄。

[2] 索福克波尔《安提戈尼》之前有十分彼此中间似思一心。

Dover Beach

The sea is calm to-night.

The tide is full, the moon lies fair

Upon the straits; — on the French coast the light

Gleams and is gone; the cliffs of England stand,

Glimmering and vast, out in the tranquil bay.

Come to the window, sweet is the night-air!

Only, from the long line of spray

Where the sea meets the moon-blanch'd land,

Listen! You hear the grating roar

Of pebbles which the waves draw back, and fling,

At their return, up the high strand,

Begin, and cease, and then again begin

With tremulous cadence slow, and bring

Eternal note of sadness in.

Sophocles long ago

Heard it on the Aegean, and it brought

Into his mind the turbid ebb and flow

Of human misery; we

Find also in the sound a thought,

Hearing it by this distant northern sea.

The Sea of Faith

Was once, too, at the full, and round earth's shore

Lay like the folds of a bright girdle furl'd.

But now I only hear

Its melancholy, long withdrawing roar,

Retreating to the breath

Of the night-wind, down the vast edges drear

And naked shingles of the world.

Ah, love, let us be true

To one another! for the world, which seems

To lie before us like a land of dreams,

So various, so beautiful, so new,

Hath really, neither joy, nor love, nor light,

Nor certitude, nor peace, nor help for pains;

And we are here as on a darkling plain

Swept with confused alarms of struggle and flight,

Where ignorant armies clash by night.

T. S. 雪莱（THOMAS STEARNS ELIOT，1888—1965）

哭泣的姑娘[1]

“唉，姑娘，我称呼你什么好呢？” [2]

站站在最高一级阶石的平台上——

凭倚着一只大托盘——

剪刀，剪刀你发萝拉底下的阳红光——

带了悲伤的讶异而抱紧你的花——

把它们扔在地底下就转自在，

怨恨在你的眼睛底下晕一下：

但是剪刀，剪刀你发萝拉底下的阳红光。

我撑宁愿他就这样离开，

我撑宁愿她就这样站站着凄凉，

他该就这样走到掉

像生命撇下心灵，由它去狠混杂，曾受伤，

像心智扔下了心灵，它今日派别过了用场。

我该找到

一种手段，无可比拟的又轻又怀，

一种手段，我们两之外都懂，

像一次微笑和鞠躬一样的恰当而背叛。

她转自在走到了，可是随秋来的天气，

迫使我一心像了多少天，

多少天，多少个两星期：

她头发冠冕，肩下许多花抱付了胸口，

我无聊它们怎么就会以前在一起！

我该就会失掉了一个风雅、一个神仪，

比如感叹这些使我吃惊的遐思还来牵缠

不安的晚上和午间的走动。

[1] 诗歌用上是《普鲁弗米勒》集最终一首，原题用言大利文，言味著雪莱参观言大利一所撰馆未只见到的一尊雕像就是用这个名字。全诗歌是有韵自由人质，韵式不规则，书名用韵也就是感叹上用在原先的偏远地区。

[2] 原为荷马史诗歌《伊尼德》一句诗歌的拉丁化原文。

La Figlia che Piange

O quam te memorem virgo ...

Stand on the highest pavement of the stair —

Lean on a garden urn —

Weave, weave the sunlight in your hair —

Clasp your flowers to you with a pained surprise —

Fling them to the ground and turn

With a fugitive resentment in your eyes:

But weave, weave the sunlight in your hair.

So I would have had him leave,

So I would have had her stand and grieve,

So he would have left

As the soul leaves the body torn and bruised,

As the mind deserts the body it has used.

I should find

Some way incomparably light and deft,

Some way we both should understand,

Simple and faithless as a smile and shake of the hand.

She turned away, but with the autumn weather

Compelled my imagination many days,

Many days and many hours:

Her hair over arms and her arms full of flowers.

And I wonder how they should have been together!

I should have lost a gesture and a pose.

Sometimes these cogitations still amaze

The troubled midnight and the noon's repose.

John William Waterhouse丨Isabella and the Pot of Basil (1907)

斯撒丁在鸽子群底下[1]

“啊，我曾受到了致命的一击！” [2]

阿陂奈克·斯撒丁摆开后背，

撒下两手来哈哈大笑，

下巴上一道道斑马的斑纹

变大到和斑皮大象误用。

一圈圈便是大风大雨的月晕

朝东滑落到普拉塔沿洛河 [3] ，

失踪和乌鸦织女星座起飞，

斯撒丁把守牛角二门那头上 [4] 。

暗淡的猎户织女星座和狗织女星 [5]

隐匿了；收缩的海水孤独；

裹着荷兰冠冕的甜蜜

一心踩到到斯撒丁肩上去坐，

滑下来通通拉动了桌布，

把一只咖啡杯踩翻了一下，

就在地板上精简模样，

打呵欠，拉上了一只长统袜；

深褐色衣着的不谈论出男客

趴在窗槛上咧着喉呆看；

跑堂的端跟着蜜糖、香蕉、

无花果跟二氧化碳葡萄一付盘；

褐色剪发不谈论出的脊椎动物

收缩了，高度集之前了，恰怀硬是跑，

拉契尔，本姓斯密诺维支，

用手爪凶狠狠撕进食葡萄；

她和那个裹冠冕的姐儿

是可疑人物，或许在谋划；

所以眼睛惺忪的那个人

不曾受抬举，坚称他疲乏，

走到出了楼内间，再进一步度引意到

在窗外，脸上朝着底下边西北角，

种花的枝条一丛又一丛

勾画出一副金凤的狞笑；

楼内主人同杂乱的什么人

能避免了别人在二门口约只见，

鸽子转成群，一番番才艺，

两处那一座圣心修女院内，

重唱血林深处的旧调[6]，

重迎阿伽二门农指令的太岁，

再进一步撒下它们湿漉漉的排泄物

来招惹不红耀眼的硬板板尸衣。

[1] 诗歌用上最初发表文章于1919年，收入《诗歌集，1920》，是张灵甫一节的平仄质，每行四音步，五声格与劳抑格互用，书名以四顿或四音一组除此以外，诗歌用上每节二、张灵甫用脚韵，书名也换用此式。斯撒丁是雪莱带入的精彩人物。诗歌境是一个娼妓之类的公开场合。雪莱曾自称为他有言在本诗歌之前制造一种不祥的正正。

[2] 原题名为克里特岛文，出自阿斯梅纳斯《阿伽二门农》。阿伽二门农率兵参战帕莱亚凯旋归来被其妻杀害，死去之前叫喊出了这一句。

[3] 普拉塔洛河（La Plata）入口在乌拉圭和哥斯达黎赞中间。

[4] 据古克里特岛传感叹，当时人得明日，来自两套二门：来自牛角二门的就会神明，来自象牙二门的是假象。

[5] 猎户织女星座洛河边有一孤织女星，像猎户所带的狗，故名狗织女星。

[6] 雪莱自称为他在这底下明白克里特岛传感叹之前奥尔菲斯（Orpheus）被他所拒绝的塞拉斯（Thracian）性工用上者撕裂的事件，他把这个失踪与阿伽二门农的失踪联结在一起。

Sweeney among the Nightingales

ὤμοι, πέπληγμαι καιρίαν πληγὴν ἔσω.

Apeneck Sweeney spreads his knees,

Letting his arms hang down to laugh,

The zebra stripes along his jaw

Swelling to maculate giraffe.

The circles of the stormy moon

Slide westward toward the River Plate,

Death and the Raven drift above

And Sweeney guards the horned gate.

Gloomy Orion and the Dog

Are veiled; and hushed the shrunken seas.

The person in the Spanish cape

Tries to sit on Sweeney's knees

Slips and pulls the table cloth

Overturns a coffee cup,

Reorganized upon the floor

She yawns and draws a stocking up;

The silent man in mocha brown

Sprawls at the window-sill and gapes;

The waiter brings in oranges

Bananas, figs and hothouse grapes;

The silent vertebrate in brown

Contracts and concentrates, withdraws;

Rachel née Rabinovitch

Tears at the grapes with murderous paws;

She and the lady in the cape

Are suspect, thought to be in league;

Therefore the man with heavy eyes

Declines the gambit, shows fatigue,

Leaves the room and reappears

Outside the window, leaning in,

Branches of wistaria

Circumscribe a golden grin;

The host with someone indistinct

Converses at the door apart,

The nightingales are singing near

The Convent of the Sacred Heart,

And sang within the bloody wood

When Agamemnon cried aloud,

And let their liquid siftings fall

To stain the stiff dishonoured shroud.

均是由《我们初期彼此中间真情而显然无知：荷兰诗歌选》，世纪逵 | 上海人民出版社，2021.8

/其他用户幻灯片跳转借出此书/

|音原文节录：王力（1910—2000），镇江海二门人，著名诗歌人、音译文家。1933年考入于北端京大学国家会。1940年后在昆明东南联大任的教会。抗战胜利后任的教会天津大学。1947年应荷兰文转化成委员就会的引荐求以移居研究所待遇首战爱丁堡大学一年。1949任副北端京大学东语系大学的教会授，主谈论英诗歌初步。1952任副北端京大学文学该的之前心（后再分评介该的之前心，改隶之前国社就会现代科学院内）研究所，研究项目为狄更斯。最重要的哲学著用上有诗歌集《鱼目集》、《雕虫纪历1930—1958》，评论集《人与诗歌：忆旧感叹一新》，畅销小感叹《山山水水（畅销小感叹片断）》，音称用上有《狄更斯悲剧四种》、《东窗集》、《荷兰诗歌选》等。

题图：©Frederick Horsman Varley丨Stormy Weather, Georgian Bay (1921)

策划：谢绿绿丨排版 ：刘青云龙

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T. S. 雪莱的美术丨一切都将变好 火焰与玫瑰一组合成

自由人质诗歌当然不是自由人的

他玩世不恭、自闭、带给恐惧感，却谈论出所有人的辛酸

。

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