“他该就这样走掉，像灵魂撇下肉体”

你就骑马一万夜一万天，

直跑到满头顶盖雪披霜，

你回来会滔滔不绝的讲述

你所遭遇的奇怪事物，

到最后

却赌咒

说美人而忠心，世界上可没有。

你万一找到了，通知我一句

向这位千里进香也心甘；

可是算了吧，我决不会去，

哪怕到隔壁就可以见面；

尽管你见她当时还可靠，

到你写信了还可以担保，

她不等

我到门

准已经对不起两三个男人。

[1] 这首诗发表于1633年，当为多恩早期作。像17世纪初许多剧作家、诗人一样，这首诗嘲弄妇女不忠不信。原诗每节，除第七、八行一对为抑扬格一音步外，各行基本上都是扬抑格四音步，译文也相应以“顿”或“音组”数取代（例如，“去吧 | 跑去 | 抓一颗 | 流星”），脚韵排列，是ababccddd，译文照办。

[2] 何首乌具人形，用以作药，西方有可以促孕之说，叫它自己怀孕，当然像其他各行所说的一样，都是不可能的事情。

[3] 魔鬼，据西方传说，脚像牛蹄、对分两半，当然谁也说不清谁把它劈成如此。

Song

Go and catch a falling star,

Get with child a mandrake root,

Tell me where all past years are,

Or who cleft the Devil's foot;

Teach me to hear mermaids singing,

Or to keep off envy's stinging,

And find

What wind

Serves to advance an honest mind.

If thou be'st born to strange sights

Things invisible to see,

Ride ten thousand days and nights

Till age snow white hairs on thee;

Thou, when thou return'st, wilt tell me

All strange wonders that befell thee,

And swear

No where

Lives a woman true and fair.

If thou find'st one, let me know;

Such a pilgrimage were sweet.

Yet do not; I would not go,

Though at next door we might meet.

Though she were true when you met her,

And last till you write your letter,

Yet she

Will be

False, ere I come, to two or three.

John William Waterhouse丨Pandora (1898)

别离辞：节哀[1]

正如德高人逝世很安然，

对灵魂轻轻的说一声走，

悲恸的朋友们聚在旁边，

有的说断气了，有的说没有。

让我们化了，一声也不作，

泪浪也不翻，叹风也不兴；

那是亵渎我们的欢乐——

要是对俗人讲我们的爱情。

地动会带来灾害和惊恐，

人们估计它干什么，要怎样，

可是那些天体的震动，

虽然大得多，什么也不伤。

世俗的男女彼此的相好

（他们的灵魂是官能）就最忌

别离，因为那就会取消

组成爱恋的那一套东西。

我们被爱情提炼得纯净，

自己都不知道存什么念头

互相在心灵上得到了保证，

再不愁碰不到眼睛、嘴和手。

两个灵魂打成了一片，

虽说我得走，却并不变成

破裂，而只是向外伸延，

像金子打到薄薄的一层。

就还算两个吧，两个却这样

和一副两脚规情况相同；

你的灵魂是定脚，并不像

移动，另一脚一移，它也动。

虽然它一直是坐在中心，

可是另一个去天涯海角，

它就侧了身，倾听八垠；

那一个一回家，它马上挺腰。

你对我就会这样子，我一生

像另外那一脚，得侧身打转；

你坚定，我的圆圈才会准 [2]

我才会终结在开始的地点。

[1] 这首诗发表于1633年，可说是约翰·多恩最有代表性的作品，也是17世纪玄学派的名作。所谓玄学派诗，无非多奇想，而所谓奇想，就是不像一般的吟风弄月，爱好科学等一般不入诗的比喻、形象、构思，例如这首诗中以两脚圆规比一对情侣的离合关系。原诗以抑扬格四音步四行成一节，译文以四顿（或音组）相应（例如“对灵魂 | 轻轻的 | 说一声 | 走”）；原诗各节韵式是abab，译文照押。

[2] 圆圈是完整的象征，据说在西方古代，圆中加点也是炼金术士的黄金象征。

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.

佩西·白舍·雪莱（Percy Bysshe Shelley，1792—1822）

西风颂[1]

一

狂放的西风啊，你是秋天的浩气

你并不露面，把死叶横扫个满天空，

像鬼魂在法师面前纷纷逃避，

焦黄，黝黑，苍白，发烧样绯红，

遭瘟染疫的一大群：你把飞荚

车载到它们幽暗的床笫去过冬，

让它们在那里低低冷冷的躺下，

每一片都像尸首在坟里发僵，

等你的春风青姊妹出来吹喇叭

唤醒沉沉的大地，成片成行，

把花蕾赶出来像放羊去吃草尝新，

叫漫山遍野弥满了活色生香：

你刮遍了四处八方，豪放的精灵，

摧毁者又是保存者；听啊，你听！

二

你啊，顺你的激流，趁高空骚动，

松开了云朵，像地上残叶飞飘，

朵朵摇脱了天海交结的枝丛，

那些雨电的神使；四下里披罩了 [2]

你的这一片气浪的蔚蓝色表面，

就像凶狠的麦纳德 [3] 竖起了千百条

闪亮的怒发，一直从朦胧的天边

横斜的直撒上天心而并不掉落——

暴雨欲来的鬈丝！你给残年

唱出了挽歌，你也叫夜色四合

给它寥廓浩茫的陵墓构成圆顶，

凭借了你的全部集聚的气魄，

从凝固结实的气流里就会飞迸

黑雨同火花同冰雹：你啊，你听！

三

你啊，你把地中海—蔚蓝的一片——

从它的夏梦里搅醒，不叫它再舒躺，

再受晶澈的环流卷卷的催眠，

再在拜伊湾 [4] 里的熔岩小岛旁

梦见古代的楼台在岸上环抱，

在烈日临照的轻波微澜里荡漾，

一座座长满了青绿的藓苔和花草，

幽香醉人，无从把它们描画！

大西洋万顷的平波也给你开道，

裂成无数的深沟，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

认出了你的声音，就胆颤心惊，

就哆嗦，就自相纠缠：你啊，你听！ [5]

四

如果我是片枯叶能让你飘卷，

如果我是朵流云能随你飞奔，

是个海浪能在你雄威下急喘

而分受你这般大力的冲动，就只恨

还不及你自由了，不羁的你啊！只要

我还是在童年，还像当时能胜任

充当你海阔天空去遨游的同道，

还能像当时要赛过你行空的速度

不只是痴想，我也就不哀求苦祷，

像这样对你作出迫切的申诉。

啊，吹起我像树叶，像云，像海浪！

我倒在人生的荆棘上！我遍体血污！

时间的重负镇住了本来是太像

你自己一样的：飞快，高傲，奔放。

五

请拿我做你的瑶琴，就像你拿森林：

纵然我也要木叶尽脱也成！

萧萧骚骚的你这种雄伟的和音

会从两方面拨出深湛的秋声，

凄凉而甘美。激越的精灵，你就做

我的精神！你做我，肃杀的莽神！

驱赶我枯朽的思想散遍六合，

就像枯叶去催促另一番新生；

拿我这些韵语当咒文去传播

像从还没有全灭的炉子里乱纷纷

撒播出热灰跟火星，撒播遍人间！

就让预言的喇叭从我的嘴唇

吹醒它昏沉的大地！风啊，你看，

冬天要来了，春天难道会太远？

[1] 雪莱自注：“构思和基本写成这首诗，是在佛罗伦萨附近阿诺河沿岸的一个树林里，当日气温和煦，清新，而这场暴风正集聚水气，倾泻下秋雨。如我所预料，在日落时分，狂风大作，雨雹如注，伴随了西萨尔滨地区特有的那种壮观的雷电。”时为1819年，发表于1820年。原诗格律每大节为十四行，易令人误认为变体十四行诗，其实每大节都是道地的三行联环体（terza rima，但丁《神曲》全部即用此体），韵式是aba，bcb，cdc，ded，ee，译文照押；原诗每行抑扬格五音步，译文用五顿或五音组，不拘轻重、平仄，例如“狂放的 | 西风啊， | 你是 | 秋天的 | 浩气”。

[2] 译文中这里我行尾因为语气停不住，加了一个虚字“了”（le），并不押韵，是“罩”加“飘”、“条”押韵，加“了”成为西诗所谓“阴韵”、与阳韵互押，是不得已出格。

[3] 麦纳德（Maenad），酒神狄奥尼修斯（Dionysus）女崇拜者，意为“疯女人”，爱狂跳乱舞，披头散发，顶上伸出藤条或长蛇。

[4] 拜伊（Baiae）在拿玻里（那不勒斯）湾西端，古罗马人的海滨胜地，为维苏威火山爆发所毁，熔岩积成小岛。

[5] 雪莱自注：“第三〔大〕节结尾提到的现象在博物学者是熟悉的。海底、河底、湖底的植物与陆上的季候变换相呼应，因此也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?

麦修·阿诺尔德（Matthew Arnold，1822—1888）

多弗海滨 [1]

今夜海上是风平浪静，

潮水正满，月色皎皎

临照着海峡；——法国海岸上，光明

一现而不见了；英国的悬崖，

闪亮而开阔，挺立在宁谧的海湾里。

到窗口来吧，夜里的空气多好！

只是，从海水同月光所漂白的陆地

两相衔结的地方，浪花铺成长长的一排，

听啊！你听得见聒耳的咆哮，

是水浪把石子卷回去，回头

又抛出，抛到高高的岸上来，

来了，停了，然后又来一阵，

徐缓的旋律抖抖擞擞，

带来了永恒的哀音。

索福克勒斯在很久以前

在爱琴海上听见它给他的心里

带来了人类的悲惨

浊浪滚滚的起伏景象；我们也听得出 [2]

一种思潮活动在这一片声音里，

在这里遥远的北海边听见它起伏。

信仰的海洋

从前也曾经饱满，把大地环抱，

像一条光亮的腰带连结成一气。

可是现在我只听见

它的忧郁，冗长，退缩的咆哮，

退进夜风的喧响，

退下世界的浩瀚，荒凉的边沿

和光光秃秃的砂砾。

啊，爱，让我们互相

忠实吧！因为世界叫我们分明

看来像摆在眼前的一个梦境，

这么美，这么新，这么个多式多样，

实际上并没有光明，爱，幸福，

也没有稳定、和平、给痛苦的温慰；

我们在这里，像在原野上受黑暗包围，

受斗争和逃遁惊扰得没有一片净土，

处处是无知的军队在夜里冲突。

[1] 原诗发表于1867年，是一首当时少有的自由体诗，脚韵穿插得十分复杂，译文也照原样押韵。

[2] 索福克勒斯《安提戈尼》中有类似思想。

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. 艾略特（THOMAS STEARNS ELIOT，1888—1965）

哭泣的姑娘[1]

“唉，姑娘，我称呼你什么好呢？” [2]

站在最高一级阶石的平台上——

凭倚着一只大花盆——

编织，编织你发丝里的阳光——

带了痛苦的惊讶而抱紧你的花——

把它们扔在地上就转身，

怨恨在你的眼睛里闪一下：

但是编织，编织你发丝里的阳光。

我倒宁愿他就这样离开，

我倒宁愿她就这样站着悲哀，

他该就这样走掉

像灵魂撇下肉体，由它去挨割裂，受伤，

像心智抛下了肉体，它已经派过了用场。

我该找到

一种方式，无可比拟的又轻又巧，

一种方式，我们两方面都懂，

像一次微笑和握手一样的简单而不忠。

她转身走了，可是随秋来的天气，

迫使我想象了多少天，

多少天，多少个钟头：

她头发披肩，肩下许多花抱满了胸口，

我奇怪它们怎么会曾经在一起！

我该会失去了一个风姿、一个神仪，

有时候这些使我惊异的遐思还来牵缠

不安的午夜和午间的休息。

[1] 原诗是《普鲁弗洛克》集最后一首，原题用意大利文，可能艾略特参观意大利一博物馆未见到的一尊雕像就是用这个名字。全诗是有韵自由体，韵式不规则，译文用韵基本上用在原来的地方。

[2] 原为维吉尔《伊尼德》一句诗的拉丁原文。

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)

斯威尼在夜莺群里[1]

“啊，我受到了致命的一击！” [2]

阿陂奈克·斯威尼摆开两腿，

撒下两手来哈哈大笑，

下巴上一道道斑马的条纹

膨胀到和斑皮长颈鹿混淆。

一圈圈预示风暴的月晕

朝西滑落到普拉塔河口 [3] ，

死亡和乌鸦星座升空，

斯威尼把守牛角门那一头 [4] 。

暗淡的猎户星座和猎犬星 [5]

隐蔽了；收缩的海水沉默；

裹着西班牙披肩的女人

想爬到斯威尼膝上去坐，

滑下来顺手拉动了桌布，

把一只咖啡杯碰翻了一下，

就在地板上重整模样，

打呵欠，拉上了一只长统袜；

深棕色衣着的不说话男客

趴在窗槛上咧着嘴呆看；

跑堂的端进来橙子、香蕉、

无花果跟温室葡萄一满盘；

棕色服不说话的脊椎动物

收缩了，集中了，悄悄溜跑，

拉契尔，本姓拉比诺维支，

用手爪凶狠狠撕吃葡萄；

她和那个裹披肩的姐儿

是可疑人物，看来在谋划；

所以眼睛惺忪的那个人

不受抬举，表示他疲乏，

走出了房间，重新出现

在窗外，脸朝着里边紧靠，

紫藤的枝条一丛又一丛

勾画出一副金黄的狞笑；

房主人同模糊不清的什么人

避开了别人在门口密谈，

夜莺成群，一番番歌唱，

临近那一座圣心修女院，

重唱血林深处的旧调[6]，

重迎阿伽门农呼叫的时辰，

再撒下它们湿漉漉的排泄物

来玷污不光彩的硬板板尸衾。

[1] 原诗最初发表于1919年，收入《诗集，1920》，是四行一节的格律体，每行四音步，抑扬格与扬抑格互用，译文以四顿或四音组相应，原诗每节二、四行用脚韵，译文也采用此式。斯威尼是艾略特创造的戏剧性人物。诗境是一个妓院之类的场合。艾略特曾自称他有意在本诗中制造一种不祥的预感。

[2] 原题词为希腊文，出自阿斯库拉斯《阿伽门农》。阿伽门农率师出征特罗亚凯旋归来被其妻刺杀，死前喊出了这一句。

[3] 普拉塔河（La Plata）出口在乌拉圭和阿根廷之间。

[4] 据古希腊传说，世人得梦，来自两套门：来自牛角门的会灵验，来自象牙门的是假象。

[5] 猎户星座旁有一孤星，像猎户所带的猎犬，故名猎犬星。

[6] 艾略特自称他在这里想到希腊传说中奥尔菲斯（Orpheus）被他所拒绝的塞拉斯（Thracian）妇女撕裂的事件，他把这个死亡与阿伽门农的死亡联结在一起。

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.

选自《我们当时相爱而实在无知：英国诗选》，世纪文景 | 上海人民出版社，2021.8

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|译者简介：卞之琳（1910—2000），江苏海门人，著名诗人、翻译家。1933年毕业于北京大学英语系。1940年后在昆明西南联大任教。抗战胜利后任教南开大学。1947年应英国文化委员会的邀请以旅居研究员待遇作客牛津一年。1949年任北京大学西语系教授，主讲英诗初步。1952年任北京大学文学研究所（后分出外国文学研究所，改隶中国社会科学院）研究员，研究项目为莎士比亚。重要的著作有诗集《鱼目集》、《雕虫纪历1930—1958》，评论集《人与诗：忆旧说新》，小说《山山水水（小说片断）》，译作有《莎士比亚悲剧四种》、《西窗集》、《英国诗选》等。

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

策划：杜绿绿丨排版 ：阿飞

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T. S. 艾略特的艺术丨一切都将变好 火焰与玫瑰合二为一

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