第十讲：悼亡诗、情婚曲与歌

《英美诗歌选读》课程教案第十讲首页

备注：教学进程一栏可根据教学内容的多少自定页数。

第十讲悼亡诗、庆婚曲、歌

第一节悼亡诗

悼亡诗（elegy or monody or mournful poem）也被译成挽歌，哀歌，是哀悼个人之死，群体之死，乃至整个人类之死的诗作。如弥尔顿的《黎西达斯》（Lyidas, 1637）是诗人对同学、密友爱德华?金（Edward King）的哀悼之作。金和弥尔顿就读于剑桥大学基督学院，两人都是诗人、学者和有事业心的好青年，是校方精心培养的牧师人才。金在1633年获得硕士学位后，继续在原校深造，准备做牧师，不幸的是，金于1637年夏天利用暑假去爱尔兰访友，在威尔斯港外船破人溺。弥尔顿非常伤心，写下了这首哀歌，其前面部分如下：

Yet once more, O ye laurels, and once more,

Ye myrtles brown, with ivy never sere,

I come to pluck your berries harsh and crude,

And with forced fingers rude

Shatter your leaves before the mellowing year.

Bitter constraint, and sad occasion dear,

Compels me to disturb your season due;

For Lycidas is dead, dead ere his prime,

Young Lycidas, and hath not left his peer. 1

通过对亡友的哀悼，弥尔顿似乎成熟了许多，在结尾处暗示出要告别以前的诗歌创作风格，准备走向革命战斗的诗歌新草地：

And now the sun had stretched out all the hills,

And now was dropped into the western bay.

At last he rose, and twitched his mantle blue:

Tomorrow to fresh woods, and pastures new. 2

1652年，弥尔顿第一任妻子玛丽（Marry Powell）产后三天去世，弥尔顿完全失明。1656年娶年仅28岁的凯瑟琳（Katherine Woodcock）为妻，不料凯瑟琳于1658年死于生产。弥尔顿在凯瑟琳死后的第三年，即1600年，写下了十四行诗《悼亡妻》（On His Deceased Wife），表达了他与妻子真挚的情感：

Methought I saw my late espoused saint

1我再一次来，月桂树啊，/ 棕色的番石榴和常青藤的绿叶啊，/ 在成熟之前，来强摘你们的果子，/ 我不得已伸出我这粗鲁的手指，/ 来震落你们这些嫩黄的叶子。/ 因为亲友的惨遇，痛苦的重压，/ 迫使我前来扰乱你正茂的年华；/ 黎西达斯死了，死于峥嵘岁月，/ 年轻的黎西达斯，从未离开过本家。(朱维之译) 2夕阳西下，把群山的影子拉长，/ 射进西边深山中的凹地。/ 他终于站起来，抖抖蓝色的斗篷，/ 明天将

Brought me like Alcestis from the grave,

Whom Jove’s great son to her glad husband gave,

Rescued from Death by force, though pale and faint.

Mine, as whom washed from spot of child-bed taint

Purification in the Old Law did save,

And such as yet once more I trust to have

Full sight of her in Heaven without restraint,

Came vested all in white , pure as her mind.

Her face was veiled; yet to my fancied sight

Love, sweetness, goodness, in her person shined

So clear as in no face with more delight.

But, oh! as to embrace me she inclined,

I waked, she fled, and day brought back my night. 3

托马斯?格雷的《墓园挽歌》，前两节如下：

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: 4

（Thomas Gray: Elegy Written in a Country Churchyard）

这首诗表达了对乡土的爱和对农民的同情，歌颂的是淳朴，有一种难以派遣的感伤情绪，因为当时英国工业革命正在开始，诗人感到它在破坏乡村的宁静生活，造成巨大变化，但又不明究竟，无可奈何。这首诗结构谨严，词句精雕细刻，深刻的个人感受和浓厚的感伤情绪得到完美结合。也是在这首诗里，这位充满感伤情绪的古典主义者传达了后来浪漫主义诗人们大力宣泄的浪漫情调：

3我仿佛看见了我那圣洁的亡妻，/ 好象从坟墓回来的阿尔雪斯蒂，/ 由约夫的伟大儿子送还她丈夫，/ 从死亡中被抢救出来，苍白而无力。/ 我的阿尔雪斯蒂已经洗净了产褥的污点，/ 按照古法规净化，保持无暇的白璧；/ 因此，我好象重新得到一度的光明，/ 毫无阻碍地，清楚地看见她在天堂里，/ 全身雪白的衣裳，跟她的心地一样纯洁，/ 她脸上罩着薄纱，但在我幻想的眼里，/ 她身上清晰地放射出爱、善和娇媚，/ 再也没有别的脸，比这更加叫人喜悦。/ 可是，啊！当她正要俯身抱我的时候，/ 我醒了，她逃走了，白昼又带回我的黑夜。（朱维之译）

4(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

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. 5

华兹华斯的露西组诗，是为了纪念诗人曾经钟爱的姑娘，不幸的是姑娘已经不在人世，因此这些诗里有一种忧郁的情调，《对死者的爱》表达了对这位姑娘的悼念：

A slumber did my spirit seal;

I had no human fears:

She seemed a thing that could not feel

The touch of earthly years.

No motion has she now, no force;

She neither hears nor sees;

Rolled round in earth’s diurnal course,

With rocks, and stones, and trees. 6

(William Wordsworth: The Love for the Dead)

英诗中写得这样沉重的悼亡诗不多见，最后把一个弱女子的命运放在整个大自然的运转里，从此得到一种不朽，又是华兹华斯的独有之笔。

雪莱的《阿多尼斯》（Adonais, 1821）是雪莱悼念济慈之死而作，第一节如下：

I weep for Adonais—he is dead!

O, weep for Adonais! though our tears

Thaw not the frost which binds so dear a head!

And thou, sad Hour, selected from all years

To mourn our loss, rouse thy obscure compeers,

And teach them thine own sorrow! Say: ‘With me

Died Adonais; till the Future dares

Forget the Past, his fate and fame shall be

An echo and a light unto eternity!’7

据希腊神话，阿多尼斯是一个美少年，为爱与美的女神阿弗洛狄忒（Aphrodite, 在罗马神话

5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。（卞之琳译）

6沉睡锁住了我的心，/ 我已无人间的恐惧；/ 她也化物而无感应，/ 再不怕岁月来接触。// 如今她无力也不动，/ 不听也不看，/ 只随地球日夜滚，/ 伴着岩石和森林转。（王佐良译）

7我为阿多尼斯哭泣——他已经死去！/ 为阿多尼斯哭泣吧！纵然我们的泪/ 融不了这样可爱的头颅上的霜雪。/ 你啊，选自千年百岁为我们悼亡的/ 悲伤时刻，快唤起你晦暗的朋辈，/ 传授给他们你自己的伤悲；就说：/“和我一道，他已经死去；除非未来/ 敢于忘却过去，他的命运和荣誉/ 将永远成为不绝响

中为维纳斯）所爱，不幸被野猪咬伤而亡。希腊妇女年年为其举行悼念仪式，诗人比翁（Bion, 100BC）曾写过挽诗哀悼。莎士比亚根据此神话写了英雄叙事诗《维纳斯与阿多尼斯》。雪莱在这首诗中将阿多尼斯比拟济慈，阿多尼斯的故事和济慈的遭遇相互交织，不少章节都仿效和取材于比翁哀悼阿多尼斯的挽诗。但比翁笔下的阿弗洛狄忒代表对肉体美的爱，雪莱笔下的幽兰尼（Urania, 阿多尼斯或济慈的母亲）则象征对于精神的爱。

阿诺德的《色希斯》（Thyrsis, 1866）是悼念诗人朋友亚瑟?克拉夫（Arthur Hugh Clough, 1819~1861），克拉夫作品表现对维多利亚时期道德和宗教的怀疑，可惜于1861年死于佛罗伦萨。第一诗节如下：

How changed is here each spot man makes or fills!

In the two Hinkseys nothing keeps the same;

The village street its haunted mansion lacks,

And from the sign is gone Sibylla's name,

And from the roofs the twisted chimney-stacks--

Are ye too changed, ye hills?

See, 'tis no foot of unfamiliar men

To-night from Oxford up your pathway strays!

Here came I often, often, in old days--

Thyrsis and I; we still had Thyrsis then. 8

在希腊神话中，酒神杖（Thyrsus）是酒神狄俄尼索斯（Dionysus）的手杖。阿诺德将这个词改变一个字母成为人名色希斯，用以比拟诗人朋友克拉夫，将朋友提到很高的地位。这首诗追忆了诗人与克拉夫在牛津郡乡下漫步的美好时光、年轻时他们作为诗人的相互竞争以及克拉夫离开他而进入更加纷乱的社会。诗歌一开始就睹物思人，哀伤油然而生。

托玛斯?哈代与前妻爱玛生前不睦，但婚后亦曾经有过多年的恩爱。1912年11月爱玛去世后，哈代无限悲伤，回首往事，非常悔恨和自责，从1912年11月到1913年底，写下了五十多首怀念亡妻的诗篇，其中有这篇《呼唤声》(The Voice)

Woman much missed, how you call to me, call to me,

Saying that now you are not as you were

When you had changed from the one who was all to me,

But as at first, when our day was fair.

Can it be you that I hear? Let me view you, then,

Standing as when I drew near to the town

Where you would wait for me: yes, as I knew you then,

8这里人们造的或填的每一处都变了，/ 亨克塞的两处地找不到相同的东西；/ 村子街上没有了常去的房舍，/ 西比拉的名字也从招牌上消失，/ 房顶上扭曲的烟囱也不见踪影。/ 你们这些群山也变了吗？/ 你看，今晚从牛津迷路到你路上的/ 并非陌生人的腿脚！/ 我很久以前常常来到此地，/ 色希斯和我；那时我们还

Even to the original air-blue gown!

Or is it only the breeze, in its listlessness

Traveling across the wet mead to me here,

You being ever dissolved to wan wistlessness,

Heard no more again far or near?

Thus I; faltering forward,

Leaves around me falling,

Wind oozing thin through the thorn from norward,

And the woman calling. 9

这诗感情真挚，抚今追昔，低徊不已，写法也很朴实，没有一个浮词艳词，与一般浪漫派诗歌不同。浪漫派诗歌是年轻人的诗，而此诗诗人作于老年，因历经沧桑而感受更深。甚至“你变了，不再完全属于我”（you had changed from the one who was all to me）也坦白说出，如今一切又回到最初的热恋时刻，连她当年穿的“浅蓝裙衣”都如在眼前，那一声声呼唤，也就更加震撼心灵了。

第二节庆婚曲

顾名思义，庆婚曲(Epitholamion or marriage songs)是庆祝婚姻的诗作。最具代表性的是斯宾塞的《祝婚曲》（Epithalamion, 1595），全诗包括二十三个诗节，每个诗节从十七行到十九行不等。诗中以新娘和新郎为中心，周围是城镇街衢，即社会环境。城外是自然环境，在这外围又呈现出神话世界，神话世界之上，则是基督教天国。总之，社会与自然、现实与想象、异教与基督教等众多因素融为一体，创造了一个无限浩淼的宇宙空间。正是从宇宙空间那黎明前的阴郁和沉寂开始，诗中首先出现了神话人物。在这种氛围之中，新娘从娘家出发。随着旭日东升，人类社会看见庆婚队列穿过城镇街衢，来到教堂，举行神圣的婚仪。接着是喜庆活动。夜幕降临后，众人散去，只把一对新婚夫妇留在洞房，这时又再次出现神话人物和广阔宇宙。全诗以广阔的宇宙开始和结束。在这广阔的背景上，全诗以第十二、十三两诗节描写教堂婚仪为中心，象征性地把人间之爱与神爱结合在一起，构成了一曲宇宙欢乐的颂歌。其第十三诗节（即第223行~第241行）如下：

Behold whiles she before the altar stands

Hearing the holy priest that to her speaks

And blesseth her with his two happy hands,

9朝夕怀念的女人，你在呼唤我，呼唤我，/ 说你现在不是从前的你，/ 而是我的一切，当你还未改变，/ 那时，我们是相亲相爱的伴侣。// 这声音真的来自你？那么，让我看见/ 你站在那儿迎候，就象往日当我回到/ 小镇：那时我对你完全了解，/ 甚至能辨出你初次穿的浅蓝裙衣！// 也许这仅仅是风声，懒洋洋拂过/ 潮湿的草地，扑到我的耳畔；/ 声音消失，不见你的踪影，/ 我再也听不见，无论是近还是远。// 于是，迎着沙沙飘跌的落叶，/ 我踉跄地向前追赶，/ 北方袭来的刺骨寒流，压低了风声，/ 淹没了女人的呼唤。

How the red roses flush up in her cheeks,

And the pure snow with goodly vermill stain,

Like crimson dye in grain,

That even th' Angels which continually,

About the sacred Altar doe remain,

Forget their service and about her fly,

Oft peeping in her face that seems more fair,

The more they on it stare.

But her sad eyes still fastened on the ground,

Are governed with goodly modesty,

That suffers not one look to glance awry,

Which may let in a little thought unsound,

Why blush ye love to give to me your hand,

The pledge of all our band?

Sing ye sweet Angels Alleluya sing,

That all the woods may answer and your echo ring. 10

斯宾塞的《迎婚曲》（Prothalamion, 1596）是诗人为庆祝伍斯特伯爵萨默塞特两个女儿在埃塞克斯府邸举行的婚礼而写的贺诗。全诗共十个诗节，其开始部分如下：

Calm was the day, and through the trembling air

Sweet-breathing Zephyrus did softly play―

A gentle spirit, that lightly did delay

Hot Titan’s beams, which then did glister fair;

When I (whom sullen care,

Through discontent of my long fruitless stay

In princes’ court, and expectation vain

Of idle hopes, which still do fly away

Like empty shadows, did afflict my brain),

Walk’d forth to ease my pain

Along the shore of silver-streaming Thames;

Whose rutty bank, the which his river hems,

Was painted all with variable flowers,

And all the meads adorn’d with dainty gems

Fit to deck maidens’ bowers,

10看啊，她这时在圣坛前面站住，/ 聆听着神圣的牧师对她讲话，/ 牧师赐福的双手在为她祝福，/ 看啊，红玫瑰初放在她的双颊，/ 美丽的朱砂在纯净白雪上点缀，/ 像鲜红染料永不退。/ 那些天使们一直未离开圣坛，/ 他们围绕着圣坛不停地翻飞，/ 忘记了服务，在她的四周盘旋，/ 不时地窥视她的脸——越凝神细瞅，/ 她的脸儿越俊秀。/ 但她那羞怯的目光却始终紧紧/ 盯着地面，为谦恭美德所控制，/ 决不让自己的眼睛稍稍斜视，/ 因为那会使不洁的思想入侵。/ 爱人啊，你的手是我们结合的信物，/ 给我时为何害羞？

And crown their paramours

Against the bridal day, which is not long:

Sweet Thames! run softly, till I end my song. 11

第三节歌

歌（song）是诗歌的一种，与其他诗歌不同的是，歌主要用来配上乐曲唱，因而也就有歌曲的特点，诸如合唱，反复等。例如：

’T was at the royal feast, for Persia won

By Philip’s warlike son:

Aloft in awful state

The godlike hero sate

On his imperial throne;

His valiant peers were placed around;

Their brows with roses and with myrtles bound:

(So should desert in arms be crowned).

The lovely Tha?s, by his side,

Sate like a blooming Eastern bride

In flower of youth and beauty’s pride.

Happy, happy, happy pair!

None but the brave,

None but the brave,

None but the brave deserves the fair.

Chorus

Happy, happy, happy pair!

None but the brave,

None but the brave,

None but the brave deserves the fair. 12

（John Dryden: Alexander’s Feast or The Power of Music; an Ode in Honor of St. Celilia’s Day）

11宁静的日子啊，穿过微颤的大气，/ 和畅的西风在空中飘舞轻盈，/ 那温柔的精灵，使太阳稍稍减轻/ 火热的光焰，照耀得和煦明丽；/ 我心中愁烦郁悒，/ 不满于长期一无所获地滞留/ 在王室宫廷，徒然无益地空抱/ 渺茫的希望，那希望相继飞走，/ 犹如虚幻的暗影，使我头痛心焦，/ 沿着银波荡洋的泰晤士河岸，/ 河岸上繁枝密布，为河水镶边，/ 绘出了姹紫嫣红，百花齐放，/ 所有的草坪有玉石珠翠镶嵌，/ 适合装饰闺房，/ 戴在情人们头上，/ 迎接他们的佳期，它就在不久，/ 可爱的泰晤士河轻轻流，流到歌尽头。(胡家峦译)

12那是在皇家宴会，因为波斯/ 被腓力王好战之子战胜：/ 高高在上，令人敬畏/ 如神的英雄坐在/ 帝王的宝座。/ 他英勇的同伴坐四周/ 额头装饰玫瑰和桃金娘，/ （沙漠也应该用武器加冠）/ 漂亮的泰依丝坐在他身旁，/ 像正在盛开的东方新娘，/ 是青春的花朵，是美的骄傲。/ 幸福，幸福，幸福的情侣，/ 除勇猛者没有谁，/ 除勇猛者没有谁，/ 除勇猛者没有谁值得拥有这美女。// 合唱//幸福，幸福，幸福的情

此诗是纪念西西莉亚节的颂歌。西西莉亚是罗马女子，早期基督徒，约在公元230年殉难。相传她是管风琴的发明者，被尊为音乐保护神。1683至1703年期间，伦敦一音乐组织每年在西西莉亚节（11月22日）举行宗教仪式和音乐会。此诗作于1697年，歌颂音乐的力量。它以亚历山大大帝一生中一段著名经历为基础。他举兵入小亚系亚，大败波斯王。攻克波斯首都后，举行盛大宴会，招待诸将领。席间，其雅典情妇泰依丝（Tha?s）叫他烧毁宫殿，以报波斯王烧毁雅典之仇，亚历山大果然从命。英籍德国作曲家亨德尔于1736年为此诗谱曲，使其流传很广。

又如莎士比亚《无事生非》中的一段歌：

Sigh no more, ladies, sigh no more,

Men were deceivers ever;

One foot in sea, and one on shore,

To one thing constant never.

Then sigh not so,

But let them go,

And be you blithe and bonny,

Converting all your sounds of woe

Into Hey nonny, nonny.

Sing no more ditties, sing no mo

Of dumps so dull and heavy;

The fraud of men was ever so,

Since summer first was leavy.

Then sigh not so,

But let them go,

And be you blithe and bonny,

Converting all your sounds of woe

Into hey nonny, nonny. 13

（William Shakespeare: Much Ado About Nothing, Act II, Scene III）

这是阿拉冈亲王唐佩德娄的仆人巴尔萨泽的一段唱词。歌的特点是反复重复一些词句。

以下是莎剧《如愿》中陪同被放逐的公爵的一个名叫哀米安斯的贵族的一段唱词。

Blow, blow, thou winter wind,

Thou art not so unkind

As man’s ingratitude;

13别再叹气，小姐们，别再叹气，/ 男人总是要欺骗；/ 一脚在海里，一脚在陆地，/ 永远不会专一不变。/ 那么就别长吁短叹，/ 让他们去胡搅乱干，/ 你自己要欢天喜地，/ 把你的哀声一变/ 而为“海侬呢，海侬呢。”//别再唱歌，别再唱/ 这样沉闷悲苦的歌；/ 男人的欺诈总是这样，/ 夏天叶子总是长得多。/ 那么就别长吁短叹，/ 让他们去胡搅乱干，/ 你自己要欢天喜地，/ 把你的哀声一变/ 而为“海侬呢，海侬

Thy tooth is not so keen,

Because thou art not seen,

Although thy breath be rude.

Heigh-ho! Sing, heigh-ho! unto the green holly:

Most friendship is feigning, most loving mere folly:

Then, heigh-ho, the holly!

This life is most jolly.

Freeze, freeze, thou bitter sky,

That dost not bite so nigh

As benefits forgot:

Though thou the waters warp,

Thy sting is not so sharp

As friend remembered not.

Heigh-ho! Sing, heigh-ho! unto the green holly:

Most friendship is feigning, most loving mere folly:

Then, heigh-ho, the holly!

This life is most jolly. 14

(William Shakespeare: As You Like It, Act II, Scene VII)

再如《暴风雨》第一幕第二场，精灵爱丽尔的一段唱词：

Full fathom five thy father lies,

Of his bones are coral made;

Those are pearls that were his eyes;

But doth suffer a sea-change

Into something rich and strange.

Sea nymphs hourly ring his knell:

(Burden)Ding-dong.

Hark! Now I hear them—Ding-dong bell. 15

(William Shakespeare: The Tempest, Act I, Scene II)

罗伯特?勃朗宁在诗剧《比芭经过》（Pippa Passes）中也有插曲：

14吹，吹，冬天的风，/ 你不似人间的忘恩负义/ 那样的伤天害理；/ 你的牙不是那样的尖，/ 因为你本是没有行迹，/ 虽然你的呼吸甚厉。/ 咳喉！咳喉！来对冬青唱只曲：/ 多半友谊是假，多半爱情是愚。/ 咳喉！冬青！这里的生活最有趣。// 冻，冻，严酷的天，/ 你似人间的负义忘恩/ 那般深刻的伤人；/ 你虽然能改变水性，/ 你的尖刺却不够凶，/ 像那不念旧交的人。// 咳喉！咳喉！来对冬青唱只曲：/ 多半友谊是假，多半爱情是愚。/ 咳喉！冬青！这里的生活最有趣。( 梁实秋译)

15五噚的水深处躺着你的父亲，/ 他的骨骼已化成珊瑚；/ 他的眼睛是耀眼的明珠；/ 他消失的全身没有一处不曾/ 受到海水神气的变幻，/ 化成瑰宝，富丽而珍怪。/ 海的女神时时摇起他的丧钟，/（和声）叮！

The year’s at the spring

And day’s at the morn;

Morning’s at seven;

The hillside’s dew-pearled;

The lark’s on the wing;

The snails on the thorn;

God’s in His heaven__

All’s right with the world! 16

(Robert Browning: Pippa’s Song)

丁尼生的长篇叙事诗《公主》第三版插有多首短歌，19世纪和20世纪的一些作曲家曾为这些诗谱过曲，其中就有插在第三章开始处的摇篮曲《轻柔的风，低微的风》：

Sweet and low, sweet and low,

Wind of the western sea,

Low, low, breathe and blow,

Wind of the western sea!

Over the rolling waters go,

Come from the dying moon, and blow,

Blow him again to me;

While my little one, while my pretty one, sleeps.

Sleep and rest, sleep and rest,

Father will come to thee soon;

Rest, test, on mother’s breast,

Father will come to thee soon;

Father will come to his babe in the nest,

Silver sails all out of the west

Under the silver moon:

Sleep, my little one, sleep, my pretty one, sleep. 17

(Alfred Tennyson: The Princess)

16一年中早春，/ 一天中清晨，/ 早晨七点多清新；/ 山坡露珠闪光，/ 云雀飞翔高空，/ 蜗牛喜欢蠕动；/上帝安居天堂——/ 世上一切顺当！（宗白译）

17轻柔的风，低微的风，/ 吹自西方的海面上，/ 微微地吹来一阵阵，/ 吹自西方的海面上！/ 吹过海面上的波浪滚滚，/ 吹自将隐没的月色昏沉，/ 把他吹到我身旁，/ 趁我漂亮的小宝宝正熟睡。// 静静地睡，稳稳地睡，/ 爸就会来到你身边，/ 睡呀睡，在妈怀里睡，/ 爸就会来到你身边；/ 爸就来看窝里的小宝贝—