2008年1月24日 星期四

Elergy Writtern in a Country Church-Yard

Elergy Writtern in a Country Church-Yard


The curfew tolls the knell of parting day,
The lowing herd winds slowly o'er the lea,
The ploughman homeward plods his weary way,
And leaves the world to darkness and to me.


Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds:

Save that from yonder ivy-mantled tower
The moping owl does to the moon complain
Of such as, wandering near her secret bower,
Molest her ancient solitary reign.

Beneath those rugged elms, that yew-tree's shade,
Where heaves the turf in many a mouldering heap,
Each in his narrow cell for ever laid,
The rude Forefathers of the hamlet sleep.

The breezy call of incense-breathing morn,
The swallow twittering from the straw-built shed,
The cock's shrill clarion, or the echoing horn,
No more shall rouse them from their lowly bed.

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

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

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

The boast of heraldry, the pomp of power,
And all that beauty, all that wealth e'er gave,
Awaits alike th' inevitable hour:-
The paths of glory lead but to the grave.

Nor you, ye Proud, impute to these the fault
If Memory o'er their tomb no trophies raise,
Where through the long-drawn aisle and fretted vault
The pealing anthem swells the note of praise.

Can storied urn or animated bust
Back to its mansion call the fleeting breath?
Can Honour's voice provoke the silent dust,
Or Flattery soothe the dull cold ear of Death?

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

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

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

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

Th' applause of list'ning senates to command,
The threats of pain and ruin to despise,
To scatter plenty o'er a smiling land,
And read their history in a nation's eyes,

Their lot forbad: nor circumscribed alone
Their growing virtues, but their crimes confined;
Forbad to wade through slaughter to a throne,
And shut the gates of mercy on mankind,

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

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

Yet e'en these bones from insult to protect
Some frail memorial still erected nigh,
With uncouth rhymes and shapeless sculpture deck'd,
Implores the passing tribute of a sigh.

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

For who, to dumb forgetfulness a prey,
This pleasing anxious being e'er resign'd,
Left the warm precincts of the cheerful day,
Nor cast one longing lingering look behind?

On some fond breast the parting soul relies,
Some pious drops the closing eye requires;
E'en from the tomb the voice of Nature cries,
E'en in our ashes live their wonted fires.

For thee, who, mindful of th' unhonour'd dead,
Dost in these lines their artless tale relate;
If chance, by lonely contemplation led,
Some kindred spirit shall inquire thy fate, --

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

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

"Hard by yon wood, now smiling as in scorn,
Muttering his wayward fancies he would rove;
Now drooping, woeful wan, like one forlorn,
Or crazed with care, or cross'd in hopeless love.

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

"The next with dirges due in sad array
Slow through the church-way path we saw him borne,-
Approach and read (for thou canst read) the lay
Graved on the stone beneath yon aged thorn."

 


The Epitaph

Here rests his head upon the lap of Earth
A youth to Fortune and to Fame unknown.
Fair Science frowned not on his humble birth,
And Melacholy marked him for her own.

Large was his bounty, and his soul sincere,
Heaven did a recompense as largely send:
He gave to Misery all he had, a tear,
He gained from Heaven ('twas all he wish'd) a friend.

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

By Tomas Gray (1716-71).


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2008年1月23日 星期三

夜晚,Nananao溪邊

        來到溪床邊一塊平整的沙地,在此起彼落的巨石陣間難得能找到這樣適合過夜的地點。

        下午四點,天色逐漸黯淡下來,尤其是身處兩旁山稜圍繞的溪流邊,更能快速感受到夜晚的體溫正急驟下降。

        在岩縫中隨手就地撿了些柴枝、漂流木,生起火來。就在火苗還在柴堆下蠕動時,夜風朝著濃橘色火苗吹了口深冬的寒,暗沉的火光搖曳了幾下,捲起一陣濃煙。在火光閃動的瞬間,燄勢高漲,晚宴開始了。鮮黃的火舌不斷地舔舐著四周,更擺弄出婀娜姿態向賓客邀舞。這是深冬密林中縱情享樂的時刻,環繞巨石在火光的照印下,被刻上了幾道人影,他們或擁抱、或跳舞、或抬頭高歌,在光與影間便是人生走走停停的紊亂舞步。
    
        遠方巨石頂端坐著個模糊人影,黑黝的背影浮出陰藍夜色之上─今晚不是滿月,更沒有月光,濃濃雲層掩蓋了仰天長嘯的瘋狂。那暗沉的人影伏貼石上,靜靜聽著在石隙間清冽的溪水刮過岩層、劃過石上青苔、沖刷著耳蝸。漸漸地,連心跳聲都是嘩啦嘩啦,偶爾夾雜幾聲碎木滾過河床,空─空─洞靈的撞擊聲迴響在三小聽骨與排列緊密的齒間,彷彿連身體也被洗得冰冷,流淌體內的豔紅血液被注入夜的迷惘,於是,在慘白如象牙的肢體上,紫藍血液蔓出一株冬日枯樹,在四散枯枝的維管束裡,片片載送著靈魂的血小板和著溪水,凝滯、凍結,滴滴匯流入死亡的陰谷裡,奔流至鴉色天際隱沒入海處,與萬古神靈聚合。

        不遠處的火堆在添加了夜的寂寥後,燒得越是旺盛。在高潮中對著沉睡的上帝,一次又一次噴射出濃稠的亮橘火星,熾熱生命在空中炸裂後,由黃轉紅沉黑,化為一股餘溫,沿著宇宙緊閉的嘴角緩緩流下,拉成長條狀的喘息後跟著捲入滑動翻攪時間渦流裡。

    遠方傳來清亮獸吼,震盪山林也震懾時間,震撼任何有無生命的形體,待餘音消散,又是安祥寧靜。

2008年1月15日 星期二

Ut pictura poesis

 Ars Poetica
             Archibald MacLeish                                   



A poem should be palpable and mute


As a globed fruit,


Dumb


As old medallions to the thumb,


Silent as the sleeve-worn stone


Of casement ledges where the moss has grown--


A poem should be wordless


As the flight of birds.


A poem should be motionless in time


As the moon climbs,


Leaving, as the moon releases


Twig by twig the night-entangled trees,


Leaving, as the moon behind the winter leaves.


Memory by memory the mind--


A poem should be motionless in time


As the moon climbs.





A poem should be equal to:


Not true.


For all the history of grief


An empty doorway and a maple leaf.


For love


The leaning grasses and two lights above the sea--


A poem should not mean


But be.





















































































Line Latin English translation
15-16 purpureus pannus purple patch
23 simplex dumtaxet et unum simple and single
25-26 Brevis esse laboro, / obscurus fio I try to be brief and become obscure.
73 Res gestae regumque ducumque et tristia bella Histories of kings and generals and the sorrows of war
102 Si vis me flere, dolendum est / primum ipsi tibi If you want me to weep, you must feel sorrow first.
139 Parturient montes, nascetur ridiculus mus The mountains labor and bring forth a ridiculous mouse.
147-48 ab ovo . . . in medias res from the beginning . . . into the middle of the action
268-69 Vos exemplaria Graeca / noctuma versate manu, versate diuma Review the Greek models night and day.
309-10 Scribendi recte sapere est principium et fons. / Rem tibi Socraticae poterunt ostendere cartae. Knowing is the first principle and fountainhead of writing well;/ The writings of Socrates can teach the matter to you.
333 aut prodesse volunt aut delectare poetae Poets strive to either profit or delight.
343 miscuit utili dulci He [the poet] mixes the useful with the sweet.
359 bonus dormitat Homerus Even Homer nods.
361 Ut pictura poesis A poem is like a picture.
372-73 mediocris esse poetis / non homines, non di, non concessere colmnae. Not men nor gods nor the booksellers allow poets to be mediocre.
471 minxerit in patrios cineres He urinated on his father's ashes.


Source:  http://people.brandeis.edu/~rind/eng171/Horace_tags.html

2008年1月12日 星期六

I weep like a child for the past

Piano
D.H. Lawrence

Softly, in the dusk, a woman is singing to me;
Taking me back down the vista of years, till I see
A child sitting under the piano, in the boom of the tingling strings
And pressing the small, poised feet of a mother who smiles as she sings.

In spite of myself, the insidious mastery of song
Betrays me back, till the heart of me weeps to belong
to the old Sunday evenings at home, with the winter outside
And hymns in the cosy parlour, the tinkling piano our guide.

So now it is vain for the singer to burst into clamour
With the great black piano appassionato.  The glamour
Of childish days is upon me, my manhood is cast
Down in the flood of remembrance, I weep like a child for the past.



Recently, I stay at in the library for graduate school, reading literature and writing.
When I was doning exercises for literary terms today, something happened.

I was reading the entry: simile and metaphore, and there's an exercise for categorizing the examples.
I turned the page, and this sentence came to me immenently:

"I weep like a child for the past"

This sentence, like a heavy hammer, ruthlessly smote my heart again and again.
I didn't know what's wrong with me. I was petrified, like paralyzed by Medusa. I felt a great claw clipped me by the throat, strangling my soul out of my nostrils. Terrofied and breathless, it's a rare case that I, all of a sudden, am seized and overrun by sentiment.

I weep like a child for the past. It's obvious this is a simile in which the tenor is I, a child the vehicle.
What really matters is: can any groun-up, expecially a man, cry like a child?

When I cried my heart out last time?
I don't know. Maybe I've cried before, but the memory about tears cannot be saved in my memory.
It's like a lost files in the hard disc, hard to find it out. I did cried loudly, I think, and I also think it's gone with my vaguely-rememered childhood.

There are reasons for weeping, sobbing, crying, or even mourning.
It's weird the first one came to my mind was 大喧.
I really want to ask her: Did you cried loud out  without any restraint and confinement?
I hope I can cuz I want to shout, yell, and roar toward my life and pathetic, lost past.

I noticed that Lawrence uese "weep" instead of cry. So the poor child's tears come down with suffer from holding it.
It's even more heart-breaking to sob, crying without making any sound or being noticed.

Has the weep let go some negative feelings? Or it'll fortifies it, makes it ten times stronger
and harder to sustain?

Anyway, I did weep like a child then.
Mariane was setting next to me so I dared not let go the tears.

For the past? Maybe, but no use, I think.

So, I just wept silently with tears running over my wretched heart.