SH37翻译谈中国诗钱钟书

SH37翻译：谈中国诗(钱钟书)Translation:DiscussiononChinesePoetry(QianZhongshu)(translatedby:alexcwlin;editedby:AdamLam)什么是中国诗的一般印象呢？What’sthegeneralimpressiononChinesepoetry?发这个问题的人一定是位外国读者，或者是位能欣赏外国诗的中国读者。ThepersonwhoraisesthisquestionmusteitherbeanordinaryforeignreaderoraChinesereaderwhocanappreciateforeignpoetry.一个只读中国诗的人决不会发生这个问题。ThisquestiondefinitelydoesnotpopupinthemindofapersonwhoreadsChinesepoetryexclusively.他能辨别，他不能这样笼统地概括。Hecanmakeadistinctionanddoesnotmakeasweepingencapsulationlikethat.他要把每个诗人的特殊、个独的美一一分辨出来。Hewilldifferentiateonebyonethespecialanduniquevirtuesofeachpoet.具有文学良心和鉴别力的人像严正的科学家一样，避免泛论、概论这类高帽子、空头大话。Apersonwhohasliteralconscienceanddiscerningabilityislikeaseriousscientistwhowouldavoidsnowjoboremptywordsthroughmakingsweepingstatementsorgeneralization.他会牢记诗人勃莱克的快语：“作概论就是傻瓜。”HewillneverforgetPoetBlake’squip:“Makinggeneralizationisanidiot.”假如一位只会欣赏本国诗的人要作概论，他至多就本国诗本身分成宗派或时期而说明彼此的特点。Ifapersonwhoonlyappreciatespoemsinhisowncountrywantstomakeageneralization,atmosthecoulddoistocategorizepoemsinhiscountryintodifferentschoolsorperiodsandexpoundontheirrespectivefeatures.他不能对整个本国诗尽职，因为也没法“超以象外，得其环中”，有居高临远的观点。Heshouldnotcommentonhiscountry’spoetryasawhole,becauseitisimpossibletocomprehendtheessenceofsomethingbynotbeingpartofitandtakingabird’seyeview.因此，说起中国诗的一般印象，意中就有外国人和外国诗在。ThereforeintalkingaboutthegeneralimpressionofChinesepoetry,thereisaninsinuationthatforeignersandforeignpoetryareinvolved.这立场是比较文学的。 Thispointofviewismoreliteral.---------------------------------------------------------------------------------------------据有几个文学史家的意见，诗的发展是先有史诗，次有戏剧诗，最后有抒情诗。Accordingtotheopinionsofseveralliteraturehistorians,thedevelopmentofpoetrystartedwithepics,nextdramapoemscame,andfinallylyricsemerged.中国诗可不然。ThatwasnotthecasewithChinesepoetry.中国投有史诗，TherewerenoepicsinChina.中国人缺乏伏尔所谓“史诗头脑”， ChinesewasdeficientinwhatVoltairecalled“theheadsforepics”.中国最好的戏剧诗，产生远在最完美的抒情诗以后。InChina,thebestdramapoemswereproducedlongaftercreationofthebestlyrics.纯粹的抒情诗的精髓和峰极，在中国诗里出现得异常之早。ThefinestandthebestofunadulteratedlyricsappearedextraordinarilyearlyinthehistoryofChinesepoetry.所以，中国诗是早熟的。早熟的代价是早衰。ThereforeChinesepoetrymaturedearly,andthepriceforearlymaturitywasearlyfaltering.中国诗一蹴而至崇高的境界，以后就缺乏变化，而且逐渐腐化。Chinesepoetryspikedquicklytoanexaltedstate,andafterwardsthingsbecamestagnantandgraduallywentdownhill.这种现象在中国文化里数见不鲜。ThisphenomenonhappensquiteregularlyinChineseculture.譬如中国绘画里，AnexamplewasChinesepainting.客观写真的技术还未发达，而早已有“印象派”“后印象派”那种“纯粹画”的作风；Longbeforetechniquesofobjectiveportrayalwerefullydeveloped,“purepainting”style“impressionism”and“post-impressionism”alreadyexistedforquitesometime.中国的逻辑极为简陋，而辩证法的周到，足使黑格尔羡妒。ThelogicsinChinawereextremelycrude,butthethoroughnessindialecticswasenoughtomakeGeorgHegelenvious.中国人的心地里，没有地心吸力那回事，一跳就高升上去。InthemindsofChinese,therewasnosuchathingasgravityandeverythingzoomedsky-highwithaleap.梵文的《百喻经》说一个印度愚人要住三层楼而不许匠人造底下两层，Astoryof“100BuddhistParables”writteninSanskrittoldaboutanIndianfoolwhowantedtoliveonthethirdfloorwouldnotallowcraftsmentoconstructthelowertwofloors.中国的艺术和思想体构。往往是飘飘凌云的空中楼阁，China’sartsandideologybodiesoftenarecastleshighupintheair.这因为中国人聪明，流毒无穷地聪明。 ThatisbecauseChinesearesmart—buttheirsmartshaveadverseeffectsonothersafterthemforalongtime.---------------------------------------------------------------------------------------------贵国爱伦· 坡主张诗的篇幅愈短愈妙，EdgarAllanPoefromyourcountrysuggestedthatforpoems,itwouldbetheshorterthebetter.“长诗”这个名称压根儿是自相矛盾，最长的诗不能需要半点钟以上的阅读。Hecontinuedtosaythatthename“longpoem”basicallywasanoxymoron,andthelongestpoemshouldnottakelongerthanhalfanhourtoread.他不懂中文，太可惜了。中国诗是文艺欣赏里的闪电战，平均不过二三分钟。Itwasapityhedidn’tknowChinesebecauseintheappreciationofarts,Chinesepoemtakesonablitzkriegtacticandeachofthemwouldnottakemorethantwotothreeminutestoread.比了西洋的中篇诗，中国长诗也只是声韵里面的轻鸢剪掠。ComparedtoWesternmid-lengthpoems,Chineselongpoemsarebriefandbriskinthethemeofrhyming. 当然，一篇诗里不许一字两次押韵的禁律限制了中国诗的篇幅。Ofcourse,therestrictionthatawordcannotbeusedtwiceintherhymingschemehaslimitedthelengthofChinesepoems.可是，假如鞋子形成了脚，脚也形成了鞋子；Butifashoeshapesthefoot,thenthefootwouldshapetheshoeaswell.诗体也许正是诗心的产物，适配诗心的需要。Maybeapoem’sbodyispreciselyproductofthepoem’sheartbyadaptingtotheheart’sneeds.比着西洋的诗人，中国诗人只能算是樱桃核跟二寸象牙方块的雕刻者。ComparedwithWesternpoet,aChinesepoetcouldonlybeconsideredasasculptorofcherrypitandtwo-inchivorysquarepiece.不过，简短的诗可以有悠远的意味，Butabriefpoemcouldhavefar-reachingmeaning.收缩并不妨碍延长，仿佛我们要看得远些，每把眉眼颦蹙。Contractiondoesnotgetinthewayofprotractionjustlikewemayhavetosquintoureyestoseefar.外国的短诗贵乎尖刻斩截。Thepreciousaspectsofforeignshortpoemsaretheto-the-pointandabruptqualities.中国诗人要使你从“易尽”里望见了“无垠”。 Chinesepoemsallowyoutohaveboundlessimaginationfrombriefwords.---------------------------------------------------------------------------------------------一位中国诗人说：“言有尽而意无穷。”AChinesepoetoncesaid:“Wordsendbutmeaningsareendless.”另一位诗人说：“状难写之景，如在目前：含不尽之意，见于言外。”Anotherpoetsaid:“Inpainting,youcouldcapturehard-to-describesceneandmakeitcomealive;butinwords,boundlessmeaningsgobeyondwhatareonpaper.”用最精细确定的形式来逗出不可名言、难于凑泊的境界，Difficultyinusingthemostrefinedandpreciseformatofcommunicationtotriggerunspeakablewordsofwisdomistheirmutualincompatibility.恰符合魏尔兰论诗的条件： SuchasituationconformsexactlytotheconditionssuggestedbyWeiErlan’scommentariesonpoetry.---------------------------------------------------------------------------------------------那灰色的歌曲 空泛联接着确切。 Vaguenessconnectstoexactnessthroughthatgraysong.---------------------------------------------------------------------------------------------这就是一般西洋读者所认为中国诗的特征：富于暗示。Thisprosecontainstheinsinuation-richtraitthatordinarywesternreadersconsideriscommonwithChinesepoems.我愿意换个说法，说这是一种怀孕的静默。Iwouldliketoputitalittledifferentlybysayingitisaformofsilenceimpregnatedwithaddedmeanings.说出来的话比不上不说出来的话，只影射着说不出来的话。Unspeakablewordsinsinuatedthroughunspokenwordsbeatspokenwords. 济慈名句所谓： AfamousquotefromJohnKeatsstates:---------------------------------------------------------------------------------------------听得见的音乐真美，但那听不见的更美。 Audiblemusicisbeautiful,butsoundlessmusicisevenbetter.---------------------------------------------------------------------------------------------我们的诗人也说，“此时无声胜有声”；Ourpoetoncesaid:“Atthisjuncture,silencetopswords.”又说，“解识无声弦指妙”。Anothersayingstates,“Meaningsofasongcouldbeinterpretedthroughobservingthedextrousstrummingofstrings.”有时候，他引诱你到语言文字的穷边涯际，下面是深秘的静默：“此中有真意，欲辨已忘言。”“淡然离言说，悟悦心自足。” Sometimesapoetluresyoutotheverybrimintherealmofliteralwordswithprofoundsilencedownbelow,andstates:“This(theenvironmentwheretheauthorwasliving)istrulysatisfying,butI’mlostforwordsintryingtoexpresshowIfeel.”;healsosays:“QuietnesshasdampenedtheurgetovoicehowIfeelindeparture,andderivinghappinessincomprehendingBuddhismphilosophyistrulysatisfying.”---------------------------------------------------------------------------------------------有时他不了了之，引得你遥思远怅：“美人卷珠帘，深坐颦蛾眉；但见泪痕湿，不知心恨谁。”“松下问童子，言师采药去。只在此山中，云深不知处。”Sometimeshebrushesyouawaywithoutananswer,andleftyourthoughtsandsorrowdriftingafarinsaying:“Withrolled-upbeadcurtain,thebeautyhasbeensittingforalongtimewithlockedeyebrows.Tracksofstreamingtearsareclearlyvisibleandwhoknowswhomherrepulsionisdirectedat.”and“Whenbeingaskedunderapinetree,theyoungapprenticereplieshisteacherisawaycollectingherbssomewhereinthismountain.Sincetheplaceisburieddeepinclouds,hejustdoesn’tknowwherehisteacherhasgone.”这“不知”得多撩人！This“doesn’tknow”isverythought-provoking.中国诗用疑问语气做结束的，比我所知道的西洋任何一诗来得多，UsinganinterrogativemoodtoendasentenceismorefrequentlyusedinChinesepoetrythanitswesterncounterpartasfarasweknow.这是极耐寻味的事实。Thisfactismuchfoodforthought.试举一个很普通的例子。Let’stakeacommonexample.西洋中世纪拉丁诗里有个“何处是”的公式，来慨叹死亡的不饶恕人。DuringtheMiddleAgesinthewesternworld,Latinpoetryroutinelyusedtheexpression“whereis”tolamentovertheunforgivingnatureofDeathtowardsmankind.英、法、德、意、俄、捷克各国诗都利用过这个公式，PoetryincountriessuchasBritain,France,Germany,Italy,Russia,andCzechoslovakiaalsohasusedthissetexpression.而最妙的，莫如维荣的《古美人歌》：Themostintriguingisnoneotherthan“BalladeoftheLadiesofTimesPast”byFrancoisVillon. 每一句先问何处是西洋的西施、南威或王昭君、杨贵妃，然后结句道：“可是何处是去年的雪呢？” Everyversestartswithasking“whereis”awesternbeautywithequivalentstatusofXiShi,NanWei,WangZhaoJun,orYangGuiFei,andconcludeswiththequestion:“butwherearethesnowsofyesteryear?”---------------------------------------------------------------------------------------------巧得很，中国诗里这个公式的应用最多，CoincidentallyChinesepoemsusethisformula-likeexpressionthemost.例如：“壮士皆死尽。余人安在哉？” Examplesare:“Heroicwarriorsarealldead.Wherearetherestofthepeoplesettlingin?”;“阁中帝子今何在，槛外长江空自流。”“Wherearetheprincesandprincessesthatusedtolodgeinthesechambers?Thelongriveroutsideofthewindowsillscontinuestoflowmeaninglessly.”;“今年花落颜色改，明年花开复谁在？”“Thisyearcolorsaroundarechangedwhenflowersfall.Nextyearwhowouldremainherewhenflowersbloom?”;“同来玩月人何在，风景依稀似去年。…春去也，人何处？人去也，春何处？”“Wherearethepeoplewhousedtocomeheretoenjoytheviewofmoon?Theviewmoreorlessresemblesthatoflastyear.…Springisgone.Wherearethepeople?…Peoplearegone.Whereisspring?”莎士比亚的《第十二夜》里的公爵也许要说： MaybetheDukeinShakespeare’sTwelfthNightisabouttosay…---------------------------------------------------------------------------------------------够了。That’senough.不再有了。Thereisnomore!就是有也不像从前那样美了。 Eveniftherearemore,theywon’tbeasbeautifulasthoseabove-mentionedones.---------------------------------------------------------------------------------------------中国诗人呢，他们都像拜伦《哀希腊》般地问： ChinesepoetswouldaskinasimilarmannerasByron’spoeminmourningoverGreece:---------------------------------------------------------------------------------------------他们在何处？你在何处？ “Wherearethey?Whereareyou?”---------------------------------------------------------------------------------------------问而不答，以问为答，给你一个回肠荡气的没有下落，Whenyouaregivennoanswertoyourquestionoraquestiontoansweryourquestion,youwouldbeleftwithaheartrendingsenseofloss.吞言咽理的没有下文。Alternativelyyouwouldchokebackwordsbecauseyouaregivenabrushoff.余下的， Whatelseisleft?像啥姆雷特临死所说，余下的只是静默——深挚于涕泪和叹息的静默。 ItisjustlikewhatHamletsaidbeforehisdeath:“Therestissilence”,whichismoreprofoundthanthetypeofsilencewithtearsandsighs.---------------------------------------------------------------------------------------------西洋读者也觉得中国诗笔力轻淡，词气安和。WesternreadersalsofeltChinesepoetryissubduedinvigorandtranquilintone.我们也有厚重的诗，给情感、思恋和典故压得腰弯背断。Wealsohaveweightypoemsthatareheavilyloadedwithemotions,longingsandclassicalreferencestoanear-breakingpoint.可是中国诗的“比重”确低于西洋诗；好比蛛丝网之于钢丝网。ButtherelativeweightofChinesepoemsinthoseregardsisindeedlowerthanthatofwesternpoems,justlikespiderwebcomparedwithsteel-wireweb.西洋诗的音调像乐队合奏。而中国诗的音调比较单薄，只像吹着芦管。Incomparison,itisjustliketonesofwesternpoemscomefromsymphonieswhiletonesofChinesepoemscomefromchalumeau(i.e.,relativelyfeeble).这跟语言的本质有关，Thedifferentialhassomethingtodowithinherentnaturesoflanguages.例如法国诗调就比不上英国和德国诗调的雄厚。而英国和德国诗调比了拉丁诗调的沉重，又见得轻了。Forexample,thetonesofFrenchpoemsarenotassolidasthoseinBritainandGermany;butthenthetonesofBritishandGermanpoemsaremuchlighterthanthoseofLatinpoems.何况中国古诗人对于叫嚣和呐喊素来视为低品的。Moreover,ancientChinesepoetsalwaysregardclamoringandbellowingaslow-class.我们最豪放的狂歌比了你们的还是斯文；Ourmostuninhibitedandwildtypeofsingingistamecomparedtoyours.中国诗人狂得不过有凌风出尘的仙意。ThewildnessinChinesepoemsmerelyhasasenseofunworldliness.我造过aeromantic一个英文字来指示这种心理。IoncecoinedanEnglishword“aeromantic”toindicatethiskindofmentality.你们的诗人狂起来可了不得！有拔木转石的兽力和惊天动地的神威，Whenyourpoetsgowild,itisoverwhelmingwithmountain-movingstrengthandearth-shatteringprowess.中国诗绝不是贵国惠特曼所谓“野蛮犬吠”，而是文明人话。并且是谈话。不是演讲，Chinesepoemsarenotthesocalled“savagedogbarks”describedbyWhitmaninyourcountry,butarespokenwordsofcivilizedpeople—wordsinconversationandnotoration.像良心的声音又静叉细——但有良心的人全听得见，除非耳朵太听惯了麦克风和无线电或者…… Thesoundofthesewordsismuchlikethecalmandlowvoiceofconsciencethatisaudibletoallscrupulouspeople,unlesstheirearsaretooaccustomedtohearingmicrophones,radios,orothers.---------------------------------------------------------------------------------------------我有意对中国诗的内容忽略不讲。IdeliberatelyleaveoutdiscussiononcontentsofChinesepoems. 中国诗跟西洋诗在内容上无甚差异；ThereisnomarkeddifferencebetweenthecontentsofChinesepoemsandwesternpoems.中国社交诗特别多，宗教诗几乎没有，InChinesepoetry,socialpoemsareparticularlyinabundanceandreligiouspoemsarealmostnon-existent.如是而已。That’saboutit.譬如田园诗—— Takepastoralpoemsforexample.不是浪漫主义神秘地恋爱自然，而是古典主义的逍遥林下Theyarenotdealingwithsubjectsunderromanticismthatmysteriouslyfallinlovewithnature,butclassicalismthatleisurelysloucharoundundertreeshades.——有人认为是中国诗的特色。SomepeoplethinkthatisatraitofChinesepoetry.不过自从罗马霍瑞斯《讽训集》卷二第六首以后，跟中国田园诗同一型式的作品，InSermonesbyHoraceofRome,thesixthpoemunderChapter2wassimilarinstyleasChinesepastoralpoems.在西洋诗卓然自成风会。ThatHorace’spoemgainedpopularityprominentlyintherealmofwesternpoetry.又如下面两节诗是公认为洋溢着中国特具的情调的，“采菊东篱下，悠然见南山。ThefollowingtwosectionsofpoemsarecommonlyrecognizedasbeingrichintheambienceofChina:“Inpickingchrysanthemumflowersundereast-sidehedge,Icasuallylookatsouth-sidemountain.山气日夕佳，Themountaincrownedwithfogandcloudsisverylovelyatsunset.飞鸟相与还。”Alsoinsightarehomeboundbirdsflyinginpairs.”“众鸟高飞尽，孤云独去闲。“Flocksofhigh-flyingbirdshavegoneoutofsight,andalonelycloudisdriftingslowlyaway.相看两不厌，只有敬亭山。”TheonlytwowhoarenottiredoflookingateachotherareJingTingMountainandme.”我试举两首极普通的外国诗来比，Itrytolisttwoveryordinaryforeignpoemsforcomparison.第一是格雷《墓地哀歌》的首节： Thefirstoneisthefirstparagraphof“ElegyWritteninaCountryChurchyard”byThomasGray:---------------------------------------------------------------------------------------------晚钟送终了这一天， 牛羊咻咻然徐度原野，农夫倦步长道回家， 仅余我与暮色平分此世界。Thecurfewtollstheknellofpartingday, Thelowingherdwindslowlyo'erthelea,Theploughmanhomewardplodshiswearyway,  Andleavestheworldtodarknessandtome.---------------------------------------------------------------------------------------------第二是歌德的《漫游者的夜歌》： Thesecondoneis“Wayfarer'sNightSongII”byJohannWolfgangvonGoethe.:---------------------------------------------------------------------------------------------微风收木末， 群动息山头。 鸟眠静不噪， 我亦欲归休。 Overallthehill-topsitisstillInallthetree-topsyoucanhardlyfeelabreathstirring.Littlebirdsaresilentinthewoods.Wait!Soonyoutoowillbestill.---------------------------------------------------------------------------------------------口吻情景和陶渊明、李太白相似得令人惊讶。ThetonesandsceneriesofthelattertwoforeignpoemsareshockinglysimilartothefirsttwoChinesepoemsbyTaoYuanmingandLiBai.中西诗不但内容常相同，并且作风也往往暗合。Chineseandwesternpoemsarenotonlyalikeincontents,butalsothestylesoftencoincide.斯屈莱欠就说中国诗的安静使他联想起魏尔兰的作风。LyttonStracheycommentedtheserenityofChinesepoetrymadehimthinkofPaulVerlaine’sstyle.我在别处也曾详细贵国爱伦·坡的诗法所产生的纯粹诗，我们诗里几千年前早有了。 ElsewhereIexplainedindetailsthepurepoetryproducedunderthepoemstyleofEdgarPoeinyourcountry,whichwasinexistenceinourpoetryseveralthousandyearsago.---------------------------------------------------------------------------------------------所以，你们讲，中国诗并没有特特别别“中国”的地方。Therefore,tellme,thereisnothingspecifically“Chinese”inChinesepoetry,isn’tit?中国诗只是诗，它该是诗，比它是“中国的”更重要。Chinesepoemsareonlypoems,andtheirnatureasbeingpoemismoreimportantthanbeing“Chinese”.好比一个人，It’ssimilartothecasewithaperson.不管他是中国人，美国人。英国人，总是人。NomatterheisaChinese,American,orBritish,heisapersonafterall.有种卷毛凹鼻子的哈巴狗儿，Pugisatypeofdogwithcurlyhairandconcavenose.你们叫它“北京狗”，我们叫它“西洋狗”。Youcallit“Pekingese”,andwecallit“WesternDog”.《红楼梦》的“西洋花点子哈巴狗儿”。 ADreamofRedMansionsdescribedPekingeseasawesterntrickery.这只在西洋就充中国而在中国又算西洋的小畜生，该磨快牙齿，咬那些谈中西本位文化的人。ThislittledomesticanimalwhichclaimstobeChineseinthewesternworldbutwesternerinChinashouldsharpenitsteethtobitethosewhoproposeChineseandWesternculturesshouldbeviewedseparatelyinisolation.每逢这类人讲到中国文艺或思想的特色等等，我们不可轻信，好比我们不上“本店十大特色”那种商业广告的当一样。WheneverthesepeopletalkaboutthedistinguishingfeaturesandothermattersofChinesecultureorthinking,weshouldnottakethematfacevaluejustlikewewouldnotfallforthecommercialmarketingwhichpromotes“Thetenspecialfeaturesofthisstore”.中国诗里有所谓“西洋的”品质，西洋诗里也有所谓“中国的”成分。InChinesepoetrythereareso-called“western”qualitiesandinwesternpoetrytherearealsothe“so-called“Chinese”components.在我们这儿是零碎的，薄弱的，到你们那儿发展得明朗圆满。Overhereinourcountry,certainmatterscouldbefragmentedandfrail,buttheyturnouttobelucidandcompletewhentheyarriveatyourcountry.反过来也是一样。Thereverseisalsotrue.因此，读外国诗每有种他乡忽遇故知的喜悦，会引导你回到本国诗。Thereforeinreadingforeignpoems,oftenwecouldderivethekindofjoysimilartostumblinguponanoldacquaintanceinforeignsoilthatwouldleadyoubacktopoetryofourcountry.这事了不足奇。Thereisnothingoddaboutthis.希腊神秘哲学家早说，人生不过是家居，出门，回家。AmysticalphilosopherinGreecelongtimeagosaidlifeisnothingmorethanstayinghome,goingout,andreturninghome.我们一切情感、理智和意志上的追求或企图不过是灵魂的思家病，Allourpursuitsandattemptsoveremotions,sensesandwillsareonlyhomesicknessinoursouls.想找着一个人，一件事物。一处地位，容许我们的身心在这茫茫漠漠的世界里有个安顿归宿，仿佛病人上了床，浪荡子回到家。Findingaperson,athing,oraplaceallowsourbodyandmindtohaveahometosettleintointhisboundlessworldmuchlikeapatientgettinginbedoradrifterreturninghome.出门旅行，目的还是要回家，否则不必牢记着旅途的印象。Intakingatripawayfromhome,theobjectiveintheendisstilltoreturnhome,orelsethereisnoneedtoretainmemoryofthetravelingroute.研究我们的诗准使诸位对本国的诗有更深的领会，正像诸位在中国的小住能增加诸位对本国的爱恋。Studyingourpoetrywilldefinitelyresultinbetterunderstandingbyallofyoutowardyourhomegrownpoetry,justlikeashortstayinChinawillenhanceyourlovetowardstheirowncountries.觉得甜蜜的家乡因远征增添了甜蜜。Beingfarawayfromhomewillincreaseaperson’saffectiontowardshisownhome.---------------------------------------------------------------------------------------------