斯蒂文斯：思考隐喻的形象之间的一种关系
思考隐喻的形象之间的一种关系
斯蒂文斯
木鸽们沿着伯基奥门【1】鸣唱。
低音深沉，仍然害怕印第安人。
在渔夫的一耳中，他完全是
一只耳朵，木鸽单唱一支歌。
低音不停地向前张望，逆流而上，在
一个方向，水盈盈的矛芽
的劈啪飞溅前退缩。渔夫完全是
一只眼，在其中木鸽与木鸽相像。
有一只木鸽，一个低音，一个渔夫。
可咕变成了噜—咕，噜—咕。每个变调
离没有言明的主题多么近……
在那一只耳中它一定完美地奏响：
言明那被公开的。在那一只眼中鸽子
或许会弹入视线却仍然还是一只鸽子。
渔夫或许是独自一人
在他的胸中，鸽子，飞落，会静止下来。
Thinking of a Relation Between the Images of Metaphors
Wallace Stevens
The wood-doves are singing along the Perkiomen.
The bass lie deep, still afraid of the Indians.
In the one ear of the fisherman, who is all
One ear, the wood-doves are singing a single song.
The bass keep looking ahead, upstream, in one
Direction, shrinking from the spit and splash
Of waterish spears. The fisherman is all
One eye, in which the dove resembles a dove.
There is one dove, one bass, one fisherman.
Yet coo becomes rou-coo, rou-coo. How close
To the unstated theme each variation comes…
In that one ear it might strike perfectly:
State the disclosure. In that one eye the dove
Might spring to sight and yet remain a dove.
The fisherman might be the single man
In whose breast, the dove, alighting, would grow still.
注：
【1】伯基奥门（Perkiomen），宾夕法尼亚的一个镇，该镇沿着同名的一条溪建立：http://www.perkiomentownship.org/
读这首诗，不会不想到“孤舟蓑笠翁，独钓寒江雪。” 可以对比一下极物和冥想的方式。
斯蒂文斯的另一组诗中有一首是题写马远的画的（画名我没记得，哪位豆友提供以下，谢谢！）
殊景六幅
第一首短诗据说受马远的画的启发
（一）
一个老人坐
于中国的
松荫。
他看见青蒿
在松影边
青绿间白
随风而动。
他的胡须动在风里。
松树动在风里。
因而水
流过荒草
（二）
夜色
是女人臂膀的色泽：
夜，女性，
隐约，
芬芳而柔软，
隐藏她自身。
一池闪烁
像一只手镯
颤动在舞中。
（三）
我靠着一颗高树
测量自己。
我发现我更高大，
因为我以我的眼，
伸向太阳；
以我的耳
伸向大海的海岸。
然而，我不喜欢
蚂蚁那样
爬出爬进我的影子。
（四）
当我的梦靠近月亮
她白袍上的衣折
盛满了黄色的光。
它的脚掌
变红。
它的头发镶满
来自星星的
某种蓝晶
并不太遥远。
（五）
不是所有灯柱的刀，
不是长街的凿子，
不是圆形屋顶和高塔的
木槌，
能雕刻
像一颗星雕出
透过葡萄叶的闪亮。
（六）
唯理论者，带着方帽，
思考，在四方的屋子，
看着地板，
看着房顶。
他们限制自己
于直角三角形里。
如果他们试试菱形，
圆锥、波浪线、椭圆——
就比如，半轮月亮的椭圆——
唯理论者会带上宽边帽。
Six Significant Landscapes
Wallace Stevens
I
An old man sits
In the shadow of a pine tree
In China.
He sees larkspur,
Blue and white,
At the edge of the shadow,
Move in the wind.
His beard moves in the wind.
The pine tree moves in the wind.
Thus water flows
Over weeds.
II
The night is of the colour
Of a woman's arm:
Night, the female,
Obscure,
Fragrant and supple,
Conceals herself.
A pool shines,
Like a bracelet
Shaken in a dance.
III
I measure myself
Against a tall tree.
I find that I am much taller,
For I reach right up to the sun,
With my eye;
And I reach to the shore of the sea
With my ear.
Nevertheless, I dislike
The way ants crawl
In and out of my shadow.
IV
When my dream was near the moon,
The white folds of its gown
Filled with yellow light.
The soles of its feet
Grew red.
Its hair filled
With certain blue crystallizations
From stars,
Not far off.
V
Not all the knives of the lamp-posts,
Nor the chisels of the long streets,
Nor the mallets of the domes
And high towers,
Can carve
What one star can carve,
Shining through the grape-leaves.
VI
Rationalists, wearing square hats,
Think, in square rooms,
Looking at the floor,
Looking at the ceiling.
They confine themselves
To right-angled triangles.
If they tried rhomboids,
Cones, waving lines, ellipses --
As, for example, the ellipse of the half-moon --
Rationalists would wear sombreros.
A note by Plinius from: http://some-landscapes.blogspot.com
The first of Wallace Stevens’ ‘Six Significant Landscapes’ depicts an old man in China, sensing the wind blowing a pine tree, blue and white larkspur and his own beard, their movement like water running over weeds. According to Zhaoming Qian, Stevens’ poem is reminiscent of landscape painting from the Ma-Xia school, named after Ma Yuan (active ca. 1189-1225) and Xia Gui (active ca. 1180-1224). For example, Ma Yuan’s Watching the Deer by a Pine-shaded Stream has a scholar gazing at a landscape in which pine trees wave and water streams over rocks. Stevens may not have had a specific painting in mind, but he was certainly influenced by Chinese painting he had read about and seen in exhibitions. In 1909 Stevens had been captivated by the Chinese paintings he saw in New York and wrote to his fiancée Elsie about them, compiling a “private exhibition” from their colours:
pale orange, green and crimson, and white,
and gold, and brown;
deep lapis-lazuli and orange, and opaque
green, fawn-color, black, and gold;
lapis blue and vermilion, white, and gold
and green.
斯蒂文斯
木鸽们沿着伯基奥门【1】鸣唱。
低音深沉，仍然害怕印第安人。
在渔夫的一耳中，他完全是
一只耳朵，木鸽单唱一支歌。
低音不停地向前张望，逆流而上，在
一个方向，水盈盈的矛芽
的劈啪飞溅前退缩。渔夫完全是
一只眼，在其中木鸽与木鸽相像。
有一只木鸽，一个低音，一个渔夫。
可咕变成了噜—咕，噜—咕。每个变调
离没有言明的主题多么近……
在那一只耳中它一定完美地奏响：
言明那被公开的。在那一只眼中鸽子
或许会弹入视线却仍然还是一只鸽子。
渔夫或许是独自一人
在他的胸中，鸽子，飞落，会静止下来。
Thinking of a Relation Between the Images of Metaphors
Wallace Stevens
The wood-doves are singing along the Perkiomen.
The bass lie deep, still afraid of the Indians.
In the one ear of the fisherman, who is all
One ear, the wood-doves are singing a single song.
The bass keep looking ahead, upstream, in one
Direction, shrinking from the spit and splash
Of waterish spears. The fisherman is all
One eye, in which the dove resembles a dove.
There is one dove, one bass, one fisherman.
Yet coo becomes rou-coo, rou-coo. How close
To the unstated theme each variation comes…
In that one ear it might strike perfectly:
State the disclosure. In that one eye the dove
Might spring to sight and yet remain a dove.
The fisherman might be the single man
In whose breast, the dove, alighting, would grow still.
注：
【1】伯基奥门（Perkiomen），宾夕法尼亚的一个镇，该镇沿着同名的一条溪建立：http://www.perkiomentownship.org/
读这首诗，不会不想到“孤舟蓑笠翁，独钓寒江雪。” 可以对比一下极物和冥想的方式。
 |
马远：寒江独钓 |
斯蒂文斯的另一组诗中有一首是题写马远的画的（画名我没记得，哪位豆友提供以下，谢谢！）
 |
马远：临流独坐 |
殊景六幅
第一首短诗据说受马远的画的启发
（一）
一个老人坐
于中国的
松荫。
他看见青蒿
在松影边
青绿间白
随风而动。
他的胡须动在风里。
松树动在风里。
因而水
流过荒草
（二）
夜色
是女人臂膀的色泽：
夜，女性，
隐约，
芬芳而柔软，
隐藏她自身。
一池闪烁
像一只手镯
颤动在舞中。
（三）
我靠着一颗高树
测量自己。
我发现我更高大，
因为我以我的眼，
伸向太阳；
以我的耳
伸向大海的海岸。
然而，我不喜欢
蚂蚁那样
爬出爬进我的影子。
（四）
当我的梦靠近月亮
她白袍上的衣折
盛满了黄色的光。
它的脚掌
变红。
它的头发镶满
来自星星的
某种蓝晶
并不太遥远。
（五）
不是所有灯柱的刀，
不是长街的凿子，
不是圆形屋顶和高塔的
木槌，
能雕刻
像一颗星雕出
透过葡萄叶的闪亮。
（六）
唯理论者，带着方帽，
思考，在四方的屋子，
看着地板，
看着房顶。
他们限制自己
于直角三角形里。
如果他们试试菱形，
圆锥、波浪线、椭圆——
就比如，半轮月亮的椭圆——
唯理论者会带上宽边帽。
Six Significant Landscapes
Wallace Stevens
I
An old man sits
In the shadow of a pine tree
In China.
He sees larkspur,
Blue and white,
At the edge of the shadow,
Move in the wind.
His beard moves in the wind.
The pine tree moves in the wind.
Thus water flows
Over weeds.
II
The night is of the colour
Of a woman's arm:
Night, the female,
Obscure,
Fragrant and supple,
Conceals herself.
A pool shines,
Like a bracelet
Shaken in a dance.
III
I measure myself
Against a tall tree.
I find that I am much taller,
For I reach right up to the sun,
With my eye;
And I reach to the shore of the sea
With my ear.
Nevertheless, I dislike
The way ants crawl
In and out of my shadow.
IV
When my dream was near the moon,
The white folds of its gown
Filled with yellow light.
The soles of its feet
Grew red.
Its hair filled
With certain blue crystallizations
From stars,
Not far off.
V
Not all the knives of the lamp-posts,
Nor the chisels of the long streets,
Nor the mallets of the domes
And high towers,
Can carve
What one star can carve,
Shining through the grape-leaves.
VI
Rationalists, wearing square hats,
Think, in square rooms,
Looking at the floor,
Looking at the ceiling.
They confine themselves
To right-angled triangles.
If they tried rhomboids,
Cones, waving lines, ellipses --
As, for example, the ellipse of the half-moon --
Rationalists would wear sombreros.
A note by Plinius from: http://some-landscapes.blogspot.com
The first of Wallace Stevens’ ‘Six Significant Landscapes’ depicts an old man in China, sensing the wind blowing a pine tree, blue and white larkspur and his own beard, their movement like water running over weeds. According to Zhaoming Qian, Stevens’ poem is reminiscent of landscape painting from the Ma-Xia school, named after Ma Yuan (active ca. 1189-1225) and Xia Gui (active ca. 1180-1224). For example, Ma Yuan’s Watching the Deer by a Pine-shaded Stream has a scholar gazing at a landscape in which pine trees wave and water streams over rocks. Stevens may not have had a specific painting in mind, but he was certainly influenced by Chinese painting he had read about and seen in exhibitions. In 1909 Stevens had been captivated by the Chinese paintings he saw in New York and wrote to his fiancée Elsie about them, compiling a “private exhibition” from their colours:
pale orange, green and crimson, and white,
and gold, and brown;
deep lapis-lazuli and orange, and opaque
green, fawn-color, black, and gold;
lapis blue and vermilion, white, and gold
and green.
