齐云选译蒂斯黛尔诗歌三十四首_齐云1972

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齐云选译蒂斯黛尔诗歌三十四首

(2019-03-12 13:33:59)

分类：诗歌翻译

萨拉•蒂斯代尔（Sara Teasdale, 1884－1933）简介:美国女诗人，生于密苏里州圣路易斯。她没有受过正规教育，但勤奋好学，自学成才。曾侨居欧洲和中东，1916年定居纽约。1918年她的诗集《恋歌》获美国第一个诗歌普利策奖。1929年，她与共同生活15年的丈夫离婚，1931年其恋人也是美国著名诗人林赛自杀，1933年1月29日她于纽约寓所服了大量安眠药再也没有醒来。她的主要作品有《献给杜丝的十四行诗》（Sonnets to Duse and Other Poems，1907)、《特洛伊的海伦》(Helen of Troy and Other Poems，1911， 1922再版)、《百川归海》（Rivers to the Sea ，1915）、《恋歌》（ Love Songs ，1917 ）、《光与影》（ Flame and Shadow ，1920， 1924再版）、《月黑时节》（ Dark of the Moon ，1926）、《奇异的胜利》（ Strange Victory 1933）、《诗选》（The Collected Poems ，1937）等。译者认为蒂斯黛尔诗作语言朴实无华，表达自然流畅，情感真实、敏锐、纤细。她对感情，对自然，对人生的那份真挚以及多愁善感的心灵，极易引起人们的共鸣。在现代主义诗歌几乎一笼世界诗坛时，蒂斯代尔基本保持了古典的抒情方式，正因为这种抒情方式，她的诗未得到多数“专家”的青睐，但更多地得到普通读者的欣赏，保持长久生命力。其诗作大部分是情诗，忠实纪录了一个女性一生的爱情历程，从少女时期对爱情的天真浪漫的美好向往，到青春时期的相恋相乐，再到中年时期爱情的疲乏疲惫，最后到恋人之间的相互猜疑和折磨及爱情的幻灭。她虽然出身于密苏里州圣路易一个有浓郁清教徒气息的富商家庭，但从诗作看她从未从基督那里获得力量，她的生死观不是死后永远入天堂或下地狱，而是颇为接近轮回的东方思想。她似乎只信仰爱神维纳斯，爱情幻灭后她也只有死亡一条路可走。她情感丰富，但似乎智慧不足，拒绝接受现实爱情的缺撼，固执停留在幻想中的理想爱情，未能步入心灵宁静的人生阶段。设想她若生在中国，绝难保留人生唯有爱情的观念，唯此，她和她的诗作才显得尤其可贵，是一个可供细究的中西人性天生共同及后天分道扬镳的绝好样本。

Night Song At Amalfi

I asked the heaven of stars

What I should give my love –

It answered me with silence,

Silence above.

I asked the darkened sea

Down where the fishers go –

It answered me with silence,

Silence below.

Oh, I could give him weeping,

Or I could give him song –

But how can I give silence,

My whole life long?

艾玛尔菲夜歌

我问繁星闪烁的苍穹

该给爱人什么

苍穹无语答以沉默

上方沉默

我问幽深黑暗的海洋

渔者何方出没

海洋无语答以沉默

下方沉默

哦，我可给他悲泣

也可给他欢歌

但我怎能忍心沉默

终生沉默

译后记：这是蒂斯黛尔的一首精品诗作。氛围神秘，意境优美，爱情淡中见浓，名副其实的夜歌。

The River

I came from the sunny valleys

　And sought for the open sea,

　　For I thought in its gray expanses

　My peace would come to me.

I came at last to the ocean

　And found it wild and black,

　　And I cried to the windless valleys,

　"Be kind and take me back!"

But the thirsty tide ran inland,

　And the salt waves drank of me,

　　And I who was fresh as the rainfall

　Am bitter as the sea.

河流

我从晴朗的溪谷流来

一路追寻无边的大海

以为在它宽广的胸怀

我能得到安宁和舒泰

终于让我找到了海洋

却发现海洋黑暗疯狂

我向溪谷哭断了肝肠

“行行好带我回到家乡”

潮汐急切地涌向内河

我被海波无情地吞没

曾经如雨露清新的我

而今象海水一般苦涩

译后记：这首诗当是她爱情幻灭时期的佳作之一。译诗排列方式由孙则鸣提出，整体外形像一条流动的河，首节和次节渐远又回的诗行，末节的包围吞没的排列，完美呼应了诗歌内容，是一个很难重复的经典诗行排列。断行排列本从西诗引入，但只引入了齐头一种，而格律体英语诗歌有多种排列方式，值得新诗借鉴、应用。当然所谓的“自由体新诗”只需齐头排列一种方式就可以了，甚至这个种类的很多所谓“诗歌”，比如“口水诗”，连分行也不需要的，因为它们不配为诗。

Dust

When I went to look at what had long been hidden,

A jewel laid long ago in a secret place,

I trembled, for I thought to see its dark deep fire—

But only a pinch of dust blew up in my face.

I almost gave my life long ago for a thing

That has gone to dust now, stinging my eyes—

It is strange how often a heart must be broken

Before the years can make it wise.

遗灰

很久前我把珍爱的宝石埋藏

后来我重回这个隐秘的地方

颤抖着以为黑暗中会有闪光

却只有一撮灰尘喷溅到脸上

为了得到它当年我拼命挣抢

不料化成灰还将我眼睛刺伤

让人感叹的，心灵要伤透几场

时间才会让心灵的智慧增长

译后记：从此诗可略窥蒂斯黛尔多么擅长诗的形象思维。顺便狠狠鄙视现代主义诗歌，犹如魏晋六朝玄言诗，一百多年喧嚣中国诗坛，却统统扫进历史垃圾堆再无人问津。诗歌这种精巧的文字，不长于表达思想，而长于言情抒志，而废情逐志、生吞活剥的中国现代主义诗歌是一群貌似深刻其实肤浅、追新逐异哗众取宠的作者向同类性质的读者征收智商税。

Full Moon (Santa Barbara)

I listened, there was not a sound to hear

In the great rain of moonlight pouring down,

The eucalyptus trees were carved in silver,

And a light mist of silver lulled the town.

I saw far off the gray Pacific bearing

A broad white disk of flame,

And on the garden-walk a snail beside me

Tracing in crystal the slow way he came.

圣芭芭拉的满月

月光倾泻如大雨倾盆

我倾听着却无声可闻

银辉如轻雾笼着小镇

把桉树塑成雕像尊尊

远处太平洋灰气氤氲

氤氲里生出朗月一轮

花园小径上蜗牛逡巡

留下了一条晶亮爬痕

译后记：小诗用多种手段，极力描写圣芭芭拉小镇的满月之明亮，看似简单，实不简单。首节，月光有色（佛教用语色相之色，非颜色之色），但如水已不足以形容，月光如豪雨下注；再连喻月光有声，诗人欲听雨声而不得；月光有形，如雾，笼着小城；月光有工，能把桉树雕成塑像。次节前两行，让人联想到“海上明月共潮生”和“明月出天山，苍茫云海间”的意境。最后两行，通过蜗牛行迹可见，写月光之明亮。

THE FAERY FOREST

The faery forest glimmered

Beneath an ivory moon,

The silver grasses shimmered

Against a faery tune.

Beneath the silken silence

The crystal branches slept,

And dreaming through the dew-fall

The cold, white blossoms wept.

森林仙境

象牙色玉盘洒下清辉

仙境的森林闪亮微微

光彩迷离的银白草卉

似是应和着仙乐低回

若有轻纱将静谧裹围

玉树琼枝都已经入睡

冷白的花朵流出泪水

仿佛她梦见露珠滴坠

译后记：这首诗让我想起李贺，特别是最后两行像极了李贺，只不过李贺的仙境奇诡不平，而女诗人的仙境温柔宁静。这首诗翻译须用律式音节诗（特点有三：一是意顿对位对称，二是逗内音步步尾节点字平仄相间，三是追求精致的韵式）、柔和级的声韵，才能在音响上最好地传达月下仙林的安宁。

Dooryard Roses

I have come the selfsame path

　To the selfsame door,

　　Years have left the roses there

　Burning as before

While I watch them in the wind

　Quick the hot tears start－

　　Strange so frail a flame outlasts

　Fire in the heart.

前院玫瑰

走过相同小路

步入一样院门

经年玫瑰几株

花开依旧缤纷

凝视风中玫瑰

难禁热泪瞬间

红花如此脆危

犹胜心头火焰

译后记：这是我最爱的蒂斯黛尔诗作之一，小诗之美、之妙，让我有个美妙的己亥年初四夜晚（翻译时间），因为它道出了我曾经有过但没有寻到合适意象传达的感受：纵使什么条件都没有变化，仅仅时间就足以改变爱情。

Wild Asters

In the spring I asked the daisies

　If his words were true,

　　And the clever, clear-eyed daisies

　Always knew.

Now the fields are brown and barren,

　Bitter autumn blows,

　　And of all the stupid asters

　Not one knows.

野菊花

我问过，他的话

哪句真，哪句假

春天里，野菊花

多聪明，总回答

秋风寒，百花杀

田园衰，不堪画

我再问，野菊花

呆呆的，不回答

译后记：原作略含忧伤的童话风格（所以它是好诗，而非童谣），让我想起用这样的诗句翻译。一旦确定句式，译起来就快了，这让我相信，译诗时灵感很重要。

Like Barley Bending

Like barley bending

In low fields by the sea,

Singing in hard wind

Ceaselessly.

Like barley bending

And rising again,

So would I, unbroken

Rise from pain;

So would I softly,

Day long, night long,

Change my sorrow

Into song.

大麦歌

大麦低伏

在海边洼地

怒风中大麦歌声

从未停息

大麦低伏

又昂扬挺立

我也将不再支离

痛中奋起

不舍昼夜

我也要这般

把苦难柔柔化作

长歌不断

译后记：多年前在网络上看到朱令案件的介绍及朱令在李敖译作基本上对此诗的翻译，印象深刻。后又见到郭沫若等多个名家此诗的白话译作，都累赘地、固执地把“like”等词译出来，还不如李、朱的文言译诗纯正，所以不惭浅陋以律式音节诗形式译出此诗。这首诗，如果“like”直译出来，全诗是“比”，如果不译出，诗歌是“兴”。汉语诗歌语法上的特点，在下面一篇《债》的译后记中有更多阐述。

Debt

What do I owe to you

　Who loved me deep and long?

　　You never gave my spirit wings

　Or gave my heart a song.

But oh, to him I loved,

　Who loved me not at all,

　　I owe the open gate

　That led through heaven's wall.

债

你曾经爱我深长

我对你亏欠几多

精神未因你飞翔

心灵未因你快乐

我对他有何欠账

我单恋过的男人

我唯独亏欠，通往

天堂的洞开之门

译后记：诗歌与散文有一个重要区别，就是诗歌可以也应该跳跃。跳跃表现在外、内两个方面，即在诗句形式（语法）上和诗歌思想上的逻辑关系，不必像散文那样交待清楚。跳跃的目的，不是为了给读者设置理解的障碍，而是为了形成精美的形式，以及撇开枝节只写核心。这首诗比较典型地反映了诗歌的这一特点。这里且不谈语法形式上的省略，只说诗歌内在思路上的跳跃。前六行是说单恋者不应向对象索取什么，因为被恋者并未从单恋者那里有所获得，三、四行的解释兼顾了一、二单恋的“你”和五、六行单恋的“我”。小诗最后两行，读者需要通过反向推理才能理解其内在含义：单恋的“我”只欠通往天堂的敞开的大门，反过来表明双向的恋爱才能通往天堂，才是爱情的真谛。这种观点看似寻常，但诗歌用这样形象、别致的形式表现出来，美不在观念的高深，而在于表现观念的过程。

Four Winds

“Four winds blowing thro' the sky,

You have seen poor maidens die,

Tell me then what I shall do

That my lover may be true.”

Said the wind from out the south,

“Lay no kiss upon his mouth,”

And the wind from out the west,

“Wound the heart within his breast,”

And the wind from out the east,

“Send him empty from the feast,”

And the wind from out the north,

“In the tempest thrust him forth,

When thou art more cruel than he,

Then will Love be kind to thee.”

四面来风

“四面的风萦回穹顶

你们见惯少女殉情

你们可有秘方一份

让我找到真心爱人”

南来的风言之谆谆

“千万不要与他接吻”

西来的风另有高论

“伤他的心一定要深”

东来的风有言相赠

“不能让他聚会得逞”

唯有北风声色俱厉

“把他推入暴风雨里

比他更狠更加无情

他才对你奉献心灵”

译后记：本次选译的三十四首诗，这首诗和随后的几首诗都是篇幅很短、语言精美、颇具戏剧性的作品，反映了女诗人高超的对诗歌语言的把握能力。

The Song For Colin

I sang a song at dusking time

Beneath the evening star,

And Terence left his latest rhyme

To answer from afar.

Pierror laid down his lute to weep,

And signed,“She sings for me,”

But Colin slept a careless sleep

Beneath an apple tree.

致柯林

傍晚的天空金星出现

我唱起一首歌谣

特伦斯放下新作诗篇

在远处吟哦回报

皮埃尔遗琴泣歌以答：

“有美兮为余咏唱”

然而在一株苹果树下

柯林呢，睡得正香

译后记：原文奇行四步抑扬，偶行三步抑扬，交韵。八行小诗，不仅格律严格，而且是一篇精短的轻喜剧，每两行写一个人，用诗的语言写人物、场景、动作、对话，并构成喜剧性冲突：人慕予兮予心知，予慕君兮君不知。作者笔力如何，此篇可见一斑。皮埃尔既为人名，也有错误的含义，泰伦斯和柯林两个人名，估计也另有意思，就如《红楼梦》中侥幸嫁入官宦之家的丫环名叫娇杏一样。柯林大约是死者，埋在苹果树下，但我更愿意认为他是生者，不解风情，在苹果树下真的酣睡，这样才是纯喜剧。the evening star，亦名the Venus金星，也是爱神维纳斯。

At Night

Love said, "Wake still and think of me,"

　Sleep, "Close your eyes till break of day,"

But Dreams came by and smilingly

　Gave both to Love and Sleep their way.

夜

爱说：保持清醒不停想我

睡说：闭眼直到黎明时刻

然而，最终二者各得其乐

因为，呵呵微笑的梦来了

译后记：原诗四步抑扬，交韵。这首短诗犹如精致的七绝，四行分别起着起、承、转、合的作用，中西四行诗结构方面有暗合之处。

Youth And Pilgrim

Gray pilgrim, you have journeyed far,

I pray you tell to me

Is there a land where Love is not,

By shore of any sea?

For I am weary of the god,

And I would flee from him

Tho' I must take a ship and go

Beyond the ocean's rim.

"I know a port where Love is not,

The ship is in your hand,

Then plunge your sword within your breast

And you will reach the land."

青年与行者

灰衣行者，您旅游各处

是否曾经见闻：

何处海滨，有一方乐土

乐土没有爱神？

我已厌烦了这位神祇

只想离他远点

我定要乘舟离开这里

越过大海边缘

“有个海港不曾有爱神

你须亲自操舟

刺己情心以无情白刃

然后你愿即酬”

译后记：这首诗奇行四步抑扬，偶行三步抑扬，偶行押韵。男哲人说：世间唯税和死无由躲避；女诗人说：世间唯爱无可逃离。

The Look

Strephon kissed me in the spring,

　Robin in the fall,

　　But Colin only looked at me

　And never kissed at all.

Strephon's kiss was lost in jest,

　Robin's lost in play,

　　But the kiss in Colin's eyes

　Haunts me night and day.

目光

史风春晨，罗宾秋昏

二人曾经吻我

柯林从未索求一吻

仅以目光看过

史风失真，罗宾打诨

其吻已然失落

唯有柯林目光之吻

日夜纠缠出没

译后记：原作用语简单易懂，惜乎译作未能保留原作语言风格。但希望较严的格律、新奇的句式、精密的韵脚能增加诗意，有所补偿。

The Ghost

I went back to the clanging city,

I went back where my old loves stayed,

But my heart was full of my new love's glory,

My eyes were laughing and unafraid.

I met one who had loved me madly

And told his love for all to hear—

But we talked of a thousand things together,

The past was buried too deep to fear.

I met the other, whose love was given

With never a kiss and scarcely a word—

Oh, it was then the terror took me

Of words unuttered that breathed and stirred.

Oh, love that lives its life with laughter

Or love that lives its life with tears

Can die—but love that is never spoken

Goes like a ghost through the winding years. . . .

I went back to the clanging city,

I went back where my old loves stayed,

My heart was full of my new love's glory,

—But my eyes were suddenly afraid.

幽灵

我曾经回到喧嚣的城市

那里还住着几位旧情

我心中充斥新欢的丰姿

故目无所惧含笑盈盈

遇到了一位曾为我疯狂

逢人就说他的恋爱

我们在一起能言谈欢畅

旧情不复往日深埋

又遇着一位也情根深种

未曾一吻且几乎无语

哦，无言，喘息，骚动

我怎么能不担心恐惧

哦，爱能带着欢笑长生

爱也会和着泪水死亡

但是那从来沉默的爱情

像幽灵穿越幽远时光

我曾经回到喧嚣的城市

那里还住着几位旧情

我心中充斥新欢的丰姿

但双眼募然惊恐莫名

译后记：情感细腻，善于捕捉独特的瞬间的心态，再鲜活地表现出来。诗的构思起点同上篇《目光》。

The Poor House

HOPE went by and Peace went by

And would not enter in;

Youth went by and Health went by

And Love that is their kin.

Those within the house shed tears

On their bitter bread;

Some were old and some were mad,

And some were sick a-bed.

Gray Death saw the wretched house

And even he passed by—

“They have never lived,” he said,

“They can wait to die.”

救济所

希望走过，安宁走过

都不愿意进来坐坐

青春走过，健康走过

两者亲戚爱又如何

屋内的人泪珠滴落

手中面包又冷又涩

有人疯癫有人老弱

还有几人病床长卧

路过死神一身灰色

看见房屋这般破落

对不幸人幽幽地说：

“从未活者，一心盼我”

译后记：本译最大亮点（可能也是污点）是将原作最后两行压缩成一行八个字表达，且其间张力更胜原作。

A Maiden

Oh if I were the velvet rose

Upon the red rose vine,

I'd climb to touch his window

And make his casement fine.

And if I were the little bird

That twitters on the tree,

All day I'd sing my love for him

Till he should harken me.

But since I am a maiden

I go with downcast eyes,

And he will never hear the songs

That he has turned to sighs.

And since I am a maiden

My love will never know

That I could kiss him with a mouth

More red than roses blow.

少女

我若是一朵丝绒玫瑰

就会顺蔓攀缘

一直攀缘到他的窗扉

将他窗扉装点

我若是一只惹怜小鸟

就会呢喃树间

吟唱着爱情暮暮朝朝

一直到他听见

可我是一名羞涩少女

低眉掩饰心理

他不能听到我的心曲

只能背后叹息

我是名少女应该清纯

可惜爱人不懂

我愿以柔唇将他亲吻

唇比玫瑰更红

译后记：“青青子衿，悠悠我心。纵我不往，子宁不嗣音？”以之相印，中、美古今少女的心事，大同小异，同样美丽。译诗首节的顶针修辞，是超水平发挥，是译作亮点。另，提请读者注意，玫瑰并非藤蔓植物，不会攀爬，但原诗首节误将玫瑰当作藤蔓植物。

Autumn Dusk

I saw above a sea of hills

　A solitary planet shine,

　　And there was no one near or far

　To keep the world from being mine.

秋日黄昏

如海的群山之上

有一颗孤星闪熠

四下里全无人迹

我独有无垠天地

译后记：与中国古典诗歌相较，总体而言，西方诗歌篇幅较长，缺乏意境。但蒂斯黛尔诗歌多数诗作篇幅短，颇合中国诗歌风格，这首四行小诗意境寂寥深远，更是具有浓农的“中国味”。

I Would Live In Your Love

I would live in your love as the sea-grasses live in the sea,

Borne up by each wave as it passes, drawn down by each wave that recedes;

I would empty my soul of the dreams that have gathered in me,

I would beat with your heart as it beats, I would follow your soul as it leads.

与爱共生

我愿与你的爱共生，如同海草活在海中

潮涨之时我也振奋，潮落之时我也消沉

我愿把心一清而空，放弃往昔追逐的梦

让我心脏与你共振，让我灵魂随你灵魂

译后记：长诗行，仅押尾韵是不够的。女诗人也应该深谙其中道理，但奈何英文属于贫韵语言，所以只好这样凑合了。但汉语天然富韵，译诗时不必受原诗韵式约束，而应该发挥汉语优势，因为在我想像中，女诗人若用母语汉语写作，不会把诗写成疏韵。

The Flight

Look back with longing eyes and know that I will follow,

Lift me up in your love as a light wind lifts a swallow,

Let our flight be far in sun or windy rain—

But what if I heard my first love calling me again?

Hold me on your heart as the brave sea holds the foam,

Take me far away to the hills that hide your home;

Peace shall thatch the roof and love shall latch the door—

But what if I heard my first love calling me once more?

飞行

何须你双目渴求回顾，我的追随不曾改变

用你的爱情将我举浮，就像轻风托着飞燕

让我们飞吧飞向远空，无论阴雨还是晴天

假如我听到初恋呼声，那时你我又将怎样

把我禁锢于你的心房，犹如大海抓着浪沫

带我向群山之处飞翔，山间藏匿你的巢窠

用宁静做成爱巢屋顶，再用深情将门上锁

就算我听到初恋呼声，又能怎样又会如何

译后记：同上篇，因诗行较长，译作用了句中韵调剂声律。

Let It Be You

Let it be you who lean above me

On my last day,

Let it be you who shut my eyelids

Forever and aye.

Say a “Good-night” as you have said it

All of these years,

With the old look, with the old whisper

And without tears.

You will know then all that in silence

You always knew,

Though I have loved, I loved no other

As I love you.

就让你来

就让你来俯看我的容颜

在我死前

就让你来轻阖我的双眼

永远永远

道一声晚安你多次叮咛

一如往昔

熟悉的低语同样的神情

不要哭泣

就像以前你将会明白

无言之意

自始至终唯一的最爱

一直是你

译后记：无论中外，多有诗人领悟，长短对比的收缩句式最能增强阴柔的情绪。这首诗长短句里的音节数目差距成倍，这个比例恰到好处。诗人心灵如此敏感，情深不寿，为之叹惋！

Thoughts

When I can make my thoughts come forth

To walk like ladies up and down,

Each one puts on before the glass

Her most becoming hat and gown.

But oh, the shy and eager thoughts

That hide and will not get them dressed,

Why is it that they always seem

So much more lovely than the rest?

思想

把我的思想召唤出来

如诸位女士即将外巡

每一个都要对镜穿戴

挑选合身的衣帽长裙

那些惯会隐藏的思想

羞怯热情却拒绝打扮

为什么她们素面徜徉

却比其他更让我喜欢

译后记：原诗四步抑扬格，偶行韵。弗洛依德通过临床观察理性分析建立精神分析理论，而女诗人通过直觉得到同样结论。

The Fountain

All through the deep blue night

　The fountain sang alone;

　　It sang to the drowsy heart

　Of the satyr carved in stone.

The fountain sang and sang,

　But the satyr never stirred—

　　Only the great white moon

　In the empty heaven heard.

The fountain sang and sang

　While on the marble rim

　　The milk-white peacocks slept,

　And their dreams were strange and dim.

Bright dew was on the grass,

　And on the ilex, dew,

　　The dreamy milk-white birds

　Were all a-glisten, too

The fountain sang and sang

　The things one cannot tell:

　　The dreaming peacocks stirred

　And the gleaming dew-drops fell.

喷泉

整个忧伤的晚上

喷泉孤独地歌唱

唱给大理石雕像

林神昏睡的心房

喷泉的歌声悠扬

动不了林神心肠

唯空中皎洁月亮

听见了歌声消涨

喷泉的歌声洋洋

大理石雕像之旁

白孔雀睡得正香

梦境也奇怪渺茫

草叶上露珠明亮

冬青树披露带霜

乳白孔雀的梦乡

全都闪闪地发光

喷泉在依然歌唱

歌中却不能声张：

孔雀的梦境摇晃

闪亮的露珠滴淌

译后记：男诗人的情诗与政治诗有时难以区分，比如李商隐的情诗，又如屈原的香草美人。女诗人基本上天生不关心似是与己无关的政治，其诗中象征，十有八九离不开爱情，只不过表达得特别委婉时，读者需曲径探幽，一旦明白，则别有一种豁然开朗的美感：原来诗歌意象的象征，丝丝入扣，丝毫不爽！以此诗为例，译者以为，喷泉象征单恋着林神的女性，听见了恋歌的明月可以为证，彻夜的恋歌，昏昏欲睡的林神无动于衷，却感动了同样入睡的白孔雀，草叶和冬青树为之一洒同情之泪。

Spring Rain

I thought I had forgotten,

But it all came back again

To-night with the first spring thunder

In a rush of rain.

I remembered a darkened doorway

Where we stood while the storm swept by,

Thunder gripping the earth

And lightning scrawled on the sky.

The passing motor busses swayed,

For the street was a river of rain,

Lashed into little golden waves

In the lamp light's stain.

With the wild spring rain and thunder

My heart was wild and gay;

Your eyes said more to me that night

Than your lips would ever say…

I thought I had forgotten,

But it all came back again

To-night with the first spring thunder

In a rush of rain.

春雨

以为早已经忘记

第一声春雷响起

今夜的滂沱大雨

勾起我往昔回忆

门道旁风骤雨急

黑暗中我们拥立

雷声震撼着大地

闪电划破了天际

马路上积水成河

汽车都摇晃而过

经过灯光的照射

激起了金色水波

春雨和春雷狂落

我心也狂野欢乐

你的唇喃喃诉说

你的眼说得更多

以为早已经忘记

第一声春雷响起

今夜的滂沱大雨

勾起我往昔回忆

译后记：因为密韵的韵式一目了然，此诗诗行排列不按韵式，而是按凸显诗行节奏的方式，同样节奏的诗行行前空格一样。

Let It Be Forgotten

Let it be forgotten , as a flower is forgotten,

　Forgotten as a fire that was singing gold;

　　Let it be forgotten for ever and ever,

　Time is a kind friend, he will make us old.

If anyone asks, say it was forgotten

　Long and long ago,

　　As a flower, as a fire, as a hushed footfall

　in a long forgotten snow.

忘了吧

忘了吧，就像是忘了一朵花

像忘了治炼黄金的火焰

忘了吧一直到永远永远

老去吧，在益友时光陪伴下

若人问起，就说早已忘记

像忘了，那花朵

那团火，那印刻

于遗失的雪地无声的足迹

译后记：这首诗在蒂斯黛尔诗作中最多算中品，但可能因被闻一多先生借鉴用于悼女诗《忘了她》，名声颇著，得到余光中等名家的关注和翻译。我也不知不觉中受到影响，译成《忘了她》一样的形式，抱韵，一、四行长而中间两行短。首节末行“us”我理解为泛指，不译完全不影响诗意传达，若真是泛指，不译才更符合汉诗特点。原作次节第二行在译作中体现为次节首行的“早”，以腾出三行的空间形式化处理原作最后两行。原作次节末行的"long"，是个较为次要的词，为了对称的形式而漏译该词。

Love In Autumn

I sought among the drifting leaves,

　The golden leaves that once were green,

　　To see if Love were hiding there

　And peeping out between.

For thro' the silver showers of May

　And thro' the summer's heavy heat,

　　In vain I sought his golden head

　And light, fast-flying feet.

Perhaps when all the world is bare

　And cruel winter holds the land,

　　The Love that finds no place to hide

　Will run and catch my hand.

I shall not care to have him then,

　I shall be bitter and a-cold—

　　It grows too late for frolicking

　When all the world is old.

Then little hiding Love, come forth,

　Come forth before the autumn goes,

　　And let us seek thro' ruined paths

　The garden's last red rose.

秋天的爱

金黄的落叶不复青葱

我寻寻觅觅落叶重重

爱神是否正向外偷窥

潜藏在金黄落叶之中

五月的银色春雨阵阵

夏季的炎炎酷热沉闷

我都没发现一头金发

步履如飞的小小爱神

可能一直到世间荒寂

严酷的冬天把持大地

爱神才发现无处藏身

跑出来抓住我的手臂

但我对他已不会在乎

我将会变得尖酸冷酷

欢乐的时光已然错过

整个世界都西山日暮

小小爱神啊请你出来

我们一起趁秋天还在

踏遍花园的荒芜小径

去将最后红玫瑰采摘

译后记：有花堪摘直须摘，莫待无花空折枝，热烈的爱情只与青春同在，老来相伴的默契我怀疑是生活的惯性而不是爱情。

THE NIGHTS REMEMBER

The days remember and the nights remember

The kingly hours that once you made so great,

Deep in my heart they lie, hidden in their splendor,

Buried like sovereigns in their robes of state.

Let them not wake again, better to lie there,

Wrapped in memories, jewelled and arrayed—

Many a ghostly king has waked from death-sleep

And found his crown stolen and his throne decayed.

长夜犹记

白昼记得，夜晚也无法忘怀

你曾创造的时光何其壮哉

它们的荣耀在我心底深埋

像君王身着国服葬入灵台

就让他们安睡吧，不要醒来

以记忆将其裹身、扮妆、穿戴

多少帝王的幽魂到了墓外，

却发觉王座已塌皇冠不再

译后记：这首诗倘若写的是爱情（还能是什么呢，以女诗人情种深种的秉性），豪迈、庄严与幽暗、悲情如此奇怪而和谐地混合在一起，真是风格独特。

New Love And Old

In my heart the old love

Struggled with the new;

It was ghostly waking

All night thru.

Dear things, kind things,

That my old love said,

Ranged themselves reproachfully

Round my bed.

But I could not heed them,

For I seemed to see

The eyes of my new love

Fixed on me.

Old love, old love,

How can I be true?

Shall I be faithless to myself

Or to you?

新情旧恋

旧恋与新情

两者正斗争

不论昼和暝

纠缠我心中

旧恋说的话

美言和昵称

而今绕床榻

全成责骂声

但已顾不得

回首旧时盟

新情盯着我

一刻不放松

旧恋或自己

应对谁忠诚？

只能择其一

何去又何从！

译后记：这首诗作为失败的译例选入。三字尾的吟诵体句式，更适合文言诗而非现代汉语诗。

Only In Sleep

Only in sleep I see their faces,

Children I played with when I was a child,

Louise comes back with her brown hair braided,

Annie with ringlets warm and wild.

Only in sleep Time is forgotten —

What may have come to them, who can know?

Yet we played last night as long ago,

And the doll-house stood at the turn of the stair.

The years had not sharpened their smooth round faces,

I met their eyes and found them mild —

Do they, too, dream of me, I wonder,

And for them am I too a child?

唯于梦中

唯于梦中我才与她们相逢

那些儿时一起游戏的顽童

棕色辫子的露丝再次出现

热情狂野的安妮卷发蓬松

唯于梦中时光归我们掌控

是谁一一找到她们的影踪

嬉闹在楼梯拐角玩具小屋

久远的旧事仿佛昨夜发生

圆润的脸庞时间没有改动

她们的目光依然温柔懵懂

我想知道她们是否也做梦

梦见我是女童在她们梦中

译后记：这首诗的内容让我感动。另，较长但又不很长的句式声律特点与诗歌内容相得益彰，在译诗中也是如此。诗行长短与情绪的对应关系，值得写诗人与译诗人仔细寻味。

May Day

A delicate fabric of bird song

Floats in the air,

The smell of wet wild earth

Is everywhere.

Red small leaves of the maple

Are clenched like a hand,

Like girls at their first communion

The pear trees stand.

Oh I must pass nothing by

Without loving it much,

The raindrop try with my lips,

The grass with my touch;

For how can I be sure

I shall see again

The world on the first of May

Shining after the rain?

五朔节

纤细的鸟鸣

在空中飘散

湿地的气味

四方弥漫

枫树的红叶

手一般紧攥

梨树像女孩

初领圣餐

抚过的青草

尝过的雨点

我都应珍爱

这份情缘

因为怎确信

我还能看见

五朔节雨后

漫天火焰

译后记：1、五朔节是源自欧洲的古老节日，也可以称为迎春节，各国过节时间不一，英国是5月1日。五朔节最重要的一个要素就是火。2、女孩初领圣餐，皆著白袍，故诗人将开着白花的梨树与之相喻。

The Song Maker

I made a hundred little songs

That told the joy and pain of love,

And sang them blithely, tho' I know

No whit thereof.

I was a weaver daf and blind;

A miracle was wrought for me,

But I have lost my skill to weave

Since I can see.

For while I sang—ah swift and strange!

Love passed and touched me on my brow,

And I who made so many songs

Am silent now.

歌后

我曾经写过百首短歌

诉说爱情的苦乐离合

还无忧无虑唱着，可我

哪里懂得

我像是一名幸运的织工

既盲且聋时有奇迹发生

眼睛复明后我反而不能

纺布织缯

歌声迅捷而歌曲奇秀

爱神路过也摸我额头

曾经谱写百曲的歌后

而今缄口

译后记：原诗抑扬格，每节前三行四音步，末行两二音步，偶行韵。译作每节改用通韵，音步同数。诗歌标题根据译文内容作了意译。这首诗的诗意，颇似“少年不识愁滋味……而今识尽愁滋味……”的外文版、女人版，中西诗歌对比中发现审美乐趣。

NIGHT FALL

We will never walk again

we used to walk at night,

Watching our shadows lengthen

Under the gold street-light

When the snow new and white.

We will never walk again

Slowly, we two,

In spring when the park is sweet

With midnight and with dew,

And the sers-by are few.

I sit and think of it all,

And the blue June twilight dies—

Down in the clanging square

A street-piano cries

And stars come out in the skies.

夜色降临

我们已不再闲步

从前晚上我们溜达

看两个身影拉长

路灯金色灯光之下

新落的雪洁白无瑕

我们已不再闲步

再也不能缓缓信足

芳香的春日公园

夜半花草滴着露珠

路上行人稀疏若无

坐着将从前细想

忧愁六月，逝去薄暮

喧哗的广场之上

一架钢琴如泣如诉

夜空之中星星露出

译后记：女诗人终年49岁，不出门散步原因不应是老迈。诗中用今昔对比的日常生活意象，用黄昏已去、夜色降临，来喻示青春不复、欢乐不再、死亡将至，手法朴素高明，不露痕迹，毫不勉强。译诗同韵诗行用相同节奏，不韵的一、三行用另一种节奏，以避免节奏单调，同时表示各行关系。

In A Burying Ground

This is the spot where I will lie

When life has had enough of me,

These are the grasses that will blow

Above me like a living sea.

These gay old lilies will not shrink

To draw their life from death of mine,

And I will give my body's fire

To make blue flowers on this vine.

"O Soul," I said, "have you no tears?

Was not the body dear to you?"

I heard my soul say carelessly,

"The myrtle flowers will grow more blue."

葬身之地

寿命若已经满足数目

愿此地成我葬身之处

青草在坟头随风起舞

犹如海面的浪起浪伏

那些百合愈老而弥香

汲取生机从我的死亡

我愿意尸身化成营养

供满架蓝花尽情绽放

我问灵魂“你是否辛酸

尸身丢下你不理不管”

灵魂无所谓给了答案:

“桃金娘花会开得更蓝”

译后记：女诗人难得将四步抑扬格的音步贯穿到底，可惜尾节又失韵。谁让汉语天生富韵呢，每节拔高全韵译之。九字或十步的四步汉诗，最容易对称半逗，调理平仄。我揣诗意，葬身之地并非实指，“女诗魔”的葬身之地只能还是诗歌，青草、百合、桃金娘则是一篇篇具体的美诗。更甚，诗不仅是写死后，也是写活着的时候，已为诗歌呕心沥血伤及身体了，但精神无怨无悔，只因在诗人心中，诗歌才是她生命价值所在。

Gray Eyes

It was April when you came

The first time to me,

And my first look in your eyes

Was like my first look at the sea.

We have been together

Four Aprils now

Watching for the green

On the swaying willow bough;

Yet whenever I turn

To your gray eyes over me,

It is as though I looked

For the first time at the sea.

灰色眼眸

初次相逢时候

正值四月芳菲

初次见君双眸

就像才识海水

四载一直有幸

与君共度四月

赏心柳色青青

长在风中摇曳

然而无论何时

仰君灰色双眼

都像遥遥初次

忆中观瞻海面

译后记：曾经沧海难为水，恋人的一双眼眸，就是她一生难度的海水。男性若花心别恋，早晚愧对女性深情。

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