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[转载]莎士比亚和《雅典的泰门》

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 莎士比亚和《雅典的泰门》 

    他不属于一个时代,而属于所有的世纪。 

                      ——本.琼孙

     在世界文学史上曾一度产生过深远影响的作家当中,莎士比亚是最具代表性的一个。他作为欧洲文艺复兴时期的艺术核心曾影响着几个世纪的世界文学理想。时至今日,沙翁仍然以它独特的艺术成就影响着人性的归宿和人类的命运。 

    威廉.莎士比亚(1564—1616).英国剧作家。早年曾在文法学校念书。学过拉丁文、文学、和修辞学。年轻时曾经商,并在伦敦剧院打过工、当过演员、编剧。直到后来才在文学界露出水面。然而他日后的职业以及大部分的财富却并非在文艺领域的成就,而是经营了伦敦当时有名的寰球剧院。如今,有很多人在追寻这位伟大的艺术家生前的真实容貌,然而关于他本人的真实画像在国际上却一度成为一个解不开的谜。而今天所呈现在世人面前的这幅官方画像为《尚多斯.莎士比亚》。图中浓密的胡须,璀璨发光的金耳环和放荡不羁的眼神极富魅力的透射出一个艺术家特有的气质。 

    在二十一世纪,提起这位旷世奇才,恐怕争议更多的是关于他的艺术作品的讨论。而最具代表性的要属他的四大悲剧《哈姆雷特》、《奥赛罗》、《李尔王》、《麦克白》。他的戏剧《罗密欧与朱丽叶》曾屡次以不同版本被搬上银幕歌颂。而事实上,在这些宏大的思想场面支撑之下的大手笔之外,还有一部很少被人们所熟知的题材剧本,即《雅典的泰门》。它同样是一部人文主义与现实主义相结合的绝世佳作。故事讲述的是一个雅典贵族即泰门一生的兴衰与荣辱。一个一开始因为对雅典城内上至公庭贵族下至乞讨者宾客的慷慨帮助,而最后因为救济天下财力散尽遭受整个国家子民抛弃的人的悲惨命运。莎士比亚是世界上词汇量使用最多的剧作家,他一生使用了两万多词汇,而莎翁正是凭借着对语言卓越的驾驭能力将这个雅典的宠儿刻画得极富艺术感染力与人文魅力。在小说中,主人公泰门仿佛只是为雅典而生,而他的所有财富也只是用来无私的充当一个国家的共同食粮。他救助过的人形形色色,有画师、贵族、商人、诗人、舞女以及各阶层宾客。只要听说泰门的名字,便会有不远万里前来接受馈赠的人,而这些人,却因为泰门最终福利天下财富散尽之后,个个对它摆出了人性中最势利最丑恶的一面。慷慨无私的泰门最终因为世态炎凉与贫穷而在一个孤寂的傍晚含愤葬身于海边的一个丛林。小说以癫狂的怪僻哲学家埃怕曼特斯和正义的埃西巴第斯将军为线索道出了人性之中的谄媚和丑恶,将腐朽的金钱观和扭曲的价值观进行了疯狂的鞭笞,同时对人类的真善美无形之中极力的烘托和赞扬。在小说的末尾,思想崩溃的泰门对世界的阴暗面进行了无情的诅咒∶ 

    “混蛋、混蛋、混蛋!我讨厌这个虚伪的世界和这个世界上所有的一切。所以,泰门,赶快预备你的坟墓吧。安息在海水的泡沫可以每天打击你的墓碣的地方;刻下你的墓志铭,让你的一死讥刺这世人的偷生苟活.(视金)啊!你可爱的凶手,帝王逃不过你的掌握,亲生父子会被你离间!你灿烂的奸夫,淫污了纯洁的婚床! 你勇敢的战神!你永远年轻的韶秀,永远被人爱恋的娇美的情郎.你的羞颜可以融化蒂安娜女神膝上的冰雪!你有形的神明,你会使冰炭化为胶漆,仇敌互相亲吻!你会说任何方言,使每一个人唯命是从!你动人心坎的宝物啊!你的奴隶,那些人类,要造反了,快快运用你的法力,让他们互相砍杀,留下这个世界来给兽类统治吧。” 

    诗一般的语言控诉了一个个体对世界的评价与看法,将资产阶级赤裸裸的剥削本质批判的体无完肤,同时又是一次对现实世界与人文理想的纪奠. 

    莎士比亚的一生中,曾创作了37部戏剧,2部长诗,一百多首十四行诗.在他的整个创作时期,《罗密欧预朱丽叶》和《威尼斯商人》是他的第一阶段作品,在他的创作鼎峰时期,也就是第二阶段,诞生了著名的四大悲剧.直至晚年末期作品开始富含乌托邦色彩。他的一生背负了太多耀眼的光环,1616年4月23日在家乡英格兰沃里克郡埃文河畔辞世.至此,一个伟大的灵魂完成了他一生不朽的灿烂. 

    莎士比亚的艺术造诣在世界文学史上是一座独一无二的丰碑.他以其卓越而大胆的艺术技巧和思想宏大的意识形态为锋芒,得天独厚的创造出一个富含人性美的广阔世界空间,将人类的命运与归宿推向了一个哲学的巅峰.正如他的朋友本.琼孙所说,:他不属于一个时代,而属于所有的世纪. 

    在若干世纪之后的今天以及未来,他的魅力将永恒的记录在世界文学史上并永放光芒. 

    让我们祭奠这场文化盛宴和这颗不朽的灵魂!





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[转载]读莎士比亚《雅典的泰门》拾零(2)

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读名著,就是读经典名言的出处。

“金子!黄黄的、发光的、宝贵的金子!只这一点点儿,就可以使黑的变成白的,丑的变成美的,错的变成对的,卑贱变成尊贵,老人变成少年,懦夫变成勇士。”莎士比亚这句名言,被人们反复在比喻金钱重要性时引用。然而,对于这句名言的出处,以及所产生的环境,不一定每全人都了解清楚,如果你读了原著,就会理解得更透彻。这句话语是出自莎士比亚悲剧《雅典的泰门》第四幕。

泰门是雅典第一财主。基于平等、博爱的信仰,他乐善好施,对于来宾,不分贫穷贵贱,他都以宾客相待,受于小惠而施于厚礼。他岂知这些来客全都是来索取他钱财的谄媚贪财之徒。久而久之,他的钱财耗以怠尽,并负有大额借债。众谄媚之徒见泰门家产耗尽,大势已去,债主们便纷纷前来索债。这些债主其实都是他施发恩惠的媚徒,泰门终于认清了人性的本来面目,毅然逃出雅典城,情愿与山林中野兽为伴。一天,饥饿之中的泰门去刨树根,结果刨出一颗黄灿灿的金子,此时,他告诉神灵,自己并不是一个游手好闲的贪财之徒,他只是想得到一点树根充饥。之后,泰门联想自己的行善之举,感慨万千,便有了上述对金子作用的论述之语。原话是:

金子!黄黄的、发光的、宝贵的金子!不,天神们啊,我不是一个游手好闲的信徒;我只要你们给我一些树根!这东西,只这一点点儿,就可以使黑的变成白的,丑的变成美的,错的变成对的,卑贱变成尊贵,老人变成少年,懦夫变成勇士

般引用这句话的人,把中间祈祷告神灵的话语隐去了,并把这句名言说成莎士比亚名言。其实,莎士比亚是借助剧中主人公泰门说出的。自然可说成是莎士比亚名言了。.

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[转载]《雅典的泰门》

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原文地址:《雅典的泰门》作者:爱情乐乐


雅典的大财主泰门是一个纯朴的人。一开始,泰门抱着人性本善的信念,毫无原则地将自己的全部财产散发给所有的人。他的这种不负责任的行为助长了人们的奸恶,得了他的好处的那些贵族没有一个人将他放在眼里,所有的人全认为他是一个大傻瓜。后来泰门破产了,他去向那些贵族求告,但人人都对他关上大门,拒绝给他任何帮助。泰门怒不可遏,宴请所有的人来家中,用清水款待这些人,并痛斥他们的恶行。他的激烈的做法并没有引起人们的反省,大家反而认为他这一次是真的“疯了”。悲愤交加的泰门对人类彻底失望,躲进了森林中以洁身自好。神让他在森林里发现了金子,这个消息传到人们的耳朵里,无可救药的人们又燃起贪婪的希望,有人到森林里来找他,想骗取那些金子,结果被泰门怒斥。彻底绝望的泰门终于在森林里病倒,他将自己埋葬在预先在海边筑好的坟墓里,墓石上刻着他自己写下的难解的碑文。而与此同
时,雅典的政权由于长期的荒淫和残忍终于导致了内乱,雅典城岌岌可危,元老们这才想起后悔,跑到洞穴去请求泰门说服叛军,但被泰门拒绝。眼看雅典就要灭亡,事情却发生了意想不到的转折,原来是叛军首领在泰门精神的感召之下开始反省自己,立图要做一个高贵的人,于是主动停止了攻打雅典,致力于和平。泰门死了,他亲手撰写的自己的碑文上铭刻着对人性之恶的诅咒和深深的凄凉感,给后世警醒,促使人们学会忏悔。剧情很简单,但隐藏在剧情后面的是博大的主题

 

                                                                    作者:莎士比亚 


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[转载]跟莎士比亚学骂人:读《雅典的泰门》有感

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跟莎士比亚学骂人

——读《雅典的泰门》有感

作者:后海散人

莎士比亚是英文经典,当年上外国文学史,方位津老师讲的莎士比亚,把我迷得神魂颠倒,前些日子看了一本莎翁的《雅典的泰门》,他在里边居然有这样的话:

让我回头瞧瞧你。城啊,你包藏着如许的豺狼,快快陆沉吧,不要再替雅典做藩篱!已婚的妇人们,淫荡起来吧!子女们不要听父母的话!奴才们和傻瓜们,把那些年高德劭的元老们拉下来,你们自己坐上他们的位置吧!娇嫩的处女变成人尽可夫的娼妓,当着你们父母的眼前跟别人通奸吧!破产的人,不要偿还你们的欠款,用刀子割破你们债主的咽喉吧!仆人们,放手偷窃吧!你们庄严的主人都是借着法律的名义杀人越货的大盗。婢女们,睡到你们主人的床上去吧;你们的主妇已经做卖淫妇去了!十六岁的儿子,夺下你步履龙钟的老父手里的拐杖,把他的脑浆敲出来吧!孝亲敬神的美德、和平公义的正道、齐家睦邻的要义、教育、礼仪、百工的技巧、尊卑的品秩、风俗、习惯,一起陷于混乱吧!加害于人身的各种瘟疫,向雅典伸展你们的毒手,播散你们猖獗传染的热病!让风湿钻进我们那些元老的骨髓,使他们手脚瘫痪!让淫欲放荡占领我们那些少年人的心,使他们反抗道德,沉溺在狂乱之中!每一个雅典人身上播下了疥癣疮毒的种子,让他们一个个害起癞病!让他们的呼吸中都含着毒素,谁和他们来往做朋友都会中毒而死!除了我这赤裸裸的一身以外,我什么也不带走,你这可憎的城市!我给你的只有无穷的咒诅!泰门要到树林里去,和最凶恶的野兽做伴侣,比起无情的人类来,它们是要善良得多了。天上一切神明,听着我,把那城墙内外的雅典人一起毁灭了吧!求你们让泰门把他的仇恨扩展到全体人类,不分贵贱高低!阿门。

够狠吧!








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[转载]《雅典的泰门》谈“六道輪回”

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     诗句当为美善而歌颂,倘因贪利而赞美丑恶,就会降低风雅的声价,亵渎朴实的良心。

     有钱人的缺点也是优点。  我看见这许多人把他们的肉放在一个人的血里蘸着吃;跟他一同切着面包、喝着同心酒的那个人,也就是第一个动手杀他的人;因为恐怕人家看准我的喉咙上的要害;大人物喝酒是应当用铁甲裹住喉咙的。

     谁愿意在荣华的梦里,相信那些虚伪的友谊?

     你这位大爷也是一个大大的奸徒。魔鬼把人们造得这样奸诈,一定后悔无及;比起人心的险恶来,魔鬼也要望风却步哩。瞧这位贵人唯恐人家看不清楚他的丑恶,拼命龇牙咧嘴给人家看,这就是他的奸诈的友谊!一辈子做你们的婊子吧;你们的脸上必须满涂着脂粉,让马蹄踏上去都会拔不出来。

     愿天神保佑你达到这一个畜生的愿望。要是你做了狮子,狐狸会来欺骗你;要是你做了羔羊,狐狸会来吃了你;要是你做了狐狸,万一驴子把你告发,狮子会对你起疑心;要是你做了驴子,你的愚蠢将使你受苦,而且你也不免做豺狼的一顿早餐;要是你做了狼,你的贪馋将使你烦恼,而且常常要为着求食而冒生命的危险;要是你做了犀牛,你的骄傲和凶暴将使你受罪,让你自己被你的盛怒所克服;要是你做了熊,你要死在马蹄的践踏之下;要是你做了马,你要被豹子所攫噬;要是你做了豹,你是狮子的近亲,你身上的斑纹将使你送命。你没有安全,没有保障。你要做一头什么野兽,才可以不受别的野兽的侵害呢?你不知道你现在已经是一头什么野兽,你在变形以后将要遭到怎样的不幸。

    我可以讲几个最大的窃贼给你们听:太阳是个贼,用他的伟大的吸力偷窃海上的潮水;月亮是个无耻的贼,她的惨白的光辉是从太阳那儿偷来的;海是个贼,他的汹涌的潮汐把月亮溶化成咸的眼泪;地是个贼,他偷了万物的粪便作肥料,使自己肥沃;什么都是贼,那束缚你们鞭打你们的法律,也凭借它的野蛮的威力,实行不受约制的偷窃。不要爱你们自己,快去!各人互相偷窃……你们所偷到的东西没有一件本来不是贼賍。

    这年头儿最通行的就是空口许诺,它会叫人睁大了眼睛盼望,要是真的实行起来,那倒没有什么希罕了;只有那些老实愚蠢的人,才会把说过的话认真照办。诺言是最有礼貌、最合时尚的事,实行就像一种遗嘱,……

                             铁木唐2013年12月18日摘自莎士比亚全集


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[转载]金子—选自莎士比亚戏剧《雅典的泰门》中的独白

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     金子,你不用问他从哪里来,也不用问他来自谁的口袋。他——神圣的金子,他对每个人都具有同样巨大的魅力。她是每一个人心中的上帝,她是欲望的目标,她是奋斗的动能,她是成功的工具,她是腾飞的双翼。
     她经过千万双手的抚摸愈加彰显其彩,她经过千万双眼贪恋的注视而愈加诱人。有了它,天体运行不循其轨,花木代谢不按时令,啊!金子,她是万能的主宰。
     金子,金黄的,发光的,宝贵的金子,不,天神们啊!我不是一个游手好闲的信徒,我只要你们给我一些树根,嘿!你们这些天神,为什么要给我这些东西呢?啊!这个闪闪发光的骗子手,她会把你们祭祀的仆人从你们的身边拉走,把壮士头颅底下的枕垫抽取,这黄色的奴隶,可以使异教联盟,同宗分裂。
     金子,只要一点,就可以使黑变白,丑变美,矮变高,错变对。懦夫变勇士,卑贱变高贵。老朽变得朝气蓬勃,跛足可以丢掉拐杖,瞎子可以重见光明。
     他可以使受到诅咒的人得到幸福,使害着灰色癞病的人受人尊敬。使窃贼得到高爵显位,和元老们分庭抗争。他可以使鸡皮黄脸的寡妇重做新娘,即使她的尊容使身染毒疮的人也见了呕吐,金子可以使他散发芬芳,像三月一样娇艳。
    该死的金子,你这人尽可夫的孀妇,你惯会在乱七八糟的列国调情挑起战争,我要让她施展一下她的神通。
                                                                 献给“高富帅”和“白富美”

[转载]莎士比亚《安东尼与克娄巴特拉》汉译四

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SCENE II. The same. Another room.

第二场 同一地点,另一个房间

Enter CHARMIAN, IRAS, ALEXAS, and a Soothsayer

查米恩、伊拉斯、艾勒克萨斯及预言者上

CHARMIAN

查米恩

Lord Alexas, sweet Alexas, most any thing Alexas,

艾勒克萨斯大人,可爱的艾勒克萨斯,样样都好的艾勒克萨斯
almost most absolute Alexas, where's the soothsayer

顶呱呱的艾勒克萨斯,那个你向女王力荐的术士
that you praised so to the queen? O, that I knew

现在何处?哦,我倒想知
this husband, which, you say, must charge his horns

我这未来的丈夫,你不是说过他会在他的角上
with garlands!

挂上花环之事!

ALEXAS

艾勒克萨斯

Soothsayer!

术士!

Soothsayer

预言者

Your will?

有何指示?

CHARMIAN

查米恩

Is this the man? Is't you, sir, that know things?

这就是那位术士?先生,你果真能未卜先知?

Soothsayer

预言者

In nature's infinite book of secrecy

造化那高深莫测的秘笈
A little I can read.

略有一二我能参透

ALEXAS

艾勒克萨斯

Show him your hand.

给他看看你的手。

Enter DOMITIUS ENOBARBUS

多米提乌斯艾诺巴勃斯

DOMITIUS ENOBARBUS

多米提乌斯艾诺巴勃斯

Bring in the banquet quickly; wine enough

赶紧上酒上菜,赶紧
Cleopatra's health to drink.

要上足祝克娄巴特拉健康的酒品。

CHARMIAN

查米恩

Good sir, give me good fortune.

好先生,请给我好运

Soothsayer

预言者

I make not, but foresee.

我不能造运,但却能占

CHARMIAN

查米恩

Pray, then, foresee me one.

那就请给我占个好运,请您。

Soothsayer

预言者

You shall be yet far fairer than you are.

你以后会比现在更美丽动人。

CHARMIAN

查米恩

He means in flesh.

他是说我的皮肤会更白嫩。

IRAS

伊拉斯

No, you shall paint when you are old.

不,你老了可以涂脂抹粉。

CHARMIAN

查米恩

Wrinkles forbid!

别长皱纹!

ALEXAS

艾勒克萨斯

Vex not his prescience; be attentive.

不要打扰他占卜;注意听。

CHARMIAN

查米恩

Hush!

别出声!

Soothsayer

预言者

You shall be more beloving than beloved.

你会比爱你的人更用情深重

CHARMIAN

查米恩

I had rather heat my liver with drinking.

我倒宁愿让酒在我心里燃起烈火熊熊。

ALEXAS

艾勒克萨斯

Nay, hear him.

不,听他开宗。

CHARMIAN

查米恩

Good now, some excellent fortune! Let me be married

好吧,现在给我算些好运!让我午前和三个国王成婚,

to three kings in a forenoon, and widow them all:

再让他们一个个去见死神:
let me have a child at fifty, to whom Herod of Jewry

让我五十得子,让犹太人希律王对他俯首称臣:
may do homage: find me to marry me with Octavius

让我和奥克塔维厄斯·凯撒联姻,
Caesar, and companion me with my mistress.

比肩我的女主人。

Soothsayer

预言者

You shall outlive the lady whom you serve.

你会比你侍奉的女主人活得久

CHARMIAN

查米恩

O excellent! I love long life better than figs.

噢,太好了!比起锦衣我更爱长寿。

Soothsayer

预言者

You have seen and proved a fairer former fortune

你后半生里
Than that which is to approach.

没有前半生那么好的运气。

CHARMIAN

查米恩

Then belike my children shall have no names:

这么说我的孩子们会没出息:
prithee, how many boys and wenches must I have?

请问我膝下儿女有几?

Soothsayer

预言者

If every of your wishes had a womb.

若你事事遂心
And fertile every wish, a million.

便会生下万马千军。

CHARMIAN

查米恩

Out, fool! I forgive thee for a witch.

呸,傻子!我恕你妖言蛊惑人心。


 青春就应该这样绽放  游戏测试:三国时期谁是你最好的兄弟!!  你不得不信的星座秘密

秦大川汉译:Emily Dickinson(艾米丽·迪金森) -- How Slow


秦大川英译:曹植《远游篇》

[转载]锦里,西蜀第一街

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原文地址:锦里,西蜀第一街作者:无暇客


    锦里即锦官城,曾是西蜀历史上最古老、最具有商业气息的街道之一,早在秦汉、三国时期便闻名全国。现在的锦里由成都武侯祠博物馆恢复修建,作为武侯祠的一部分,是以明末清初川西民居作外衣,三国文化与成都民俗作内涵,集旅游购物、休闲娱乐为一体的一条休闲街道。现为成都市著名步行商业街,号称“西蜀第一街”,被誉为“成都版清明上河图”。来成都还是要看一下锦里。

 



































 青春就应该这样绽放  游戏测试:三国时期谁是你最好的兄弟!!  你不得不信的星座秘密

莎剧译选和比读:O, that his fault should make&n ...

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CLEOPATRA 
O, that his fault should make a knave of thee,
That art not what thou'rt sure of! Get thee hence:
The merchandise which thou hast brought from Rome
Are all too dear for me: lie they upon thy hand, 130
And be undone by 'em!

(选自《安东尼与克莉奥佩特拉》第二幕第五场)


梁实秋  译:


唉,是他的错误使你变成一个罪人,而你这个人并不等于是你所确知的坏消息。你去吧;你从罗马带了的货物对于我是价钱太贵了;存在你的手上,你自己受用吧!

 

朱生豪  译:

克莉奥佩特拉
啊,他的过失现在都要叫你承担,虽然你所肯定的,又与你无关!滚出去;你从罗马带来的货色*我接受不了;让它堆在你身上,把你压死!


 青春就应该这样绽放  游戏测试:三国时期谁是你最好的兄弟!!  你不得不信的星座秘密

[转载]古典诗文鉴赏:曹植《洛神赋》翻译赏析

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洛神赋

曹植

 黄初三年,余朝京师,还济洛川。古人有言,斯水之神,名曰宓妃。感宋玉对楚王神女之事,遂作斯赋,其词曰:

 

 余从京域,言归东藩,背伊阙,越轘辕,经通谷,陵景山。日既西倾,车殆马烦。尔乃税驾乎蘅皋,秣驷乎芝田,容与乎阳林,流眄乎洛川。于是精移神骇,忽焉思散。俯则未察,仰以殊观。睹一丽人,于岩之畔。乃援御者而告之曰:“尔有觌于彼者乎?彼何人斯,若此之艳也!”御者对曰:“臣闻河洛之神,名曰宓妃。然则君王所见,无乃是乎?其状若何,臣愿闻之。”

 

 余告之曰:其形也,翩若惊鸿,婉若游龙,荣曜秋菊,华茂春松。髣髴兮若轻云之蔽月,飘飖兮若流风之回雪。远而望之,皎若太阳升朝霞。迫而察之,灼若芙蕖出渌波。秾纤得衷,修短合度。肩若削成,腰如约素。延颈秀项,皓质呈露,芳泽无加,铅华弗御。云髻峨峨,修眉联娟,丹唇外朗,皓齿内鲜。明眸善睐,靥辅承权,瓌姿艳逸,仪静体闲。柔情绰态,媚于语言。奇服旷世,骨象应图。披罗衣之璀粲兮,珥瑶碧之华琚。戴金翠之首饰,缀明珠以耀躯。践远游之文履,曳雾绡之轻裾。微幽兰之芳蔼兮,步踟蹰于山隅。于是忽焉纵体,以遨以嬉。左倚采旄,右荫桂旗。攘皓腕于神浒兮,采湍濑之玄芝。

 

 余情悦其淑美兮,心振荡而不怡。无良媒以接欢兮,托微波而通辞。愿诚素之先达兮,解玉佩以要之。嗟佳人之信修,羌习礼而明诗。抗琼珶以和予兮,指潜渊而为期。执眷眷之款实兮,惧斯灵之我欺。感交甫之弃言兮,怅犹豫而狐疑。收和颜而静志兮,申礼防以自持。

 

 于是洛灵感焉,徙倚彷徨。神光离合,乍阴乍阳。竦轻躯以鹤立,若将飞而未翔。践椒涂之郁烈,步蘅薄而流芳。超长吟以永慕兮,声哀厉而弥长。尔乃众灵杂遝,命俦啸侣。或戏清流,或翔神渚。或采明珠,或拾翠羽。从南湘之二妃,携汉滨之游女。叹匏瓜之无匹兮,咏牵牛之独处。扬轻袿之猗靡兮,翳修袖以延伫。体迅飞凫,飘忽若神。凌波微步,罗袜生尘。动无常则,若危若安。进止难期,若往若还。转眄流精,光润玉颜。含辞未吐,气若幽兰。华容婀娜,令我忘餐。

 

 于是屏翳收风,川后静波。冯夷鸣鼓,女娲清歌。腾文鱼以警乘,鸣玉鸾以偕逝。六龙俨其齐首,载云车之容裔。鲸鲵踊而夹毂,水禽翔而为卫。于是越北沚,过南冈,纡素领,回清阳,动朱唇以徐言,陈交接之大纲。恨人神之道殊兮,怨盛年之莫当。抗罗袂以掩涕兮,泪流襟之浪浪。悼良会之永绝兮,哀一逝而异乡。无微情以效爱兮,献江南之明珰。虽潜处于太阴,长寄心于君王。忽不悟其所舍,怅神宵而蔽光。

 

 于是背下陵高,足往神留。遗情想像,顾望怀愁。冀灵体之复形,御轻舟而上溯。浮长川而忘返,思绵绵而增慕。夜耿耿而不寐,沾繁霜而至曙。命仆夫而就驾,吾将归乎东路。揽騑辔以抗策,怅盘桓而不能去。

  

【译文】

 

 黄初三年,我来到京都朝觐,归渡洛水。古人曾说此水之神名叫宓妃。因有感于宋玉对楚王所说的神女之事,于是作了这篇赋。赋文云:

 

 我从京都洛阳出发,向东回归封地鄄城,背着伊阙,越过轘辕,途经通谷,登上景山。这时日已西下,车困马乏。于是就在长满杜蘅草的岸边卸了车,在生着芝草的地里喂马。自己则漫步于阳林,纵目眺望水波浩渺的洛川。于是不觉精神恍惚,思绪飘散。低头时还没有看见什么,一抬头,却发现了异常的景象,只见一个绝妙佳人,立于山岩之旁。我不禁拉着身边的车夫对他说:“你看见那个人了吗?那是什么人,竟如此艳丽!”车夫回答说:“臣听说河洛之神的名字叫宓妃,然而现在君王所看见的,莫非就是她!她的形状怎样,臣倒很想听听。”

 

 我告诉他说:她的形影,翩然若惊飞的鸿雁,婉约若游动的蛟龙。容光焕发如秋日下的菊花,体态丰茂如春风中的青松。她时隐时现像轻云笼月,浮动飘忽似回风旋雪。远而望之,明洁如朝霞中升起的旭日;近而视之,鲜丽如绿波间绽开的新荷。她体态适中,高矮合度,肩窄如削,腰细如束,秀美的颈项露出白皙的皮肤。既不施脂,也不敷粉,发髻高耸如云,长眉弯曲细长,红唇鲜润,牙齿洁白,一双善于顾盼的闪亮的眼睛,两个面颧下甜甜的酒窝。她姿态优雅妩媚,举止温文娴静,情态柔美和顺,语辞得体可人。洛神服饰奇艳绝世,风骨体貌与图上画的一样。她身披明丽的罗衣,带着精美的佩玉。头戴金银翡翠首饰,缀以周身闪亮的明珠。她脚著饰有花纹的远游鞋,拖着薄雾般的裙裾,隐隐散发出幽兰的清香,在山边徘徊倘佯。忽然又飘然轻举,且行且戏,左面倚着彩旄,右面有桂旗庇荫,在河滩上伸出素手,采撷水流边的黑色芝草。

 

 我钟情于她的淑美,不觉心旌摇曳而不安。因为没有合适的媒人去说情,只能借助微波来传递话语。但愿自己真诚的心意能先于别人陈达,我解下玉佩向她发出邀请。可叹佳人实在美好,既明礼义又善言辞,她举着琼玉向我作出回答,并指着深深的水流以为期待。我怀着眷眷之诚,又恐受这位神女的欺骗。因有感于郑交甫曾遇神女背弃诺言之事,心中不觉惆怅、犹豫和迟疑,于是敛容定神,以礼义自持。

 

 这时洛神深受感动,低回徘徊,神光时离时合,忽明忽暗。她像鹤立般地耸起轻盈的躯体,如将飞而未翔;又踏着充满花椒浓香的小道,走过杜蘅草丛而使芳气流动。忽又怅然长吟以表示深沉的思慕,声音哀惋而悠长。于是众神纷至杂沓,呼朋引类,有的戏嬉于清澈的水流,有的飞翔于神异的小渚,有的在采集明珠,有的在俯拾翠鸟的羽毛。洛神身旁跟着娥皇、女英南湘二妃,她手挽汉水之神,为瓠瓜星的无偶而叹息,为牵牛星的独处而哀咏。时而扬起随风飘动的上衣,用长袖蔽光远眺,久久伫立;时而又身体轻捷如飞凫,飘忽游移无定。她在水波上行走,罗袜溅起的水沫如同尘埃。她动止没有规律,像危急又像安闲;进退难以预知,像离开又像回返。她双目流转光亮,容颜焕发泽润,话未出口,却已气香如兰。她的体貌婀娜多姿,令我看了茶饭不思。

 

 在这时风神屏翳收敛了晚风,水神川后止息了波涛,冯夷击响了神鼓,女娲发出清泠的歌声。飞腾的文鱼警卫着洛神的车乘,众神随着叮当作响的玉鸾一齐离去。六龙齐头并进,驾着云车从容前行。鲸鲵腾跃在车驾两旁,水禽绕翔护卫。车乘走过北面的沙洲,越过南面的山冈,洛神转动白洁的脖颈,回过清秀的眉目,朱唇微启,缓缓地陈诉着往来交接的纲要。只怨恨人神有别,彼此虽然都处在盛年而无法如愿以偿。说着不禁举起罗袖掩面而泣,止不住泪水涟涟沾湿了衣襟,哀念欢乐的相会就此永绝,如今一别身处两地,不曾以细微的柔情来表达爱慕之心,只能赠以明珰作为永久的纪念。自己虽然深处太阴,却时时怀念着君王。洛神说毕忽然不知去处,我为众灵一时消失隐去光彩而深感惆怅。

 

 于是我舍低登高,脚步虽移,心神却仍留在原地。余情绻缱,不时想象着相会的情景和洛神的容貌;回首顾盼,更是愁绪萦怀。满心希望洛神能再次出现,就不顾一切地驾着轻舟逆流而上。行舟于悠长的洛水以至忘了回归,思恋之情却绵绵不断,越来越强,以至整夜心绪难平无法入睡,身上沾满了浓霜直至天明。我不得已命仆夫备马就车,踏上向东回返的道路,但当手执马缰,举鞭欲策之时,却又怅然若失,徘徊依恋,无法离去。

 

【注释】

 

[1]洛神:传说古帝宓(fú)羲氏之女溺死洛水而为神,故名洛神,又名宓妃。

[2]黄初:魏文帝曹丕年号,公元220—226年。

[3]京师:京城,指魏都洛阳。

[4]济:渡。洛川:即洛水,源出陕西,东南入河南,流经洛阳。

[5]斯水:此水,指洛川。

[6]宋玉对楚王神女之事:传为宋玉所作的《高唐赋》和《神女赋》,都记载宋玉与楚襄王对答梦遇巫山神女事。

[7]京域:京都地区,指洛阳。

[8]言:语助词。东藩:东方藩国,指曹植的封地。黄初三年,曹植被立为鄄(juàn)城(即今山东鄄城县)王,城在洛阳东北方向,故称东藩。

[9]伊阙:山名,又称阙塞山、龙门山,在河南洛阳南。

[10]轘(huán)辕:山名,在今河南偃师县东南。

[11]通谷:山谷名。在洛阳城南。

[12]陵:登。景山:山名,在今偃师县南。

[13]殆:通“怠”,懈怠。一说指危险。烦:疲乏。

[14]尔乃:承接连词,于是就。税驾:停车。税,舍、置。驾,车乘总称。蘅皋:生着杜蘅的河岸。蘅,杜蘅,香草名。皋,岸。

[15]秣驷:喂马。驷,一车四马,此泛指驾车之马。芝田:种着灵芝草的田地,此处指野草繁茂之地。一说为地名,指河南巩县西南的芝田镇。

[16]容与:悠然安闲貌。阳林:地名。

[17]流眄:纵目四望。眄,斜视。一作“流盼”,目光流转顾盼。

[18]精移神骇:神情恍惚。骇,散。

[19]忽焉:急速貌。思散:思绪分散,精神不集中。

[20]殊观:少见的异常现象。

[21]岩之畔:山岩边。

[22]援:以手牵引。御者:车夫。

[23]觌(dí):看见。

[24]“翩若”二句:翩然若惊飞的鸿雁,蜿蜒如游动的蛟龙。翩,鸟疾飞的样子,此处指飘忽摇曳的样子。惊鸿,惊飞的鸿雁。婉,蜿蜒曲折。这两句是写洛神的体态轻盈宛转。

[25]“荣曜(yào)”二句:容光焕发如秋日下的菊花,体态丰茂如春风中的松树。荣,丰盛。曜,日光照耀。华茂,华美茂盛。这两句是写洛神容光焕发充满生气。

[26]“仿佛”二句:时隐时现象轻云遮住月亮,浮动飘忽似回风旋舞雪花。仿佛,若隐若现的样子。飘飖,飞翔貌。回,回旋,旋转。这两句是写洛神的体态婀娜,行动飘忽。

[27]皎:洁白光亮。太阳升朝霞:太阳升起于朝霞之中。

[28]迫:靠近。灼:鲜明,鲜艳。芙蕖:一作“芙蓉”,荷花。渌(lù):水清貌。以上两句是说,不论远远凝望还是靠近观看,洛神都是姿容绝艳。

[29]秾:花木繁盛。此指人体丰腴。纤:细小。此指人体苗条。

[30]修短:长短,高矮。以上两句是说洛神的高矮肥瘦都恰到好处。

[31]“肩若”二句:肩窄如削,腰细如束。削成,形容两肩瘦削下垂的样子。约素,一束白绢。素,白细丝织品。这两句是写洛神的肩膀和腰肢线条圆美。

[32]延、秀:均指长。颈:脖子的前部。项:脖子的后部。

[33]皓:洁白。呈露:显现,外露。

[34]“芳泽”二句:既不施脂,也不敷粉。泽,润肤的油脂。铅华,粉。古代烧铅成粉,故称铅华。不御,不施。御,用。

[35]云髻:发髻如云。峨峨:高耸貌。

[36]联娟:微曲貌。

[37]“丹唇”二句:红唇鲜润,牙齿洁白。朗,明润。鲜,光洁。

[38]眸:目中瞳子。睐(lài):顾盼。

[39]靥(yè):酒窝。辅:面颊。承权:在颧骨之下。权,颧骨。

[40]瓌:同“瑰”,奇妙。艳逸:艳丽飘逸。

[41]仪:仪态。闲:娴雅。

[42]绰:绰约,美好。

[43]奇服:奇丽的服饰。旷世:举世唯有。旷,空。

[44]骨像:骨格形貌。应图:指与画中人相当。

[45]璀粲:鲜明貌。一说为衣动的声音。

[46]珥:珠玉耳饰。此用作动词,作佩戴解。瑶、碧:均为美玉。华琚:刻有花纹的佩玉。琚:佩玉名。

[47]翠:翡翠。首饰:指钗簪一类饰物。

[48]践:穿,着。远游:鞋名。文履:饰有花纹图案的鞋。

[49]曳:拖。雾绡:轻薄如雾的绡。绡,生丝。裾:裙边。

[50]微:轻微。芳蔼:香气。

[51]踟蹰:徘徊。隅:角。

[52]“于是”二句:忽然又飘然轻举,且行且戏。纵体,身体轻举貌。遨,游。

[53]采旄(máo):彩旗。采,同“彩”。旄,旗竿上旄牛尾饰物,此处指旗。

[54]桂旗:以桂木做旗竿的旗,形容旗的华美。

[55]攘:此指挽袖伸出。神浒:为神所游之水边地。浒,水边泽畔。

[56]湍濑:石上急流。玄芝:黑色芝草,相传为神草。

[57]“余情”二句:我喜欢她的淑美,又担心不被接受,不觉心旌摇曳而不安。振荡,形容心动荡不安。怡,悦。

[58]“无良媒”二句:没有合适的媒人去通接欢情,就只能借助微波来传递话语。微波,一说指目光。

[59]诚素:真诚的情意。素,同“愫”,情愫。

[60]要:同“邀”,约请。

[61]信修:确实美好。修,美好。

[62]羌:发语词。习礼:懂得礼法。明诗:善于言辞。这句意指有很好的文化教养。

[63]抗:举起。琼珶(dì):美玉。和:应答。

[64]“指潜川”句:指深水发誓,约期相会。潜川,深渊,一说指洛神所居之地。期,会。

[65]眷眷:依恋貌。款实:诚实。

[66]斯灵:此神,指宓妃。我欺:即欺我。

[67]交甫:郑交甫。《文选》李善注引《神仙传》:“切仙一出,游于江滨,逢郑交甫。交甫不知何人也,目而挑之,女遂解佩与之。交甫行数步,空怀无佩,女亦不见。”弃言:背弃承诺。

[68]狐疑:疑虑不定。因为想到郑交甫曾经被仙女遗弃,故此内心产生了疑虑。

[69]收和颜:收起和悦的容颜。静志:镇定情志。

[70]申:施展。礼防:礼法,礼能防乱,故称礼防。自持:自我约束。

[71]徙倚:留连徘徊。

[72]“神光”二句:洛神身上放出的光彩忽聚忽散,忽明忽暗。

[73]竦(sǒng):耸。鹤立:形容身躯轻盈飘举,如鹤之立。

[74]椒途:涂有椒泥的道路,一说指长满香椒的道路。椒,花椒,有浓香。

[75]蘅薄:杜蘅丛生地。流芳:散发香气。

[76]“超长吟”二句:怅然长吟以表示深沉的思慕,声音哀惋而悠长。超,惆怅。永慕,长久思慕。厉,疾。弥,久。

[77]众灵:众仙。杂沓:纷纭,多而乱的样子。

[78]命俦啸侣:招呼同伴。俦,伙伴、同类。

[79]渚:水中高地。

[80]翠羽:翠鸟的羽毛。

[81]南湘之二妃:指娥皇和女英。据刘向《列女传》载,尧以长女娥皇和次女女英嫁舜,后舜南巡,死于苍梧。二妃往寻,自投湘水而死,为湘水之神。

[82]汉滨之游女:汉水之女神,即前注中郑交甫所遇之神女。

[83]“叹匏瓜”二句:为匏瓜星的无偶而叹息,为牵牛星的独处而哀咏。匏瓜,星名,又名天鸡,在河鼓星东。无匹,无偶。牵牛,星名,又名天鼓,与织女星各处天河之旁。相传每年七月七日才得一会。

[84]袿(guī):妇女的上衣。猗(yī)靡:随风飘动貌。

[85]翳(yì):遮蔽。延伫:久立。

[86]凫:野鸭。

[87]“凌波”二句:在水波上细步行走,溅起的水沫附在罗袜上如同尘埃。凌,踏。尘,指细微四散的水沫。

[88]难期:难料。

[89]“转眄”句:转眼顾盼之间流露出奕奕神采。流精,形容目光流转而有光彩。

[90]“气若”句:形容气息香馨如兰。

[91]屏翳:传说中的众神之一,司职说法不一,或以为是云师,或以为是雷师,或以为是雨师,在此篇中被曹植视作风神。川后:传说中的河神。

[92]冯(píng)夷:传说中的水神。

[93]女娲:女神名,相传笙簧是她所造,所以这里说“女娲清歌”。

[94]“腾文鱼”二句:飞腾的文鱼警卫着洛神的车乘,众神随着叮当作响的玉鸾一齐离去。腾,升。文鱼,神话中一种能飞的鱼。警乘,警卫车乘。玉銮,鸾鸟形的玉制车铃,动则发声。偕逝,俱往。

[95]六龙:相传神出游多驾六龙。俨:庄严的样子。齐首:六龙齐头并进。

[96]云车:相传神以云为车。容裔:即“容与”,舒缓安详貌。

[97]鲸鲵(ní):即鲸鱼。水栖哺乳动物,雄者称鲸,雌者称鲵。毂(gǔ):车轮中用以贯轴的圆木,这里指车。

[98]沚:水中小块陆地。

[99]“纡素领”二句:洛神不断回首顾盼。纡,回。素领,白皙的颈项。清扬,形容女性清秀的眉目。

[100]交接:结交往来。

[101]盛年:少壮之年。莫当:无匹,无偶,即两人不能结合。

[102]“抗罗袂”二句:举起罗袖掩面而泣,止不住泪水涟涟沾湿了衣襟。抗,举。袂,衣袖。浪浪,水流不断貌。

[103]“悼良会”二句:痛惜这样美好的相会永不再有,哀叹长别从此身处两地。

[104]效爱:致爱慕之意。

[105]明珰:以明月珠作的耳珰。

[106]“虽潜”二句:虽然幽居于神仙之所,但将永远怀念着君王。潜处,深处,幽居。太阴,众神所居之处。君王,指曹植。

[107]“忽不悟”二句:洛神说毕忽然不知去处,我为众灵一时消失隐去光彩而深感惆怅。不悟,不见,未察觉。所舍,停留、止息之处。宵,通“消”,消失。蔽光,隐去光彩。

[108]背下:离开低地。陵高:登上高处。

[109]遗情:留情,情思留连。想象:指思念洛神的美好形象。

[110]灵体:指洛神。

[110]上溯:逆流而上。

[112]长川:指洛水。

[113]耿耿:心神不安的样子。

[114]“揽騑辔”二句:当手执马缰,举鞭欲策之时,却又怅然若失,徘徊依恋,无法离去。騑(fēi),车旁之马。古代驾车称辕外之马为騑或骖,此泛指驾车之马。辔,马缰绳。抗策,犹举鞭。盘桓,徘徊不进貌。

 

【赏鉴】

 

浪漫色彩

 

曹植在诗歌和辞赋创作方面有杰出成就,其赋继承两汉以来抒情小赋的传统,又吸收楚辞的浪漫主义精神,为辞赋的发展开辟了一个新的境界。《洛神赋》为曹植辞赋中杰出作品。作者以浪漫主义的手法,通过梦幻的境界,描写人神之间的真挚爱情,但终因“人神殊道”无从结合而惆怅分离。

 

周洪亮主编的《璇玑辞》选用曹植《洛神赋》中:“翩若惊鸿,婉若游龙,荣曜秋菊,华茂春松。髣髴兮若轻云之蔽月,飘飖兮若流风之回雪。”一句来赞美王羲之的书法之美。

 

段落层次

 

《洛神赋》全篇大致可分为六个段落,第一段写作者从洛阳回封地时,看到“丽人”宓妃伫立山崖,这段类话本的“入话”。第二段,写“宓妃”容仪服饰之美。第三段写“我”非常爱慕洛神,她实在太好了,既识礼仪又善言辞,虽已向她表达了真情,赠以信物,有了约会,却担心受欺骗,极言爱慕之深。第四段写洛神为“君王”之诚所感后的情状。第五段“恨人神之道殊”以下二句,是此赋的寄意之所在。第六段,写别后“我”对洛神的思念。

 

突出特点

 

特点一,想象丰富。想象到:他从京城洛阳启程,东归封地鄄城。途中,在洛川之边,停车饮马,在阳林漫步之时,看到了洛神宓妃,她的体态摇曳飘忽像惊飞的大雁,婉曲轻柔像是水中的游龙,鲜美、华丽较秋菊、茂松有过之,姣如朝霞,纯洁如芙蓉,风华绝代。随后他对她产生爱慕之情,托水波以传意,寄玉佩以定情。然她的神圣高洁使他不敢造次。洛神终被他的真情所感动,与之相见,倾之以情。但终因人神殊途,结合无望,与之惜别。想象绚烂,浪漫凄婉之情淡而不化,令人感叹,愁帐丝丝。但这想象并不离奇,是有感于宋玉的《神女赋》、《高唐赋》两篇赋而作。

 

特点二,词藻华丽而不浮躁,清新之气四逸,令人神爽。讲究排偶,对仗,音律,语言整饬、凝炼、生动、优美。取材构思汉赋中无出其右。

 

特点三,传神的描写刻画,兼之与比喻、烘托共用,错综变化巧妙得宜,给人一种浩而不烦、美而不惊之感,使人感到就如在看一幅绝妙丹青,个中人物有血有肉,而不会使人产生一种虚无之感。在对洛神的体型、五官、姿态等描写时,给人传递出洛神的沉鱼之貌、落雁之容。同时,又有“清水出芙蓉,天然去雕饰。”的清新高洁。在对洛神与之会面时的神态的描写刻画,使人感到斯人浮现于眼前,风姿绰约。而对于洛神与其分手时的描写“屏翳收风,川后静波,冯来鸣鼓,女娲清歌。”爱情之真挚、纯洁。一切都是这样的美好,以致离别后,人去心留,情思不断,洛神的倩影和相遇相知时的情景历历在目,浪漫而苦涩,心神为之不宁徘徊于洛水之间不忍离去。

 

苦闷之情

 

产生苦闷之情的原因有三:

1.人神有别,有情人不能成眷属;

2.“洛神”是他的精神寄托,但她只能存在于想象之中,现实中难以找到,失落无限;

3.以此赋托意,他不但与帝王之位无缘还屡受兄弟的逼害,无奈之余又感到悲哀和愤闷。

 

艺术价值

 

对《洛神赋》的思想、艺术成就前人都曾予以极高的评价,最明显的是常把它与屈原的《九歌》和宋玉的《神女》诸赋相提并论。其实,曹植此赋兼二者而有之,它既有《湘君》、《湘夫人》那种浓厚的抒情成分,同时又具宋玉诣赋对女性美的精妙刻画。此外,它的情节完整,手法多变和形式隽永等,又为以前的作品所不及。因此它在历史上有着非常广泛和深远的影响。晋代大书法家王献之和大画家顾恺之,都曾将《洛神赋》的神采风貌形诸楮墨,为书苑和画坛增添了不可多得的精品。到了南宋和元明时期,一些剧作家又将其搬上了舞台,汪道昆的《陈思王悲生洛水》就是其中比较著名的一出。至于历代作家以此为题材,见咏于诗词歌赋者,则更是多得难以数计。可见曹植《洛神赋》的艺术魅力,是经久不衰的。

 

寓意

 

对叔嫂之情的质疑

 

因魏明帝曹睿将《感甄赋》改名为《洛神赋》,世人多认为其写作牵涉到曹植与魏明帝曹叡之母甄氏之间的一段错综复杂的感情。

 

宋人刘克庄却说,这是好事之人乃“造甄后之事以实之”。明人王世贞又说:“令洛神见之,未免笑子建(曹植字)伧父耳。”清代又有何焯、朱乾、潘德舆、丁晏、张云等人,群起而鞭挞之。

 

把他们的论点综合起来,大概有如下几点:

 

第一,纳甄氏时曹丕18岁,甄氏23岁,而曹植仅13岁。对于一个比自己年长十岁的已婚女子曹植不太可能有过多的想法。丕与植兄弟之间因为政治的斗争,本来就很紧张,《感甄赋》若是为甄氏而写,岂不是色胆包天,不怕掉脑袋了吗?

 

第二,图谋兄妻,这是“禽兽之恶行”,“其有污其兄之妻而其兄晏然,污其兄子(指明帝)之母而兄子晏然,况身为帝王者乎?”从曹植的为人看,虽也有行为放任、不拘礼法,但绝不会做出类叔嫂私通等有违伦理的事来。

 

第三,叔嫂情的传说始自唐代李善注引《记》,此前400多年并无此说。而李善在《记》中所说的文帝曹丕向曹植展示甄后之枕,并把此枕赐给曹植,“里老所不为”,何况是帝王呢?极不合情理,显然属无稽之谈。

 

第四,《感甄赋》确有其文,但“甄”并不是甄后之“甄”,而是鄄(juàn)城之“鄄”。“鄄”与“甄”通。曹植在写这篇赋前一年,任鄄城王。题名“感甄”实际是曹植在感伤身为鄄城王的自己。

 

第五,《感甄赋》一文,是“托词宓妃以寄心文帝”,“其亦屈子之志也”,“纯是爱君恋阙之词”,就是说赋中所说的“长寄心于君王”。曹植在赋中已表明“感宋玉对楚王神女之事,遂作斯赋”,是有感于宋玉的《神女赋》、《高唐赋》两篇赋而作。可能是写给其兄魏文帝曹丕的。

 

此隐喻君臣大义说较为流行。


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秦大川英译:曹植《七步诗》(版本一)

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秦大川英译:曹植《七步诗》(版本一)

 

煮豆燃豆萁,
豆在釜中泣。
本是同根生,
相煎何太急?

 


Written While Taking Seven Paces
(One of the Two Versions)

 

By Cao Zhi
Tr. Qin Dachuan

 

Th' stalk is burned to cook soya stew,
In the boiling pot weeps the bean:
We're in origin from th' same root,
Why's the mutual-torture so keen?


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[转载]党无非是个社团组织,怎能代表国家?

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媒体人萧萧 

    国民党为什么不搞多党制?怕什么?想来想去,可能怕失去权力。为什么不搞司法独立?恐怕是怕被审判。为什么不搞宪政?怕不能以权谋私。为什么要搞党国?党无非是个社团组织,怎能代表国家?为什么不搞新闻言论自由?怕民众不再被愚弄。为什么不搞直接选举?怕利益集团的人做不了官。
                                     —1943年《新华日报》

 


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莎剧译选和比读:one man but a man

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博主按:翻译如同其他事物一样是需要批评的,我觉得在“they would have one man but a man"这一例中梁的直译“使一人仅仅是一个人”读起来不知所云。朱译较好,但在“一个真正的英雄”之后如能增译“而不是独裁”就臻于完美了。

 

POMPEY
To you all three,
The senators alone of this great world,
Chief factors for the gods, I do not know
Wherefore my father should revengers want,
Having a son and friends; since Julius Caesar,
Who at Philippi the good Brutus ghosted,
There saw you labouring for him. What was't
That moved pale Cassius to conspire; and what
Made the all-honour'd, honest Roman, Brutus,
With the arm'd rest, courtiers and beauteous freedom,
To drench the Capitol;
but that they would
Have one man but a man?
And that is it
Hath made me rig my navy; at whose burthen
The anger'd ocean foams; with which I meant
To scourge the ingratitude that despiteful Rome
Cast on my noble father.

(选自《安东尼和克利奥帕格拉》第二幕第六场)


Notes from Shakespeare Online:

15. Ghosted. Haunted.
16. For him. That is, to avenge him.
17. Cassius. One of the chief conspirators against Caesar.
19. Rest. That is, with the rest who took up arms.
19. Courtiers. That is, lured on by their love of freedom.
21. But a man. Except that they would have Caesar but an ordinary citizen, not a despot.


朱译:他们的目的不是希望有一个真正的英雄出来统治罗马吗?
梁译:除非他们决心要使一人仅仅是一个人


此句之外,他们的译文都非常好!谨敬录如下:


朱生豪 译:
庞贝

      你们三位是当今宰制天下的元老,神明意旨的主要执行者,你们还记得裘力斯•凯撒的阴魂在腓利比向善良的勃鲁托斯作祟的时候,他看见你们怎样为他出力;我的父亲也是有儿子、有朋友的,为什么他就没有人替他复仇?脸色惨白的凯歇斯为什么要阴谋作乱?那正直无私、为众人所尊敬的罗马人勃鲁托斯,和他的武装的党徒们,那一群追求着可爱的自由的人,为什么要血溅圣殿?他们的目的不是希望有一个真正的英雄出来统治罗马吗?我现在兴起水上的雄师,驾着怒海的波涛而来,也就是为了这一个目的;凭着我的盛大的军力,我要痛惩无情的罗马,报复它对我尊贵的父亲负心的罪辜。

 

梁实秋 译:

      对于你们这三位统治天下的元老,天神之主要的执行人,我要说我不晓得为什么我的父亲就该没有人给他报仇,他是有一个儿子和许多朋友的;因为自从朱利阿斯西撒在菲力比向良善的布鲁特斯显魂,他看见你们为他出力报仇。是什么动机促使那苍白脸的卡西阿斯阴谋叛变?什么使得那大家尊敬的诚实的罗马人布鲁特斯,率同其他的武装的酷爱自由的人士,减血庙堂,除非他们决心要使一人仅仅是一个人?同样的决心使我装备水师,怒海都被压得汹涌起来,我打算用这力量来惩罚可恨的罗马对我的高贵的父亲所作的忘恩负义的举动。


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[转载]有无必要设置限访问权?

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有无必要设置访问权?

    我发现有不少人的博客、QQ空间等设置了访问权,我并不反对,但他可以访问别人的,甚至转载他人博文,别人却无法访问他的。这就有点不公平了。我认为,博客,QQ空间,在一般情况下,无必要设置限制访问权;如果是个人隐私,是秘密,那就无必要上博客、进QQ空间了。既然博客、QQ是个很好而便捷的通信息、互交流的好平台,我主张信息公开。是与非,好与坏,赞与议,听听不同声音,不亦悦乎?你若有学习心得,新的发现,新的成就,有广闻博识,美好想法,积极建议,善意告诫,让人知道,给人启迪,让人增知借鉴,岂非良师益友之举?凡遵守公德、力行善举、遵纪守法的典范,应宣扬,让人效仿,岂非良民善行?喜乐与网友共享,哀怨向网友倾吐,让他们为你分忧解愁,减轻自己的苦恼,岂非乐事?至于修身齐家和治国大事,把感受和意见说出来,或许对己、对家、对人、对国有助益,岂非贡献?至于违法违德的言行,揭露出来,扬善惩恶,有利社会稳定,有利创造良好的工作和生活环境,岂非利国利民的善举,尽了匹夫之责?

      利用现代化交流平台可以广交友、互学习,相互启迪,应该要充分利用它积极的一面,为你我他,为民为国也为家,不亦善哉?——这是我个人的观点,在别人听来或许只是天真的呓语。


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杨宪益先生翻译的《离骚》让我吃惊

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      这学期的教学任务是给美国学生讲中国古代文学。讲古代文学当然要从诗经、离骚讲起。这一群美国学生不懂一句中国话,不识一个中国字,所用教材就是以前说过的由台湾出版的、斯蒂芬·欧文(Stephen Owen)翻译的《中国文学选读》(An Anthology of Chinese Literature, 简称 ACL)。马上要讲屈原部分,重头戏当然是《离骚》。如果不懂汉语,那也罢了,翻译的是啥样就是啥样,教师只要教就行了,没有人会有疑问。就像国内中文系的外国文学课,老师就是照着翻译的文章讲,同学们不会提什么问题。但是,如果那位教师又懂外语、又懂汉语,那就不一样了,他就会问:这翻译得对不对呢。如果让一位懂汉语的英语老师去国内中文系讲翻译了的莎士比亚,他一定会问:翻译得对吗?
      我本人是学英美文学的,说实在的,讲中国文学,当代的还好说;讲古代的还真有困难。对我本人来说,要很通顺的读下《离骚》来,我做不到。要将那些翻译成英语的离骚的话还原成汉语,我也做不到。我看翻译成英语的离骚还真不知道还原汉语后的意思确切是什么。这是没办法的事,因为你的母语是汉语,就会不自觉的还原成母语:汉语里到底什么意思?否则不敢跟老外讲。于是我找到了《离骚》的原文(这个容易找,网上就有)。碰巧,这个大学里有中国的图书,而且有一本杨宪益、戴乃迪先生翻译的、且是英汉对照的《楚辞选》(2004年出版),这是外文出版社出版的丛书:经典的回声。我如获至宝,不但有原文,还有英语译文,我还可以和斯蒂芬·欧文的译文对照。
      但读着、读着我就失望了。这是一本没有任何汉语和英语注解的书。对于任何一位读者,除了离骚专家,我可以断定,国内没有几个人能不用注解看懂屈原的原文离骚,也没有几个人,即使是英语专业的也不能读懂没有注解的英译本离骚!这是一本国内英语专业和汉语专业都读不懂的书!而且其英语翻译让人莫名其妙。我感叹,这是翻译红楼梦的杨先生的作品吗?我马上意识到,尽管杨先生英语出神入化,但其汉语水平毕竟有些欠缺:毕竟,离骚离我们时代太远,其语言也离我们太远;要吃透语言的意思,不是一般文人所能达到的。红楼梦虽然难译,毕竟它还是现代的语言,在文字的理解上没有离骚那么吃力。

我举几个例子。
离骚的头两行:
帝高阳之苗裔兮,朕皇考曰伯庸。(我是古帝高阳氏的子孙,我已去世的父亲字伯庸。)
杨译:A Prince am I of Ancestry renowned, Illustrious Name my royal Sire hath found.
(我是一个有名望的祖先的王子,我的皇家陛下有着杰出的名字。)
这里有几个关键的地方被忽略了。首先是“帝高阳”一文中没有体现,稍懂汉语的外国人一定会问,这个“帝高阳”哪里去了?其次,皇考的“考”,说明是“去世的”,已不在人间了。第三,伯庸,是个很关键的名字,是“我”的父亲的名字。所以看了译文,会觉得莫名其妙。
看斯蒂芬·欧文的译文:
Of the god-king Gao-yang  I am the far offspring, (我是远古的神一般的高阳帝的后代,
my late honored sire  bore the name of Bo-yong. (我已去世的父亲名字叫伯庸。)
翻译得多么贴切啊!其意思一目了然。这个“考”字译成了”late”. 就凭这一句,你可能对译文产生了信任感。是的,如果对屈原的原文不理解,是否还可以借助英语译文呢?我有时候就是这么干的。不但如此,欧文的译文后面还对高阳做了一个很有水平的注释。注释很长,讲了高阳帝的来龙去脉,让人一看就懂。杨的译文真的莫名其妙了。

第三、第四行:
摄提贞于孟陬兮,惟庚寅吾以降。(摄提那年正当孟陬啊,正当庚寅日那天我降生。)
杨译:When Sirius did in Spring its Light display, A Child was born, and Tiger marked the Day. (当天狼星在春天发出了光芒,一个孩子出生了,那天是寅日。)

这里有几个非常关键的问题,译者没有搞清楚。第一,什么是“摄提”?按照原义。摄提确实是一组星星,具体读者可以自己查阅,但决不是所谓的“天狼星”,这是译者没有看懂。其实“摄提”在这里是“摄提格”的简称,是纪年中的寅年,(屈原属虎吗?)。朱熹误以为摄提星,引出后世很多混乱。所以连斯蒂芬·欧文都受到了朱熹的影响,翻译成了摄提星座(他说:The she-ti stars were a constellation …),但总比杨译的“天狼星”好吧。第二,“孟陬”是什么意思?孟陬就是正月,也就是说,“我”出生于正月,而不是在春天。第三,“庚寅”为干支之一,顺序为第27个。前一位是己丑,后一位是辛卯。庚寅日的计算很复杂,读者可以自己查阅,并不是像译者说的”Tiger marked the day” 那么简单。

看欧文的翻译:
The she-ti stars aimed  to the year’s first month; (摄提星座运行的位置正好是正月;
geng-yin was the day that I came down. 就在庚寅那天我出生了。)

      总的来说翻译得还是不错的,在she-ti 下面有一条长长的注解,说明摄提星座到某一位置表示一年的开始,这多少还是合理的。译成天狼星真是有点不知所云了。
第十九、二十行:
惟草木之零落兮,恐美人之迟暮。(我想到草木已由盛而衰,害怕君王逐渐衰老。)
杨译:The fallen Flowers lay scattered on the Ground; The Dusk might fall before my Dream was found. (落花散落在地上,在我的梦想发(实)现之前黄昏也许就降临了。)
这一联是屈原的名句,也是他理想的写照。“美人迟暮”中的美人指的是楚王,是屈原信任的人,也是屈原寄予希望能实现自己理想的人。苏东坡的“望美人兮天一方”中的美人也是指君主,也是指自己怀才不遇,希望君王赏识的意思。“迟暮”,指逐渐衰老。根据屈原的这一句诗,派生出了美人迟暮,英雄迟暮,等成语。杨居然译成了“梦想实现前黄昏也许降临了”,真是有失水准了。是否是对“美人”一词不了解呢?
看欧文的翻译:
I thought on things growing,  on the fall of their leaves, (我想到万物生长,想到它们落叶飘零)and feared for the Fairest,  her drawing towards dark. (害怕最美的人,她逐渐走向迟暮。)
欧文的译文保持了原文的“美人迟暮”的原意。但他有一条长长的注释:“最美的人”是一个比喻,将楚王比喻成美丽的女人。因此,他后来寻求美人,当做王子来匹配她,意思就是要“美人”欣赏他的价值,并用他。
虽然直译,这注解还是将基本意思理解得很透彻了。
      篇幅所限,不能一一列出。但这样的误译的地方实在太多了。
      杨译的长处是保留了原作的一定的形式。但译作内容的准确性实在令人怀疑了。我怀疑,在理解楚辞这样难度极大的古代汉语,杨先生是否稍欠功力呢?
      我读过杨先生翻译的红楼梦,应该是上乘之作。
      杨先生是我崇敬的前辈,已经作古,我曾写文章悼念过他,对他没有任何不敬。只是学术的问题,提出来讨论而已。
也请大家发表意见。


http://blog.sina.com.cn/s/blog_612d3a720102dxq2.html

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翻译家杨苡:九十五高龄依旧童真率直

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[摘要]经历过近一个世纪的起起伏伏,在资中筠先生说人变成虫的年代,杨先生依然直立着,依然童真率真,令人不由不称奇,不由不肃然起敬。



[转载]翻译家杨苡:九十五高龄依旧童真率直

经历过近一个世纪的起起伏伏,在资中筠先生说人变成虫的年代,杨先生依然直立着,依然童真率真,令人不由不称奇,不由不肃然起敬。

一进杨苡先生家的院子,站到那棵高大的石榴树下,9月南京的闷热就一扫而空了。待见到杨先生,她眼里的清亮,更将那连日的雾霾也驱赶得一干二净。

这是我第一次见到杨先生。之前因为《雪泥集》的再版,我读过她饱含激情与深情的文字,给她打过电话,也看过她的照片。然而,初见已届九十五岁高龄的她时,我仍然吃了一惊。她虽然像许多老年人一样显得比年轻时更瘦小,但她的声音毫无老态,她的眼神更是纯澈。

十来平米的会客室里挤放着书橱、装饰橱、写字台、沙发和几把椅子,预备好的茶和点心摆满了茶几。引人注目的是随处可见的娃娃,或立或坐或卧,神情各异。见我好奇,杨先生来了兴致,说这个娃娃一按会笑,那个会打呼噜的可惜没电了,还有这几个娃娃其实是八音盒,一面说着一面一个接一个地旋上发条,叮叮咚咚的音乐此起彼伏地响起来,小小的会客室顿时变身玩具之家,再看杨先生的脸上,颇有孩童般的兴奋与得意,哪里有岁月的影子?

墙上、书橱的玻璃上满满登登地挂着各种字画和照片。除了她年轻时的单人照、家人与友人合影、为她祝寿的字画,出现得最多的是她的哥哥杨宪益。一说起这位哥哥,杨先生就变成了那个长不大的妹妹。那个作为大户人家的长子、一出生就不得不离开生母由大妈妈抚养长大的哥哥,似乎格外疼爱这个最小的妹妹。沙发上的那只猴子,据说黄裳也很喜欢,但哥哥最终还是送给了她。从英国寄来的精美画册,嫂子戴乃迭还没来得及看,哥哥看她喜欢便也要给她,妈妈看不过,提醒她别什么都问哥哥要,嫂子会吃醋。讲到这,杨先生开心地笑了。据杨先生说,她姐姐对于三兄妹有个概括,说哥哥杨宪益追求自由,很早便离家到英国去念书,一生散淡不愿受拘束;自己(杨敏如)追求平等,因为母亲不是正室,对于是否平等格外敏感,并一辈子为此抗争;妹妹杨苡追求博爱,所以一辈子得到的爱最多,爱的人也多。似乎想起了什么,杨先生停了停,嘴角有一丝笑意。

被爱包裹着的杨先生,一直是个任性率真的人,以至于靳以当年不得不提醒她“平时讲话注意些”。也许是因为同行者中有她十多年的小友,在我们面前,她依然还是那个想说什么就说什么的人。听她谈论过往的人和事,如数家珍,好恶分明,几乎没有什么模棱两可。谈起那些艰难岁月,她的语调也是平和的,愤恨不平与控诉似乎只在笔端……

一连三个下午,我们一坐就是两三个小时,听她滔滔不绝地讲。只有当她指着当年的合影微笑着说,其他人都不在了时,我才再次意识到她的高寿。经历过近一个世纪的起起伏伏,在资中筠先生说人变成虫的年代,杨先生依然直立着,依然童真率真,令人不由不称奇,不由不肃然起敬。
http://cul.qq.com/a/20141103/016802.htm

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[转载]英译陶渊明的《桃花源记》及其其他8个译文

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桃花源记

【晋陶渊明】

An Idyllic Land of Peach-Blossom Spring

Tao Yuanming from Jin Dynasty

Tr. by 许景城(Peter Cooper Xu

   晋太元中,武陵人捕鱼为业,缘溪行,忘路之远近。忽逢桃花林,夹岸数百步,中无杂树,芳草鲜美,落英缤纷;渔人甚异之。复前行,欲穷其林。

   Amid the Taiyuan era of Eastern Jin Dynasty, there was a fisherman, a native of Wuling rowed his boat along a brook, not mindful of how far he had toured when suddenly he came across a blossoming peach grove flanking the banks continuously for hundreds of footsteps. The peach grove with no other sundry trees was permeated of sweet fragrance, fresh green grass, and falling and fallen blossoms. The fisherman with appealing surprise again rowed further, with a desire to explore how far it extended.

   林尽水源,便得一山。山有小口,仿佛若有光,便舍船,从口入。初极狭,才通人;复行数十步,豁然开朗。土地平旷,屋舍俨然。有良田、美池、桑、竹之属,阡陌交通,鸡犬相闻。其中往来种作,男女衣着,悉如外人;黄发垂髫,并佁然自乐。

   When the grove faded away at the end of the brook, he found himself in front of a mountain with a small opening from which a light loomed. He thus left his boat and walked into the opening which at first was found to be so narrow that only one could pass through it. After walking forward for a few footsteps, he discovered it led to an open air where flat and wide was the land with well-arranged houses, rich fields, beautiful ponds, mulberries, bamboos and the like. He saw the paths intersecting the fields in all directions, and heard cocks crowing and dogs barking. Here, men and women passing back and forth or working in the fields dressed almost the same as people outside. The grizzled-haired and children with uncoiled hairs seemed happy and complacent.

   见渔人,乃大惊,问所从来;具答之。便要还家,设酒、杀鸡、作食。村中闻有此人,咸来问讯。自云:先世避秦时乱,率妻子邑人来此绝境,不复出焉;遂与外人间隔。问今是何世?乃不知有汉,无论魏、晋!此人一一为具言所闻,皆叹惋。余人各复延至其家,皆出酒食,停数日,辞去。此中人语云:“不足为外人道。”

   People were so astonished to see this outsider, and asked him where he came from. After the fisherman answered all the questions, he was invited to their homes where they served wine and killed chicken to offer a feast. When the news of the fisherman’ visit spread out to other villagers, they all came to greet him. Then, they told the outsider that their ancestors, fleeing from the disorder and chaos during the Qin reign, had come with their wives and children to this idyllic land, and had never gone out since, leaving themselves secluded from outsiders. When they asked what dynasty it was at present, they had no idea of there having been dynasties such as Han, Wei and Jin. The outsider related all he knew in detail, event by event and they heaved frequent sighs and sorrows. The villages by turns invited him to their houses where he was entertained with wine and food. He stayed for a few days. When he decided to leave, people of this place implored him, “It is advisable not to reveal this place to others.”

   既出,得其船,便扶向路,处处志之。及郡下,诣太守,说如此。太守即遣人随其往,寻向所志,遂迷不复得路。

   After he came out and got his boat, he retraced and marked the route where he had come. When he reached the town, he visited the prefect, and narrated the whole story to him who immediately sent his pawns to go with the fisherman to look for that place. They followed the trail markers but got lost and never found the way.

   南阳刘子骥,高尚士也,闻之,欣然规往,未果,寻病终。后遂无问津者。

   At this news, Liu Ziji from Nanyang, a gentleman, gleefully decided to seek for this place, but he ailed and died before he could fulfill his plan. From then on, no one else ever quested for that land.

 

Notes:

1.Tao Yuanming (365- 427AD), from Eastern Jin Dynasty, was a famous Chinese pastoral poet.

2.This prose was written by Tao Yuanming in the second year (421 AD) during the era of Yongchu in Eastern Jin Dynasty(永初二年).  The poet described an idyllic place like Shangri-La in pursuit of a peaceful and self-sufficient society without classes, and exploitation, which was in sharp contrast with his contemporary society.

3.The Taiyuan Era started from 376AD to 396 AD.

4.Qin period extended from 221BC to 208BC.

5.Han Dynasty reigned from 206 BC to 220AD.

6.Wei Dynasty reigned from 220AD to 265AD.

 

其他译文:

译文1

Peach-Blossom Source

Tr. by A. R. Davis

During the Taiyuan period (376--396) of Jin a man of Wuling, who made his living as a fisherman, ascended a stream, forgetful of the distance he traveled. Suddenly he came upon a grove of peach trees in blossom. They lined the banks for several hundred paces: among them were no other kinds of tree. The fragrant herbage was fresh and beautiful; fallen blossom lay in profusion. The fisherman, in extreme wonder, again went forward, wishing to go to the end of the grove.

The grove ended at the stream's source, and there he found a hill. In the hill was a small opening from which a light seemed to come. So he left his boat and went in through the opening. At first it was very narrow, barely allowing a man to pass, but as he went on for some tens of paces, it came out into the open air, upon lands level and wide with houses of a stately appearance. There fine fields and beautiful pools, clumps of mulberries and bamboos. The field dykes intersected; cocks crowed and dogs barked to each other. The clothes of the men and women who came and went, planted and worked among them were entirely like those of people outside. The white-haired and the children with their hair in tufts happily enjoyed themselves.
   When they saw the fisherman, they were greatly surprised and asked from what place he came. When he had answered all their questions, they invited him to come back to their home, where they set out wine, killed a chicken and made a meal. When the villagers heard of this man, they all came to pay their respects. They told him that their ancestors, fleeing from the troubles during the Qin period (221BC--208BC), had brought their wives and children and neighbours to this inaccessible spot and had not gone out again. Thus they became cut off from people outside. They asked what dynasty it was now: they did not know that there had been Han (206 BC--220AD), nor of courts Wei (220--265AD) or Jin. The fisherman told them all he knew, item by item, and at everything they sighed with grief. The others in turn also invited him to their homes, and all set out wine and food. He stayed for several days and then took leave of them. The people of this place said to him: "You should not speak of this to those outside."
   When he had gone out, he found his boat and followed the route by which he had come: everywhere he noted the way. When he reached the commandery, he called on the prefect and told him this story. The prefect immediately sent a man to go with him and seek out the places he had previously noted, but they went astray and could not find the way again.

Liu Ziji of Nanyang, who was a scholar of lofty ideals, heard of it and joyfully planned to go. Soon after, before he had carried out his plan, he fell ill and died. Afterwards there was no one who "sought the ford".

译文2

Peach Blossom Shangri-la     

Tao YuanMing[1]

Tr. and Proofed by Rick Davis and David Steelman

   During the Taiyuan era [2] of the Jin Dynasty [3] there was a man of Wuling [4] who made his living as a fisherman. Once while following a stream he forgot how far he had gone. He suddenly came to a grove of blossoming peach trees. It lined both banks for several hundred paces and included not a single other kind of tree. Petals of the dazzling and fragrant blossoms were falling everywhere in profusion. Thinking this place highly unusual, the fisherman advanced once again in wanting to see how far it went.

   The peach trees stopped at the stream's source, where the fisherman came to a mountain with a small opening through which it seemed he could see light. Leaving his boat, he entered the opening. At first it was so narrow that he could barely pass, but after advancing a short distance it suddenly opened up to reveal a broad, flat area with imposing houses, good fields, beautiful ponds, mulberry trees, bamboo, and the like. The fisherman saw paths extending among the fields in all directions, and could hear the sounds of chickens and dogs. Men and women working in the fields all wore clothing that looked like that of foreign lands. The elderly and children all seemed to be happy and enjoying themselves.

   The people were amazed to see the fisherman, and they asked him from where he had come. He told them in detail, then the people invited him to their home, set out wine, butchered a chicken [5], and prepared a meal. Other villagers heard about the fisherman, and they all came to ask him questions. Then the villagers told him, "To avoid the chaos of war during the Qin Dynasty [6], our ancestors brought their families and villagers to this isolated place and never left it, so we've had no contact with the outside world." They asked the fisherman what the present reign was. They were not even aware of the Han Dynasty [7], let alone the Wei [8] and Jin. The fisherman told them everything he knew in great detail, and the villagers were amazed and heaved sighs. Then other villagers also invited the fisherman to their homes, where they gave him food and drink. After several days there, the fisherman bid farewell, at which time some villagers told him, "It's not worth telling people on the outside about us." [9]

   The fisherman exited through the opening, found his boat, and retraced his route while leaving markers to find this place again. Upon his arrival at the prefecture town he went to the prefect and told him what had happened. The prefect immediately sent a person to follow the fisherman and look for the trail markers, but they got lost and never found the way.

   Liu Ziji [10] of Nanyang [11] was a person of noble character. When he heard this story he was happy and planned to visit the Shangri-la, but he died of illness before he could accomplish it. After that no one else ever looked for the place.

Translator's Notes:
[1] Chinese nature poet, c. 365-427. This prose story is one of the poet's most well-known works.
[2] 376-396.
[3] 265-420 (actually two sequential dynasties, the "Western" and the "Eastern").
[4] A place in present-day Hunan Province.
[5] "...set out wine, butchered a chicken": A stock phrase meaning to entertain a guest lavishly.
[6] 221-206 B.C.
[7] 206 B.C. to A.D. 220.
[8] A.D. 220-265.
[9] The villagers would just as soon keep their existence secret.
[10] A retired scholar of the Jin Dynasty.
[11] A place in present-day Henan Province.

This translation is based on the SiKuQuanShu text with editorial emendations and punctuation by the translators. It was done by Rick Davis (Japan) with help from David Steelman (Taiwan).

译文3

The Peach Blossom Spring

Tr. by James Robert Hightower

   During the Tai-yuan period of the China dynasty a fisherman of Wu-ling once rowed upstream, unmindful of the distance he had gone, when he suddenly came to a grove of peach trees in bloom. For several hundred paces on both banks of the stream there was no other kind of tree. The wild flowers growing under them were fresh and lovely, and fallen petals covered the ground———it made a great impression on the fisher-man. He went on for away with the idea of finding out how far the grove extended.

   It came to an end at the foot of a mountain whence issued the spring that supplied the streams. There was a small opening in the mountain and it seemed as though light was coming through it. The fisherman left his boat and entered the cave, which at first was extremely narrow, barely admitting his body, after a few dozen steps it suddenly opened out onto a broad and level plain where well-built houses were surrounded by rich fields and pretty ponds. Mulberry, bamboo and other trees and plants grew there, and criss-cross paths skirted the fields. The sounds of cocks crowing and dogs barking could be heard from one courtyard to the next. Men and women were coming and going about their work in the fields. The clothes they wore were like those of ordinary people. Old men and boys were carefree and happy.

   When they caught sight of the fisherman, they asked in surprise how he had got there. The fisherman told the whole story, and was invited to go to their house, Where he was served wine while they killed a chicken for a feast. When the other villagers heard about the fisherman’s arrival, they all came to pay him a visit. They told him that their ancestors had fled the disorders of Ch'in times and, having taken refugee here with wives and children and neighbours, had never ventured out again consequently they had lost all contact with the out-side world. They asked what the present ruling dynasty was, for they had never heard of the Han, Let alone the Wei and the Jin. They sighed unhappily as the fisherman enumerated the dynasties one by one and recounted the vicissitudes of each.

   The visitors all asked him to come to their houses in turn, and at every house he had wine and food. He stayed several days. As he was about to go away, the people said, "There’s' no need to mention our existence to outsiders.” After the fisherman had gone out and recovered his boat, he carefully marked the route. On reaching the city, he reported what he had found to the magistrate, who at once sent a man to follow him back to the place. They proceed according to the marks he had made, but went astray and were unable to find the cave again.

   A high-minded gentleman of Nan-yang named LiuTzu-chi heard the story and happily made preparations to go there, but before he could leave he fell sick and died. Since then there has been no one interested in trying to find such a place.

译文4

The Peach Colony

Tr. by Lin Yutang 林语堂

 

   During the reign of Taiyuan of Chin, there was a fisherman of Wuling. One day he was walking along a bank. After having gone a certain distance, he suddenly came upon a peach grove which extended along the bank for about a hundred yards. He noticed with surprise that the grove had a magic effect, so singularly free from the usual mingling of brushwood, while the beautifully grassy ground was covered with its rose petals. He went further to explore, and when he came to the end of the grove, he saw a spring which came from a cave in the hill, Having noticed that there seemed to be a weak light in the cave, he tied up his boat and decided to go in and explore. At first the opening was very narrow, barely wide enough for one person to go in. After a dozen steps, it opened into a flood of light. He saw before his eyes a wide, level valley, with houses and fields and farms. There were bamboos and mulberries; farmers were working and dogs and chickens were running about. The dresses of the men and women were like those of the outside world, and the old men and children appeared very happy and contented. They were greatly astonished to see the fisherman and asked him where he had come from. The fisherman told them and was invited to their homes, where wine was served and chicken was killed for dinner to entertain him. The villagers hearing of his coming all came to see him and to talk. They said that their ancestors had come here as refugees to escape from the tyranny of Tsin Shih-huang (builder of Great Wall) some six hundred years ago, and they had never left it. They were thus completely cut off from the world, and asked what was the ruling dynasty now. They had not even heard of the Han Dynasty (two centuries before to two centuries after Christ), not to speak of the Wei (third century A.D.) and the Chin (third and fourth centuries). The fisherman told them, which they heard with great amazement. Many of the other villagers then began to invite him to their homes by turn and feed him dinner and wine. After a few days, he took leave of them and left. The villagers begged him not to tell the people outside about their colony. The man found his boat and came back, marking with signs the route he had followed. He went to the magistrate's office and told the magistrate about it. The latter sent someone to go with him and find the place. They looked for the signs but got lost and could never find it again. Liu Tsechi of Nanyang was a great idealist. He heard of this story, and planned to go and find it, but was taken ill and died before he could fulfill his wish. Since then, no one has gone in search of this place.

译文5

Peach-Blossom Springs

Tr. by Roland C. Fang 方重

 

   During the reign of Emperor Shao-Wu of Eastern Tsin there was once a native of Wuling, who lived on fishing. One day he rowed up a stream, and soon forgot how far he had gone. All of a sudden he came upon a peach grove. For hundreds of paces along both banks of the stream, the peach-trees were in full bloom. No other trees were to be seen in the whole grove. The soft grass looked fresh and beautiful. Here and there falling blossoms were dancing gracefully in a thousand hues. The fisherman was beside himself with amazement. He went on further in order to reach the uppermost limits of the grove. As the peaches came to an end, the headsprings of the stream was found to issue from the side of a mountain. A narrow cave-like opening showed him some light that seemed to emerge from within. Leaving his boat he ventured in. At first it was just wide enough to admit one person. But after a few dozen paces an extensive view suddenly appeared before him. He saw the level plain stretch out far and wide, and the houses and homesteads all neatly arranged. Rich rice-fields, picturesque ponds, and mulberry and bamboo groves were everywhere. The foot-paths crossed and re-crossed one another. As the cocks crowed, the dogs barked in return. All the inhabitants busied themselves with farm work in the same manner as the people outside, so did their men and women attire themselves. The yellow-tressed old folk and the youngsters with flowing hair were all living in self-contentment. Seeing the fisherman they were so eager to find out from whence he came. He made his answers accordingly and was invited to their homes to be entertained with chicken and wine. Others in the village, on hearing of the arrival of a stranger, also flocked round to make inquiries. Of their own accord they told him of the forefathers who had, during the troublous times of the Chins, sought refuge in this place of absolute seclusion together with their families and neighbours. After having settled down here they never thought of going out again. They had been so cut off from the rest of the world that a knowledge of the times would be a revelation to them. They had not heard of the Han Dynasty, not to say the Wei and the Tsin. The fisherman informed them all about these changes, and they could not help being deeply affected. Then more of them asked him to dine by turns. It was not until several days later that he begged to take leave. He was bidden, however, to keep to himself all the things talked about among them, for, they said, such matters would not be worth imparting to the outside world. Our fisherman came out, found his boat again, and took care to leave marks all along his way home. As soon as he was back to the city he told his adventure to the magistrate, who sent men to go with him. They tried to trace the marks he had left, but failed, and lost their way thither. A good scholar of Nanyang, on learning of it, was anxious to re-discover the place. Nor did he succeed, and died soon of illness. Ever since then, few have attempted the passage again

译文6

A Tale of the Fountain of the Peach Blossom Spring

Tr. by 罗经国

   In the year of Taiyuan (2) of the Jin Dynasty, there lived a man in Wuling Prefecture (3) who earned his living by fishing. One day, he rowed his boat along a stream, unaware of how far he had gone when all of a sudden, he found himself in the midst of a wood full of peach blossoms. The wood extended several hundred footsteps along both banks of the stream. There were no trees of other kinds. The fragrant grass was fresh and beautiful and peach petals fell in riotous profusion. The fisherman was so curious that he rowed on, in hopes of discovering where the trees ended.

   At the end of the wood was the fountainhead of the stream. The fisherman beheld a hill, with a small opening from which issued a glimmer of light. He stepped ashore to explore the crevice. His first steps took him into a passage that accommodated only the width of one person. After he progressed about scores of paces, it suddenly widened into an open field. The land was flat and spacious. There were houses arranged in good order with fertile fields, beautiful ponds, bamboo groves, mulberry trees and paths crisscrossing the fields in all directions. The crowing of cocks and the barking of dogs were within hearing of each other. In the fields the villagers were busy with farm work. Men and women were dressed like people outside. They all, old and young, appeared happy.

   They were surprised at seeing the fisherman, who, being asked where he came from, answered their every question. Then they invited him to visit their homes, killed chickens, and served wine to entertain him. As the words of his arrival spread, the entire village turned out to greet him. They told him that their ancestors had come to this isolated haven, bringing their families and the village people, to escape from the turmoil during the Qin Dynasty and that from then onwards, they had been cut off from the outside world. They were curious to know what dynasty it was now. They did not know the Han Dynasty, not to mention the Wei and the Jin dynasties. The fisherman told them all the things they wanted to know. They sighed. The villagers offered him one hospitality after another. They entertained him with wine and delicious food. After several days, the fisherman took his leave. The village people entreated him not to let others know of their existence.

   Once out, the fisherman found his boat and rowed homeward, leaving marks all the way. When he came back to the prefecture, he reported his adventure to the prefect, who immediately sent people to look for the place, with the fisherman as a guide. However, the marks he had left could no longer be found. They got lost and could not find the way.

   Liu Ziji of Nanyang Prefecture (4), a learned scholar of high repute, was excited when hearing the fisherman's story. He devised a plan to find the village, but it was not carried out. Liu died soon afterwards, and after his death, no one else made any attempt to find it.

Notes:

(1)This piece of writing is regarded as one of the earliest pieces about Utopianism in Chinese Literature  

(2)Taiyuan was the title of the reign of Emperor Xiaowu of the Eastern Jin Dynasty.
(3)Wuling Prefecture is today's Changde City, Hunan Province.
(4) Nanyang is today's Nanyang City, Henan Province. 

 

译文7

The Peach Blossom Visionary Land

Tr. by孙大雨

   During the Tai-yuan years of the dynasty Jin, a fisherman from the county of Wuling strolled on the bank of a stream, forgetting the distance of his track, into a grove of blossoming peach trees all at once. For several hundred steps along the bank side, there were no other trees; the sward was freshly green and fallen petals of the peach blooms were scattered on the grass verdure. The fisherman, surprised by the sight, walked on to see where the grove would end. It ended at the source of the stream, where there was a mountain. An aperture opened on the mount, from which light seemed to be emitted.

   The man abandoned his boat and entered the opening. It was narrow at first, just enough to pass through. After several tens of steps, the way led to vast spaciousness. The land was level and expanded, houses were spread out in good order; goodly farms, fair ponds and mulberry and bamboo thickets were to be seen everywhere. The ways and cross roads were stretched out far and wide. Cocks' crew and dogs' barking were heard here and there. The men and women coming and going in their tilling and handicraft work were dressed all like people outside. The aged with hair of light beige and children with cut hair fringing their foreheads all looked gay and contented. Seeing the fisherman, people were greatly surprised, asking him whence he came from and being replied to. They then invited him to their homes, offering wine and killing chickens for entertainment. When it was generally known in the village that there was this man, more people came to see and ask questions of him. They all said that their forefathers, fleeing from turmoils during the Qin Dynasty, led their families and villagers hither to this isolated district to stay, and so being separated from the outside world. They asked what time it was then, knowing not there was any dynasty Han, to say nothing of those of Wei and Jin. The man answered them all in details, whereon they heaved sighs and exclamations. All the others also invited him severally to their homes for hospitality. After many a day, he made his departure. They told him not to publicize his sojourn there.

   When out, he sought out his boat and noted closely the way leading to the aperture of the mount. After his return to the chief town of the county, he went to the alderman and made a report of his outlandish excursion. The county official dispatched a man to follow him whereto he would lead. But he could not find the spots he had noted on his way back and so lost the whereabouts of the grove of blossoming peach trees.

   Liu Ziji of Nanyang, a scholar of high repute, hearing of the story sought to find out the place. He fell sick and died, before his attempted trial. Thereafter, no one ever ventured the visionary deed. 

译文8

The Peach Blossom Source

Tao Yuanming

Tr. by 谢百魁

   One day in the Taiyuan period of the Jin Dynasty, a native of Wuling Prefecture, being a fisherman by trade, was boating in a stream. Oblivious of the distance that he had covered, he came upon a peach grove, which lined the banks of the stream for several hundred paces. The grove was unmixed with any other trees and was carpeted with fragrant and tender grass, while the newly opened blossom was a riot of pink. The fisherman much wondered and proceeded further, hoping to reach the end of the grove, which turned out to be the head of the stream. There he was confronted with a crag, which had a small orifice looking as if it were lit by a dim light. Then he abandoned the boat and entered the opening.

   At first the cave was very narrow, only passable for one person. After a further walk of several dozen paces, a broad view burst upon his sight. He saw an even and wide tract of land, on which some houses were arranged in good order, with fertile lands, beautiful ponds, mulberry trees and bamboos all around them. The fields were crisscrossed with ridged paths. The cocks and dogs heard and echoed each other. The clothes worn by the men and women tilling the land were identical with those of the outsiders. The aged and the adolescent all enjoyed themselves in blissful ease.

   At sight of the fisherman, they were dumbfounded. Then they asked whence he came, and he answered their questions one by one. He was soon invited to their homes, treated to a dinner with wine and chicken. Hearing of the stranger, the villagers all came to see him and made him inquiries. By their own account their ancestors, in order to escape from the tumults of war during the Qin Dynasty, led their wives, children and townsmen to this secluded place, and never went out again. Thus they were isolated from the outside world. Their inquiries about the present times showed that they had no idea of the Han, let alone the Wei and Jin dynasties. The fisherman told them everything he knew, and they were all surprised and regretted their ignorance. The remaining folks also invited him to their homes, entertaining him with wine and food. The fisherman, having stayed for several days, bade them farewell. The people said to him, “There is no need to tell the outside world about us.”

   Having left the cave, the fisherman found his boat and rowed along the former route, making marks all the way. Upon his return in the prefecture he visited the prefect and gave him a detailed account. The latter immediately sent some people as his escort, tracing the marks in search of the place. But they went astray and lost their way.

   Liu Ziji of Nanyang, a high-minded recluse, having been informed of it, set out gladly for this unknown village, but to no purpose. Later he died of illness. Afterwards, no one went to search for it again.   








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[转载]莎士比亚与音乐

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原文地址:莎士比亚与音乐作者:乐其可知也

Stage Music


Stage music' is the most straightforward  of the categories.(Grove Music Online)

 Music was used to announce the arrival or entrance of kings and nobles. It was used as background for a banquet or procession, to suggest offstage action, or to suggest the passage of time.  Here are a couple of examples:

 In Act 1 scene 4 of Hamlet there is a note  A flourish of trumpets, and ordnance shot off, within.

 Trumpets and kettledrums announce the royal procession in Hamlet.

The script for Macbeth in act 1 scene 4 calls for a trumpet fanfare. In act 2 scene 3 a bell rings before Lady Macbeth enters.


Magic Music


‘Another category is ‘magic music'.  Music associated with the supernatural can assist in inducing sleep or falling in love or a miraculous healing. Here are a couple of examples.

 The fairies sing Titania to sleep in A Midsummer Nights Dream.

(You spotted snakes with double tongue)

 The sprite Ariel leads the shipwrecked Ferdinand ‘to these yellow sands' in The Tempest.

The Witches in Macbeth use charms and prophecy to lead Macbeth to murder as they about the cauldron sing.

At the end of the Play The Winters Tale Hermione is presented as a statue.  In restoring Hermione to her husband Leontes Paulina uses music.

"Music!awake her! strike!

"Tis time; descend; be stone no more; approach;

Strike all that look upon with marvel.  Come...

Bequeath to daeth your numbness; for from him

dear life redeems you. You perceive she stirs (5.3. 98-103)

 

Music , Atmosphere and Character

 

Perhaps more than any other theatrical device, music is capable of indicating to an audience a change of tone within the drama. Shakespeare realized this more than any other dramatist of his day. ‘Atmospheric music' is the most subtle of the four categories because it is concerned with such intangibles as mood, tone and emotional feeling, and because it may involve changes from suspicion to trust, from vengeance to forgiveness or from hatred to love. (Grove Music Online)

Here are a couple of examples of Shakespeares music that evoke an atmosphere or deepen a character. 


 ‘Take, O take those lips away', sung in Measure for Measure (4.i), shows Mariana's brooding on her betrayal and loneliness. (Grove Music Online)

A notable example of character music in Shakespeare occurs in Ophelia's mad scene (Hamlet, 4.v), where both her singing and her songs themselves characterize her state of mind.  (Grove Music Online)

 

Musical Instruments and Instrument Referemces

Shakespeare used references to musical instruments in character names and dialogue.  He also musical instruments in the dialogue to develop characters.   The musicians names in Romeo and Juliet are  James Soundpost, Hugh Rebeck, and Simon Catling.   The Clown Peter asks them to play 'Heartsease' a popular tune that would have been known to the audience. .  Nobles and members of the middle class knew how to play the recorder, the viol or the lute.
Here are a couple of examples of musical instruments in the plays.  
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After the play scene in Hamlet,  Hamlet asks Guildenstern if he can play the recorder.
Guildenstern: I know no touch of it, my lord.
Hamlet: It is as easy as lying.
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The unsuccessful lute lesson of  The Taming of The Shrew is another example of using an instrument as part of the dramatic action.
Hortensio  I think she'll sooner prove a soldier
  Iron may hold with her, but never lutes.
Baptista
Why, then thou canst not break her to the lute?
Hortensio
Why, no; for she hath broke the lute to me.
I did but tell her she mistook her frets,
And bow'd her hand to teach her fingering;
When, with a most impatient devilish spirit,
'Frets, call you these?' quoth she; 'I'll fume
with them:'
And, with that word, she struck me on the head,
And through the instrument my pate made way;
And there I stood amazed for a while,
As on a pillory, looking through the lute;
While she did call me rascal fiddler
And twangling Jack; with twenty such vile terms,
As had she studied to misuse me so.

Music Inspired by Shakespeare's Plays
Shakespeare's compostions have continued to inspire modern composers.  There are many many more examples than the ones listed here. (See the bibliography for additional suggestions for further exploration)

A few examples include:

Ralph Vaughn Williams (1872-1958)

Serenade to Music for 16 vocal soloists and orchestra in 1938. The text is from Shakespeare's The Merchant of Venice. He also composed 'Three Shakespeare Songs' in 1951.  The text is from The Tempest and from a Midsummer Nights Dream.  

 Benjamin Britten composed incidental music for A Midsummer Nights Dream. 1960

Amy Beach (1867-1944)

Three Shakespeare Songs based on text from The Tempest and from A Midsummer Nights Dream.

Duke Ellington

'Such Sweet Thunder' in 1957 based on text from Shakespeares plays.  Star Crossed Lovers, Madness in Great Ones (Hamlet) and Lady Mac are some of the tracks. 

Paul Moravac Tempest Fantasy won the 2004 Pulitzer Prize.

 

 

 

 

Shakespeare Quotations on Swans

 

Shakespeare wrote more about birds than any other poet in western literature.
Some of the Bard's many references to his favorite bird, the glorious swan,
are featured here.


An earl I am, and Suffolk am I call'd.
Be not offended, nature's miracle,
Thou art allotted to be ta'en by me:
So doth the swan her downy cygnets save,
Keeping them prisoner underneath her wings.
Yet, if this servile usage once offend.
Go, and be free again, as Suffolk's friend.
(1 King Henry 6, 5.3.54-60)

With this, we charged again: but, out, alas!
We bodged again; as I have seen a swan
With bootless labour swim against the tide
And spend her strength with over-matching waves.
(3 King Henry 6 1.4.19-22)

Her tongue will not obey her heart, nor can
Her heart inform her tongue,--the swan's
down-feather,
That stands upon the swell at full of tide,
And neither way inclines.
(Antony and Cleopatra 3.2.56-60)

And wheresoever we went, like Juno's swans,
Still we went coupled and inseparable
(As You Like It 1.3.73-4)

I am the cygnet to this pale faint swan,
Who chants a doleful hymn to his own death,
And from the organ-pipe of frailty sings
His soul and body to their lasting rest.
(King John 5.7.24-7)

Let music sound while he doth make his choice;
Then, if he lose, he makes a swan-like end,
Fading in music: that the comparison
May stand more proper, my eye shall be the stream
And watery death-bed for him.
(The Merchant of Venice 3.2.46-50)

What did thy song bode, lady?
Hark, canst thou hear me? I will play the swan.
And die in music.
(Othello 5.2.284-5)

But if the like the snow-white swan desire,
The stain upon his silver down will stay.
(The Rape of Lucrece)

Go thither; and, with unattainted eye,
Compare her face with some that I shall show,
And I will make thee think thy swan a crow.
(Romeo and Juliet 1.2.88-90)

For all the water in the ocean
Can never turn the swan's black legs to white,
Although she lave them hourly in the flood.
(Titus Andronicus 4.2.103-5)

Let the priest in surplice white,
That defunctive music can,
Be the death-divining swan,
Lest the requiem lack his right.
(The Phoenix and the Turtle)


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