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爱得更深的那人

仰望群星，我很清楚地知道，
我下了地狱，于它们也不紧要。
然而在此世上的人、兽、鬼，
漠不关心的实在最不足畏。

当作何感想：若星辰为我们燃烧，
饱含情热，我们却无从回报？
若衷情不能有对等的结果，
愿爱得更深的那人是我。

如我这般自知爱慕，
星星丝毫也不会在乎，
见着它们时，我也不能说
曾终日对某一颗思念甚多。

倘若所有星星都消亡无踪，
我也得学着凝望虚无的天空，
去感受全然黑暗的庄严，
尽管或许要花上一点时间。

借鹿角师的韵脚一用——所谓「每被老元偷格律」，即此类耶？
For the last quatrain: 鹿角师是个积极的人，从中读到了「我也将学会（无论多么艰难）」的意思。我是个善于自我压抑的人（或许W. H. A.也一样），只敢说愿意花一点时间去学——就算那一课实际上是太难太难了。

#AudenBot

Be deaf too, standing uncertain now,
A pine tree shadow across your brow,
To what I hear and wish I did not:
The voice of love saying light, brightly-
"Be Lubbe, be Hitler, but be my good
Daily, nightly."

...

What shakes the tree; the mountains darken;
And the heart repeats though we would hearken:
"Yours is the choice, to whom the gods awarded
The language of learning and the language of love,
Crooked to move as a moneybug or a cancer
Or straight as a dove."

即感。 #AudenBot

呐，大家一起来玩 #新春读诗 吧。

承续 #AudenBot 的想法，试着读了一首 *If I Could Tell You*.
读得不好，大抵因为心不得其平。「凡出乎口而为声者，其皆有弗平者乎！」

She climbs the European sky,
Churches and power-stations lie
Alike among earth’s fixtures:
Into the galleries she peers
And blankly as a butcher stares
Upon the marvellous pictures.

To gravity attentive, she
Can notice nothing here, though we
Whom hunger does not move,
From gardens where we feel secure
Look up and with a sigh endure
The tyrannies of love: ...

(2/2) #AudenBot

"A Summer Night"是一首頗耐咀嚼的詩。但眼下我不想就影響Auden一生的“mystical vision”或者Benjamin Britten的配曲多做評論。我僅僅想列舉三個stanzas, 將一輪「千里共嬋娟」的夏月（畢竟英國人不過中秋！），獻給此刻正散落在天涯各處的友人們：

Now north and south and east and west
Those I love lie down to rest;
The moon looks on them all,
The healers and the brilliant talkers,
The eccentrics and the silent walkers,
The dumpy and the tall.

(1/2) #AudenBot

With all his honours on, he sighed for one
Who, say astonished critics, lived at home;
Did little jobs about the house with skill
And nothing else; could whistle; would sit still
Or potter round the garden; answered some
Of his long marvellous letters but kept none.

在朋友们陆续暂别的日子里，一种过剩的责任感——过剩，因自由首先意味着能对自己负责——驱使我脱出长久的游离状态，从狭小的个人世界回到Makrokosmos中来。
如同Auden所写的那样，我想所有人都应该拥有两个世界。表里之间的距离，不以光年而以纳米计，选择栖身何处仅仅系于倏忽一念。
逃离抑或回归，被容忍并等待着的人总是幸福的。

(2/2) #AudenBot

A shilling life will give you all the facts:
How Father beat him, how he ran away,
What were the struggles of his youth, what acts
Made him the greatest figure of his day;
Of how he fought, fished, hunted, worked all night,
Though giddy, climbed new mountains; named a sea:
Some of the last researchers even write
Love made him weep his pints like you and me.

(1/2) #AudenBot

"What's your proposal? To build the just city? I will.
I agree. Or is it the suicide pact, the romantic
Death? Very well, I accept, for
I am your choice, your decision. Yes, I am Spain."

...

The stars are dead. The animals will not look.
We are left alone with our day, and the time is short, and
History to the defeated
May say Alas but cannot help or pardon.

一個Auden式的主題：僅靠同情與義憤並不能讓正義降臨，“for poetry makes nothing happen”. 道德責任之爲個人選擇，要求的始終只有清醒而堅決的行動。Now, here.

(3/3) #AudenBot

And the life, if it answers at all, replied from the heart
And the eyes and the lungs, from the shops and squares of the city
"O no, I am not the mover;
Not to-day; not to you. To you, I'm the

"Yes-man, the bar-companion, the easily-duped;
I am whatever you do. I am your vow to be
Good, your humorous story.
I am your business voice. I am your marriage.

(2/3) #AudenBot

And the nations combine each cry, invoking the life
That shapes the individual belly and orders
The private nocturnal terror:
"Did you not found the city state of the sponge,

"Raise the vast military empires of the shark
And the tiger, establish the robin's plucky canton?
Intervene. O descend as a dove or
A furious papa or a mild engineer, but descend."

(1/3) #AudenBot

最近一直在思考「愛とはなんぞや」。当然永远不会有结论——对于只能作为「人」而思考的我们，深深植根于生物性而又包含高于生物性可能的「爱」往往自然而然地成为超越性理论中a priori的存在——但并非毫无意义。
因为只有一种劳作配得上人类必死的命运：即投身于那些注定无果的事情。

Does it howl like a hungry Alsatian,
Or boom like a military band?
Could one give a first-rate imitation
On a saw or a Steinway Grand?
Is its singing at parties a riot?
Does it only like Classical stuff?
Will it stop when one wants to be quiet?
O tell me the truth about love.

#AudenBot

“May”是一首特别适合这个春天的诗，我将它留到四月的最末。
Auden的主题可以概括在一个书名里——Eros & Civilization——而这首诗统而摄之。爱欲贲张的人们来到了夏日的门前，爱抚、情话、凝望纷纷主张着自己的权利，似已浑然忘却此前春日的残酷：死者长眠于幽暗林中，旧的世界行将沉没，而新的人类则为死之冲动所鼓动，投身于危险的游戏。在1934年的初夏，诗人已预见到Götterdämmerung的来临。在最后的警句里，他似乎有意左袒善恶而否定情爱，尽管那更像是个叙述诡计：Auden或许比任何人都更清楚地知道，不充分并不等同于不必要。「生存或毁灭」的疑问回荡如昔，而人类将永无止境地缠绵，永无止境地相爱，在好的时代，也在坏的时代。

(3/3) #AudenBot

The real world lies before us,
Brave motions of the young,
Abundant wish for death,
The pleasing, pleasured, haunted:
A dying Master sinks tormented
In his admirers’ ring,
The unjust walk the earth.

And love that makes impatient
Tortoise and roe, that lays
The blonde beside the dark,
Urges upon our blood,
Before the evil and the good
How insufficient is
Touch, endearment, look.

(2/3) #AudenBot

May with its light behaving
Stirs vessel, eye and limb,
The singular and sad
Are willing to recover,
And to each swan-delighting river
The careless picnics come
In living white and red.

Our dead, remote and hooded,
In hollows rest, but we
From their vague woods have broken,
Forests where children meet
And the white angel-vampires flit,
Stand now with shaded eye,
The dangerous apple taken.

(1/3) #AudenBot

Hymn to St. Cecilia, Op. 27是两人的最后一次合作：Auden为Britten的守护圣徒创作颂诗，后者将其谱成了合唱曲。
诗人与音乐家的关系是复杂的。在长达七年的密切往来中，年长的 A 始终充当着亦师亦友的角色，引导 B 渐次走向成熟，在他的艺术（乃至人生）中留下了难以抹除的痕迹。尔后这段关系突然结束。1942年初，A 寄出了一封艺术上的「诀别信」，语气异常严厉: “...If you are really to develop to your full stature, you will have, I think, to suffer, and make others suffer...." 此后两人不再联系。
晚年 A 对音乐艺术的整体评价急遽下降，而在 B 的爱侣Pears看来，这是一场针对不平等关系的公开叛乱。探究发生了什么或许是不必要的：本作较诸Auden的其他名作并无逊色，而在我并不特别激赏的Britten作品中则显特出。情感会过去，但艺术留存。

https://www.youtube.com/watch?v=cBFr5xCIwvw

(2/2) #AudenBot

O cry created as the bow of sin
Is drawn across our trembling violin.
O weep, child, weep, O weep away the stain.
O law drummed out by hearts against the still
Long winter of our intellectual will.
That what has been may never be again.
O flute that throbs with the thanksgiving breath
Of convalescents on the shores of death.
O bless the freedom that you never chose.
O trumpets that unguarded children blow
About the fortress of their inner foe.
O wear your tribulation like a rose.
(1/2) #AudenBot

1938年Auden和Isherwood这对partners从伦敦经香港来到抗战中的中国，将半年间的见闻写成了Journey to a War，包括 A 的两组十四行诗和 I 的旅行日记。
作为London to Hong Kong部分的压卷诗，“Hong Kong”显得格外软弱：即便考虑到可能的讽刺意图，前两个stanzas依然凡庸到直冒傻气的程度。在东方的资本主义天国中，诗人的眼睛似乎无法穿透异域情调而寻得有意义的焦点——
直到他想起了此行的目的，意识到自己已身处巨大战场的边陲，又接着写下了六行诗。时间到了1938年！然而，由于难以理解抑或漠不关心，即使是身处香港的西方人也依旧假装大陆上并无事发生，浑然不知这对整个自由世界的命运意味着什么。
面对系统性的视而不见、听而不闻，左派高呼每个人都应该反思自己负有的道德责任，而不应逃遁到（并不存在的）公共意志中去！那构成了全作中最具Auden风格的句子。
然而，支撑即将崩陷的世界毕竟不能只靠两行诗。

(2/2) #AudenBot

“Hong Kong”:
Ten thousand miles from home and What’s-her-name
The bugle on the Late Victorian hill
Puts out the soldier’s light; off-stage, a war

Thuds like the slamming of a distant door:
We cannot postulate a General Will;
For what we are, we have ourselves to blame.

(1/2) #AudenBot

恋情缱绻：极质朴故美丽，却也因美丽而危险。这是23岁的W. H. Auden甫任教男童学校时的作品，倍受友人Stephen Spender称道。
诗人的性向在彼时固已触犯禁忌，对少年难以抑制的渴慕之心又构成了新的罪孽。古希腊的pederasty早已消逝于世，深情清哀，唯有向诗神吐露。
Beauty is amoral, but depth is not. 被Auden描述为“Vision of Agape”的经历，使得诗人的内在悄悄发生了转向，最终促使他在写下此诗的十年后重归教会的怀抱，试图在彼此允诺的fidelity上建立起平等的「婚姻」（可惜他错付了感情：Kallman is far from his equal，也无意对他忠诚）——在一个人的灵魂中重演了古典世界基督教化的整部道德史。这与他在诗艺上重现了整部西方诗歌史相表里：始于北欧sagas与现代诗之两极，终于Dante & “a minor atlantic Goethe”.

(2/2) #AudenBot