2008-02-29 01:47:46
来自: 王敖
(职业大叔:天下兴亡,大叔有责)
The Sea and the Mirror的评论



译自《海与镜》,此诗背景详见莎士比亚的《暴风雨》。
安东尼奥 (1)
当所有的猪,都变回了人样 (2)
天空一片吉祥,而大海静谧
如同钟表,我们又可以还乡。
是啊——看上去已无可怀疑
悠闲地渡过余生,好像不难
就像故事写道,“他们从此”:
那两个脑袋,侧影倚着船帆
当然是在亲吻,美好的一体,
还有瘦子傻瓜,也有形有款
老忠仆的指甲,洗掉了污泥
王室的旅客,比起乡野村夫
毫不逊色,也许他们更有益
因为说话很实在,不像村夫
对皇家的成员们,横加指责
是的,我的兄弟,你的分组
效果好到极点:只需要几个
缺角的道具,在晴暖日子里
奏一点音乐,你就大功尽克
在甲板上散开,顺民们嬉戏
或者打瞌睡,他们各守本分
听信你的话,因为足够满意。
可我安东尼奥,却狂笑难忍
好兄弟,看你攻向你的伟大
就像儿戏!但魔杖变回原身
折断又有何用;被海水冲刷
或者烧毁,魔法书也会重现
一页都不缺:只要我愿披挂
我的锦袍,无论你如何打扮
穿的仍是法衣;只要我还在
你的圈外,那魅惑人的意愿 (3)
就仍然存在。只要我还存在
你必然会被否定,被迫复原
做伤感的导师,骄傲的老派。
在舞台中央,你将不得清闲
时间走下去,一切都已和解,
你却永远回不到童年,而且
那幽隐的绿野,将与你无缘。(4)
你这大公并非无私,兄弟,
我的意志,都属于自己:
你有爱的需要,但这跟我
无关:我是我,安东尼奥
独自一人,并自愿如此。(5)
1.安东尼奥的发言大部分用但丁式的三韵句( terza rima )写成(每节首尾两句押韵,第二句与下一节首尾两句押韵)。奥登认为,安东尼奥对应于《奥赛罗》里的伊阿古。普洛斯彼罗的魔法(即艺术)让他自愿变成恶魔,他的失败在于他无法宽恕别人对他的宽恕。
2.在《奥德赛》里,女巫喀耳刻把人变成猪。此处借用这个典故来讽刺普洛斯彼罗的魔法。
3.指魔法圈,魔法师在其中作法。约翰•德莱顿和威廉•戴文南特在他们改编的《暴风雨》的开场白中说,“但莎士比亚的魔法无法模仿,/ 除他之外,无人敢在圈中行走。”
4.来自奥登最喜欢的一句波德莱尔的诗,“那孩童之爱的绿色天堂”(《恶之花•忧伤与漫游》)
5. 戏仿《亨利六世》中葛罗斯特的话,“我没有兄弟,我跟兄弟们都不一样;被老人们奉为神圣的‘爱’这个词,人人有份,这些人是同类,但我却没有!我是独自一人。”
Antonio
As all the pigs have turned back into men
And the sky is auspicious and the sea
Calm as a clock, we can all go home again.
Yes, it undoubtedly looks as if we
Could take life as easily now as tales
Write ever-after: not only are the
Two heads silhouetted against the sails
--And kissing, of course,well-built, but the lean
Fool is quite a person, the fingernails
Of the dear old butler for once quite clean,
And the royal passengers quite as good
As rustics, perhaps better, for they mean
What they say, without, as a rustic would,
Casting reflections on the courtly crew.
Yes, Brother Prospero, your grouping could
Not be more effective: given a few
Incomplete objects and a nice warm day,
What a lot a little music can do.
Dotted about the deck they doze or play,
Your loyal subjects all, grateful enough
To know their place and believe what you say.
Antonio, sweet brother, has to laugh.
How easy you have made it to refuse
Peace to your greatness! Break your wand in half,
The fragments wifl join; burn your books or lose
Them in the sea, they will soon reappear,
Not even damaged: as long as I choose
To wear my fashion, whatever you wear
Is a magic robe; while I stand outside
Your circle, the will to charm is still there.
As I exist so you shall be denied,
Forced to remain our melancholy mentor,
The grown-up man, the adult in his pride,
Never have time to curl up at the centre
Time turns on when completely reconciled,
Never become and therefore never enter
The green occluded pasture as a child.
Your all is partial, Prospero;
My -will is all my own:
Your need to love shall never know
Me: I am I, Antonio,
By choice myself alone.
The Sea and the Mirror的评论




译自《海与镜》,此诗背景详见莎士比亚的《暴风雨》。
安东尼奥 (1)
当所有的猪,都变回了人样 (2)
天空一片吉祥,而大海静谧
如同钟表,我们又可以还乡。
是啊——看上去已无可怀疑
悠闲地渡过余生,好像不难
就像故事写道,“他们从此”:
那两个脑袋,侧影倚着船帆
当然是在亲吻,美好的一体,
还有瘦子傻瓜,也有形有款
老忠仆的指甲,洗掉了污泥
王室的旅客,比起乡野村夫
毫不逊色,也许他们更有益
因为说话很实在,不像村夫
对皇家的成员们,横加指责
是的,我的兄弟,你的分组
效果好到极点:只需要几个
缺角的道具,在晴暖日子里
奏一点音乐,你就大功尽克
在甲板上散开,顺民们嬉戏
或者打瞌睡,他们各守本分
听信你的话,因为足够满意。
可我安东尼奥,却狂笑难忍
好兄弟,看你攻向你的伟大
就像儿戏!但魔杖变回原身
折断又有何用;被海水冲刷
或者烧毁,魔法书也会重现
一页都不缺:只要我愿披挂
我的锦袍,无论你如何打扮
穿的仍是法衣;只要我还在
你的圈外,那魅惑人的意愿 (3)
就仍然存在。只要我还存在
你必然会被否定,被迫复原
做伤感的导师,骄傲的老派。
在舞台中央,你将不得清闲
时间走下去,一切都已和解,
你却永远回不到童年,而且
那幽隐的绿野,将与你无缘。(4)
你这大公并非无私,兄弟,
我的意志,都属于自己:
你有爱的需要,但这跟我
无关:我是我,安东尼奥
独自一人,并自愿如此。(5)
1.安东尼奥的发言大部分用但丁式的三韵句( terza rima )写成(每节首尾两句押韵,第二句与下一节首尾两句押韵)。奥登认为,安东尼奥对应于《奥赛罗》里的伊阿古。普洛斯彼罗的魔法(即艺术)让他自愿变成恶魔,他的失败在于他无法宽恕别人对他的宽恕。
2.在《奥德赛》里,女巫喀耳刻把人变成猪。此处借用这个典故来讽刺普洛斯彼罗的魔法。
3.指魔法圈,魔法师在其中作法。约翰•德莱顿和威廉•戴文南特在他们改编的《暴风雨》的开场白中说,“但莎士比亚的魔法无法模仿,/ 除他之外,无人敢在圈中行走。”
4.来自奥登最喜欢的一句波德莱尔的诗,“那孩童之爱的绿色天堂”(《恶之花•忧伤与漫游》)
5. 戏仿《亨利六世》中葛罗斯特的话,“我没有兄弟,我跟兄弟们都不一样;被老人们奉为神圣的‘爱’这个词,人人有份,这些人是同类,但我却没有!我是独自一人。”
Antonio
As all the pigs have turned back into men
And the sky is auspicious and the sea
Calm as a clock, we can all go home again.
Yes, it undoubtedly looks as if we
Could take life as easily now as tales
Write ever-after: not only are the
Two heads silhouetted against the sails
--And kissing, of course,well-built, but the lean
Fool is quite a person, the fingernails
Of the dear old butler for once quite clean,
And the royal passengers quite as good
As rustics, perhaps better, for they mean
What they say, without, as a rustic would,
Casting reflections on the courtly crew.
Yes, Brother Prospero, your grouping could
Not be more effective: given a few
Incomplete objects and a nice warm day,
What a lot a little music can do.
Dotted about the deck they doze or play,
Your loyal subjects all, grateful enough
To know their place and believe what you say.
Antonio, sweet brother, has to laugh.
How easy you have made it to refuse
Peace to your greatness! Break your wand in half,
The fragments wifl join; burn your books or lose
Them in the sea, they will soon reappear,
Not even damaged: as long as I choose
To wear my fashion, whatever you wear
Is a magic robe; while I stand outside
Your circle, the will to charm is still there.
As I exist so you shall be denied,
Forced to remain our melancholy mentor,
The grown-up man, the adult in his pride,
Never have time to curl up at the centre
Time turns on when completely reconciled,
Never become and therefore never enter
The green occluded pasture as a child.
Your all is partial, Prospero;
My -will is all my own:
Your need to love shall never know
Me: I am I, Antonio,
By choice myself alone.
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