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[转载]鲁迅《一件小事》两种英文本对比赏析

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鲁迅《一件小事》两种英文本对比赏析

一鸣辑录

一件小事

鲁迅

我从乡下跑到京城里,一转眼已经六年了。其间耳闻目睹的所谓国家大事,算起来也很不少;但在我心里,都不留什么痕迹。倘要我寻出这些事的影响来说,便只是增长了我的坏脾气,——老实说,便是教我一天比一天的看不起人。

有一件小事,却于我有意义,将我从坏脾气里拖开,使我至今忘记不得。

这是民国六年的冬天,大北风刮得正猛,我因为生计关系,不得不一早在路上走。一路几乎遇不见人,好容易才雇定了一辆人力车,教他拉到S门去。不一会,北风小了,路上浮尘早已刮净,剩 下一条洁白的大道来,车夫也跑得更快。刚近S门,忽而车把上带着一个人,慢慢地倒了。

跌倒的是一个女人,花白头发,衣服都很破烂。伊从马路边上突然向车前横截过来;车夫已经让开道,但伊的破棉背心没有上扣,微风吹着,向外展开,所以终于兜着车把。幸而车夫早有点停步,否则伊定要栽一个大斤斗,跌到头破血出了。

伊伏在地上;车夫便也立住脚。我料定这老女人并没有伤,又没有别人看见,便很怪他多事,要自己惹出是非,也误了我的路。

我便对他说,没有什么的。走你的罢!

车夫毫不理会,——或者并没有听到,——却放下车子,扶那老女人慢慢起来,搀着臂膊立定,问伊说:

你怎么啦?

我摔坏了。

我想,我眼见你慢慢倒地,怎么会摔坏呢,装腔作势罢了,这真可憎恶。车夫多事,也正是自讨苦吃,现在你自己想法去。

车夫听了这老女人的话,却毫不踌躇,仍然搀着伊的臂膊,便一步一步的向前走。我有些诧异,忙看前面,是一所巡警分驻所,大风之后,外面也不见人。这车夫扶着那老女人,便正是向那大门走去。

我这时突然感到一种异样的感觉,觉得他满身灰尘的后影,刹时高大了,而且愈走愈大,须仰视才见。而且他对于我,渐渐的又几乎变成一种威压,甚而至于要榨出皮袍下面藏着的来。

我的活力这时大约有些凝滞了,坐着没有动,也没有想,直到看见分驻所里走出一个巡警,才下了车。

巡警走近我说,你自己雇车罢,他不能拉你了。

我没有思索的从外套袋里抓出一大把铜元,交给巡警,说,请你给他……”

风全住了,路上还很静。我走着,一面想,几乎怕敢想到自己。以前的事姑且搁起,这一大把铜元又是什么意思?奖他么?我还能裁判车夫么?我不能回答自己。

这事到了现在,还是时时记起。我因此也时时煞了苦痛,努力的要想到我自己。几年来的文治武力,在我早如幼小时候所读过的子曰诗云"一般,背不上半句了。独有这一件小事,却总是浮在我眼前,有时反更分明,教我惭愧,催我自新,并且增长我的勇气和希望。

(摘自鲁迅《鲁迅全集》,第一卷,北京:人民文学出版社,1982。)

译文1

A SMALL INCIDENT

(From the "Call to Arms" collection)

Six years have slipped by since I came from the country to the capital. During that time the number of so-called affairs of state I have witnessed or heard about is far from small, but none of them made much impression. If asked to define their influence on me, I can only say they made my bad temper worse. Frankly speaking, they taught me to take a poorer view of people every day.

One small incident, however, which struck me as significant and jolted me out of my irritability, remains fixed even now in my memory.

It was the winter of 1917, a strong north wind was blustering, but the exigencies of earning my living forced me to be up and out early. I met scarcely a soul on the road, but eventually managed to hire a rickshaw to take me to S-Gate. Presently the wind dropped a little, having blown away the drifts of dust on the road to leave a clean broad highway, and the rickshaw man quickened his pace. We were just approaching S-Gate when we knocked into someone who slowly toppled over.

It was a grey-haired woman in ragged clothes. She had stepped out abruptly from the roadside in front of us, and although the rickshaw man had swerved, her tattered padded waistcoat, unbuttoned and billowing in the wind, had caught on the shaft. Luckily the rickshaw man had slowed down, otherwise she would certainly have had a bad fall and it might have been a serious accident.

She huddled there on the ground, and the rickshaw man stopped. As I did not believe the old woman was hurt and as no one else had seen us, I thought this halt of his uncalled for, liable to land him trouble and hold me up.

"It's all right," I said. "Go on."

He paid no attention - he may not have heard - but set down the shafts, took the old woman's arm and gently helped her up.

"Are you all right?" he asked.

"I hurt myself falling."

I thought: I saw how slowly you fell, how could you be hurt? Putting on an act like this is simply disgusting. The rickshaw man asked for trouble, and now he's got it. He'll have to find his own way out.

But the rickshaw man did not hesitate for a minute after hearing the old woman's answer. Still holding her arm, he helped her slowly forward. Rather puzzled by his I looked ahead and saw a police-station. Because of the high wind, there was no one outside. It was there that the rickshaw man was taking the old woman.

Suddenly I had the strange sensation that his dusty retreating figure had in that instant grown larger. Indeed, the further he walked the larger he loomed, until I had to look up to him. At the same time he seemed gradually to be exerting a pressure on me which threatened to overpower the small self hidden under my fur-lined gown. Almost paralysed at that juncture I sat there motionless, my mind a blank, until a policeman came out. Then I got down from the rickshaw.

The policeman came up to me and said, "Get another rickshaw. He can't take you any further."

On the spur of the moment I pulled a handful of coppers from my coat pocket and handed them to the policeman. "Please give him this," I said.

The wind had dropped completely, but the road was still quiet. As I walked along thinking, I hardly dared to think about myself. Quite apart from what had happened earlier, what had I meant by that handful of coppers? Was it a reward? Who was I to judge the rickshaw man? I could give myself no answer.

Even now, this incident keeps coming back to me. It keeps distressing me and makes me try to think about myself. The politics and the fighting of those years have slipped my mind as completely as the classics I read as a child. Yet this small incident keeps coming back to me, often more vivid than in actual life, teaching me shame, spurring me on to reform, and imbuing me with fresh courage and fresh hope.

Translated by Yang Xianyi and Gladys Yang

(选自杨宪益、戴乃迭译《鲁迅作品选集》)

译文2

 

A Small Event

Six years have gone by in the blink of an eye since I came to the capital from the countryside. During these six years I have witnessed and heard about quite a number of big events known as 'affairs of state' None of them, however, has had any impact on my heart. If anything, they have only made me increasingly gloomy. To tell the truth, they have made me more and more contemptuous of other people.

But there was one small event which had deep significance for me and which pulled me out of my gloom. I still remember it clearly today.

It was a winter day in the sixth year of the Republic (1917) and a strong northerly wind was blowing. I set off early in the morning to go to work. There was hardly anybody on the street. It was quite some time before I finally succeeded in hiring a rickshaw. I told the rickshawman to take me to the South Gate.

After a while the north wind abated, leaving in its wake a clean stretch of road free of loose dust, which enabled the rickshawman to run more quickly. Just as we approached the South Gate the right shaft of the rickshaw collided with someone, who crumpled to the ground.

The fallen person was a woman, with streaks of white in her hair and wearing ragged clothes. She had darted suddenly from the side of the street and crossed directly in front of us. The rickshawman had swerved aside, but her tattered cotton-padded vest, unbuttoned and fluttering in the wind, still got caught on he shaft. Fortunately, the rickshawman had slowed his pace, otherwise she would surely have been thrown head over heels and seriously injured.

The old woman was down on all fours; the rickshawman halted. As I was sure she was not hurt and no one else had seen the collision, I thought the rickshawman was overreacting. He was simply asking for trouble and delaying my journey.

"This is nothing," I said to him. "Just go on!"

But the rickshawman ignored my command, or perhaps he did not hear me. He put down the shafts and gently helped the old woman to her feet. Supporting her by the arm, he asked:

"Are you all right?"

"I am hurt."

I thought, "I saw you fall down slowly on the ground. How can you be hurt? You're only pretending. This whole thing is disgraceful. By being meddlesome, the rickshawman is bringing trouble upon himself. So let him get out of this mess by himself."

After hearing the woman's reply, the rickshawman did not hesitate for a moment. Still supporting her by the arm, he walked her forward step by step. A little surprised, I looked ahead. In the distance was a police station. No one stood outside, the wind having driven everyone indoors. The rickshawman was guiding the woman there.

At that moment I suddenly experienced a curious sensation. As I watched the back of his dust-covered frame, the rickshawman suddenly seemed to loom quite large in my field of vision, continuing to grow in size as he walked further away, until I had to raise my head in order to take him in. At the same time he seemed to have become a kind of pressure exuding toward me, a force that seemed to squeeze out all the "smallness" hidden under my fur-lined cloak.
For a moment I felt as though my blood had solidified. I sat immobile, stunned...

(Translated by David Moser and 陈国华,《英语学习》2002年第8期)

 


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[转载]鲁迅《狂人日记》杨宪益、戴乃迭英译本赏析—论文选题四

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鲁迅《狂人日记》杨宪益、戴乃迭英译本赏析论文选题四

 

狂人日记

鲁迅

某君昆仲,今隐其名,皆余昔日在中学时良友;分隔多年,消息渐阙。日前偶闻其一大病;适归故乡,迂道往访,则仅晤一人,言病者其弟也。 劳君远道来视,然已早愈,赴某地候补矣。因大笑,出示日记二册,谓可见当日病状,不妨献诸旧友。持归阅一过,知所患盖迫害狂之类。语颇错杂无伦次,又多荒唐之言;亦不著月日,惟墨色字体不一,知非一时所书。间亦有略具联络者,今撮录一篇,以供医家研究。记中语误,一字不易;惟人名虽皆村人,不为世间所知,无关大体,然亦悉易去。至于书名,则本人愈后所题,不复改也。七年四月二日识。

 

  今天晚上,很好的月光。

  我不见他,已是三十多年;今天见了,精神分外爽快。才知道以前的三十多年,全是发昏;然而须十分小心。不然,那赵家的狗,何以看我两眼呢?

  我怕得有理。

 

  今天全没月光,我知道不妙。早上小心出门,赵贵翁的眼色便怪:似乎怕我,似乎想害我。还有七八个人,交头接耳的议论我,张着嘴,对我笑了一笑;我便从头直冷到脚根,晓得他们布置,都已妥当了。

  我可不怕,仍旧走我的路。前面一伙小孩子,也在那里议论我;眼色也同赵贵翁一样,脸色也铁青。我想我同小孩子有什么仇,他也这样。忍不住大声说,你告诉我!他们可就跑了。

  我想:我同赵贵翁有什么仇,同路上的人又有什么仇;只有廿年以前,把古久先生的陈年流水簿子,踹了一脚,古久先生很不高兴。赵贵翁虽然不认识他,一定也听到风声,代抱不平;约定路上的人,同我作冤对。但是小孩子呢?那时候,他们还没有出世,何以今天也睁着怪眼睛,似乎怕我,似乎想害我。这真教我怕,教我纳罕而且伤心。

  我明白了。这是他们娘老子教的!

 

  晚上总是睡不着。凡事须得研究,才会明白。

  他们——也有给知县打枷过的,也有给绅士掌过嘴的,也有衙役占了他妻子的,也有老子娘被债主逼死的;他们那时候的脸色,全没有昨天这么怕,也没有这么凶。

  最奇怪的是昨天街上的那个女人,打他儿子,嘴里说道,老子呀!我要咬你几口才出气!他眼睛却看着我。我出了一惊,遮掩不住;那青面獠牙的一伙人,便都哄笑起来。陈老五赶上前,硬把我拖回家中了。

  拖我回家,家里的人都装作不认识我;他们的脸色,也全同别人一样。进了书房,便反扣上门,宛然是关了一只鸡鸭。这一件事,越教我猜不出底细。

  前几天,狼子村的佃户来告荒,对我大哥说,他们村里的一个大恶人,给大家打死了;几个人便挖出他的心肝来,用油煎炒了吃,可以壮壮胆子。我插了一句嘴,佃户和大哥便都看我几眼。今天才晓得他们的眼光,全同外面的那伙人一模一样。

  想起来,我从顶上直冷到脚跟。

  他们会吃人,就未必不会吃我。

  你看那女人咬你几口的话,和一伙青面獠牙人的笑,和前天佃户的话,明明是暗号。我看出他话中全是毒,笑中全是刀。他们的牙齿,全是白厉厉的排着,这就是吃人的家伙。

  照我自己想,虽然不是恶人,自从踹了古家的簿子,可就难说了。他们似乎别有心思,我全猜不出。况且他们一翻脸,便说人是恶人。我还记得大哥教我做论,无论怎样好人,翻他几句,他便打上几个圈;原谅坏人几句,他便说翻天妙手,与众不同。我那里猜得到他们的心思,究竟怎样;况且是要吃的时候。

  凡事总须研究,才会明白。古来时常吃人,我也还记得,可是不甚清楚。我翻开历史一查,这历史没有年代,歪歪斜斜的每叶上都写着仁义道德几个字。我横竖睡不着,仔细看了半夜,才从字缝里看出字来,满本都写着两个字是吃人

  书上写着这许多字,佃户说了这许多话,却都笑吟吟的睁着怪眼看我。

  我也是人,他们想要吃我了!

 

  早上,我静坐了一会儿。陈老五送进饭来,一碗菜,一碗蒸鱼;这鱼的眼睛,白而且硬,张着嘴,同那一伙想吃人的人一样。吃了几筷,滑溜溜的不知是鱼是人,便把他兜肚连肠的吐出。

  我说老五,对大哥说,我闷得慌,想到园里走走。老五不答应,走了;停一会,可就来开了门。

  我也不动,研究他们如何摆布我;知道他们一定不肯放松。果然!我大哥引了一个老头子,慢慢走来;他满眼凶光,怕我看出,只是低头向着地,从眼镜横边暗暗看我。大哥说,今天你仿佛很好。我说是的。大哥说,今天请何先生来,给你诊一诊。我说可以!其实我岂不知道这老头子是刽子手扮的!无非借了看脉这名目,揣一揣肥瘠:因这功劳,也分一片肉吃。我也不怕;虽然不吃人,胆子却比他们还壮。伸出两个拳头,看他如何下手。老头子坐着,闭了眼睛,摸了好一会,呆了好一会;便张开他鬼眼睛说,不要乱想。静静的养几天,就好了。

 

  不要乱想,静静的养!养肥了,他们是自然可以多吃;我有什么好处,怎么会好了?他们这群人,又想吃人,又是鬼鬼祟祟,想法子遮掩,不敢直截下手,真要令我笑死。我忍不住,便放声大笑起来,十分快活。自己晓得这笑声里面,有的是义勇和正气。老头子和大哥,都失了色,被我这勇气正气镇压住了。

  但是我有勇气,他们便越想吃我,沾光一点这勇气。老头子跨出门,走不多远,便低声对大哥说道,赶紧吃罢!大哥点点头。原来也有你!这一件大发见,虽似意外,也在意中:合伙吃我的人,便是我的哥哥!

  吃人的是我哥哥!

  我是吃人的人的兄弟!

  我自己被人吃了,可仍然是吃人的人的兄弟!

 

  这几天是退一步想:假使那老头子不是刽子手扮的,真是医生,也仍然是吃人的人。他们的祖师李时珍做的本草什么”⑷上,明明写着人肉可以煎吃;他还能说自己不吃人么?

  至于我家大哥,也毫不冤枉他。他对我讲书的时候,亲口说过可以易子而食”⑸;又一回偶然议论起一个不好的人,他便说不但该杀,还当食肉寝皮”⑹。我那时年纪还小,心跳了好半天。前天狼子村佃户来说吃心肝的事,他也毫不奇怪,不住的点头。可见心思是同从前一样狠。既然可以易子而食,便什么都易得,什么人都吃得。我从前单听他讲道理,也胡涂过去;现在晓得他讲道理的时候,不但唇边还抹着人油,而且心里满装着吃人的意思。

 

  黑漆漆的,不知是日是夜。赵家的狗又叫起来了。

  狮子似的凶心,兔子的怯弱,狐狸的狡猾,……

 

  我晓得他们的方法,直捷杀了,是不肯的,而且也不敢,怕有祸祟。所以他们大家连络,布满了罗网,逼我自戕。试看前几天街上男女的样子,和这几天我大哥的作为,便足可悟出八九分了。最好是解下腰带,挂在梁上,自己紧紧勒死;他们没有杀人的罪名,又偿了心愿,自然都欢天喜地的发出一种呜呜咽咽的笑声。否则惊吓忧愁死了,虽则略瘦,也还可以首肯几下。

  他们是只会吃死肉的!——记得什么书上说,有一种东西,叫海乙那”⑺的,眼光和样子都很难看;时常吃死肉,连极大的骨头,都细细嚼烂,咽下肚子去,想起来也教人害怕。海乙那是狼的亲眷,狼是狗的本家。前天赵家的狗,看我几眼,可见他也同谋,早已接洽。老头子眼看着地,岂能瞒得我过。

  最可怜的是我的大哥,他也是人,何以毫不害怕;而且合伙吃我呢?还是历来惯了,不以为非呢?还是丧了良心,明知故犯呢?

  我诅咒吃人的人,先从他起头;要劝转吃人的人,也先从他下手。

 

  其实这种道理,到了现在,他们也该早已懂得,……

  忽然来了一个人;年纪不过二十左右,相貌是不很看得清楚,满面笑容,对了我点头,他的笑也不像真笑。我便问他,吃人的事,对么?他仍然笑着说,不是荒年,怎么会吃人。我立刻就晓得,他也是一伙,喜欢吃人的;便自勇气百倍,偏要问他。

  对么?

  这等事问他什么。你真会……说笑话。……今天天气很好。

  天气是好,月色也很亮了。可是我要问你,对么?

  他不以为然了。含含胡胡的答道,……”

  不对?他们何以竟吃?!

  没有的事……”

  没有的事?狼子村现吃;还有书上都写着,通红斩新!

  他便变了脸,铁一般青。睁着眼说,有许有的,这是从来如此……”

  从来如此,便对么?

  我不同你讲这些道理;总之你不该说,你说便是你错!

  我直跳起来,张开眼,这人便不见了。全身出了一大片汗。他的年纪,比我大哥小得远,居然也是一伙;这一定是他娘老子先教的。还怕已经教给他儿子了;所以连小孩子,也都恶狠狠的看我。

 

  自己想吃人,又怕被别人吃了,都用着疑心极深的眼光,面面相觑。……

  去了这心思,放心做事走路吃饭睡觉,何等舒服。这只是一条门槛,一个关头。他们可是父子兄弟夫妇朋友师生仇敌和各不相识的人,都结成一伙,互相劝勉,互相牵掣,死也不肯跨过这一步。

 

  大清早,去寻我大哥;他立在堂门外看天,我便走到他背后,拦住门,格外沉静,格外和气的对他说,

  大哥,我有话告诉你。

  你说就是,他赶紧回过脸来,点点头。

  我只有几句话,可是说不出来。大哥,大约当初野蛮的人,都吃过一点人。后来因为心思不同,有的不吃人了,一味要好,便变了人,变了真的人。有的却还吃,——也同虫子一样,有的变了鱼鸟猴子,一直变到人。有的不要好,至今还是虫子。这吃人的人比不吃人的人,何等惭愧。怕比虫子的惭愧猴子,还差得很远很远。

  易牙蒸了他儿子,给桀纣吃,还是一直从前的事。谁晓得从盘古开辟天地以后,一直吃到易牙的儿子;从易牙的儿子,一直吃到徐锡林;从徐锡林,又一直吃到狼子村捉住的人。去年城里杀了犯人,还有一个生痨病的人,用馒头蘸血舐。

  他们要吃我,你一个人,原也无法可想;然而又何必去入伙。吃人的人,什么事做不出;他们会吃我,也会吃你,一伙里面,也会自吃。但只要转一步,只要立刻改了,也就是人人太平。虽然从来如此,我们今天也可以格外要好,说是不能!大哥,我相信你能说,前天佃户要减租,你说过不能。

  当初,他还只是冷笑,随后眼光便凶狠起来,一到说破他们的隐情,那就满脸都变成青色了。大门外立着一伙人,赵贵翁和他的狗,也在里面,都探头探脑的挨进来。有的是看不出面貌,似乎用布蒙着;有的是仍旧青面獠牙,抿着嘴笑。我认识他们是一伙,都是吃人的人。可是也晓得他们心思很不一样,一种是以为从来如此,应该吃的;一种是知道不该吃,可是仍然要吃,又怕别人说破他,所以听了我的话,越发气愤不过,可是抿着嘴冷笑。

  这时候,大哥也忽然显出凶相,高声喝道,

  都出去!疯子有什么好看!

  这时候,我又懂得一件他们的巧妙了。他们岂但不肯改,而且早已布置;预备下一个疯子的名目罩上我。将来吃了,不但太平无事,怕还会有人见情。佃户说的大家吃了一个恶人,正是这方法。这是他们的老谱!

  陈老五也气愤愤的直走进来。如何按得住我的口,我偏要对这伙人说,

  你们可以改了,从真心改起!要晓得将来容不得吃人的人,活在世上。

  你们要不改,自己也会吃尽。即使生得多,也会给真的人除灭了,同猎人打完狼子一样!——同虫子一样!

  那一伙人,都被陈老五赶走了。大哥也不知那里去了。陈老五劝我回屋子里去。屋里面全是黑沉沉的。横梁和椽子都在头上发抖;抖了一会,就大起来,堆在我身上。

  万分沉重,动弹不得;他的意思是要我死。我晓得他的沉重是假的,便挣扎出来,出了一身汗。可是偏要说,

  你们立刻改了,从真心改起!你们要晓得将来是容不得吃人的人,……”

十一

 

  太阳也不出,门也不开,日日是两顿饭。

  我捏起筷子,便想起我大哥;晓得妹子死掉的缘故,也全在他。那时我妹子才五岁,可爱可怜的样子,还在眼前。母亲哭个不住,他却劝母亲不要哭;大约因为自己吃了,哭起来不免有点过意不去。如果还能过意不去,……

  妹子是被大哥吃了,母亲知道没有,我可不得而知。

  母亲想也知道;不过哭的时候,却并没有说明,大约也以为应当的了。记得我四五岁时,坐在堂前乘凉,大哥说爷娘生病,做儿子的须割下一片肉来,煮熟了请他吃,才算好人;母亲也没有说不行。一片吃得,整个的自然也吃得。但是那天的哭法,现在想起来,实在还教人伤心,这真是奇极的事!

十二

 

  不能想了。

  四千年来时时吃人的地方,今天才明白,我也在其中混了多年;大哥正管着家务,妹子恰恰死了,他未必不和在饭菜里,暗暗给我们吃。

  我未必无意之中,不吃了我妹子的几片肉,现在也轮到我自己,……

  有了四千年吃人履历的我,当初虽然不知道,现在明白,难见真的人!

十三

 

  没有吃过人的孩子,或者还有?

  救救孩子……

 

                      一九一八年四月。

 

  注释

  本篇最初发表于一九一八年五月《新青年》第四卷第五号。作者首次采用了鲁迅这一笔名。它是我国现代文学史上第一篇猛烈抨击吃人的封建礼教的小说。作者除在本书(《呐喊》)《自序》中提及它产生的缘由外,又在《〈中国新文学大系〉小说二集序》中指出它意在暴露家族制度和礼教的弊害,可以参看。

  候补:清代官制,通过科举或捐纳等途径取得官衔,但还没有实际职务的中下级官员,由吏部抽签分发到某部或某省,听候委用,称为候补。

  古久先生的陈年流水簿子:这里比喻我国封建主义统治的长久历史。

  ⑷“本草什么:指《本草纲目》,明代医学家李时珍(1518—1593)的药物学著作,共五十二卷。该书曾经提到唐代陈藏器《本草拾遗》中以人肉医治痨的记载,并表示了异议。这里说李时珍的书明明写着人肉可以煎吃,当是狂人记中语误

  ⑸“易子而食:语见《左传》宣公十五年,是宋将华元对楚将子反叙说宋国都城被楚军围困时的惨状:敝邑易子而食,析骸而爨。

  ⑹“食肉寝皮:语出《左传》襄公二十一年,晋国州绰对齐庄公说:然二子者,譬于禽兽,臣食其肉而寝处其皮矣。(按:二子指齐国的殖绰和郭最,他们曾被州绰俘虏过。)

  ⑺“海乙那:英语hyena的音译,即鬣狗(又名土狼),一种食肉兽,常跟在狮虎等猛兽之后,以它们吃剩的兽类的残尸为食。

  易牙:春秋时齐国人,善于调味。据《管子小称》:夫易牙以调和事公(按:指齐桓公),公曰惟蒸婴儿之未尝,于是蒸其首子而献之公。桀、纣各为我国夏朝和商朝的最后一代君主,易牙和他们不是同时代人。这里说的易牙蒸了他儿子,给桀纣吃,也是狂人”“语颇错杂无伦次的表现。

  徐锡林:隐指徐锡麟(1873—1907),字伯荪,浙江绍兴人,清末革命团体光复会的重要成员。一九七年与秋瑾准备在浙、皖两省同时起义。七月六日,他以安徽巡警处会办兼巡警学堂监督身份为掩护,乘学堂举行毕业典礼之机刺死安徽巡抚恩铭,率领学生攻占军械局,弹尽被捕,当日惨遭杀害,心肝被恩铭的卫队挖出炒食。割股疗亲,即割取自己的股肉煎药,以医治父母的重病。这是封建社会的一种愚孝行为。《宋史选举志一》:上以孝取人,则勇者割股,怯者庐墓。

 

译文:

一鸣选自《鲁迅小说选》,杨宪益、戴乃迭译,外文出版社,2003年,114页。

 

A MADMAN'S DIARY

 

Two brothers, whose names I need not mention here, were both good friends of mine in high school; but after a separation of many years we gradually lost touch. Some time ago I happened to hear that one of them was seriously ill, and since I was going back to my old home I broke my journey to call on them, I saw only one, however, who told me that the invalid was his younger brother.

"I appreciate your coming such a long way to see us," he said, "but my brother recovered some time ago and has gone elsewhere to take up an official post." Then, laughing, he produced two volumes of his brother's diary, saying that from these the nature of his past illness could be seen, and that there was no harm in showing them to an old friend. I took the diary away, read it through, and found that he had suffered from a form of persecution complex. The writing was most confused and incoherent, and he had made many wild statements; moreover he had omitted to give any dates, so that only by the colour of the ink and the differences in the writing could one tell that it was not written at one time. Certain sections, however, were not altogether disconnected, and I have copied out a part to serve as a subject for medical research. I have not altered a single illogicality in the diary and have changed only the names, even though the people referred to are all country folk, unknown to the world and of no consequence. As for the title, it was chosen by the diarist himself after his recovery, and I did not change it.

 

I

 

Tonight the moon is very bright.

I have not seen it for over thirty years, so today when I saw it I felt in unusually high spirits. I begin to realize that during the past thirty-odd years I have been in the dark; but now I must be extremely careful. Otherwise why should that dog at the Chao house have looked at me twice?

I have reason for my fear.

 

II

 

Tonight there is no moon at all, I know that this bodes ill. This morning when I went out cautiously, Mr. Chao had a strange look in his eyes, as if he were afraid of me, as if he wanted to murder me. There were seven or eight others, who discussed me in a whisper. And they were afraid of my seeing them. All the people I passed were like that. The fiercest among them grinned at me; whereupon I shivered from head to foot, knowing that their preparations were complete.

I was not afraid, however, but continued on my way. A group of children in front were also discussing me, and the look in their eyes was just like that in Mr. Chao's while their faces too were ghastly pale. I wondered what grudge these children could have against me to make them behave like this. I could not help calling out: "Tell me!" But then they ran away.

I wonder what grudge Mr. Chao can have against me, what grudge the people on the road can have against me. I can think of nothing except that twenty years ago I trod on Mr. Ku Chiu's account sheets for many years past, and Mr. Ku was very displeased. Although Mr. Chao does not know him, he must have heard talk of this and decided to avenge him, so he is conspiring against me with the people on the road, But then what of the children? At that time they were not yet born, so why should they eye me so strangely today, as if they were afraid of me, as if they wanted to murder me? This really frightens me, it is so bewildering and upsetting.

I know. They must have learned this from their parents!

______

[Note: Ku Chiu]: Ku Chiu means "Ancient Times." Lu Hsun had in mind the long history of feudal oppression in China.

 

III

 

I can't sleep at night. Everything requires careful consideration if one is to understand it.

Those people, some of whom have been pilloried by the magistrate, slapped in the face by the local gentry, had their wives taken away by bailiffs, or their parents driven to suicide by creditors, never looked as frightened and as fierce then as they did yesterday.

The most extraordinary thing was that woman on the street yesterday who spanked her son and said, "Little devil! I'd like to bite several mouthfuls out of you to work off my feelings!" Yet all the time she looked at me. I gave a start, unable to control myself; then all those green-faced, long-toothed people began to laugh derisively. Old Chen hurried forward and dragged me home.

He dragged me home. The folk at home all pretended not to know me; they had the same look in their eyes as all the others. When I went into the study, they locked the door outside as if cooping up a chicken or a duck. This incident left me even more bewildered.

A few days ago a tenant of ours from Wolf Cub Village came to report the failure of the crops, and told my elder brother that a notorious character in their village had been beaten to death; then some people had taken out his heart and liver, fried them in oil and eaten them, as a means of increasing their courage. When I interrupted, the tenant and my brother both stared at me. Only today have I realized that they had exactly the same look in their eyes as those people outside.

Just to think of it sets me shivering from the crown of my head to the soles of my feet.

They eat human beings, so they may eat me.

I see that woman's "bite several mouthfuls out of you," the laughter of those green-faced, long-toothed people and the tenant's story the other day are obviously secret signs. I realize all the poison in their speech, all the daggers in their laughter. Their teeth are white and glistening: they are all man-eaters.

It seems to me, although I am not a bad man, ever since I trod on Mr. Ku's accounts it has been touch-and-go. They seem to have secrets which I cannot guess, and once they are angry they will call anyone a bad character. I remember when my elder brother taught me to write compositions, no matter how good a man was, if I produced arguments to the contrary he would mark that passage to show his approval; while if I excused evil-doers, he would say: "Good for you, that shows originality." How can I possibly guess their secret thoughts—especially when they are ready to eat people?

Everything requires careful consideration if one is to understand it. In ancient times, as I recollect, people often ate human beings, but I am rather hazy about it. I tried to look this up, but my history has no chronology, and scrawled all over each page are the words: "Virtue and Morality." Since I could not sleep anyway, I read intently half the night, until I began to see words between the lines, the whole book being filled with the two words—"Eat people."

All these words written in the book, all the words spoken by our tenant, gaze at me strangely with an enigmatic smile.

I too am a man, and they want to eat me!

 

IV

 

In the morning I sat quietly for some time. Old Chen brought lunch in: one bowl of vegetables, one bowl of steamed fish. The eyes of the fish were white and hard, and its mouth was open just like those people who want to eat human beings. After a few mouthfuls I could not tell whether the slippery morsels were fish or human flesh, so I brought it all up.

I said, "Old Chen, tell my brother that I feel quite suffocated, and want to have a stroll in the garden." Old Chen said nothing but went out, and presently he came back and opened the gate.

I did not move, but watched to see how they would treat me, feeling certain that they would not let me go. Sure enough! My elder brother came slowly out, leading an old man. There was a murderous gleam in his eyes, and fearing that I would see it he lowered his head, stealing glances at me from the side of his spectacles.

"You seem to be very well today," said my brother.

"Yes," said I.

"I have invited Mr. Ho here today," said my brother, "to examine you."

"All right," said I. Actually I knew quite well that this old man was the executioner in disguise! He simply used the pretext of feeling my pulse to see how fat I was; for by so doing he would receive a share of my flesh. Still I was not afraid. Although I do not eat men, my courage is greater than theirs. I held out my two fists, to see what he would do. The old man sat down, closed his eyes, fumbled for some time and remained still for some time; then he opened his shifty eyes and said, "Don't let your imagination run away with you. Rest quietly for a few days, and you will be all right."

Don't let your imagination run away with you! Rest quietly for a few days! When I have grown fat, naturally they will have more to eat; but what good will it do me, or how can it be "all right"? All these people wanting to eat human flesh and at the same time stealthily trying to keep up appearances, not daring to act promptly, really made me nearly die of laughter. I could not help roaring with laughter, I was so amused. I knew that in this laughter were courage and integrity. Both the old man and my brother turned pale, awed by my courage and integrity.

But just because I am brave they are the more eager to eat me, in order to acquire some of my courage. The old man went out of the gate, but before he had gone far he said to my brother in a low voice, "To be eaten at once!" And my brother nodded. So you are in it too! This stupendous discovery, although it came as a shock, is yet no more than I had expected: the accomplice in eating me is my elder brother!

The eater of human flesh is my elder brother!

I am the younger brother of an eater of human flesh!

I myself will be eaten by others, but none the less I am the younger brother of an eater of human flesh!

 

V

 

These few days I have been thinking again: suppose that old man were not an executioner in disguise, but a real doctor; he would be none the less an eater of human flesh. In that book on herbs, written by his predecessor Li Shih-chen, it is clearly stated that men's flesh can he boiled and eaten; so can he still say that he does not eat men?

As for my elder brother, I have also good reason to suspect him. When he was teaching me, he said with his own lips, "People exchange their sons to eat." And once in discussing a bad man, he said that not only did he deserve to be killed, he should "have his flesh eaten and his hide slept on. . . . I was still young then, and my heart beat faster for some time, he was not at all surprised by the story that our tenant from Wolf Cub Village told us the other day about eating a man's heart and liver, but kept nodding his head. He is evidently just as cruel as before. Since it is possible to "exchange sons to eat," then anything can be exchanged, anyone can be eaten. In the past I simply listened to his explanations, and let it go at that; now I know that when he explained it to me, not only was there human fat at the corner of his lips, but his whole heart was set on eating men.

 

______

[Note: Li Shih-chen] A famous pharmacologist (1518-1593), author of Ben-cao-gang-mu, the Materia Medica.

[Note: lips] These are quotations from the old classic Zuo Zhuan.

 

VI

 

Pitch dark. I don't know whether it is day or night. The Chao family dog has started barking again.

The fierceness of a lion, the timidity of a rabbit, the craftiness of a fox. . . .

 

VII

 

I know their way; they are not willing to kill anyone outright, nor do they dare, for fear of the consequences. Instead they have banded together and set traps everywhere, to force me to kill myself. The behaviour of the men and women in the street a few days ago, and my elder brother's attitude these last few days, make it quite obvious. What they like best is for a man to take off his belt, and hang himself from a beam; for then they can enjoy their heart's desire without being blamed for murder. Naturally that sets them roaring with delighted laughter. On the other hand, if a man is frightened or worried to death, although that makes him rather thin, they still nod in approval.

They only eat dead flesh! I remember reading somewhere of a hideous beast, with an ugly look in its eye, called "hyena" which often eats dead flesh. Even the largest bones it grinds into fragments and swallows: the mere thought of this is enough to terrify one. Hyenas are related to wolves, and wolves belong to the canine species. The other day the dog in the Chao house looked at me several times; obviously it is in the plot too and has become their accomplice. The old man's eyes were cast down, but that did not deceive me!

The most deplorable is my elder brother. He is also a man, so why is he not afraid, why is he plotting with others to eat me? Is it that when one is used to it he no longer thinks it a crime? Or is it that he has hardened his heart to do something he knows is wrong?

In cursing man-eaters, I shall start with my brother, and in dissuading man-eaters, I shall start with him too.

 

VIII

 

Actually, such arguments should have convinced them long ago. . . .

Suddenly someone came in. He was only about twenty years old and I did not see his features very clearly. His face was wreathed in smiles, but when he nodded to me his smile did not seem genuine. I asked him "Is it right to eat human beings?"

Still smiling, he replied, "When there is no famine how can one eat human beings?"

I realized at once, he was one of them; but still I summoned up courage to repeat my question:

"Is it right?"

"What makes you ask such a thing? You really are . . fond of a joke. . . . It is very fine today."

"It is fine, and the moon is very bright. But I want to ask you: Is it right?"

He looked disconcerted, and muttered: "No...."

"No? Then why do they still do it?"

"What are you talking about?"

"What am I talking about? They are eating men now in Wolf Cub Village, and you can see it written all over the books, in fresh red ink."

His expression changed, and he grew ghastly pale. "It may be so," he said, staring at me. "It has always been like that. . . ."

"Is it right because it has always been like that?"

"I refuse to discuss these things with you. Anyway, you shouldn't talk about it. Whoever talks about it is in the wrong!"

I leaped up and opened my eyes wide, but the man had vanished. I was soaked with perspiration. He was much younger than my elder brother, but even so he was in it. He must have been taught by his parents. And I am afraid he has already taught his son: that is why even the children look at me so fiercely.

 

IX

 

Wanting to eat men, at the same time afraid of being eaten themselves, they all look at each other with the deepest suspicion. . . .

How comfortable life would be for them if they could rid themselves of such obsessions and go to work, walk, eat and sleep at ease. They have only this one step to take. Yet fathers and sons, husbands and wives, brothers, friends, teachers and students, sworn enemies and even strangers, have all joined in this conspiracy, discouraging and preventing each other from taking this step.

 

X

 

Early this morning I went to look for my elder brother. He was standing outside the hall door looking at the sky, when I walked up behind him, stood between him and the door, and with exceptional poise and politeness said to him:

"Brother, I have something to say to you."

"Well, what is it?" he asked, quickly turning towards me and nodding.

"It is very little, but I find it difficult to say. Brother, probably all primitive people ate a little human flesh to begin with. Later, because their outlook changed, some of them stopped, and because they tried to be good they changed into men, changed into real men. But some are still eating—just like reptiles. Some have changed into fish, birds, monkeys and finally men; but some do not try to be good and remain reptiles still. When those who eat men compare themselves with those who do not, how ashamed they must be. Probably much more ashamed than the reptiles are before monkeys.

"In ancient times Yi Ya boiled his son for Chieh and Chou to eat; that is the old story. But actually since the creation of heaven and earth by Pan Ku men have been eating each other, from the time of Yi Ya's son to the time of Hsu Hsi-lin, and from the time of Hsu Hsi-lin down to the man caught in Wolf Cub Village. Last year they executed a criminal in the city, and a consumptive soaked a piece of bread in his blood and sucked it.

"They want to eat me, and of course you can do nothing about it single-handed; but why should you join them? As man-eaters they are capable of anything. If they eat me, they can eat you as well; members of the same group can still eat each other. But if you will just change your ways immediately, then everyone will have peace. Although this has been going on since time immemorial, today we could make a special effort to be good, and say this is not to be done! I'm sure you can say so, brother. The other day when the tenant wanted the rent reduced, you said it couldn't be done."

At first he only smiled cynically, then a murderous gleam came into his eyes, and when I spoke of their secret his face turned pale. Outside the gate stood a group of people, including Mr. Chao and his dog, all craning their necks to peer in. I could not see all their faces, for they seemed to be masked in cloths; some of them looked pale and ghastly still, concealing their laughter. I knew they were one band, all eaters of human flesh. But I also knew that they did not all think alike by any means. Some of them thought that since it had always been so, men should be eaten. Some of them knew that they should not eat men, but still wanted to; and they were afraid people might discover their secret; thus when they heard me they became angry, but they still smiled their. cynical, tight-lipped smile.

Suddenly my brother looked furious, and shouted in a loud voice:

"Get out of here, all of you! What is the point of looking at a madman?"

Then I realized part of their cunning. They would never be willing to change their stand, and their plans were all laid; they had stigmatized me as a madman. In future when I was eaten, not only would there be no trouble, but people would probably be grateful to them. When our tenant spoke of the villagers eating a bad character, it was exactly the same device. This is their old trick.

Old Chen came in too, in a great temper, but they could not stop my mouth, I had to speak to those people:

"You should change, change from the bottom of your hearts!" I said. "You most know that in future there will be no place for man-eaters in the world.

"If you don't change, you may all be eaten by each other. Although so many are born, they will be wiped out by the real men, just like wolves killed by hunters. Just like reptiles!"

Old Chen drove everybody away. My brother had disappeared. Old Chen advised me to go back to my room. The room was pitch dark. The beams and rafters shook above my head. After shaking for some time they grew larger. They piled on top of me.

The weight was so great, I could not move. They meant that I should die. I knew that the weight was false, so I struggled out, covered in perspiration. But I had to say:

"You should change at once, change from the bottom of your hearts! You must know that in future there will be no place for man-eaters in the world . . . ."

 

______

[Note: Yi Ya] According to ancient records, Yi Ya cooked his son and presented him to Duke Huan of Chi who reigned from 685 to 643 B.C. Chieh and Chou were tyrants of an earlier age. The madman has made a mistake here.

[Note: Hsu Hsi-lin] A revolutionary at the end of the Ching dynasty (1644-1911), Hsu Hsi-lin was executed in 1907 for assassinating a Ching official. His heart and liver were eaten.

 

XI

 

The sun does not shine, the door is not opened, every day two meals.

I took up my chopsticks, then thought of my elder brother; I know now how my little sister died: it was all through him. My sister was only five at the time. I can still remember how lovable and pathetic she looked. Mother cried and cried, but he begged her not to cry, probably because he had eaten her himself, and so her crying made him feel ashamed. If he had any sense of shame. . . .

My sister was eaten by my brother, but I don't know whether mother realized it or not.

I think mother must have known, but when she cried she did not say so outright, probably because she thought it proper too. I remember when I was four or five years old, sitting in the cool of the hall, my brother told me that if a man's parents were ill, he should cut off a piece of his flesh and boil it for them if he wanted to be considered a good son; and mother did not contradict him. If one piece could be eaten, obviously so could the whole. And yet just to think of the mourning then still makes my heart bleed; that is the extraordinary thing about it!

 

XII

 

I can't bear to think of it.

I have only just realized that I have been living all these years in a place where for four thousand years they have been eating human flesh. My brother had just taken over the charge of the house when our sister died, and he may well have used her flesh in our rice and dishes, making us eat it unwittingly.

It is possible that I ate several pieces of my sister's flesh unwittingly, and now it is my turn, . . .

How can a man like myself, after four thousand years of man-caring history—even though I knew nothing about it at first—ever hope to face real men?

 

XIII

 

Perhaps there are still children who have not eaten men? Save the children. . . .

 April 1918

 

 

 

鲁迅《狂人日记》杨宪益、戴乃迭英译本赏析论文选题四

 

狂人日记

鲁迅

某君昆仲,今隐其名,皆余昔日在中学时良友;分隔多年,消息渐阙。日前偶闻其一大病;适归故乡,迂道往访,则仅晤一人,言病者其弟也。劳君远道来视,然已早愈,赴某地候补矣。因大笑,出示日记二册,谓可见当日病状,不妨献诸旧友。持归阅一过,知所患盖迫害狂之类。语颇错杂无伦次,又多荒唐之言;亦不著月日,惟墨色字体不一,知非一时所书。间亦有略具联络者,今撮录一篇,以供医家研究。记中语误,一字不易;惟人名虽皆村人,不为世间所知,无关大体,然亦悉易去。至于书名,则本人愈后所题,不复改也。七年四月二日识。

 

  今天晚上,很好的月光。

  我不见他,已是三十多年;今天见了,精神分外爽快。才知道以前的三十多年,全是发昏;然而须十分小心。不然,那赵家的狗,何以看我两眼呢?

  我怕得有理。

 

  今天全没月光,我知道不妙。早上小心出门,赵贵翁的眼色便怪:似乎怕我,似乎想害我。还有七八个人,交头接耳的议论我,张着嘴,对我笑了一笑;我便从头直冷到脚根,晓得他们布置,都已妥当了。

  我可不怕,仍旧走我的路。前面一伙小孩子,也在那里议论我;眼色也同赵贵翁一样,脸色也铁青。我想我同小孩子有什么仇,他也这样。忍不住大声说,你告诉我!他们可就跑了。

  我想:我同赵贵翁有什么仇,同路上的人又有什么仇;只有廿年以前,把古久先生的陈年流水簿子,踹了一脚,古久先生很不高兴。赵贵翁虽然不认识他,一定也听到风声,代抱不平;约定路上的人,同我作冤对。但是小孩子呢?那时候,他们还没有出世,何以今天也睁着怪眼睛,似乎怕我,似乎想害我。这真教我怕,教我纳罕而且伤心。

  我明白了。这是他们娘老子教的!

 

  晚上总是睡不着。凡事须得研究,才会明白。

  他们——也有给知县打枷过的,也有给绅士掌过嘴的,也有衙役占了他妻子的,也有老子娘被债主逼死的;他们那时候的脸色,全没有昨天这么怕,也没有这么凶。

  最奇怪的是昨天街上的那个女人,打他儿子,嘴里说道,老子呀!我要咬你几口才出气!他眼睛却看着我。我出了一惊,遮掩不住;那青面獠牙的一伙人,便都哄笑起来。陈老五赶上前,硬把我拖回家中了。

  拖我回家,家里的人都装作不认识我;他们的脸色,也全同别人一样。进了书房,便反扣上门,宛然是关了一只鸡鸭。这一件事,越教我猜不出底细。

  前几天,狼子村的佃户来告荒,对我大哥说,他们村里的一个大恶人,给大家打死了;几个人便挖出他的心肝来,用油煎炒了吃,可以壮壮胆子。我插了一句嘴,佃户和大哥便都看我几眼。今天才晓得他们的眼光,全同外面的那伙人一模一样。

  想起来,我从顶上直冷到脚跟。

  他们会吃人,就未必不会吃我。

  你看那女人咬你几口的话,和一伙青面獠牙人的笑,和前天佃户的话,明明是暗号。我看出他话中全是毒,笑中全是刀。他们的牙齿,全是白厉厉的排着,这就是吃人的家伙。

  照我自己想,虽然不是恶人,自从踹了古家的簿子,可就难说了。他们似乎别有心思,我全猜不出。况且他们一翻脸,便说人是恶人。我还记得大哥教我做论,无论怎样好人,翻他几句,他便打上几个圈;原谅坏人几句,他便说翻天妙手,与众不同。我那里猜得到他们的心思,究竟怎样;况且是要吃的时候。

  凡事总须研究,才会明白。古来时常吃人,我也还记得,可是不甚清楚。我翻开历史一查,这历史没有年代,歪歪斜斜的每叶上都写着仁义道德几个字。我横竖睡不着,仔细看了半夜,才从字缝里看出字来,满本都写着两个字是吃人

  书上写着这许多字,佃户说了这许多话,却都笑吟吟的睁着怪眼看我。

  我也是人,他们想要吃我了!

 

  早上,我静坐了一会儿。陈老五送进饭来,一碗菜,一碗蒸鱼;这鱼的眼睛,白而且硬,张着嘴,同那一伙想吃人的人一样。吃了几筷,滑溜溜的不知是鱼是人,便把他兜肚连肠的吐出。

  我说老五,对大哥说,我闷得慌,想到园里走走。老五不答应,走了;停一会,可就来开了门。

  我也不动,研究他们如何摆布我;知道他们一定不肯放松。果然!我大哥引了一个老头子,慢慢走来;他满眼凶光,怕我看出,只是低头向着地,从眼镜横边暗暗看我。大哥说,今天你仿佛很好。我说是的。大哥说,今天请何先生来,给你诊一诊。我说可以!其实我岂不知道这老头子是刽子手扮的!无非借了看脉这名目,揣一揣肥瘠:因这功劳,也分一片肉吃。我也不怕;虽然不吃人,胆子却比他们还壮。伸出两个拳头,看他如何下手。老头子坐着,闭了眼睛,摸了好一会,呆了好一会;便张开他鬼眼睛说,不要乱想。静静的养几天,就好了。

 

  不要乱想,静静的养!养肥了,他们是自然可以多吃;我有什么好处,怎么会好了?他们这群人,又想吃人,又是鬼鬼祟祟,想法子遮掩,不敢直截下手,真要令我笑死。我忍不住,便放声大笑起来,十分快活。自己晓得这笑声里面,有的是义勇和正气。老头子和大哥,都失了色,被我这勇气正气镇压住了。

  但是我有勇气,他们便越想吃我,沾光一点这勇气。老头子跨出门,走不多远,便低声对大哥说道,赶紧吃罢!大哥点点头。原来也有你!这一件大发见,虽似意外,也在意中:合伙吃我的人,便是我的哥哥!

  吃人的是我哥哥!

  我是吃人的人的兄弟!

  我自己被人吃了,可仍然是吃人的人的兄弟!

 

  这几天是退一步想:假使那老头子不是刽子手扮的,真是医生,也仍然是吃人的人。他们的祖师李时珍做的本草什么”⑷上,明明写着人肉可以煎吃;他还能说自己不吃人么?

  至于我家大哥,也毫不冤枉他。他对我讲书的时候,亲口说过可以易子而食”⑸;又一回偶然议论起一个不好的人,他便说不但该杀,还当食肉寝皮”⑹。我那时年纪还小,心跳了好半天。前天狼子村佃户来说吃心肝的事,他也毫不奇怪,不住的点头。可见心思是同从前一样狠。既然可以易子而食,便什么都易得,什么人都吃得。我从前单听他讲道理,也胡涂过去;现在晓得他讲道理的时候,不但唇边还抹着人油,而且心里满装着吃人的意思。

 

  黑漆漆的,不知是日是夜。赵家的狗又叫起来了。

  狮子似的凶心,兔子的怯弱,狐狸的狡猾,……

 

  我晓得他们的方法,直捷杀了,是不肯的,而且也不敢,怕有祸祟。所以他们大家连络,布满了罗网,逼我自戕。试看前几天街上男女的样子,和这几天我大哥的作为,便足可悟出八九分了。最好是解下腰带,挂在梁上,自己紧紧勒死;他们没有杀人的罪名,又偿了心愿,自然都欢天喜地的发出一种呜呜咽咽的笑声。否则惊吓忧愁死了,虽则略瘦,也还可以首肯几下。

  他们是只会吃死肉的!——记得什么书上说,有一种东西,叫海乙那”⑺的,眼光和样子都很难看;时常吃死肉,连极大的骨头,都细细嚼烂,咽下肚子去,想起来也教人害怕。海乙那是狼的亲眷,狼是狗的本家。前天赵家的狗,看我几眼,可见他也同谋,早已接洽。老头子眼看着地,岂能瞒得我过。

  最可怜的是我的大哥,他也是人,何以毫不害怕;而且合伙吃我呢?还是历来惯了,不以为非呢?还是丧了良心,明知故犯呢?

  我诅咒吃人的人,先从他起头;要劝转吃人的人,也先从他下手。

 

  其实这种道理,到了现在,他们也该早已懂得,……

  忽然来了一个人;年纪不过二十左右,相貌是不很看得清楚,满面笑容,对了我点头,他的笑也不像真笑。我便问他,吃人的事,对么?他仍然笑着说,不是荒年,怎么会吃人。我立刻就晓得,他也是一伙,喜欢吃人的;便自勇气百倍,偏要问他。

  对么?

  这等事问他什么。你真会……说笑话。……今天天气很好。

  天气是好,月色也很亮了。可是我要问你,对么?

  他不以为然了。含含胡胡的答道,……”

  不对?他们何以竟吃?!

  没有的事……”

  没有的事?狼子村现吃;还有书上都写着,通红斩新!

  他便变了脸,铁一般青。睁着眼说,有许有的,这是从来如此……”

  从来如此,便对么?

  我不同你讲这些道理;总之你不该说,你说便是你错!

  我直跳起来,张开眼,这人便不见了。全身出了一大片汗。他的年纪,比我大哥小得远,居然也是一伙;这一定是他娘老子先教的。还怕已经教给他儿子了;所以连小孩子,也都恶狠狠的看我。

 

  自己想吃人,又怕被别人吃了,都用着疑心极深的眼光,面面相觑。……

  去了这心思,放心做事走路吃饭睡觉,何等舒服。这只是一条门槛,一个关头。他们可是父子兄弟夫妇朋友师生仇敌和各不相识的人,都结成一伙,互相劝勉,互相牵掣,死也不肯跨过这一步。

 

  大清早,去寻我大哥;他立在堂门外看天,我便走到他背后,拦住门,格外沉静,格外和气的对他说,

  大哥,我有话告诉你。

  你说就是,他赶紧回过脸来,点点头。

  我只有几句话,可是说不出来。大哥,大约当初野蛮的人,都吃过一点人。后来因为心思不同,有的不吃人了,一味要好,便变了人,变了真的人。有的却还吃,——也同虫子一样,有的变了鱼鸟猴子,一直变到人。有的不要好,至今还是虫子。这吃人的人比不吃人的人,何等惭愧。怕比虫子的惭愧猴子,还差得很远很远。

  易牙蒸了他儿子,给桀纣吃,还是一直从前的事。谁晓得从盘古开辟天地以后,一直吃到易牙的儿子;从易牙的儿子,一直吃到徐锡林;从徐锡林,又一直吃到狼子村捉住的人。去年城里杀了犯人,还有一个生痨病的人,用馒头蘸血舐。

  他们要吃我,你一个人,原也无法可想;然而又何必去入伙。吃人的人,什么事做不出;他们会吃我,也会吃你,一伙里面,也会自吃。但只要转一步,只要立刻改了,也就是人人太平。虽然从来如此,我们今天也可以格外要好,说是不能!大哥,我相信你能说,前天佃户要减租,你说过不能。

  当初,他还只是冷笑,随后眼光便凶狠起来,一到说破他们的隐情,那就满脸都变成青色了。大门外立着一伙人,赵贵翁和他的狗,也在里面,都探头探脑的挨进来。有的是看不出面貌,似乎用布蒙着;有的是仍旧青面獠牙,抿着嘴笑。我认识他们是一伙,都是吃人的人。可是也晓得他们心思很不一样,一种是以为从来如此,应该吃的;一种是知道不该吃,可是仍然要吃,又怕别人说破他,所以听了我的话,越发气愤不过,可是抿着嘴冷笑。

  这时候,大哥也忽然显出凶相,高声喝道,

  都出去!疯子有什么好看!

  这时候,我又懂得一件他们的巧妙了。他们岂但不肯改,而且早已布置;预备下一个疯子的名目罩上我。将来吃了,不但太平无事,怕还会有人见情。佃户说的大家吃了一个恶人,正是这方法。这是他们的老谱!

  陈老五也气愤愤的直走进来。如何按得住我的口,我偏要对这伙人说,

  你们可以改了,从真心改起!要晓得将来容不得吃人的人,活在世上。

  你们要不改,自己也会吃尽。即使生得多,也会给真的人除灭了,同猎人打完狼子一样!——同虫子一样!

  那一伙人,都被陈老五赶走了。大哥也不知那里去了。陈老五劝我回屋子里去。屋里面全是黑沉沉的。横梁和椽子都在头上发抖;抖了一会,就大起来,堆在我身上。

  万分沉重,动弹不得;他的意思是要我死。我晓得他的沉重是假的,便挣扎出来,出了一身汗。可是偏要说,

  你们立刻改了,从真心改起!你们要晓得将来是容不得吃人的人,……”

十一

 

  太阳也不出,门也不开,日日是两顿饭。

  我捏起筷子,便想起我大哥;晓得妹子死掉的缘故,也全在他。那时我妹子才五岁,可爱可怜的样子,还在眼前。母亲哭个不住,他却劝母亲不要哭;大约因为自己吃了,哭起来不免有点过意不去。如果还能过意不去,……

  妹子是被大哥吃了,母亲知道没有,我可不得而知。

  母亲想也知道;不过哭的时候,却并没有说明,大约也以为应当的了。记得我四五岁时,坐在堂前乘凉,大哥说爷娘生病,做儿子的须割下一片肉来,煮熟了请他吃,才算好人;母亲也没有说不行。一片吃得,整个的自然也吃得。但是那天的哭法,现在想起来,实在还教人伤心,这真是奇极的事!

十二

 

  不能想了。

  四千年来时时吃人的地方,今天才明白,我也在其中混了多年;大哥正管着家务,妹子恰恰死了,他未必不和在饭菜里,暗暗给我们吃。

  我未必无意之中,不吃了我妹子的几片肉,现在也轮到我自己,……

  有了四千年吃人履历的我,当初虽然不知道,现在明白,难见真的人!

十三

 

  没有吃过人的孩子,或者还有?

  救救孩子……

 

                      一九一八年四月。

 

  注释

  本篇最初发表于一九一八年五月《新青年》第四卷第五号。作者首次采用了鲁迅这一笔名。它是我国现代文学史上第一篇猛烈抨击吃人的封建礼教的小说。作者除在本书(《呐喊》)《自序》中提及它产生的缘由外,又在《〈中国新文学大系〉小说二集序》中指出它意在暴露家族制度和礼教的弊害,可以参看。

  候补:清代官制,通过科举或捐纳等途径取得官衔,但还没有实际职务的中下级官员,由吏部抽签分发到某部或某省,听候委用,称为候补。

  古久先生的陈年流水簿子:这里比喻我国封建主义统治的长久历史。

  ⑷“本草什么:指《本草纲目》,明代医学家李时珍(1518—1593)的药物学著作,共五十二卷。该书曾经提到唐代陈藏器《本草拾遗》中以人肉医治痨的记载,并表示了异议。这里说李时珍的书明明写着人肉可以煎吃,当是狂人记中语误

  ⑸“易子而食:语见《左传》宣公十五年,是宋将华元对楚将子反叙说宋国都城被楚军围困时的惨状:敝邑易子而食,析骸而爨。

  ⑹“食肉寝皮:语出《左传》襄公二十一年,晋国州绰对齐庄公说:然二子者,譬于禽兽,臣食其肉而寝处其皮矣。(按:二子指齐国的殖绰和郭最,他们曾被州绰俘虏过。)

  ⑺“海乙那:英语hyena的音译,即鬣狗(又名土狼),一种食肉兽,常跟在狮虎等猛兽之后,以它们吃剩的兽类的残尸为食。

  易牙:春秋时齐国人,善于调味。据《管子小称》:夫易牙以调和事公(按:指齐桓公),公曰惟蒸婴儿之未尝,于是蒸其首子而献之公。桀、纣各为我国夏朝和商朝的最后一代君主,易牙和他们不是同时代人。这里说的易牙蒸了他儿子,给桀纣吃,也是狂人”“语颇错杂无伦次的表现。

  徐锡林:隐指徐锡麟(1873—1907),字伯荪,浙江绍兴人,清末革命团体光复会的重要成员。一九七年与秋瑾准备在浙、皖两省同时起义。七月六日,他以安徽巡警处会办兼巡警学堂监督身份为掩护,乘学堂举行毕业典礼之机刺死安徽巡抚恩铭,率领学生攻占军械局,弹尽被捕,当日惨遭杀害,心肝被恩铭的卫队挖出炒食。割股疗亲,即割取自己的股肉煎药,以医治父母的重病。这是封建社会的一种愚孝行为。《宋史选举志一》:上以孝取人,则勇者割股,怯者庐墓。

 

译文:

一鸣选自《鲁迅小说选》,杨宪益、戴乃迭译,外文出版社,2003年,114页。

 

A MADMAN'S DIARY

 

Two brothers, whose names I need not mention here, were both good friends of mine in high school; but after a separation of many years we gradually lost touch. Some time ago I happened to hear that one of them was seriously ill, and since I was going back to my old home I broke my journey to call on them, I saw only one, however, who told me that the invalid was his younger brother.

"I appreciate your coming such a long way to see us," he said, "but my brother recovered some time ago and has gone elsewhere to take up an official post." Then, laughing, he produced two volumes of his brother's diary, saying that from these the nature of his past illness could be seen, and that there was no harm in showing them to an old friend. I took the diary away, read it through, and found that he had suffered from a form of persecution complex. The writing was most confused and incoherent, and he had made many wild statements; moreover he had omitted to give any dates, so that only by the colour of the ink and the differences in the writing could one tell that it was not written at one time. Certain sections, however, were not altogether disconnected, and I have copied out a part to serve as a subject for medical research. I have not altered a single illogicality in the diary and have changed only the names, even though the people referred to are all country folk, unknown to the world and of no consequence. As for the title, it was chosen by the diarist himself after his recovery, and I did not change it.

 

I

 

Tonight the moon is very bright.

I have not seen it for over thirty years, so today when I saw it I felt in unusually high spirits. I begin to realize that during the past thirty-odd years I have been in the dark; but now I must be extremely careful. Otherwise why should that dog at the Chao house have looked at me twice?

I have reason for my fear.

 

II

 

Tonight there is no moon at all, I know that this bodes ill. This morning when I went out cautiously, Mr. Chao had a strange look in his eyes, as if he were afraid of me, as if he wanted to murder me. There were seven or eight others, who discussed me in a whisper. And they were afraid of my seeing them. All the people I passed were like that. The fiercest among them grinned at me; whereupon I shivered from head to foot, knowing that their preparations were complete.

I was not afraid, however, but continued on my way. A group of children in front were also discussing me, and the look in their eyes was just like that in Mr. Chao's while their faces too were ghastly pale. I wondered what grudge these children could have against me to make them behave like this. I could not help calling out: "Tell me!" But then they ran away.

I wonder what grudge Mr. Chao can have against me, what grudge the people on the road can have against me. I can think of nothing except that twenty years ago I trod on Mr. Ku Chiu's account sheets for many years past, and Mr. Ku was very displeased. Although Mr. Chao does not know him, he must have heard talk of this and decided to avenge him, so he is conspiring against me with the people on the road, But then what of the children? At that time they were not yet born, so why should they eye me so strangely today, as if they were afraid of me, as if they wanted to murder me? This really frightens me, it is so bewildering and upsetting.

I know. They must have learned this from their parents!

______

[Note: Ku Chiu]: Ku Chiu means "Ancient Times." Lu Hsun had in mind the long history of feudal oppression in China.

 

III

 

I can't sleep at night. Everything requires careful consideration if one is to understand it.

Those people, some of whom have been pilloried by the magistrate, slapped in the face by the local gentry, had their wives taken away by bailiffs, or their parents driven to suicide by creditors, never looked as frightened and as fierce then as they did yesterday.

The most extraordinary thing was that woman on the street yesterday who spanked her son and said, "Little devil! I'd like to bite several mouthfuls out of you to work off my feelings!" Yet all the time she looked at me. I gave a start, unable to control myself; then all those green-faced, long-toothed people began to laugh derisively. Old Chen hurried forward and dragged me home.

He dragged me home. The folk at home all pretended not to know me; they had the same look in their eyes as all the others. When I went into the study, they locked the door outside as if cooping up a chicken or a duck. This incident left me even more bewildered.

A few days ago a tenant of ours from Wolf Cub Village came to report the failure of the crops, and told my elder brother that a notorious character in their village had been beaten to death; then some people had taken out his heart and liver, fried them in oil and eaten them, as a means of increasing their courage. When I interrupted, the tenant and my brother both stared at me. Only today have I realized that they had exactly the same look in their eyes as those people outside.

Just to think of it sets me shivering from the crown of my head to the soles of my feet.

They eat human beings, so they may eat me.

I see that woman's "bite several mouthfuls out of you," the laughter of those green-faced, long-toothed people and the tenant's story the other day are obviously secret signs. I realize all the poison in their speech, all the daggers in their laughter. Their teeth are white and glistening: they are all man-eaters.

It seems to me, although I am not a bad man, ever since I trod on Mr. Ku's accounts it has been touch-and-go. They seem to have secrets which I cannot guess, and once they are angry they will call anyone a bad character. I remember when my elder brother taught me to write compositions, no matter how good a man was, if I produced arguments to the contrary he would mark that passage to show his approval; while if I excused evil-doers, he would say: "Good for you, that shows originality." How can I possibly guess their secret thoughts—especially when they are ready to eat people?

Everything requires careful consideration if one is to understand it. In ancient times, as I recollect, people often ate human beings, but I am rather hazy about it. I tried to look this up, but my history has no chronology, and scrawled all over each page are the words: "Virtue and Morality." Since I could not sleep anyway, I read intently half the night, until I began to see words between the lines, the whole book being filled with the two words—"Eat people."

All these words written in the book, all the words spoken by our tenant, gaze at me strangely with an enigmatic smile.

I too am a man, and they want to eat me!

 

 

 

 

 

 


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[转载]鲁迅《狂人日记》杨宪益、戴乃迭英译本赏析—论文选题四(2)

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IV

 

In the morning I sat quietly for some time. Old Chen brought lunch in: one bowl of vegetables, one bowl of steamed fish. The eyes of the fish were white and hard, and its mouth was open just like those people who want to eat human beings. After a few mouthfuls I could not tell whether the slippery morsels were fish or human flesh, so I brought it all up.

I said, "Old Chen, tell my brother that I feel quite suffocated, and want to have a stroll in the garden." Old Chen said nothing but went out, and presently he came back and opened the gate.

I did not move, but watched to see how they would treat me, feeling certain that they would not let me go. Sure enough! My elder brother came slowly out, leading an old man. There was a murderous gleam in his eyes, and fearing that I would see it he lowered his head, stealing glances at me from the side of his spectacles.

"You seem to be very well today," said my brother.

"Yes," said I.

"I have invited Mr. Ho here today," said my brother, "to examine you."

"All right," said I. Actually I knew quite well that this old man was the executioner in disguise! He simply used the pretext of feeling my pulse to see how fat I was; for by so doing he would receive a share of my flesh. Still I was not afraid. Although I do not eat men, my courage is greater than theirs. I held out my two fists, to see what he would do. The old man sat down, closed his eyes, fumbled for some time and remained still for some time; then he opened his shifty eyes and said, "Don't let your imagination run away with you. Rest quietly for a few days, and you will be all right."

Don't let your imagination run away with you! Rest quietly for a few days! When I have grown fat, naturally they will have more to eat; but what good will it do me, or how can it be "all right"? All these people wanting to eat human flesh and at the same time stealthily trying to keep up appearances, not daring to act promptly, really made me nearly die of laughter. I could not help roaring with laughter, I was so amused. I knew that in this laughter were courage and integrity. Both the old man and my brother turned pale, awed by my courage and integrity.

But just because I am brave they are the more eager to eat me, in order to acquire some of my courage. The old man went out of the gate, but before he had gone far he said to my brother in a low voice, "To be eaten at once!" And my brother nodded. So you are in it too! This stupendous discovery, although it came as a shock, is yet no more than I had expected: the accomplice in eating me is my elder brother!

The eater of human flesh is my elder brother!

I am the younger brother of an eater of human flesh!

I myself will be eaten by others, but none the less I am the younger brother of an eater of human flesh!

 

V

 

These few days I have been thinking again: suppose that old man were not an executioner in disguise, but a real doctor; he would be none the less an eater of human flesh. In that book on herbs, written by his predecessor Li Shih-chen, it is clearly stated that men's flesh can he boiled and eaten; so can he still say that he does not eat men?

As for my elder brother, I have also good reason to suspect him. When he was teaching me, he said with his own lips, "People exchange their sons to eat." And once in discussing a bad man, he said that not only did he deserve to be killed, he should "have his flesh eaten and his hide slept on. . . . I was still young then, and my heart beat faster for some time, he was not at all surprised by the story that our tenant from Wolf Cub Village told us the other day about eating a man's heart and liver, but kept nodding his head. He is evidently just as cruel as before. Since it is possible to "exchange sons to eat," then anything can be exchanged, anyone can be eaten. In the past I simply listened to his explanations, and let it go at that; now I know that when he explained it to me, not only was there human fat at the corner of his lips, but his whole heart was set on eating men.

 

______

[Note: Li Shih-chen] A famous pharmacologist (1518-1593), author of Ben-cao-gang-mu, the Materia Medica.

[Note: lips] These are quotations from the old classic Zuo Zhuan.

 

VI

 

Pitch dark. I don't know whether it is day or night. The Chao family dog has started barking again.

The fierceness of a lion, the timidity of a rabbit, the craftiness of a fox. . . .

 

VII

 

I know their way; they are not willing to kill anyone outright, nor do they dare, for fear of the consequences. Instead they have banded together and set traps everywhere, to force me to kill myself. The behaviour of the men and women in the street a few days ago, and my elder brother's attitude these last few days, make it quite obvious. What they like best is for a man to take off his belt, and hang himself from a beam; for then they can enjoy their heart's desire without being blamed for murder. Naturally that sets them roaring with delighted laughter. On the other hand, if a man is frightened or worried to death, although that makes him rather thin, they still nod in approval.

They only eat dead flesh! I remember reading somewhere of a hideous beast, with an ugly look in its eye, called "hyena" which often eats dead flesh. Even the largest bones it grinds into fragments and swallows: the mere thought of this is enough to terrify one. Hyenas are related to wolves, and wolves belong to the canine species. The other day the dog in the Chao house looked at me several times; obviously it is in the plot too and has become their accomplice. The old man's eyes were cast down, but that did not deceive me!

The most deplorable is my elder brother. He is also a man, so why is he not afraid, why is he plotting with others to eat me? Is it that when one is used to it he no longer thinks it a crime? Or is it that he has hardened his heart to do something he knows is wrong?

In cursing man-eaters, I shall start with my brother, and in dissuading man-eaters, I shall start with him too.

 

VIII

 

Actually, such arguments should have convinced them long ago. . . .

Suddenly someone came in. He was only about twenty years old and I did not see his features very clearly. His face was wreathed in smiles, but when he nodded to me his smile did not seem genuine. I asked him "Is it right to eat human beings?"

Still smiling, he replied, "When there is no famine how can one eat human beings?"

I realized at once, he was one of them; but still I summoned up courage to repeat my question:

"Is it right?"

"What makes you ask such a thing? You really are . . fond of a joke. . . . It is very fine today."

"It is fine, and the moon is very bright. But I want to ask you: Is it right?"

He looked disconcerted, and muttered: "No...."

"No? Then why do they still do it?"

"What are you talking about?"

"What am I talking about? They are eating men now in Wolf Cub Village, and you can see it written all over the books, in fresh red ink."

His expression changed, and he grew ghastly pale. "It may be so," he said, staring at me. "It has always been like that. . . ."

"Is it right because it has always been like that?"

"I refuse to discuss these things with you. Anyway, you shouldn't talk about it. Whoever talks about it is in the wrong!"

I leaped up and opened my eyes wide, but the man had vanished. I was soaked with perspiration. He was much younger than my elder brother, but even so he was in it. He must have been taught by his parents. And I am afraid he has already taught his son: that is why even the children look at me so fiercely.

 

IX

 

Wanting to eat men, at the same time afraid of being eaten themselves, they all look at each other with the deepest suspicion. . . .

How comfortable life would be for them if they could rid themselves of such obsessions and go to work, walk, eat and sleep at ease. They have only this one step to take. Yet fathers and sons, husbands and wives, brothers, friends, teachers and students, sworn enemies and even strangers, have all joined in this conspiracy, discouraging and preventing each other from taking this step.

 

X

 

Early this morning I went to look for my elder brother. He was standing outside the hall door looking at the sky, when I walked up behind him, stood between him and the door, and with exceptional poise and politeness said to him:

"Brother, I have something to say to you."

"Well, what is it?" he asked, quickly turning towards me and nodding.

"It is very little, but I find it difficult to say. Brother, probably all primitive people ate a little human flesh to begin with. Later, because their outlook changed, some of them stopped, and because they tried to be good they changed into men, changed into real men. But some are still eating—just like reptiles. Some have changed into fish, birds, monkeys and finally men; but some do not try to be good and remain reptiles still. When those who eat men compare themselves with those who do not, how ashamed they must be. Probably much more ashamed than the reptiles are before monkeys.

"In ancient times Yi Ya boiled his son for Chieh and Chou to eat; that is the old story. But actually since the creation of heaven and earth by Pan Ku men have been eating each other, from the time of Yi Ya's son to the time of Hsu Hsi-lin, and from the time of Hsu Hsi-lin down to the man caught in Wolf Cub Village. Last year they executed a criminal in the city, and a consumptive soaked a piece of bread in his blood and sucked it.

"They want to eat me, and of course you can do nothing about it single-handed; but why should you join them? As man-eaters they are capable of anything. If they eat me, they can eat you as well; members of the same group can still eat each other. But if you will just change your ways immediately, then everyone will have peace. Although this has been going on since time immemorial, today we could make a special effort to be good, and say this is not to be done! I'm sure you can say so, brother. The other day when the tenant wanted the rent reduced, you said it couldn't be done."

At first he only smiled cynically, then a murderous gleam came into his eyes, and when I spoke of their secret his face turned pale. Outside the gate stood a group of people, including Mr. Chao and his dog, all craning their necks to peer in. I could not see all their faces, for they seemed to be masked in cloths; some of them looked pale and ghastly still, concealing their laughter. I knew they were one band, all eaters of human flesh. But I also knew that they did not all think alike by any means. Some of them thought that since it had always been so, men should be eaten. Some of them knew that they should not eat men, but still wanted to; and they were afraid people might discover their secret; thus when they heard me they became angry, but they still smiled their. cynical, tight-lipped smile.

Suddenly my brother looked furious, and shouted in a loud voice:

"Get out of here, all of you! What is the point of looking at a madman?"

Then I realized part of their cunning. They would never be willing to change their stand, and their plans were all laid; they had stigmatized me as a madman. In future when I was eaten, not only would there be no trouble, but people would probably be grateful to them. When our tenant spoke of the villagers eating a bad character, it was exactly the same device. This is their old trick.

Old Chen came in too, in a great temper, but they could not stop my mouth, I had to speak to those people:

"You should change, change from the bottom of your hearts!" I said. "You most know that in future there will be no place for man-eaters in the world.

"If you don't change, you may all be eaten by each other. Although so many are born, they will be wiped out by the real men, just like wolves killed by hunters. Just like reptiles!"

Old Chen drove everybody away. My brother had disappeared. Old Chen advised me to go back to my room. The room was pitch dark. The beams and rafters shook above my head. After shaking for some time they grew larger. They piled on top of me.

The weight was so great, I could not move. They meant that I should die. I knew that the weight was false, so I struggled out, covered in perspiration. But I had to say:

"You should change at once, change from the bottom of your hearts! You must know that in future there will be no place for man-eaters in the world . . . ."

 

______

[Note: Yi Ya] According to ancient records, Yi Ya cooked his son and presented him to Duke Huan of Chi who reigned from 685 to 643 B.C. Chieh and Chou were tyrants of an earlier age. The madman has made a mistake here.

[Note: Hsu Hsi-lin] A revolutionary at the end of the Ching dynasty (1644-1911), Hsu Hsi-lin was executed in 1907 for assassinating a Ching official. His heart and liver were eaten.

 

XI

 

The sun does not shine, the door is not opened, every day two meals.

I took up my chopsticks, then thought of my elder brother; I know now how my little sister died: it was all through him. My sister was only five at the time. I can still remember how lovable and pathetic she looked. Mother cried and cried, but he begged her not to cry, probably because he had eaten her himself, and so her crying made him feel ashamed. If he had any sense of shame. . . .

My sister was eaten by my brother, but I don't know whether mother realized it or not.

I think mother must have known, but when she cried she did not say so outright, probably because she thought it proper too. I remember when I was four or five years old, sitting in the cool of the hall, my brother told me that if a man's parents were ill, he should cut off a piece of his flesh and boil it for them if he wanted to be considered a good son; and mother did not contradict him. If one piece could be eaten, obviously so could the whole. And yet just to think of the mourning then still makes my heart bleed; that is the extraordinary thing about it!

 

XII

 

I can't bear to think of it.

I have only just realized that I have been living all these years in a place where for four thousand years they have been eating human flesh. My brother had just taken over the charge of the house when our sister died, and he may well have used her flesh in our rice and dishes, making us eat it unwittingly.

It is possible that I ate several pieces of my sister's flesh unwittingly, and now it is my turn, . . .

How can a man like myself, after four thousand years of man-caring history—even though I knew nothing about it at first—ever hope to face real men?

 

XIII

 

Perhaps there are still children who have not eaten men? Save the children. . . .

April 1918


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[转载]卡扎菲曾经不相信这一套!

(视频)莎士比亚《科利奥兰纳斯》精选片段(英音中文字幕)

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科利奥兰纳斯(The Tragedy of Coriolanus)



点击欣赏:
http://www.pinshan.com/movies/video/223226.html

 

 


Famous Quotations from Coriolanus

 

He's a very dog to the commonalty. (1.1.30)

 

The kingly-crowned head, the vigilant eye,
The counsellor heart, the arm our soldier,
Our steed the leg, the tongue our trumpeter. (1.1.122)

 

What's the matter, you dissentious rogues,
That, rubbing the poor itch of your opinion,
Make yourselves scabs? (1.1.171)

 

They threw their caps
As they would hang them on the horns o' the moon,
Shouting their emulation. (1.1.219)

 

Had I a dozen sons, each in my love alike and none less dear than thine and my good Marcius, I had rather eleven die nobly for their country than one voluptuously surfeit out of action. (1.3.24)

 

Nature teaches beasts to know their friends. (2.1.6)


A cup of hot wine with not a drop of allaying Tiber in't. (2.1.46)

 

Bid them wash their faces,
And keep their teeth clean. (2.1.65)

 

Many-headed multitude. (2.3.16)

 

Hear you this Triton of the minnows? Mark you
His absolute 'shall'? (3.1.99)

 

Enough, with over-measure. (3.1.175)

 

What is the city but the people? (3.1.200)

 

His nature is too noble for the world:
He would not flatter Neptune for his trident,
Or Jove for's power to thunder. (3.1.321)

 

You common cry of curs! whose breath I hate
As reek o' the rotten fens, whose loves I prize
As the dead carcases of unburied men
That do corrupt my air,--I banish you. (3.3.119)

 

Would you have me
False to my nature? Rather say I play
The man I am. (3.2.14)

 

Despising,
For you, the city, thus I turn my back:
There is a world elsewhere. (3.3.132)

 

Let me have war, say I; it exceeds peace as far as day does night; it's spritely, waking, audible, and full of vent. Peace is a very apoplexy, lethargy: mulled, deaf, sleepy, insensible; a getter of more bastard children than war's a destroyer of men. (4.5.238)

 

Like a dull actor now,
I have forgot my part, and I am out,
Even to a full disgrace. (5.3.40)

 

Chaste as the icicle
That's curdied by the frost from purest snow
And hangs on Dian's temple. (5.3.73)

 

If you have writ your annals true, 'tis there,
That, like an eagle in a dove-cote, I
Flutter'd your Volscians in Corioli:
Alone I did it. Boy! (5.6.134)


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秦大川英译:柳宗元(唐)《渔翁》

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秦大川英译:柳宗元(唐)《渔翁》

 

渔翁夜傍西岩宿,
晓汲清湘燃楚竹。
烟销日出不见人,
欸乃一声山水绿。
回看天际下中流,
岩上无心云相逐。

 


An Old Fisherman

 

By Liu Zongyuan
Tr. Qin Dachuan

 

Mooring at the foot of the Western Hill,
A fisherman took an overnight stay.
He fetched water from the clean Xiang Rill
And made fire with Chu bamboo at daybreak.

 

Sun up, fire out, he had gone far, it seemed,
But a creak of oar yonder green dale swayed.
Looking back at th' sky while rowing downstream,
He saw o'er the rocks the carefree clouds race.


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秦大川英译:蒋方舟《卜算子/和谐你妈个腿》

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秦大川英译:蒋方舟《卜算子/和谐你妈个腿》


君坐动车头                                          5
我坐动车尾                                          5
昨日动车撞动车                                   7
同做动车鬼                                          5
贪腐几时休                                          5
独裁何时已                                          5
官无道德禽兽多                                   7
和谐你妈个腿                                       6

 

Fucking Harmony(to the tune of Busuanzi)

 

By Jiang Fangzhou
Tr. Qin Dachuan

 

You sat in the front,                                         5
I in th' back,Honey.                                          5
Th' Dont trains got crashed yesterday,            7
Now both ghosts are we.                                 5
When will the rot end,                                      5
And the tyranny?                                              5
Bad officials -- many beasts.                            7
O,fucking "harmony"!                                       6


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用英语比喻形形色色美国人

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       每种语言都有一些生动有趣的词汇,用以形容人的不同特性。美国口语中经常使用的一些描述各种人的习惯用语。它们不仅能让你了解美国文化,而且有助于掌握更地道、更纯正的美式口语。


  下面是一些有趣的例子:


  1.nerd 和jock是美国学生常用的两个俗语。nerd 的意思和汉语中的“书呆子”类似。这类人聪明勤奋,但却过于保守严肃,在校园里颇让人瞧不起。jock 则恰恰相反。他们魁梧帅气,很受女孩子们的欢迎,尤其擅长American football 和 basketball 等各种体育运动。当然,校园中也不乏漂亮的girl jocks.


  2.egghead这个词在1952年的美国总统大选中被首次使用。当时的竞选双方分别是二战盟军总司令艾森豪威尔和书生气十足的伊利诺伊州州长史蒂文森。史蒂文森精心准备的竞选演讲文字华丽晦涩,只有和他一样的知识分子才会感兴趣。因此对手取笑他说:"Sure, all the eggheads love Stevenson. But how many eggheads do you think there are?" egghead 的意思,就是指书生气很足的知识分子。


  3. hick 和 city slicker这两个词的意思在各种语言中一定都能找到对应的词,它们分别是城里人和乡下人对对方的贬称。 hick的意思是“乡巴佬,土包子,”而slick 字面意思是“圆滑的,油滑的”,因而city slicker 也就是乡下人眼中的“城里老油子,打扮光鲜,老于世故却不可信的城里滑头”。


  4.turkey(火鸡),shrimp(虾)和crab(螃蟹)这三种动物在美国人眼中会是什么人呢?turkey是美国人在Thanksgiving Day 和 Christmas Day 家家都要吃的食物。 但是,活的火鸡样子难看,行动又笨拙,所以turkey 就用来形容那种愚蠢无用的人。而那种雇用了这些 turkey,又不能开除他们的政府或商业机构就被称作turkey farm。 shrimp常被用于指代那些个子矮小的人或无足轻重的小人物。


  例如: "You may call Napoleon a little shrimp. But for a shrimp, he certainly made the rest of Europe tremble." 而crab 因为长相丑陋凶恶,常被用来指那些性格暴躁、脾气很坏的人。


  5.baby boomer, yuppie(雅皮士), dink(丁克),sandwich generation这四个词反映了美国经济和社会变化。二战结束后的二十年内,美国人口激增,那个时期出生的人在美国被称作 baby boomers,因为boom 有激增、暴涨之意。yuppie(雅皮士)是指生活在大城市、受过高等教育、生活富裕的成功职业人士。dinks (double income, no kids)是指那些有很好的工作和收入,但是不要孩子的夫妇。sandwich generation则恰恰相反,他们是既要赡养老人,又要抚养下一代,像三明治一样被夹在中间的经济负担较重的一群人。


  6. couch potato 和mall rat是两个和美国人生活习惯有关的俗语。couch potato 指一有时间就坐在沙发上看电视的人,一声不吭,一动不动,就像一个圆滚滚的土豆。而mall rat 当然不会是购物中心的真老鼠,而是指没事儿老喜欢到mall(大商场)里去逛的人。


  7. backseat driver, wheeler-dealer, free-wheeler, fifth wheel是四个和汽车有关的常用习语。backseat driver 坐在汽车后排,却不停地对前面开车的人指手画脚,因此是指那些自己不在岗位上,但是却喜欢给在位的人提供人家不需要的意见的人。wheeler- dealer 精明能干,是那种善于运用权利和财势在政治或商业活动中为所欲为,独断独行的人。free-wheeler 喜欢自由,不受约束,是指那些不愿意遵守自己工作单位的规章制度,想怎么做就怎么做的人。而fifth wheel 的意思则很好猜出。一辆汽车只有四只轮子,那么,fifth wheel 当然是多余的、不受欢迎的人了。


  8. green thumb 和all thumbs也是两个很有意思的俗语。green thumb 指善于养花种草的人,这些人总是能把花园收拾得绿色怡人,养出来的花草光亮健康,羡煞那些费了很多劲儿,种出来的花草蔬菜却总是半死不活的人。所以, green thumb 就是那些很会养花种草的人。如果说一个人是all thumbs 会是什么样呢?想想看,拇指虽好,可要是十个指头都长成短短粗粗的拇指,干起活来肯定很难受。因此all thumbs便是形容一个人笨手笨脚。


  9. penny-pincher 和cheapskate都是指花钱很小心、吝啬的人。penny 是一美分,pinch 意为“捏”,顾名思义,penny-pincher 就是那些连一分钱都要在手里捏得紧紧的、舍不得花出去的人。cheapskate则是万事以省钱为本,越省越好,请客最多带你去MacDonald 。这种人往往不受欢迎,尤其令他们的女朋友反感。从这个意义上说, cheapskate 比penny-pincher 更具有贬义。设为首页


  10. spring chicken和lame duck 是指春天孵出的小鸡和瘸腿的鸭子吗?当然不是,读一读下面这两句话,猜猜它们的意思吧。


  (1)The woman said, "I'm over forty, so I'm not a spring chicken any more."


  (2)The governor of our state ended up as a lame duck wh en he lost the election. He still has six weeks left in office but there's nothing to do except to pack up his papers.


  实际上,spring chicken 意为“年轻人,缺乏经验的人”,lame duck 是指“竞选连任失败、即将卸任的官员”,也用来指“不中用的人”。任何美国官员——从市长、州长、参议员到总统——都有可能因无能而被称为lame duck。


  怎么样?被这些奇妙有趣的美国俗语迷住了吗?它们不仅可以帮你讲一口令人刮目相看的地道美语,还能让你领略到丰富多彩的美国人的生活。多了解一些习惯用语,渐渐地英语对你来说将不再枯燥和乏味,而成为 a piece of cake(小菜一碟)了,不是吗?

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莎剧译选和比读:Words, vows, gifts, tears, and love ...

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CRESSIDA
Words, vows, gifts, tears, and love's full sacrifice, 270
He offers in another's enterprise;
But more in Troilus thousand fold I see
Than in the glass of Pandar's praise may be;
Yet hold I off. Women are angels, wooing:
Things won are done; joy's soul lies in the doing. 275
That she beloved knows nought that knows not this:
Men prize the thing ungain'd more than it is:
That she was never yet that ever knew
Love got so sweet as when desire did sue.
Therefore this maxim out of love I teach: 280
Achievement is command; ungain'd, beseech:
Then though my heart's content firm love doth bear,
Nothing of that shall from mine eyes appear.
(选自《特洛伊罗斯与克瑞西达》第一幕第二场)

 


梁实秋 译:



誓言、礼物、眼泪、爱情的全部祭礼,
他都托了人向我呈递;
我在脱爱勒斯本身发现的优点,
千倍于潘达的阿谀的渲染。
但我还要推拖。女人被追求时是天仙;
东西到手就算完;妙处在追求中间;
男人最宝贵的乃是他未得到的东西;
从来没有过一个女人肯同意,
恋爱成功和追求期间一般甜蜜。
成功后,听他摆布;追求期,他情意缠绵;
虽然我心里愿意和他相爱,
我的眼睛不可把秘密泄露出来。

 

 

朱生豪 译:


克瑞西达
       言语、盟誓、礼物、眼泪以及恋爱的全部祭礼,他都借着别人的手向我呈献过了;然而我从特洛伊罗斯本身所看到的,比之从潘达洛斯的谀辞的镜子里所看到的,还要清楚千倍。可是我却还不能就答应他。女人在被人追求的时候是个天使;无论什么东西,一到了人家手里,便一切都完了;无论什么事情,也只有正在进行的时候兴趣最为浓厚。一个被人恋爱的女子,要是不知道男人重视未获得的事物,甚于既得的事物,她就等于一无所知;一个女人要是以为恋爱在达到目的以后,还是像热情未获满足以前一样的甜蜜,那么她一定从来不曾有过恋爱的经验。所以我从恋爱中间归纳出这一句箴言:既得之后是命令,未得之前是请求。虽然我的心里装满了爱情,我却不让我的眼睛泄漏我的秘密。

 


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莎剧译选和比读:Are there such? such are not&nb ...

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TROILUS 
Are there such? such are not we: praise us as we
are tasted, allow us as we prove; our head shall go
bare till merit crown it: no perfection in reversion
shall have a praise in present: we will not name 90
desert before his birth, and, being born, his addition
shall be humble. Few words to fair faith: Troilus
shall be such to Cressid as what envy can say worst
shall be a mock for his truth, and what truth can
speak truest not truer than Troilus. 95

(选自《特洛伊罗斯与克瑞西达》第三幕第二场)

 


梁实秋 译:

有这样的人么?我不是这样的。在我经过测验之后再称赞我,在我事实证明之后再估计我;我宁愿光着头,等着戴应得的光荣的花冠。将来的成绩无需现在表扬;成就尚未出现之前,我决不提它,既出现之后,也决不招摇。我的一片真心只用寥寥数语来表达;脱爱勒斯对于克莱西达一定可以作到这样的地步,最恶毒的诽谤也只是讥笑他的忠实,最忠实的话也不比脱爱勒斯更忠实。

 


朱生豪 译:
特洛伊罗斯
果然有这样的怪物吗? 我可不是这样。请您考验了我以后,再来估计我的价值吧;当我没有用行为证明我的爱情以前,我是不愿戴上胜利的荣冠的。一个人要继承产业,在没有到手之前不必得意:出世以前,谁也无从断定一个人的功绩,并且,一旦出世,他的名位也不会太高。为了真心的爱,让我简单讲一两句话。特洛伊罗斯将会向克瑞西达证明,一切出于恶意猜嫉的诽谤,都不足以诬蔑他的忠心;真理所能宣说的最真实的言语,也不会比特洛伊罗斯的爱情更真实。


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彭斯《A RED, RED ROSE》汉译

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O my luve is like a red,red rose, 

妹妹哟,你似那玫瑰花儿红艳艳,

That's newly sprung in June.

初夏绽放你的豆蔻花年。

O my luve is like the melodie, 

妹妹哟,你像那天籁,

That's sweetly play'd in tune.

悠扬又婉转。

  

As fair art thou, my bonie lass,

我的好妹妹哟,你就像那天女下凡

So deep in luve am I,

下凡来哟把哥哥我的魂儿牵

And I will luve thee still,my dear,

妹妹哟,我爱你天长地久,

 Till a' the seas gang dry.

爱你爱到海水干。 

                              

Till a' the seas gang dry, my dear,

妹妹哟,我爱你爱到海水枯干

 And the rocks melt wi' the sun!

爱到那太阳烧化石岩!

And I will luve thee still,my dear,

我的好妹妹哟,我的爱矢志不渝

While the sands o' life shaii run.

直到我化成沙儿化为烟。

 

And fare thee weel,my only luve!

妹妹哟,痴哥哥我要离开你一段儿时间,

And fare thee weel,a while!

望你珍重勿挂念!

And I will come again, my luve,

纵然远在天涯    

 Tho' it were ten thousand mile!

我也会回到妹妹你身边。
                                                              


 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]政改被否决气急败坏为哪般?

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政改被否决气急败坏为哪般?

邓林2008    2015-06-20

618日,2017年香港特首产生办法决议案经立法会两日审议后,获8票赞成、28票反对、0票弃权,未能获三分二议员通过,意味着政改方案被否决。

任何一项议案,既然付诸表决,就有两种可能,要么通过,要么被否决。香港特首产生办法决议案被否决,不是很正常吗?如果一项议案必须通过,那又何须表决,直接宣布不就得了。再说了,必须通过的议案,还是议案吗?显而易见,那不是议案,而是政策。

一件本来十分正常的事情,到了有关方面哪里,却很不正常,非常不正常,相当不正常。

人民日报如是说,618日,我们遗憾地看到,香港反对派议员一意孤行,执意投下反对票,特区政府提出的普选法案未获通过。反对派议员否决普选法案,是反对民主漠视主流民意的倒行逆施。普选法案是在广泛咨询香港各界意见的基础上提出的,并得到多数市民的支持。

我想问问,反对派议员投反对票是不是在依法行使权利?如果他们是依法行使权利,他们怎么就“倒行逆施”了?我们不是一直在喊要依法治国吗?他们依法否决普选法案,不但不是在“反对民主”,反而是在行使自己的民主权利。“漠视主流民意”有何不可?真正的民主,不是少数服从多数,更不是个人服从集体,而是要捍卫每个人的基本权利。何况所谓“主流民意”,不是有关方面可以随意代表的。真要体现主流民意,请拿选票说事。

外交部发言人如是说,某些议员出于阻碍香港民主发展的目的否决普选法案,使香港错失了实现行政长官普选的重要机遇,他们要为此承担历史责任。

这个说法和人民日报大同小异。区别在于人民日报直指“反对派议员”,而外交部说“某些议员”,人民日报说“普选法案”,外交部说“行政长官普选”。

中联办负责人如是说,少数立法会议员忤逆民意,同时希望香港社会各界人士放下政治争拗,凝心聚力发展经济、改善民生,促进社会稳定和谐,为香港的长远发展打好基础。

人民日报说反对派议员“漠视主流民意”,说明他们还是承认这些议员是代表某些民意的。中联办负责人直接就把“少数立法会议员”摆到了民意的对立面,而且用“忤逆”来表达问题的严重性。如此自信,可不可以回答一个问题,这些议员是怎么产生的呢?

香港《大公报》如是说,否决之后,顽固不化的反对派议员或是沾沾自喜,或为了博得公众的同情而强颜挤出几滴便宜的“鳄鱼泪”,都逃脱不了千夫所指的命运。他们以为自己赢了,实际是让香港全盘皆输。

“让香港全盘皆输”这套说辞,不过是个人利益服从集体利益,集体利益服从国家利益的翻版,听起来很耳熟。依法行使权利,在他们眼里,居然是“顽固不化”。有人坚持要否决议案,就是“顽固不化”;有人坚持要通过议案,是不是“顽固不化”?互联网时代,以多数人的利益为幌子,已经没有那么容易忽悠了!

香港特首梁振英对此“极度失望”。他批评否决政改方案的立法会议员“剎停了香港的民主进程”,令500万合资格选民失去一人一票选特首的机会。

梁振英同志“极度失望”是可以理解的。政改方案被否决,他虽然可以继续当特首,但不是“一人一票”的特首。政改方案通过了,他仍然可以继续当特首,却是“一人一票”的特首。

真的是“一人一票”吗?答曰:半真半假。

香港特区政府422日发表了《行政长官普选办法公众咨询报告及方案》。根据方案,全港合资格选民可从提名委员会提名的23名候选人中,通过“一人一票”以“得票最多者当选”的方式选出行政长官人选。

原来所谓的“一人一票”,只是针对“提名委员会提名的23名候选人”,而对于绝大多数香港“合资格选民”,是绝不可能成为候选人的。梁振英同志呢,自然是那“23名候选人”最有力的竞争人选。

反对派议员真的是要否决“一人一票”吗?非也!他们要否决的,是针对那“23名候选人”的“一人一票”。

这样的政改方案被否决了,难怪有关方面要恼羞成怒、气急败坏。

201506


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[转载]译鲁拜集第100首

莎剧译选和比读:Ay, Greek; and that shall be&nb ...

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TROILUS 
Ay, Greek; and that shall be divulged well
In characters as red as Mars his heart 185
Inflamed with Venus: never did young man fancy
With so eternal and so fix'd a soul.
Hark, Greek: as much as I do Cressid love,
So much by weight hate I her Diomed:
That sleeve is mine that he'll bear on his helm; 190
Were it a casque composed by Vulcan's skill,
My sword should bite it: not the dreadful spout
Which shipmen do the hurricano call,
Constringed in mass by the almighty sun,
Shall dizzy with more clamour Neptune's ear 195
In his descent than shall my prompted sword
Falling on Diomed.
(选自《特洛伊罗斯与克瑞西达》第五幕第二场)

 


梁实秋 译:

      是的,希腊人;那一段情感,我要用马尔斯热恋维娜斯时的那颗心那样红的字来写;年轻人从来没我这样死心塌地的爱过。听,希腊人:我深爱克莱西达,我也同样的痛恨她的戴奥密得;他要戴在他的盔上的那只衣袖乃是我的;纵然是神匠乌尔坎打铸的盔,我也要用剑把它挑下来。航海人所谓飓风之惊人的水柱,被强大的太阳吸在一起,下降之际要震昏了海龙王奈普庭的耳朵,但是也不及我准备好的剑落在戴奥密得身上时之声势浩大。

 

 

朱生豪 译:
特洛伊罗斯
      是的,希腊人;我要用像热恋着维纳斯的战神马斯的心一样鲜红的大字把它书写出来;从来不曾有过一个年轻的男子用我这样永恒而坚定的灵魂恋爱过。听着,希腊人,正像我深爱着克瑞西达一样,我也同样痛恨着她的狄俄墨得斯;他将要佩在盔上的那块衣袖是我的,即使他的盔是用天上的神火打成的,我的剑也要把它挑下来;疾风卷海,波涛怒立的声势,也将不及我的利剑落在狄俄墨得斯身上的时候那样惊心动魄。


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Shakespeare's Wisest Play: Troilus and Cre ...

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Shakespeare's Wisest Play: Troilus and Cressida

 

From Studies in Shakespeare by Richard Grant White, Boston: Houghton-Mifflin.

 



Probably no play of Shakespeare's, probably no other play or poem of a high degree of merit, is so much neglected as "Troilus and Cressida" is. I have met intelligent readers of Shakespeare, who thought themselves unusually well acquainted with his writings, and who were so, who understood him and delighted in him, but who yet had never read "Troilus and Cressida." They had, in one way and another, got the notion that it is a very inferior play, and not worth reading, or at least not to be read until after they were tired of all the others, a time which had not yet come. There seems to be a slur cast upon this play, the reason of which is its very undramatic character, and the consequent non-appearance of its name in theatrical records. No one has heard of any actor's or actress's appearance, even in the last century, as one of the personages in "Troilus and Cressida." Its name has not been upon the play-bills for generations, though even "Love's Labour's Lost" has once in a while been performed. Hence it is almost unknown, except to thorough Shakespearean readers, who are very few; fewer now, in proportion to the largely increased leisurely and instructed classes, than they were two hundred years ago, much to the shame of our vaunted popular education and diffusion of knowledge. And yet this neglected drama is one of its author's great works; in one respect his greatest. "Troilus and Cressida" is Shakespeare's wisest play in the way of worldly wisdom. It is filled chock full of sententious and in most cases slightly satirical revelations of human nature, uttered with a felicity of phrase and an impressiveness of metaphor that make each one seem like a beam of light shot into the recesses of man's heart. Such are these:


In the reproof of chance
Lies the true proof of men.
Act I. Sc. 3.

 

The wound of peace is surety,
Surety secure; but modest doubt is call'd
The beacon of the wise.
Act II. Sc. 2.

 

What is aught, but as 't is valued?
Act II. Sc. 2.

 

'T is mad idolatry
To make the service greater than the god.
Act II. Sc. 2.

 

A stirring dwarf we do allowance give
Before a sleeping giant.
Act II. Sc. 3.

 

'T is certain greatness once fall'n out with fortune
Must fall out with men too; what the declined is
He shall as soon read in the eyes of others
As feel in his own fall ; for men, like butterflies,
Show not their mealy wings but to the summer;
And not a man, for being simply man,
Hath any honour.
Act III. Sc. 3.


Besides passages like these, there are others of which the wisdom is inextricably interwoven with the occasion. One would think that the wealth of such a mine would be daily passing from mouth to mouth as the current coin of speech; and yet of all Shakespeare's acknowledged plays, there are only two, "The Comedy of Errors" and "The Winter's Tale," which do not furnish more to our store of familiar quotations than this play does, rich though it is with Shakespeare's ripest thought and most splendid utterance.


The undramatic character of "Troilus and Cressida," which has been already mentioned, appears in its structure, its personages, and its purpose. We are little interested in the fate of its personages, not merely because we know what is to become of them, for that we know in almost any play which has an historical subject; but the play is constructed upon such a slight plot that it really has neither dramatic motive nor dramatic movement. The loves of Troilus and Cressida are of a kind which are interesting only to the persons directly involved in them; Achilles's sulking is of even less interest; and the death of Hector affects us only like a newspaper announcement of the death of some distinguished person, so little is he really involved in the action of the drama. There is also a singular lack of that peculiar characteristic of Shakespeare's dramatic style, the distinction and discrimination of the individual traits, mental and moral, of the various personages. Ulysses is the real hero of the play, the chief, or at least the great, purpose of which is the utterance of the Ulyssean view of life; and in this play Shakespeare is Ulysses, or Ulysses Shakespeare. In all his other plays Shakespeare because of the vividness of his imagination, and because he was putting into a dramatic form old tales and plays in which the characters of his personages were already outlined so lost his personal consciousness in the individuality of his own creations that they think and feel as well as act like real men and women other than their creator, so that we cannot truly say of the thoughts and feelings which they express that Shakespeare says thus or so; for it is not Shakespeare who speaks, but they with his lips.


But in Ulysses, Shakespeare, acting upon a mere hint, filling up a mere traditionary outline, drew a man of mature years, of wide observation, of profoundest cogitative power; one who knew all the weakness and all the wiles of human nature, and who yet remained with blood unbittered and soul unsoured, a man who saw through all shams and fathomed all motives, and who yet was not scornful of his kind, not misanthropic, hardly cynical except in passing moods. And what other man could this be than Shakespeare himself? What had he to do when he had passed forty years but to utter his own thoughts when he would find words for the lips of Ulysses? And thus it is that "Troilus and Cressida" is Shakespeare's wisest play. If we would know what Shakespeare thought of men and their motives after he reached maturity, we have but to read this drama. Drama it is, but with what other character who shall say? For, like the world's pageant, it is neither tragedy nor comedy, but a tragicomic history, in which the intrigues of amorous men and light-o'-loves and the brokerage of panders are involved with the deliberations of sages and the strife and the death of heroes.

 

The thoughtful reader will observe that Ulysses pervades the serious parts of the play, which is all Ulyssean in its thought and language. And this is the reason, or rather the fact, of the play's lack of distinctive characterization. For Ulysses cannot speak all the time that he is on the stage; and therefore the other personages, such as may, speak Ulyssean, with, of course, such personal allusion and peculiar trick or difference as a dramatist of Shakespeare's skill could not leave them without. For example, no two men could be more unlike in character than Achilles and Ulysses; and yet the former, having asked the latter what he is reading, he, uttering his own thought, says as follows, with the subsequent reply:

 

Ulyss. A strange fellow here
Writes me: "That man, how clearly ever parted,
How much in having, or without or in,
Cannot make boast to have that which he hath,
Nor feels not what he owes but by reflection,
As when his virtues shining upon others
Heat them, and they retort that heat again
To the first giver."

 

Acini. This is not strange, Ulysses.
The beauty that is borne here in the face
The bearer knows not, but commends itself
To others' eyes ; nor doth the eye itself,
That most pure spirit of sense, behold itself,
Not going from itself ; but eye to eye oppos'd,
Salutes each other with each other's form,
For speculation turns not to itself
Till it hath travell'd and is mirror'd there
Where it may see itself. This is not strange at all.
Act III. Sc. 3.


Now these speeches are made of the same metal and coined in the same mint; and they both of them have the image and superscription of William Shakespeare. No words or thoughts could be more unsuited to that bold, rude, bloody egoist, "the broad Achilles," than the subtle, finely penetrative reply he makes to Ulysses; but here Shakespeare was merely using the Greek champion as a lay figure to utter his own thoughts, which are perfectly in character with the son of Autolycus. Ulysses thus flows over upon the whole serious part of the play. Agamemnon, Nestor, AEneas, and the rest all talk alike, and all like Ulysses. That Ulysses speaks for Shakespeare will, I think, be doubted by no reader who has reached the second reading of this play by the way which I have pointed out to him. And why, indeed, should Ulysses not speak for Shakespeare, or how could it be other than that he should? The man who had written "Hamlet," "King Lear," "Othello," and "Macbeth," if he wished to find Ulysses, had only to turn his mind's eye inward; and thus we have in this drama Shakespeare's only piece of introspective work.


But there is another personage who gives character to this drama, and who is of a very different sort. Thersites sits with Caliban high among Shakespeare's minor triumphs. He was brought in to please the mob. He is the Fool of the piece, fulfilling the functions of Touchstone, and Launce, and Launcelot, and Costard in other plays. As the gravediggers were brought into "Hamlet" for the sake of the groundlings, so Thersites came into "Troilus and Cressida." As if that he might leave no form of human utterance ungilded by his genius, Shakespeare in Thersites has given us the apotheosis of blackguardism and billingsgate. Thersites is only a railing rascal. Some low types of animals are mere bellies with no brain. Thersites is merely mouth; but this mouth has just enough coarse brain above it to know a wise man and a fool. And the railings of this deformed slave are splendid. Thersites is almost as good as Falstaff. He is of course a far lower organization intellectually, and somewhat lower, perhaps, morally. He is coarser in every way; his humor, such as he has, is of the grossest kind; but still his blackguardism is the ideal of vituperation. He is far better than Apemantus in "Timon of Athens," for there is no hypocrisy in him, no egoism, and, comfortable trait in such a personage, no pretence of gentility. For good downright "sass" in its most splendid and aggressive form, there is in literature nothing equal to the speeches of Thersites.

 

"Troilus and Cressida" is also remarkable for its wide range of style; because of which it is a play of great interest to the student of Shakespeare, who here adapted his style to the character of the matter in hand. The lighter parts remind us of his earlier manner; the graver are altogether in his later. He did this unconsciously, or almost unconsciously, we may be sure. None the less, however, is the play therefore valuable in a critical point of view, but rather the more so. It is a standing and an undeniable warning to us not to lean too much upon any one special trait of style in estimating the time in Shakespeare's life at which a play was produced. Moreover, it illustrates the natural course of style development, showing that it is not only gradual, but not by regular degrees; that is, that a writer does not pass at one period absolutely from one style to another, dropping his previous manner and taking on another, but that he will at one time unconsciously recur to his former manner or manners, and at a late period show traces of his early manner.

 

Strata of his old fashion thrust themselves up through the newer formation. "Troilus and Cressida" is so remarkable in this respect that the chief of the absolute-period critics, the Rev. Mr. Fleay, has been obliged to invent a most extraordinary theory to account for it. His view is that there are three plots interwoven, each of which is distinct in manner of treatment, and, moreover, that each of these was composed at a different time from the other two. He would have us believe that the parts embodying the Troilus and Cressida story were written not only in Shakespeare's earliest manner, but in his earliest period, those concerning Hector in his middle period, and the Ajax parts in the last. That these three stories were interwoven is manifest; but they came naturally together in this Greek historical play, for it is that, and their interweaving was hardly to have been avoided; the manner of each is not distinct from that of the other, although there is, with likeness, a noticeable unlikeness.

 

But the notion that therefore Shakespeare first wrote the Troilus and Cressida part as a play, and then years afterward added the Hector part, and again years afterward the Ajax and Ulysses part, seems to me only a monstrous contrivance of an honest and able man in desperate straits to make his theory square with fact. As to detail upon this subject, I shall only make one point. Tag-rhymes, or rhymed couplets ending a scene or a speech in blank verse or in prose, are regarded by the metre-critics (and within reason justly) as marks of an early date of composition. Now in "Troilus and Cressida" these abound. It contains more of them than any other play, except one or two of the very earliest. The important point, however, is that these rhymes appear no less in the Ulysses and Ajax scenes of the play than in the others, a sufficient warning against putting absolute trust in such evidence.


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[转载]我读《特洛伊罗斯与克瑞西达》

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  《特洛伊罗斯与克瑞西达》(1602)取材于希腊神话传说中最宏大最具传奇色彩的特洛伊战争。特洛伊战争旷日持久残酷血腥而又是英雄们的传奇。特别是荷马整理出《伊利亚特》后,特洛伊战争业已成为英雄传奇的代名词。而莎士比亚身处的17世纪初文艺复兴晚期的英国和欧洲社会似乎已经“沦陷”。《特洛伊罗斯与克瑞西达》(1602)以特洛伊战争为背景,一方面描写战争的“毫无意义”,战斗双方仅为争夺一个女人而无休止地杀戮,战争既野蛮残酷,又祸国殃民;另一方面,还描写了特洛伊罗斯与克瑞西达之间的“变质爱情”(腐败爱情),即奸淫。

  文艺复兴运动使欧洲进入了“人”的觉醒的时代,人们对上帝的信仰开始动摇。在“个性解放”的旗帜下“为所欲为”,这是当时的一种时代风尚。这一方面是思想的大解放,从而推动了社会文明的大发展,另一方面,尤其是到了文艺复兴的晚期,随之产生的是私欲的泛滥和社会的混乱。面对这样一个热情而又混乱的时代,时值人到中年的莎士比亚,已不像早期那样沉湎于人文主义的理想给人带来的乐观与浪漫,而表现出对理想与进步背后的隐患的深入思考。《特洛伊罗斯与克瑞西达》正是以战争与奸淫为主题以示出莎士比亚对这样的环境的思考。

  《特洛伊罗斯与克瑞西达》和《哈姆雷特》这两个剧有许多相似之处,如两者都运用了大量的双关语和亦庄亦谐的手法,都使用了食物和疾病等主导意象,都对英雄人物的荣誉观进行了反讽等。莎士比亚在《哈姆雷特》中揭示了人道主义理想和社会丑恶现实之间的矛盾,也触及了战争和爱情两大问题。《特洛伊罗斯与克瑞西达》正是作者对战争和爱情进行综合考察的继续和发展。所以对这两大问题的反思和反讽,是《特洛伊罗斯与克瑞西达》和《哈姆雷特》主要的相似之处。其创作思想的连续性突出地表现在这里。

  剧本开始于特洛伊战争的第七年,交战双方毫无斗志,各怀鬼胎。剧本开始就是特洛伊罗斯的抱怨“叫我的仆人来,我要把盔甲脱下了。我自己心里正在发生激战,为什么还要到特洛亚的城外去作战呢?让每一个能够主宰自己的心的特洛亚人去上战场吧;唉!特洛伊罗斯的心早就不属于他自己了。”身为特洛伊的王子,在特洛伊生死存亡的关键时刻本应该舍身为自己的国家为自己的荣耀而战,而特洛伊罗斯却只想着自己的私欲。潘达洛斯也是借用克瑞西达让自己攀上王族而不顾时局地一味撮合两人。克瑞西达在特洛伊城内看众位特洛伊战将的时候,并没有特别流露出对特洛伊罗斯的爱慕之情,与后面潘达洛斯为两人安排幽会见面时克瑞西达的表现形成鲜明对比,以及后来克瑞西达在希腊军营与“监护人”狄俄墨得斯同样暧昧的表现,足以见得这爱情的本质。“愿您的话成为预言!要是我变了心,或者有一丝不忠不贞的地方,那么当时间变成古老而忘记了它自己的时候,当特洛亚的岩石被水珠滴烂、无数的城市被盲目的遗忘所吞噬、无数强大的国家了无痕迹地化为一堆泥土的时候,让我的不贞继续存留在人们的记忆里,永远受人唾骂!当他们说过了‘像空气、像水、像风、像沙土一样轻浮;像狐狸对于羔羊、豺狼对于小牛、豹子对于母鹿、继母对于前妻的儿子一样虚伪’以后,让他们举出一个最轻浮最虚伪的榜样来,说,‘像克瑞西达一样负心。’”此段话是克瑞西达表示自己不会变心的决心,说的很坚决。当克瑞西达由于战争交换俘虏而不得不离开特洛伊时,特洛伊罗斯几次再三地对克瑞西达强调不要受希腊将士的诱惑而变心,克瑞西达也反复强调不会,两人互表对爱情的忠贞。“别了,特洛伊罗斯!我的一只眼睛还在望着你,可是另一只眼睛已经随着我的心转换了方向。唉,我们可怜的女人!我发现了我们这一个弱点,我们的眼睛所犯的错误支配着我们的心;一时的失足把我们带到了永远错误的路上。啊,从这里可以得出一个结论,那就是:受眼睛支配的思念一定是十分卑劣的。”克瑞西达自己是这样为自己的变心辩解的,而在旁边的谩骂者忒耳西忒斯却用粗疏而又真实的话“这是她对于她自己的贞节的最老实的供认,除非她再说一句,‘我的心现在已经变成了一个娼妇。’”揭露出这场所谓爱情的闹剧的本质。通过对这场腐败爱情的叙写,莎士比亚想要告诫当时的人们在受文艺复兴思潮影响个性解放的同时不要让自己私欲不断膨胀直至泛滥,最终导致社会的荒淫迷乱,道德沦丧。

  关于战争,莎士比亚在《哈姆雷特》中也有谈及。“为什么天天都赶着制造铜炮,还要向国外添购弹药和刀枪;征集了造船工,起早摸黑地干活,把一星期一天的礼拜日都给取消了,这淌着汗水的忙碌,把黑夜也拖来和辛苦的白天做搭挡……”“几万个士兵拼血肉之躯,暴尸沙场,‘只为了一点虚名视死如归’。”这些都可以看出莎士比亚对于涂炭生灵、万里朱殷的战争的厌恶反感之情。作者借希腊将领狄俄墨得斯一针见血地指出:为她的淫秽血管里每一滴臭血,牺牲了一个希腊人;为她的脏身上每一块霉烂的皮肉,杀害了一个特洛伊人。自从她会说话以来,她嘴里吐出来的正经话的总和,远不及双方为她战死的人数多。这段话尖锐地表现出莎士比亚对战争的厌恶。战争不是英雄将军们的游乐场,是大众的苦难,是普通百姓的厄运。“一将功成万骨枯”的境况不能在文艺复兴人性解放的时代再次发生。“就我个人而论,虽然我比谁都不怕这些希腊人,可是,尊严的普里阿摩斯,没有一个软心肠的女人会像我这样为了瞻望着不可知的前途而忧惧。太平景象最能带来一种危险,就是使人高枕无忧;所以适当的疑虑还是智者的明灯,是防患于未然的良方。放海伦回去吧;自从为了这一个问题开始掀动干戈以来,我们已经牺牲了无数的兵士,他们每一个人的生命都像海伦一样宝贵;要是我们丧亡了这许多同胞,去保卫一件既不属于我们、对于我们又没有多大价值的东西,那么我们凭着什么理由,拒绝把她交还给人家呢?”赫克托与特洛伊罗斯的争论也反应出对战争的思考,是莎士比亚对战争对人类社会的思考与反省。

  本剧本中对传统英雄阿基琉斯并未颂扬。忒耳西忒斯是一个特殊的存在,说是剧中作者的代言人似乎并不是很合适,但很多作者要表达的思想和对世人的劝诫都是通过这个人物粗俗甚至是有些不堪入耳的话语形式表露给观众。或许这正是莎士比亚所要的效果,粗俗的话更能惊醒世人,也更加直接。“但愿你那心里的泉水再清澈起来,好让我把我的驴子牵下去喝几口水!我宁愿做一只羊身上的虱子,也不愿做这么一个没有头脑的勇士”他讽刺阿基琉斯,语言犀利而具有哲理,并不是简单的谩骂。“要是我碰见了那个混蛋狄俄墨得斯!我要向他学老鸦叫,叫得他满身晦气。我倘把这婊子的事情告诉了帕特洛克罗斯,他一定愿意把无论什么东西送给我;鹦鹉瞧见了一粒杏仁,也不及他听见了一个近在手头的婊子更高兴。奸淫,奸淫;永远是战争和奸淫,别的什么都不时髦。浑身火焰的魔鬼抓了他们去!”直截了当的谩骂同样具有力度,直接通过骂声喊出战争与奸淫两个主题。很多地方的剧情冲突都是靠这个任务的类似旁白的解说深刻化的。

  最后,读这个剧本,自然而然的会拿来《伊利亚特》与之比对。背景一样,内容思想在上面说过并不一样。撇开这些,单看语言,也是很大的震撼。莎士比亚善于运用排比类比,语言丰富多彩,具有诗化哲理化的特点。


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[转载]特洛伊罗斯与克瑞西达

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Bernd Grawert饰演的帕里斯在舞台上唱着 海伦还是克瑞西达,无所谓,一切都无所谓的声音通过悬挂在舞台上空的麦克风再混响扩大的时候,特洛伊罗斯痛苦地站在那里看着自己的爱人被众人亲吻,听着俄底修斯骂他的爱人不要脸的时候,时间凝固了。不,时间在凝固中继续着。舞台上空落下的水滴依旧不停地落在布满地面的搪瓷盆上。特洛伊战争的第七年,一切都无所谓了,帕里斯与海伦的爱情沦为日常,帕里斯神经兮兮地琢磨着爱情定义中的永恒。那些战场上的英雄们被时间折磨地已经不知道为什么有战争,那些被战争围城的人们已经不知道时间为何,生存为何。一切都无所谓了。

荷马,伊利亚特。

莎士比亚,Troilus and Cressida

Luk Perceval。维亚纳戏剧节。2008512首演。

帕西瓦的舞台是人性的显微镜。我毫不掩饰对帕西瓦的崇拜:他是操控舞台张力的大师。舞台,依旧的帕西瓦风格,被精简得只剩下几把椅子、一地的盆子和那匹最后才出现的颇具讽刺意义的特洛伊木马。如果你还记得我之前说过的,就会想起来,对帕西瓦来说,人,才是舞台的重心所在。但是这个舞台依旧不简单,半空中悬挂着高敏度的麦克风,水滴从开场不停地落下来。导演帕西瓦说,这些水滴如果从具象地讲,是象征雨水。战争进行了这么多年,人们已经失去了修葺房顶的动力,今天修了明天还是会被打穿的。如果从抽象地讲,那就是他制造的气氛,时间的流逝,滴滴答答打在盆子上,只有这些声音才提醒着人们,你们还活着。可是你们为了什么活着?你们为了什么战争?戏剧构作马提亚斯 君特写道:整个特洛伊战争就是一场“一个荡妇引发的血案。”



莎士比亚的《特洛伊罗斯与克瑞西达》被删减得只剩下故事结构。许多原来用语言表述的场景被肢体动作取代。

这场戏不是莎士比亚的故事,是帕西瓦的阐释。女主角克瑞西达之在开场出现了不到五分钟就消失了,直到一个小时后才又出现。帕西瓦排的这个版本是由八零年出生的德国作家博多斯基(Paul Brodowsky)改写的版本,没有那么多的文字游戏,直白白的日常口语。开场的前半个小时基本上是希腊将领俄底修斯的独角戏,他像是戏剧构作的化身,讲了从荷马到莎士比亚的创作背景,讲莎士比亚其实就是伊丽莎白时代的超级戏剧构作,借由当时翻译了不到三分之一的伊利亚特的故事创造了古希腊的罗密欧于朱丽叶的故事。的确,特洛伊罗斯和克瑞西达虽然不是生自敌对之家。但是特洛伊罗斯是特洛伊国王最小的儿子。而克瑞西达的父亲在整出戏开场之前就已经投奔了围城特洛伊的希腊一方。尽管克瑞西达自愿地留在特洛伊,他们的身份还是在一开场就注定了悲剧结尾。编剧Brodowsky太诚实了。他从开始就没打算给观众留下些许甜蜜的悬念,一上来就拿罗密欧与朱丽叶这段更加广为人知的爱情故事做比,告诉观众,这两个人也会有一样的下场。导演、戏剧构作加改编,他们之所以这么慷慨地上来便昭示结局,因为他们排这出戏的目的不是为了悲歌这俩人的爱情,而是为了控诉战争,为了控诉那些为了战争而战争的战争狂。这些戏剧人,是在给那些牺牲在战争狂的残忍欲望下的亡灵唱挽歌。



海伦和帕里斯的爱情只是这场战争的导火索。而战争之所以会持续这么久,持续到城里城外的人都无聊至极,就是因为有俄底修斯这样煽风点火唯恐天下不乱的战争狂的存在。是的,这场戏俄底修斯才是主角,一个被塑造成丑角的主角。当他喋喋不休的时候,他的主帅阿伽门农在他身后举着马扎讽刺他的“blablabla”,尽管他周围的人都开始烦他的能说会道,他的演讲艺术却能完美地煽动起人内心最后一点争强好胜的欲望。两方军队都打不动了,那好,那就两人对决。谁是能代表自己阵营的勇士?那就站出来吧!不要做懦夫!不要被人笑掉大牙!看,就为这几句话,英雄们就要心甘情愿地流血了。而俄底修斯呢,哼,他“躲”在丛中笑。

战争进行到第七年,俄底修斯的口水不知费了多少。希腊的英雄阿喀琉斯已经不为所动了。他在自己的帐中只传出话来,我不参战。牺牲相爱的人是俄底修斯最后的砝码。尽管编剧开篇就敞开大门昭示结局,观众的胃口还是被足足地吊了一个小时。节目手册明明写着戏的总长只有两个小时啊,我们爱情的主角为什么就只招了个小手就消失了?这就是导演帕西瓦的手段了。他用一个小时的时间压抑所有的观众的情绪,让观众们也开始对这场煽动战争的演说开始厌烦,让观众的心也被不断地滴滴答答引得快要爆炸,然后,相爱的人出现了,爱情短暂地出现了,10分钟,悲剧来了。山无棱,天地合,乃敢与君绝的誓言还回荡着,噩耗就传来了:“克瑞西达,你走吧,我们用你交换战俘!”才甜蜜了一晚的两人,还没来及念“哦,那是夜莺”的名句,就只能瑟瑟发抖地问:“已经决定了么?”

是的。甚至来不及告别。

新一轮的战争又打响了。俄底修斯又笑了。战争狂们像是又找到了生命的动力。只有被牺牲的人,浑身沾满了鲜血。“我是谁?我还是我么?

雨滴混着血,还在滴滴答答。



 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

关于《特洛伊罗斯与克瑞西达》剧的体裁

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      关于《特洛伊罗斯与克瑞西达》剧的体裁,众说纷纭。多少年来,一直没有「定位」。最早有人认为,它是莎士比亚在同时代剧作家班‧琼森和马斯顿的影响下写成的「最机智的喜剧」,或称「讽刺性喜剧」。1609年的「四开本」在书名页上把《特洛伊罗斯与克瑞西达》它标为史剧,但在序言(「致读者」)中又把它说成是喜剧,近代还有人称它为「黑色喜剧」或「荒诞喜剧」。1623年的「对开本」则把《特》剧归在悲剧类中。大多数评论家认为,它是1600─1602年伦敦戏剧界的「剧场之战」的反响。当时,坚持古典主义创作方法的琼森和主张自由创作的德克与马斯顿,分别为不同的儿童戏班编剧。两个戏班竞争激烈,对立的剧作家互相揭短,在戏剧创作问题上展开了论战。莎士比亚和琼森本是好友,到了1602年,由于鲜为人知的原因,也可能由于创作思想上的分歧,两人开始疏远。莎士比亚所属的剧团不再接受琼森的剧本。在「剧场之战」中,莎士比亚不是站在一旁观战,而是带着自己的作品参战。据认为,《特》剧就是以其对史料的讽刺性模拟向坚守古典主义阵地的琼森发起攻击。这种讽刺性模拟的体裁很难用单一的喜剧、悲剧或史剧的框框去套。说它是喜剧,显然不符合剧本的主旨。虽然忒西忒斯的讽刺可能引起喜剧性的讥笑,但说到底,那是辛辣的含泪的讥笑;说它是史剧,也不确切。尽管题材是历史上着名的特洛伊战争,但历史成了反讽的对象,失去了原来的史实的意义和作用;说它是悲剧,也没有说到重点上,因为它没有悲剧的结尾。虽然特洛伊的主将赫克托死了,预示着该城邦的陷落,但剧名主人公特洛伊罗斯和克瑞西达都没有死。他们的爱情的历程中有悲剧性遭遇,他们的爱情理想的幻灭富有悲剧性色彩,但没有发展成为带正统结尾的伊丽莎白时代的悲剧。应该看到,《特》剧包含了悲剧、喜剧和史剧三种基本模式的因素,它是一种溷合体裁,可称为悲喜溷杂剧或悲喜剧。其最显着的特徵就是寓喜剧性的讽刺于悲剧性的情节发展之中。这在莎剧和文艺复兴时期戏剧中,是一种创新。现代莎学家都倾向于将《特》剧、 <结局好万事好>和<自作自受> 、 <雅典人泰门>统称为「问题剧」或「社会问题剧」。论者指出,悲喜剧处理重要的社会文明问题,即爱情、婚姻和法律等问题以及「一切与社会生活有关的事物」,通过善恶美丑的鲜明对比,在读者和观众中引起一种复杂的情感反应。从这个角度说,悲喜剧称为「社会问题剧」是非常恰当的。

(来源:互联网)


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《哀希腊》(多名家译本)

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梁启超、马君武、苏曼殊、胡适、闻一多、查良铮、

卞之琳、杨德豫译《哀希腊》之“入汉文”

 

《哀希腊》是英国浪漫主义诗人拜伦长诗《唐璜》第三章第86节中的一个片段。凡16小节。是作为希腊爱国志士的诗人,所唱出的一首激励人们爱国卫国的歌曲或曰战斗檄文。歌曲借古讽今,回想希腊昔日的光荣,叹惋希腊沦陷和同胞们饱受奴役和欺凌的今日,号召希腊人民起来捍卫祖国,捍卫自己的尊严。可谓壮怀激烈,颇有待从头收拾旧山河的英雄气概。拜伦热爱希腊,曾经两次亲赴那里。第二次就是为了支援希腊独立战争而去的,不幸客死他乡,年仅36岁。

而所谓《哀希腊》“入汉文“,乃借用胡适的说法,是该诗译为汉语的意思。胡适在他译的《哀希腊歌》序里说:“此诗之入汉文,始于梁任公之《新中国未来记》小说”,即指此。而《新中国未来记》问世于1902年,故由那个时候算起,迄今已经有一百一十一年了。百十余年来,对于该诗的移译经历了由以古典诗词——骚体、七言、五言古诗诗体、曲牌——到白话文的漫长过程,出版了十数种各具特色的汉语译文。本文从中拈出具有代表性或者影响颇广者罗列于下:

1902年,《哀希腊》在《新中国未来记》第四回中第一次被介绍给中国读者,“当时的中国,正值政治上从帝制向共和的转变,思想上从旧文化向新文化的过渡,精神上从封建专制向民主自由的进步,从而为这一惊世骇俗的诗篇在中国的横空出世平添了几分诗情画意和戏剧色彩。”(张晓雁《哀希腊,荣华章》,《南国早报》2012-12-30

 

[转载]梁启超、马君武、苏曼殊、胡适、闻一多、查良铮、卞之琳、杨德豫译《哀希腊》之

        钱建文E书制作

不过,第四回仅仅穿插了作者翻译的第一节和第三节,并没有拟出题目。这一回的回目是:“旅顺鸣琴名士合并 榆关题壁美人远游”。

该回写黄、李二君头天夜里驳论通宵,次日本待入京。突发奇想,拟去旅顺口一带游历,也好看看“那地自归了俄国之后,他的经营方略如何”。二人到后刚刚安顿下来,便“听得有人用着英国话在那里唱歌。……黄君道:‘他这诗歌,正是用来激厉希腊人而作。但我们今日听来,倒像有几分是为中国说法哩。’说犹未了,只听得隔壁琴声,又悠悠扬扬的送将来。两君便不接谈,重新再听,听他唱道:

“(沉醉东风)(眉批略)

咳!希腊啊!希腊啊!你本是和平时代的爱娇,你本是战争时代的天骄。撒芷波歌声高,女诗人热情好,更有那德罗士、菲波士(两神名)荣光常照。此地是艺文旧垒,技术中潮。即今在否?算除却太阳光线,万般没了!

“黄君道:‘这唱的还像是摆伦(即拜伦)的诗呀!’李君道:‘不错,是那《端志安》(Don Juan)第三出第八十六章第一节呀。也是他借着别人口气来惊醒希腊人的。’只听得琴声再奏,又唱道:

“(如梦忆桃源)玛拉顿后啊,山容缥渺,玛拉顿前啊,海门环绕。如此好河山,也应有自由回照。我向那波斯军墓门凭眺,难道我为奴为隶,今生便了?不信我为奴为隶,今生便了!

“‘这一章共有十六节,我们索性听他唱下去。’

“ 正在倾耳再听,只听得那边琴声才响,忽然有人敲门,那唱歌的人说一声:Come in,(言进来也。)单扉响处,琴声歌声便都停止了。 ”

——梁启超:《新中国未来记》第四回,《饮冰室专集》之八十九(新印《饮冰室合集》第11卷),中华书局,1989年版,第45页。

 

如果说梁启超的译文不完全,只是用曲牌填词式的方法翻译,但毕竟开了翻译拜伦《哀希腊》之先,而马君武1905年刊于《新文学》的译文则是最早的全译本了:

 [转载]梁启超、马君武、苏曼殊、胡适、闻一多、查良铮、卞之琳、杨德豫译《哀希腊》之

哀希腊歌

【英】裴伦著    马君武 译【1905年】

 

希腊岛,希腊岛,诗人沙孚安在哉?爱国之诗传最早。战争平和万千术,其术皆自希腊出。德娄飞布两英雄,渊源皆是希腊族。吁嗟乎!漫说年年夏日长,万般消歇剩斜阳。

莫说侁佃二族事,繁华一夕尽消沉。万玉哀鸣侠子瑟,群珠乱落美人琴。迤南海岸尚纵横,应愧于今玷盛名。侠子美人生聚地,悄然万籁尽无声。吁嗟乎,琴声摇曳向西去,昔年福岛今何处?

马拉顿后山如带,马其顿前横碧海。我来独为片刻游,犹梦希腊是自由。吁嗟乎!闲立试向波斯冢,宁思身为奴隶种。

有王危坐石巌倚,临深远望沙拉米。海舶千艘粉如蚁,此国之民彼之子。吁嗟乎,白日已没夜已深,希腊之民无处寻。

希腊之民不可遇,希腊之国在何处?但余海岸似当年,海岸沉沉亦无语。多少英雄古代诗,至今传诵泪犹垂。琴荒瑟老豪华歇,当是英雄气尽时。吁嗟乎!欲作神圣希腊歌,才薄其奈希腊何!

一朝宫社尽成墟,可怜国种遂为奴。光荣忽傍夕阳落,名誉都随秋草枯。岂无国士生列岛,追念夙昔伤怀抱。我今漂白一诗人,对此犹惭死不早。吁嗟乎!我为希腊几颦蹙,我为希腊一痛哭。

止哭收泪挺身起,念汝高曾流血死。不信赫赫斯巴达,今日无一忠义士。吁嗟乎,三百勇士今何之,退某背黎草离离。

不闻希腊生人声,但闻鬼啸作潮鸣。鬼曰生者一人起,我曹虽死犹助汝。吁嗟乎,希腊之人口尽喑,鬼声相答海天阴。

叩弦为君歌一曲,沙明之酒盈杯绿。万枪齐举向突厥,流血死耳休来复。吁嗟乎,愿君倾耳听我歌,君不应兮奈君何!

君今能作霹雳舞,霹雳军阵在何处?舞仪军式两有名,军式已亡舞仪存。吁嗟乎,试读先人卡母书,谁则教君今为奴?

且酌沙明盈酒杯,恼人时事不须提。当年政治从多数,为忆阿明克朗诗。吁嗟乎,国民自是国权主,纷纷暴君何足数。

暴君昔起遮松里,当时自由犹未死。曾破波斯百万师。至今人说米须底。吁嗟乎,本族暴君罪当诛,异族暴君今何如?

劝君莫放酒杯干,白卡之岸苏里巌。上有一线成海湾,斗孛直母生其间。吁嗟乎,其间或布自由种,谁实获之希腊种。

劝君莫信佛朗克,自由非可他人托。佛朗克族有一王,狡童深心不可测。可杔惟有希腊军,可杔惟有希腊刀。劝君信此勿复疑,自由托人终徒劳。吁嗟乎,突厥之暴佛朗狡,希腊分裂苦不早。

沙明之杯千盅注,天女联翩齐起舞。眼波如水光盈盈,但将光线射倾城。吁嗟乎,为奴之民孰顾汝,我窃思之泪如雨。

置身苏灵之高山,四围但见绿波环。波声哭声两不止,一曲歌终从此死。吁嗟乎,奴隶之国非所庸,一掷碎汝沙明盅。

——阿英编著《晚清文学丛钞·域外文学译文卷》卷一,第13-15页。

 

后来苏曼殊的译文也是全译:

哀希腊

苏曼殊 

 

巍巍西腊都,生长萨福好。情文何斐亹,荼辐思灵保。征伐和亲策,陵夷不自葆。长夏尚滔滔,颓阳照空岛。

 

窣诃与谛诃,词人之所生。壮士弹坎侯,静女揄鸣筝。荣华不自惜,委弃如浮萍。宗国寂无声,乃向西方鸣。

 

山对马拉松,海水在其下。西腊如可兴,我从梦中睹。波斯京观上,独立向谁语。吾生岂为奴,与此长终古。

 

名王踞岩石,雄视逤逻滨。船师列千艘,率土皆其民。晨朝大点兵,至暮无复存。一为亡国哀,泪下何纷纷。

 

故国不可求,荒凉问水濒。不闻烈士歌,勇气散如云。琴兮国所宝,仍世以为珍。今我胡疲苶,拱手与他人。

 

威名尽坠地,举族共奴畜。知尔忧国土,中心亦以恧。而我独行遥,我犹无面目。我为希人羞,我为西腊哭。

 

往者不可追,何事徒频蹙。尚念我先人,因兹糜血肉。冥冥蒿里间,三百斯巴族。但令百余一,堪造披丽谷。

 

万籁一以寂,仿佛闻鬼喧。生者一人起,导我赴行间。槁骨徒为尔,生者默无言。徒劳复徒劳,我且调别曲。

 

注满杯中酒,我血胜醹渌。不与突厥争,此胡本游牧。嗟尔俘虏馀,酹酒颜何恧?王迹已陵夷,尚存羽衣舞。

 

鞞庐方阵法,知今在何许?此乃尔国土,糜散随尘土。伟哉佉摩书,宁当诒牧圉?注满杯中酒,胜事日以堕。

 

阿那有神歌,神歌今始知。曾事波利葛,力能绝天维。雄君虽云虐,与女同本支。羯岛有暴君,其名弥尔底。

 

阔达有大度,勇敢为世师。今兹丁末造,安得君如斯?束民如连锁,岂患民崩离?注满杯中酒,倏然怀故山。

 

峨峨修里岩,汤汤巴加湾。繄彼陀离种,族姓何斑斑!傥念希罗嘠,龙胤未凋残。莫信法兰克,人实诳尔者。

 

鏠刃藏祸心,其王如商贾。骄似突厥军,黠如拉丁虏。尔盾虽彭亨,击碎如破瓦。注满杯中酒,樾下舞婆娑。

 

国耻弃如遗,靓妆犹娥娥。明眸复善睐,一顾光娄罗。好乳乳奴子,使我涕滂沱。我立须宁峡,旁皇云石梯。

 

独有海中潮,伴我声悲嘶。愿为摩天鹄,至死鸣且飞。碎彼娑明杯,俘邑安足怀!

 ——阿英编著《晚清文学丛钞·域外文学译文卷》卷一,第8-9页。

 

1913年,胡适初读马译和苏译,次年这位提倡文学改良而成为新文化运动的领袖之一,也是第一位提倡白话文、新诗的学者,用骚体翻译了全诗。他在这首译诗序里说:“民国二年(即1913年),吾友张耘来美洲留学,携有马苏两家译本。余得尽读之。颇嫌君武失只讹,而曼殊失之晦。讹则失真,晦则不达,均非善译者也。当时余许张君为重译此诗。久而未能践诺。三年二月一夜,以四小时之力,译之。既成复改削数月,始成此本。“

胡适的译文朗朗上口,同马君武的七言行歌,苏曼殊的五言古诗译文一样,读来均均皆气势磅礴,令人荡气回肠

 

哀希腊歌
胡适 译



嗟汝希腊之群岛兮,
实文教武术之所肇始。
诗媛沙浮尝咏歌于斯兮,
亦羲和素娥之故里。
今惟长夏之骄阳兮,
纷灿烂其如初。
我徘徊以忧伤兮,
哀旧烈之无余!


悠悠兮,我何所思?
荷马兮阿难。
慷慨兮歌英雄,
缠绵兮叙幽欢。
享盛名于万代兮,
独岑寂于斯土;
大声起乎仙岛之西兮,
何此邦之无语。


马拉顿后兮山高,
马拉顿前兮海号。
哀时词客独来游兮,
犹梦希腊终自主也;
指波斯京观以为正兮,
吾安能奴1以终古也!

1:僇【同“戮”。


彼高崖何岩兮,
俯视沙拉米之滨;
有名王尝踞坐其巅兮,
临大海而点兵。
千樯兮照海,
列舰兮百里。
朝点兵兮,何纷纷兮,
日之入兮,无复存兮!


往烈兮难追;

故国兮,汝魂何之?
侠子之歌,久销歇兮,
英雄之血,难再热兮,
古诗人兮,高且洁兮;
琴荒瑟老,臣精竭兮。


虽举族今奴虏兮,
岂无遗风之犹在?
吾慨慷以悲歌兮,
耿忧国之1磊。
吾惟余2颜为希人羞兮,
吾惟有泪为希腊洒。

1.磈【kuǐ,~磊,(石)高低不平。】

2:頳【chēng,古同“赪”。】

 


徒愧赧曾何益兮,
嗟雪涕之计拙;
独不念我先人兮,
为自由而流血?
吾欲诉天阍兮,
还我斯巴达之三百英魂兮!
尚令百一存兮,
以再造我瘦马披离之关兮!


沉沉希腊,犹无声兮;
惟闻鬼语,作潮鸣兮。
鬼曰:但令生者一人起兮,
吾曹虽死,终阴相尔兮!
呜咽兮鬼歌,

生者之喑兮奈鬼何!


吾哓哓兮终徒然!
已矣兮何言!
且为君兮弹别曲,
注美酒兮盈尊!
姑坐视突厥之跋扈兮,
听其宰割吾胞与兮,
君不闻门外之箫鼓兮,
且赴此贝凯之舞兮!


汝犹能霹雳之舞兮,
霹雳之阵今何许兮?
舞之靡靡犹不可忘兮,
奈何独忘阵之堂堂兮?
独不念先人佉摩之书兮,
宁以遗汝庸奴兮?

十一
怀古兮徒烦冤,
注美酒兮盈尊!
一醉兮百忧泯!
阿难醉兮歌有神。
阿难盖代诗人兮,
信尝事暴君兮;
虽暴君兮,
犹吾同种之人兮。

十二
吾所思兮,
米尔低兮,
武且休兮,
保我自由兮。
吾抚昔而涕淋浪兮,
遗风谁其嗣昌?
诚能再造我家邦兮,
虽暴主其何伤?

十三
注美酒兮盈杯,
悠悠兮吾怀!
汤汤兮白阶之岸,
崔巍兮修里之崖,
吾陀离之民族兮,
实肇生于其间;
或犹有自由之种兮,
历百劫而未残。

十四
法兰之人,乌可托兮,
其王贪狡,水可度兮。
所可托兮,希腊之刀;
所可任兮,希腊之豪。
突厥兮,

拉丁狡兮,
虽吾盾之坚兮,
吾何以自全兮?

十五
注美酒兮盈杯!
美人舞兮低徊!
眼波兮盈盈,
一顾兮倾城;
对彼美兮,
泪下不能已兮;
子兮子兮,
胡为生儿为奴婢兮!

十六
置我乎须宁之岩兮,
狎波涛而与为伍;
且行吟以悲啸兮,
惟潮声与对语;
如鸿鹄之逍遥兮,
吾将于是老死:
奴隶之国非吾土兮,——

碎此杯以自矢!

 ——《哀希腊歌》,191423日《藏晖室札记》,《胡适文集》第9卷,北京大学出版社,1998年版,第191页。》)又:小注系笔者所加。

 

十数年后,闻一多先生第一次用白话文翻译此诗,而且在翻译过程中,对使用白话文翻译西文格律诗进行了探索(下文详述):

 

希腊之群岛

拜伦   闻一多

希腊之群岛,希腊之群岛!

你们那儿莎浮唱过爱情的歌,

那儿萌芽了武术和文教,

突兴了菲芭,还崛起了德罗!

如今夏日还给你们镀着金光,

恐怕什么都堕落了,除却太阳?

 

那茜欧的彩笔,梯欧的歌喉,

壮士的瑶琴,情人的锦瑟,

给你们赢得了光荣,你们不受,

如今你们只是死守着缄默;

你们祖先的英明簸荡在西方,

只你们听不见,你们一声不响。

 

高山望着平原;平原望着海!

我在马拉桑的疆场上闲游,

我一面在梦想,一面在徘徊,

我梦想着希腊依然享着自由;

因为我脚踏着波斯人的白骨,

我不相信我是一个俘虏。

 

巉崖的额上坐着一位君王,

巉崖的额下便是沙拉米;

千艘的舳舻,横系在下方

百译(原文如此)的臣民,都是君王的!

破晓的时分,君王点了卯,

等到日落一个也找不着。

 

那里找他们,又那里去找你,

我的祖国呀?这寞的海边上,

那慷慨的歌神是听不着了的,

再也不会鼓荡,那慷慨的胸膛!

但是这神圣的瑶琴,你怎么说,

难道就让那个它在我手里堕落?

 

这总算是难能可贵的事,

在如今名节凋丧的残冬!

像我唱着悲歌,脸上海潮着羞耻,,

纵然是株连在奴隶的族中、

因为到这里,教诗人怎么办?

悲歌为希腊流泪,为希人红脸。

 

什么?只会为盛时流几行泪?

只会红脸?我们的祖宗流过血!

大地呀!请从你胸口里退回,

退回我们那志士的遗骸!

三百个斯巴达的健儿,还我

三个,我能教射马披离复活!

 

怎么还没有回话?都不回话?

不见得罢?听那众鬼的答声

仿佛遥远的波涛奔泻:

“只要一个活人抬起头来,一个人,

我们就来,马上就来帮忙!”

只有活着的人们一响也不响。

 

罢了!罢了!换一个调子弹弹;

快斟上一杯沙蜜的美酒

让突厥的蛮夫夸着血战

我们只要葡萄的赤血能流!

听!这不是贝坎罗的鬼舞巫歌,

相应的声音偏是那般踊跃!

 

辟鲁的名舞依然在风行,

那辟鲁的名阵上那里去找?

为什么同样两种的遗训,

却把那装呀豪侠的忘掉?

请问佉摩赐给你们的文字,

是赐给一群奴隶的不是?

 

快斟上一杯沙蜜的美酒!

再不要想那些伤心的事!

这酒给安勒滋润过歌喉。

安勒曾在波理的朝里服仕,

波理克雷诚然是个暴君,

那暴君却都是我族的人。

 

你可知道那絜爽的霸王,

是自由的最相絜的朋友!

最忠实又最勇武的保障。

米尔泰亚底便是那王侯。

如今再有他那条铁链存在,

定好将希腊再捆锁起来。

 

快斟上一杯沙蜜的美酒!

苏利的山头和巴辩的海岸,

如今还散布着一枝遗胄,

多里的苗裔还在那里孳衍;

说不定赫拉可里的遗风,

还埋在他们的族中。

 

不要相信法人能给你自由,

他们那国王是一个奸商;

自己的士卒,自己的矛刀,

才是自强的唯一希望;

可是突厥的武力,拉丁的贿赂,

便再大的盾甲也抵挡不住。

 

快将沙蜜的美酒斟上一杯!

我们的少女又在绿荫中舞唱,

我望见她们眼中的秋水,

望见每个娇艳的女郎,我想

那怀里又哺出一群奴隶,

如是我不禁热泪往脸上洗。

 

放我在苏尼欧的石上,

那边什么都没有,只海涛和我,

让我对着海涛互相哀唱;

让我唱完歌就死,像那天鹅:

这奴隶之邦不是我的家!

把沙蜜的酒杯摔破了它! 

——19271119日上海《时事新报·文艺周刊》第11刊,《闻一多全集》第1卷,湖北人民出版社,1993年版,第300-301页。

 

其后还有五六十年代以来查良铮、卞之琳和杨德豫等翻译家的汉译。三种译文,各有千秋,各擅其长。但都在努力探索用白话文新诗体翻译西文格律诗的路径和方法。汉语格律诗讲究平仄,而西文讲究音步和长短或轻重音。这首诗是四音步抑扬格,即每行四个音步,每音步两个音节,第一个音节轻读,第二音节重读。三位译者不约而同的做法是,用四个“顿”(音组)代替或者翻译原诗每行四个音步,而韵脚则直接移植原诗每小节的韵脚:ababcc。上录闻一多先生的译文在以音组或顿翻译音步,以及韵脚的移植等方面,也是这样。这与“五四”以来探索新诗格律化的努力不无关系,虽然这种探索的努力失败了:“中国新诗格律化的尝试自闻一多、饶孟侃等人开始,经由三十年代朱光潜、罗念生、孙大雨、林庚等人的几次论战,再到五十年代的大范围的讨论,一直到今天仍然被研究者探讨着;但是不得不说,新诗的格律理论在总体上是失败了,其标志是到目前为止新诗并没有建立具有明显的节奏效果而又被诗人和读者广泛接受的格律诗体,甚至连其节奏具体如何产生现在也没有达成基本的共识。”(李章斌《有名无实的“音步”与并非格律的韵律——新诗韵律理论的重审与再出发》,台湾《清华学报》2012年第42卷第2期)虽然如此,闻一多提出的“音尺”,以及后来朱光潜提出的“顿”和孙大雨提出的“音节”概念,却在移植西文格律诗的音步方面,有所建树。卞之琳等人便是在译诗实践中自觉地利用“顿”移植西文诗歌的音步,并取得了可喜成就者。

 

哀希腊(《唐璜》第三章)

查良铮译

  希腊群岛呵,美丽的希腊群岛!

  火热的萨弗在这里唱过恋歌;

  在这里,战争与和平的艺术并兴,

  狄洛斯崛起,阿波罗跃出海面!

  永恒的夏天还把海岛镀成金,

  可是除了太阳,一切已经消沉。

  开奥的缪斯,蒂奥的缪斯,

  那英雄的竖琴,恋人的琵琶,

  原在你的岸上博得了声誉,

  而今在这发源地反倒喑哑;

  呵,那歌声已远远向西流传,

  远超过你祖先的“海岛乐园”。

 三

  起伏的山峦望着马拉松-

  马拉松望着茫茫的海波;

  我独自在那里冥想一刻钟,

  梦想希腊仍旧自由而欢乐;

  因为,当我在波斯墓上站立,

  我不能想象自己是个奴隶。

    一个国王高高坐在石山顶,

  了望着萨拉密挺立于海外;

  千万只船舶在山下靠停,

  还有多少队伍全由他统率!

  他在天亮时把他们数了数,

  但日落的时候他们都在何处?

 五

  呵,他们而今安在?还有你呢,

  我的祖国?在无声的土地上,

  英雄的颂歌如今已沉寂-

  那英雄的心也不再激荡!

  难道你一向庄严的竖琴,

  竟至沦落到我的手里弹弄?

  也好,置身在奴隶民族里,

  尽管荣誉都已在沦丧中,

  至少,一个爱国志士的忧思,

  还使我的作歌时感到脸红;

  因为,诗人在这儿有什么能为?

  为希腊人含羞,对希腊国落泪。

  我们难道只好对时光悲哭

  和惭愧?-我们的祖先却流血。

  大地呵!把斯巴达人的遗骨

  从你的怀抱里送回来一些!

  哪怕给我们三百勇士的三个,

  让德魔比利的决死战复活!

  怎么,还是无声?一切都喑哑?

  不是的!你听那古代的英魂

  正象远方的瀑布一样喧哗,

  他们回答:“只要有一个活人

  登高一呼,我们就来,就来!”

  噫!倒只是活人不理不睬。

  算了,算了;试试别的调门:

  斟满一杯萨摩斯的美酒!

  把战争留给土耳其野人,

  让开奥的葡萄的血汁倾流!

  听呵,每一个酒鬼多么踊跃

  响应这一个不荣誉的号召

一〇

  你们还保有庇瑞克的舞艺,

  但庇瑞克的方阵哪里去了?

  这是两课,为什么只记其一,

  而把高尚而坚强的一课忘掉?

  凯德谟斯给你们造了字体-

  难道他是为了传授给奴隶?

十一

  把萨摩斯的美酒斟满一盅!

  让我们且抛开这样的话题!

  这美酒曾使阿纳克瑞翁

  发为神圣的歌;是的,他屈于

  波里克瑞底斯,一个暴君,

  但这暴君至少是我们国人。

 十二

  克索尼萨斯的一个暴君

  是自由的最忠勇的朋友:

  暴君米太亚得留名至今!

  呵,但愿现在我们能够有

  一个暴君和他一样精明,

  他会团结我们不受人欺凌!

十三

  把萨摩斯的美酒斟满一盅!

  在苏里的山岩,巴加的岸上,

  住着一族人的勇敢的子孙,

  不愧是斯巴达的母亲所养;

  在那里,也许种子已经散播,

  是赫剌克勒斯血统的真传。

十四

  自由的事业别依靠西方人,

  他们有一个做买卖的国王;

  本土的利剑,本土的士兵,

  是冲锋陷阵的唯一希望;

  但土耳其武力,拉丁的欺骗,

  会里应外合把你们的盾打穿。

十五

  把萨摩斯的美酒斟满一盅!

  树荫下正舞蹈着我们的姑娘-

  我看见她们的黑眼亮晶晶,

  但是,望着每个鲜艳的姑娘,

  我的眼就为火热的泪所迷,

  这乳房难道也要哺育奴隶?

十六

  让我攀登苏尼阿的悬崖,

在那里,将只有我和那海浪

  可以听见彼此飘送着悄悄话,

  让我象天鹅一样歌尽而亡;

  我不要奴隶的国度属于我-

干脆把那萨摩斯酒杯打破!

——查良铮译:《哀希腊》,《拜伦诗选》,上海译文出版社,1982年版,171页。

 

哀希腊

卞之琳译

希腊群岛啊,希腊群岛!

从前有火热的萨福唱情歌,

从前长文治武功的花草,

涌出过德罗斯,跳出过阿普罗!

夏天来镀金,还长久灿烂——

除了太阳,什么都落了山。

 

开俄斯、岱奥斯两路诗才,

英雄的竖琴,情人的琵琶,

埋名在近处却名扬四海:

只有他们的出身地不回答,

昂名声远播,在西方响遍,

远过了你们祖宗的“极乐天”。

 

千山万山朝着马拉松,

马拉松朝着大海的洪流;

独自在哪里想了一点钟,

我信箱希腊还可以自由;

我既然脚踏着波斯人坟地,

就不能设想我是个奴隶。

 

俯瞰萨拉密斯海岛的石崖,

曾经有一位国王来坐下;

成千条战船,人山人海,

排开在下面;——全都属于他!

天刚亮,他还数不清呢——

太阳刚落山他们的踪影呢?

 

他们呢?你呢,祖国的灵魂?

如今啊,在你无声的国土上,

英雄的歌曲唱不出调门——

英雄的胸脯停止了跳荡!

难道你一向非凡的诗琴

非落到我这种手里不行?

 

在戴了枷锁的民族里坚持,

博不到名声也大有意义,

只要能感到志士的羞耻,

歌唱中烧红了我的脸皮;

为什么诗人留在这里受罪?

为希腊人害羞,为希腊流泪。

 

难道我们该只哭悼往日?

只脸红吗?——我们的祖先是流血。

大地啊!请把斯巴达勇士

从你的怀抱里送回来一些!

勇士三百里我们只要三,

来把手新火山门山峡!

 

什么,还是不响?都不响?

啊;不,死人的声音

听来像遥远的瀑布一样,

回答说,“只要有一个活魂灵

就来,我们就来,就来!”

只是活人却闷声发呆。

 

白费,白费;把调门换一换;

倒满一大杯萨默斯美酒!

战争让土耳其蛮子去管,

热血让开俄斯葡萄去流!

听啊,一听到下流的号召,

每一个勇敢的最贵都叫好。

 

你们仍然有庇里克舞蹈;

只是不见了庇里克骑阵?

这样两课中为什么忘掉

高贵而威武堂堂的一门?

你们有卡德谟斯带来的字母——

难道他想叫奴隶来读书?

 

倒满一大碗萨默斯美酒!

我们想这些事,毫无意思;

阿纳开雍是酒助仙喉;

他侍候——棵侍候普利开提斯——

一个暴君;我们的主人

那侍候却至少是本国出身。

 

蔻尔索尼斯的哪位暴君

对自由是最为勇敢的好朋友,

密尔介提斯是他的大名!

哦!但愿今天我们有

同样的暴君,同样的强豪!

他那种铁链一定扎得牢。

 

倒满一大杯萨默斯美酒!

苏里到底山石上,巴甲的海岸上,

还或者一支种族的遗留,

倒还像斯巴达母亲的儿郎;

那里也许是播下了种籽,

海勾勒血统就会认作后嗣。

 

争自由别信任西方各国——

他们的国王讲买进卖出;

希望有勇气,只能靠托

本国的刀枪,本国的队伍;

土耳其武力,拉丁腐败,

可别叫折断了你们的盾牌。

 

倒满一大碗萨默斯美酒!

树荫里跳舞着我们的女娃,

一对对闪耀着墨黑的明眸;

看个个少女都容光焕发,

想起来热泪就烫我的眼皮;

这样的乳房都得喂奴隶!

 

让我登苏纽姆大理石悬崖,

那里就只有海浪与我

听得见我们展开了对白;

让我们去歌唱而死亡,像天鹅:

奴隶国不能是我的家乡——

摔掉那一杯萨默斯佳酿!

 

——卞之琳译《哀希腊》,《英国诗选》湖南人民出版社,1983年版,第9 - 02页。

 

哀希腊

杨德豫 

 

希腊群岛呵,希腊群岛!

你有过萨福歌唱爱情,

你有过隆盛的武功文教,

太阳神从你的提洛岛诞生!

长夏的阳光灿烂如金——

除了太阳,一切都沉沦!

 

开俄斯歌手,忒俄斯诗人,

英雄的竖琴,恋人的琵琶,

在你的境内没没无闻,

诗人的故土悄然喑哑——

他们在西方的名声远扬,

远过你祖先的乐岛仙乡。

 

巍巍群山望着马拉松,

马拉松望着海波万里,

我沉思半晌,在我的梦幻中

希腊还像是自由的土地;

脚下踩的是波斯人坟墓,

我怎能相信我是个亡国奴!

 

有一位国王坐在山顶,

萨拉米海盗展现在脚下,

成千的战舰,各国的兵丁,

在下面排开——全归他统辖!

天亮时,他还在数去数来——

太阳落水时,他们安在?

 

他们安在?祖国啊,你安在?

在你万籁齐喑的国境。

英雄的歌曲唱不出声来——

英雄的心胸再不会跳动;

你的琴向来不同凡响。

竟落到我这凡夫手上?

 

置身于披枷带锁的民族,

与荣誉无缘,也心甘情愿,

至少,能痛感绑架的屈辱,

歌唱的时候,我羞惭满面;

诗人在这里有什么作用?

为祖国落泪,为同胞脸红!

 

缅怀往昔,只流泪?只羞惭?

我们的祖先却热血喷流!

大地啊!从你怀抱里送还

斯巴达英雄好汉的零头!

三百名勇士给三个就够,

重演一次温泉关战斗!

 

怎么,静悄悄?声息毫无?——

听见了!是死者回答的声音:

“又一个活人挺身而出,

我们就都来,都来效命!”

这声音像远方瀑布喧响,

可活人呢,却不开腔。

 

换换调子吧,说这些白搭;

满满倒一盏萨摩斯美酒!

打仗让土耳其番子去打!

干杯吧,开俄斯红酒快流!

你听!酒徒们够多勇敢,

轰然响应这可耻的召唤!

 

皮瑞克舞步你们还会跳,

皮瑞克方阵怎忘个精光?

两项课业中,为什么丢掉

那更为崇高、英武的一项?

老卡德摩斯教你们字母,

难道是为了教育亡国奴?

 

满满倒一杯萨摩斯美酒!

最好别去想这些问题!

阿那克里翁的妙曲清讴

也曾借助于醇酒的神力;

他侍奉波吕克拉提——暴君;

那时候主子总还是本国人。

 

刻松的暴君——米太亚得,

他捍卫自由,何等勇武;

但愿我们在此时此刻

有一个这样刚强的雄主!

靠他手里的锒铛铁锁,

把我们捆扎得牢不可破。

 

满满倒一杯萨摩斯美酒!

苏里的山岩,巴加的海岸,

有一脉遗族兀自存留,

倒还像斯巴达母亲的儿男;

种子播下了,赫丘利世系

会承认他们是自己的后裔。

 

争取自由别指靠西方——

他们的国王精于做买卖;

靠本国队伍,靠本国力量;

才是你们的希望所在。

土耳其武力,拉丁人欺骗,

都能把你们盾牌砸烂。

 

满满倒一杯萨摩斯美酒!

树荫下,少女们起舞翩翩——

一对对五河闪亮的明眸,

一张张红润鲜艳的笑脸;

想起来就热泪滔滔涌出:

她们的乳房都得喂亡国奴!

 

让我登上苏纽姆石崖,

那里只剩下我和海浪,

只听见我们低声应答;

让我像天鹅,在死前歌唱,

亡国奴的乡土不是我邦家——

把萨摩斯酒盏摔碎在脚下!

 

——杨德豫译《哀希腊》,《拜伦抒情诗七十首》,湖南人民出版社,1981年版,第147-153页。

 

其实,百余年来该诗的汉译,绝不仅仅局限于以上八家,正如文章开头所说,而是十数加。但仅就这八家而论也足可看出,拜伦这首诗的不同时代或时期的各种汉语译文在行文、风格、文体诸方面的变迁。至于其它汉译,由于本文容量所限,只好留待另文。

 

附:原文

The Isles of Greece

Don Juan, Canto the Third - LXXXVI

George Gordon Byron

 

The isles of Greece, the Isles of Greece!

     Where burning Sappho loved and sung,

 Where grew the arts of war and peace,

     Where Delos rose, and Phoebus sprung!

 Eternal summer gilds them yet,

 But all, except their sun, is set.

 

 The Scian and the Teian muse,

     The hero's harp, the lover's lute,

 Have found the fame your shores refuse;

     Their place of birth alone is mute

 To sounds which echo further west

 Than your sires' 'Islands of the Blest.'

 

 The mountains look on Marathon —

     And Marathon looks on the sea;

 And musing there an hour alone,

     I dream'd that Greece might still be free;

 For standing on the Persians' grave,

 I could not deem myself a slave.

 

A king sate on the rocky brow

     Which looks o'er sea-born Salamis;

 And ships, by thousands, lay below,

     And men in nations; — all were his!

 He counted them at break of day —

 And when the sun set where were they?

 

 And where are they? and where art thou,

     My country? On thy voiceless shore

 The heroic lay is tuneless now —

     The heroic bosom beats no more!

 And must thy lyre, so long divine,

 Degenerate into hands like mine?

 

 'Tis something, in the dearth of fame,

     Though link'd among a fetter'd race,

 To feel at least a patriot's shame,

     Even as I sing, suffuse my face;

 For what is left the poet here?

 For Greeks a blush — for Greece a tear.

 

 Must we but weep o'er days more blest?

     Must we but blush? — Our fathers bled.

 Earth! render back from out thy breast

     A remnant of our Spartan dead!

 Of the three hundred grant but three,

 To make a new Thermopylae!

 

 What, silent still? and silent all?

     Ah! no; — the voices of the dead

 Sound like a distant torrent's fall,

     And answer, 'Let one living head,

 But one arise, — we come, we come!'

 'Tis but the living who are dumb.

 

 In vain — in vain: strike other chords;

     Fill high the cup with Samian wine!

 Leave battles to the Turkish hordes,

     And shed the blood of Scio's vine!

 Hark! rising to the ignoble call —

 How answers each bold Bacchanal!

 

 You have the Pyrrhic dance as yet,

     Where is the Pyrrhic phalanx gone?

 Of two such lessons, why forget

     The nobler and the manlier one?

 You have the letters Cadmus gave —

 Think ye he meant them for a slave?

 

 Fill high the bowl with Samian wine!

     We will not think of themes like these!

 It made Anacreon's song divine:

     He served — but served Polycrates —

 A tyrant; but our masters then

 Were still, at least, our countrymen.

 

The tyrant of the Chersonese

     Was freedom's best and bravest friend;

 That tyrant was Miltiades!

     O! that the present hour would lend

 Another despot of the kind!

 Such chains as his were sure to bind.

 

 Fill high the bowl with Samian wine!

     On Suli's rock, and Parga's shore,

 Exists the remnant of a line

     Such as the Doric mothers bore;

 And there, perhaps, some seed is sown,

 The Heracleidan blood might own.

 

 Trust not for freedom to the Franks —

     They have a king who buys and sells;

 In native swords, and native ranks,

     The only hope of courage dwells;

 But Turkish force, and Latin fraud,

 Would break your shield, however broad.

 

 Fill high the bowl with Samian wine!

     Our virgins dance beneath the shade —

 I see their glorious black eyes shine;

     But gazing on each glowing maid,

 My own the burning tear-drop laves,

 To think such breasts must suckle slaves

 

 Place me on Sunium's marbled steep,

     Where nothing, save the waves and I,

 May hear our mutual murmurs sweep;

     There, swan-like, let me sing and die:

 A land of slaves shall ne'er be mine —

Dash down yon cup of Samian wine!


 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

秦大川英译:李商隐(唐)《登乐游原》

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秦大川英译:李商隐(唐)《登乐游原》
 

向晚意不适,
         
驱车登古原。
         
夕阳无限好,
         
只是近黄昏。

 


Upon the Pleasure Plateau

 

By Li Shangyin
Tr. Qin Dachuan

 

I feel uneased when th' dusk draws near,
So in carriage, to th' Ancient Height.
Sunset is infinitely dear,
But evening hours it is close by.


 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
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