Elegy Written in a Country Churchyard

附英美名家的注解与卞之琳的翻译

1. The curfew tolls the knell of parting day,  
2. The lowing herd wind slowly o'er the lea, 
3. The plowman homeward plods his weary way,  
4. And leaves the world to darkness and to me. 

Notes, Stanza 1 (1) Curfew: ringing bell in the evening that reminded people in English towns of Gray’s time to put out fires and go to bed. (2) Knell: mournful sound. (3) Parting day: day's end; dying day; twilight; dusk. (4) Lowing: mooing. (5) O'er: contraction for over. (6) Lea: meadow. 

5. Now fades the glimm'ring landscape on the sight,  
6. And all the air a solemn stillness holds, 
7. Save where the beetle wheels his droning  flight,  
8. And drowsy tinklings lull the distant folds. 

Notes, Stanza 2 (1) Line 5: The landscape becomes less and less visible. (2) Save: except. (3) Beetle: winged insect that occurs in more than 350,000 varieties. One type is the firefly, or lightning bug. (4) Wheels: verb meaning flies in circles. (5) Droning: humming; buzzing; monotonous sound. (6) Drowsy tinklings lull the distant folds: This clause apparently refers to the gentle sounds made by a bell around the neck of a castrated male sheep that leads other sheep. A castrated male sheep is called a wether. Such a sheep with a bell around its neck is called a bellwether. Folds is a noun referring to flocks of sheep.  

9. Save that from yonder ivy-mantled tow'r 
10. The moping owl does to the moon complain 
11. Of such, as wand'ring near her secret bow'r, 
12. Molest her ancient solitary reign. 

Notes, Stanza 3 (1) Save: except. (2) Yonder: distant; remote. (3) Ivy-mantled: cloaked, dressed, or adorned with ivy. (4) Moping: gloomy; grumbling. (5) Of such: of anything or anybody. (6) Bow'r: bower, an enclosure surrounded by plant growth–in this case, ivy. (7) Molest her ancient solitary reign: bother the owl while it keeps watch over the churchyard and countryside.  

13. Beneath those rugged elms, that yew-tree's shade, 
14. Where heaves the turf in many a mould'ring heap, 
15. Each in his narrow cell for ever laid, 
16. The rude forefathers of the hamlet sleep. 

Notes, Stanza 4 (1) Mould'ring: mouldering (British), moldering (American), ad adjective meaning decaying, crumbling. (2) Cell: grave. (3) Rude: robust; sturdy; hearty; stalwart. (4) Hamlet: village. 

17. The breezy call of incense-breathing Morn, 
18. The swallow twitt'ring  from the straw-built shed, 
19. The cock's shrill clarion, or the echoing horn, 
20. No more shall rouse them from their lowly bed. 

Notes, Stanza 5 (1) Breezy call of incense-breathing Morn: wind carrying the pleasant smells of morning, including dewy grass and flowers. Notice that Morn is a personification. (It calls and breathes.) (2) Swallow: Insect-eating songbird that likes to perch. (3) Clarion: cock-a-doodle-doo. (4) Echoing horn: The words may refer to the sound made by a fox huntsman who blows a copper horn to which pack hounds respond.  

21. For them no more the blazing hearth shall burn, 
22. Or busy housewife ply her evening care: 
23. No children run to lisp their sire's return, 
24. Or climb his knees the envied kiss to share. 

Notes, Stanza 6 The meaning of all lines appears to be clear. However, students or researchers with a question about this stanza may query this site for further information by clicking here. 

25. Oft did the harvest to their sickle yield, 
26. Their furrow oft the stubborn glebe has broke; 
27. How jocund did they drive their team afield! 
28. How bow'd the woods beneath their sturdy stroke! 

Notes, Stanza 7 (1) Sickle: Harvesting tool with a handle and a crescent-shaped blade. Field hands swing it from right to left to cut down plant growth. (2) Furrow: channel or groove made by a plow for planting seeds. (3) Glebe: earth. 

29. Let not Ambition mock their useful toil, 
30. Their homely joys, and destiny obscure; 
31. Nor Grandeur hear with a disdainful smile 
32. The short and simple annals of the poor. 

Notes, Stanza 8 (1) Ambition: Personification referring to the desire to succeed or to ambitious people seeking lofty goals. (2) Destiny obscure: the humble fate of the common people; their unheralded deeds. (3) Grandeur: personification referring to people with wealth, social standing, and power. (4) Annals: historical records; story. 

33. The boast of heraldry, the pomp of pow'r, 
34. And all that beauty, all that wealth e'er gave, 
35. Awaits alike th' inevitable hour. 
36. The paths of glory lead but to the grave. 

Notes, Stanza 9 (1) Boast of heraldry: Proud talk about the aristocratic or noble roots of one's family; snobbery. Heraldry was a science that traced family lines of royal and noble personages and designed coats of arms for them. (2) Pomp: ceremonies, rituals, and splendid surroundings of nobles and royals. (3) General meaning of stanza: Every person–no matter how important, powerful, or wealthy–ends up the same, dead.  

37. Nor you, ye proud, impute to these the fault, 
38. If Mem'ry o'er their tomb no trophies raise, 
39. Where thro' the long-drawn aisle and fretted vault 
40. The pealing anthem swells the note of praise. 

Notes, Stanza 10 (1) Impute: Assign, ascribe. (2) Mem'ry: Memory, a personification referring to memorials, commemorations, and tributes–including statues, headstones, and epitaphs–used to preserve the memory of important or privileged people. (3) Where thro' . . . the note of praise: Reference to the interior of a church housing the tombs of important people. Fretted vault refers to a carved or ornamented arched roof or ceiling. Pealing anthem may refer to lofty organ music.  

41. Can storied urn or animated bust  
42. Back to its mansion call the fleeting breath? 
43. Can Honour's voice provoke the silent dust, 
44. Or Flatt'ry soothe the dull cold ear of Death? 

Notes, Stanza 11 (1) Storied urn: Vase adorned with pictures telling a story. Urns have sometimes been used to hold the ashes of a cremated body. (2) Bust: sculpture of the head, shoulders, and chest of a human. (3) Storied urn . . . breath? Can the soul (fleeting breath) be called back to the body (mansion) by the urn or bust back? Notice that urn and bust are personifications that call. (4) Can Honour's . . . Death? Can honor (Honour's voice) attributed to the dead person cause that person (silent dust) to come back to life? Can flattering words (Flatt'ry) about the dead person make death more "bearable"? (5) General meaning of stanza: Lines 41-45 continue the idea begun in Lines 37-40. In other words, can any memorials–such as the trophies mentioned in Line 38, the urn and bust mentioned in Line 41, and personifications (honor and flattery) mentioned in Lines 43 and 44–bring a person back to life or make death less final or fearsome? 

45. Perhaps in this neglected spot is laid 
46. Some heart once pregnant with celestial fire; 
47. Hands, that the rod of empire might have sway'd, 
48. Or wak'd to ecstasy the living lyre. 

Notes, Stanza 12 (1) Pregnant with celestial fire: Full of great ideas, abilities, or goals (celestial fire). (2) Rod of empire: scepter held by a king or an emperor during ceremonies. One of the humble country folk in the cemetery might have become a king or an emperor if he had been given the opportunity. (3) Wak'd . . .lyre: Played beautiful music on a lyre, a stringed instrument. In other words, one of the people in the cemetery could have become a great musician if given the opportunity, "waking up" the notes of the lyre.  

49. But Knowledge to their eyes her ample page 
50. Rich with the spoils of time did ne'er unroll; 
51. Chill Penury repress'd their noble rage, 
52. And froze the genial current of the soul. 

Notes, Stanza 13 (1) Knowledge . . . unroll: Knowledge did not reveal itself to them (their eyes) in books (ample page) rich with treasures of information (spoils of time). (2) Chill . . . soul: Poverty (penury) repressed their enthusiasm (rage) and froze the flow (current) of ideas (soul).  

53. Full many a gem of purest ray serene, 
54. The dark unfathom'd caves of ocean bear: 
55. Full many a flow'r is born to blush unseen, 
56. And waste its sweetness on the desert air. 

Note, Stanza 14 Full . . . air: These may be the most famous lines in the poem. Gray is comparing the humble village people to undiscovered gems in caves at the bottom of the ocean and to undiscovered flowers in the desert.  

57. Some village-Hampden, that with dauntless breast 
58. The little tyrant of his fields withstood; 
59. Some mute inglorious Milton here may rest, 
60. Some Cromwell, guiltless of his country's blood. 

Notes, Stanza 15 (1) John Hampden (1594-1643). Hampden, a Puritan member of Parliament, frequently criticized and opposed the policies of King Charles I. In particular, he opposed a tax imposed by the king to outfit the British navy. Because he believed that only Parliament could impose taxes, he refused to pay 20 shillings in ship money in 1635. Many joined him in his opposition. War broke out between those who supported Parliament and those who supported the king. Hampden was killed in battle in 1643. Gray here is presenting Hampden as a courageous (dauntless) hero who stood against the king (little tyrant). (2) Milton: John Milton (1608-1674), the great English poet and scholar. 

61. Th' applause of list'ning senates to command, 
62. The threats of pain and ruin to despise, 
63. To scatter plenty o'er a smiling land, 
64. And read their hist'ry in a nation's eyes, 

Note, Stanza 16 The subject and verb of Lines 61-64 are in the first three words of  Line 65, their lot forbade. Thus, this stanza says the villagers' way of life (lot) prohibited or prevented them from receiving applause from politicians for good deeds such as alleviating pain and suffering and providing plenty (perhaps food) across the land. These deeds would have been recorded by the appreciating nation.  

65. Their lot forbade: nor circumscrib'd alone 
66. Their growing virtues, but their crimes confin'd; 
67. Forbade to wade through slaughter to a throne, 
68. And shut the gates of mercy on mankind, 

Note, Stanza 17 General meaning: Their lot in life not only prevented (circumbscrib'd) them from doing good deeds (like those mentioned in Stanza 16) but also prevented (confin'd) bad deeds such as killing enemies to gain the throne and refusing to show mercy to people.  

69. The struggling pangs of conscious truth to hide, 
70. To quench the blushes of ingenuous shame, 
71. Or heap the shrine of Luxury and Pride 
72. With incense kindled at the Muse's flame.  

Notes, Stanza 18 (1) General meaning: This stanza continues the idea begun in the previous stanza, saying that the villagers' lot in life also prevented them from hiding truth and shame and from bragging or using pretty or flattering words (incense kindled at the Muse's flame) to gain luxuries and feed their pride. (2) Muse's flame: an allusion to sister goddesses in Greek and Roman mythology who inspired writers, musicians, historians, dancers, and astronomers. These goddesses were called Muses. 

73. Far from the madding crowd's ignoble strife,  
74. Their sober wishes never learn'd to stray; 
75. Along the cool sequester'd vale of life 
76. They kept the noiseless tenor of their way. 

Notes, Stanza 19  (1) General meaning: The villagers plodded on faithfully, never straying from their lot in life as common people. (2) Madding: maddening; furious; frenzied. (3) Noiseless tenor of their way: quiet way of life. 

77. Yet ev'n these bones from insult to protect, 
78. Some frail memorial still erected nigh, 
79. With uncouth rhymes and shapeless sculpture deck'd, 
80. Implores the passing tribute of a sigh.  

Note, Stanza 20 General meaning: But even these people have gravestones (frail memorial), although they are engraved with simple and uneducated words or decked with humble sculpture. These gravestones elicit a sigh from people who see them. 

81. Their name, their years, spelt by th' unletter'd muse,  
82. The place of fame and elegy supply: 
83. And many a holy text around she strews, 
84. That teach the rustic moralist to die. 

Notes, Stanza 21 (1) Their . . . supply: Their name and age appear but there are no lofty tributes. (2) Unletter'd muse: Uneducated writer or engraver. (2) Holy text: probably Bible quotations. (3) She: muse. See the second note for Stanza 18. (4) Rustic moralist: pious villager. 

85. For who to dumb Forgetfulness a prey, 
86. This pleasing anxious being e'er resign'd, 
87. Left the warm precincts of the cheerful day, 
88. Nor cast one longing, ling'ring look behind? 

Note, Stanza 22 General meaning: These humble people, though they were doomed to be forgotten (to dumb Forgetfulness a prey), did not die (did not leave the warm precincts of cheerful day) without looking back with regret and perhaps a desire to linger a little longer . 

89. On some fond breast the parting soul relies,  
90. Some pious drops the closing eye requires; 
91. Ev'n from the tomb the voice of Nature cries, 
92. Ev'n in our ashes live their wonted fires. 

Note, Stanza 23 General meaning: The dying person (parting soul) relies on a friend (fond breast) to supply the engraved words (pious drops) on a tombstone. Even from the tomb the spirit of a person cries out for remembrance.  

93. For thee [32], who mindful of th' unhonour'd Dead 
94. Dost in these lines their artless tale relate;  
95. If chance, by lonely contemplation led, 
96. Some kindred spirit shall inquire thy fate [33], 

Notes, Stanza 24  (1) For thee . . . relate: Gray appears to be referring to himself. Mindful that the villagers deserve some sort of memorial, he is telling their story (their artless tale) in this elegy (these lines). (2) Lines 95-96: But what about Gray himself? What if someone asks about his fate? Gray provides the answer in the next stanza. 

97. Haply some hoary-headed swain may say, 
98. "Oft have we seen him at the peep of dawn 
99. Brushing with hasty steps the dews away 
100. To meet the sun upon the upland lawn. 

Notes, Stanza 25  (1) Haply: Perhaps; by chance; by accident. (2) Hoary-headed swain: Gray-haired country fellow; old man who lives in the region.  

101. "There at the foot of yonder nodding beech 
102. That wreathes its old fantastic roots so high, 
103. His listless length at noontide would he stretch, 
104. And pore upon  the brook that babbles by. 

Notes, Stanza 26  (1) Nodding: bending; bowing. (2) Listless length: his tired body. (3) Pore upon: Look at; watch. 

105. "Hard by yon wood, now smiling as in scorn, 
106. Mutt'ring his wayward fancies he would rove, 
107. Now drooping, woeful wan, like one forlorn, 
108. Or craz'd with care, or cross'd in hopeless love. 

Notes, Stanza 27  (1) Wayward fancies: unpredictable, unexpected, or unwanted thoughts; capricious or flighty thoughts. (2) Rove: wander. 

109. "One morn I miss'd him on the custom'd hill, 
110. Along the heath and near his fav'rite tree; 
111. Another came; nor yet beside the rill, 
112. Nor up the lawn, nor at the wood was he; 

Notes, Stanza 28  (1) Another came: another morning came. (2) Nor yet: But he still was not. 

113. "The next with dirges due in sad array 
114. Slow thro' the church-way path we saw him borne. 
115. Approach and read (for thou canst read) the lay, 
116. Grav'd on the stone beneath yon aged thorn." 

Notes, Stanza 29  (1) The next: the next morning. (2) Dirges: funeral songs. (3) Lay: short poem–in this case, the epitaph below. 

THE EPITAPH  

117.  Here rests his head upon the lap of Earth 
118.  A youth to Fortune and to Fame unknown.  
119.  Fair Science frown'd not on his humble birth,  
120.  And Melancholy mark'd him for her own.  
121.  Large was his bounty, and his soul sincere,  
122.  Heav'n did a recompense as largely send:  
123.  He gave to Mis'ry all he had, a tear,  
124.  He gain'd from Heav'n ('twas all he wish'd) a friend.  

125.  No farther seek his merits to disclose,  
126.  Or draw his frailties from their dread abode,  
127. (There they alike in trembling hope repose)  
128.  The bosom of his Father and his God.  

Note, Epitaph: General meaning: Here lies a man of humble birth who did not know fortune or fame but who did become a scholar. Although he was depressed at times, he had a good life, was sensitive to the needs of others, and followed God's laws. Don't try to find out more about his good points or bad points, which are now with him in heaven.  

墓畔哀歌

晚钟响起来一阵阵给白昼报丧，
牛群在草原上迂回，吼声起落，
耕地人累了，回家走，脚步踉跄，
把整个世界留给了黄昏与我。

苍茫的景色逐渐从眼前消退，
一片肃穆的寂静盖遍了尘寰，
只听见嗡嗡的甲虫转圈子纷飞，
昏沉的铃声催眠着远处的羊栏。

只听见常春藤披裹的塔顶底下
一只阴郁的柢枭向月亮诉苦，
怪人家无端走进它秘密的住家，
搅扰它这个悠久而僻静的领土。

峥嵘的榆树底下，扁柏的荫里，
草皮鼓起了许多零落的荒堆，
各自在洞窟里永远放下了身体，
小村里粗鄙的父老在那里安睡。

香气四溢的晨风轻松的呼召，
燕子从茅草棚子里吐出的呢喃，
公鸡的尖喇叭，使山鸣谷应的猎号
再不能唤醒他们在地下的长眠。

在他们，熊熊的炉火不再会燃烧，
忙碌的管家妇不再会赶她的夜活；
孩子们不再会“牙牙”的报父亲来到，
为一个亲吻爬倒他膝上去争夺。

往常是：他们一开镰就所向披靡，
顽梗的泥板让他们犁出了垄沟；
他们多么欢欣地赶牲口下地！
他们一猛砍，树木就一棵棵低头！

“雄心”别嘲讽他们实用的操劳，
家常的欢乐，默默无闻的命运；
“豪华”也不用带着轻蔑的冷笑
来听讲穷人的又短有简的生平。

门第的炫耀，有权有势的煊赫，
凡是美和财富所能赋予的好处，
前头都等待着不可避免的时刻：
光荣的道路无非是引导到坟墓。

骄傲人，你也不要怪这些人不行，
“怀念”没有给这些人建立纪念堂，
没有让悠长的廊道、雕花的拱顶
洋溢着洪亮的赞美歌，进行颂扬。

栩栩的半身像，铭刻了事略的瓮碑，
难道能恢复断气，促使还魂？
“荣誉”的声音能激发沉默的死灰？
“献媚”能叫死神听软了耳根？

也许这一块地方，尽管荒芜，
就埋着曾经充满过灵焰的一颗心；
一双手，本可以执掌到帝国的王芴
或者出神入化地拨响了七弦琴。

可是“知识”从不曾对他们展开
它世代积累而琳琅满目的书卷；
“贫寒”压制了他们高贵的襟怀，
冻结了他们从灵府涌出的流泉。

世界上多少晶莹皎洁的珠宝
埋在幽暗而深不可测的海底；
世界上多少花吐艳而无人知晓，
把芳香白白地散发给荒凉的空气。

也许有乡村汉普顿在这里埋身，
反抗过当地的小霸王，胆大，坚决；
也许有缄口的米尔顿，从没有名声；
有一位克伦威尔，并不曾害国家流血。

要博得满场的元老雷动的鼓掌，
无视威胁，全不顾存亡生死，
把富庶，丰饶遍播到四处八方，
打从全国的笑眼里读自己的历史——

他们的命运可不许：既不许罪过
有所放纵，也不许发挥德行；
不许从杀戮中间涉登宝座
从此对人类关上仁慈的大门；

不许掩饰天良在内心的发作，
隐瞒天真的羞愧，恬不红脸；
不许用诗神的金焰点燃了香火
锦上添花去塞满“骄”“奢”的神龛。

远离了纷纭人世的勾心斗角，
他们有清醒愿望，从不学糊涂，
顺着生活的清凉僻静的山坳，
他们坚持了不声不响的正路。

可是叫这些尸骨免受到糟踏，
还是有脆弱的碑牌树立在近边，
点缀了拙劣的韵语、凌乱的刻划，
请求过往人就便献一声婉叹。

无闻的野诗神注上了姓名、年份，
另外再加上地址和一篇悼词；
她在周围撒播了一些经文，
教训乡土道德家怎样去死。

要知道谁甘愿舍身哑口的“遗忘”，
坦然撇下了忧喜交织的此生，
谁离开风和日暖的明媚现场
而能不依依地回头来顾盼一阵？

辞世的灵魂还依傍钟情的怀抱，
临闭的眼睛需要尽哀的珠泪，
即使坟冢里也有“自然”的呼号
他们的旧火还点燃我们的新灰。

至于你，我关心这些默默的陈死人，
用这些诗句讲他们质朴的故事，
假如在幽思的引导下，偶然有缘分，
一位同道来问起你的身世——

也许会有白头的乡下人对他说，
“我们常常看见他，天还刚亮，
就用匆忙的脚步把露水碰落，
上那边高处的草地去会晤朝阳；

“那边有一棵婆娑的山毛榉老树，
树底下隆起的老根盘错在一起，
他常常在那里懒躺过一个中午，
悉心看旁边一道涓涓的小溪。

“他转游到林边，有时候笑里带嘲，
念念有词，发他的奇谈怪议，
有时候垂头丧气，像无依无靠，
像忧心忡忡或者像情场失意。

“有一天早上，在他惯去的山头，
灌木丛，他那棵爱树下，我不见他出现；
第二天早上，尽管我走下溪流，
上草地，穿过树林，他还是不见。

“第三天我们见到了送葬的行列，
唱着挽歌，抬着他向坟场走去——
请上前看那丛老荆棘底下的碑碣，
（你是识字的）请念念这些诗句”：

　　　　　 墓　铭

这里边，高枕地膝，是一位青年，
生平从不曾受知于“富贵”和“名声”；
“知识”可没轻视他出身的微贱，
“清愁”把他标出来认作宠幸。

他生性真挚，最乐于慷慨施惠，
上苍也给了他同样慷慨的报酬：
他给了“坎坷”全部的所有，一滴泪；
从上苍全得了所求，一位朋友。

别再想法子表彰他的功绩，
也别再把他的弱点翻出了暗窖
（他们同样在颤抖的希望中休息）。
那就是他的天父和上帝的怀抱。