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Sunday Mourning
作者Author  /  Wallace  Stevens  華樂斯•史蒂文斯

Sunday Mourning

 
 
 
  I (Summary)
Complacencies of the peignoir, and late
Coffee and oranges in a sunny chair,
And the green freedom of a cockatoo
Upon a rug
mingle to dissipate
The holy hush of ancient sacrifice
. 5 (1-5)
She dreams a little, and she feels the dark
Encroachment
of that old catastrophe,
As a calm darkens among water-lights. (6-8)
The pungent oranges and bright, green wings
Seem things in some procession of the dead, 10
Winding across wide water, without sound. (9-11)
The day is like wide water, without sound,
Stilled for the passing of her dreaming feet
Over the seas, to silent Palestine,
Dominion of the blood and sepulchre
. 15 (12-15)

II (Summary)
Why should she give her bounty to the dead?
What is divinity if it can come
Only in silent shadows and in dreams? (17-18)
Shall she not find in comforts of the sun,
In pungent fruit and bright, green wings, or else 20
In any balm or beauty of the earth,
Things to be cherished like the thought of heaven? (19-22)
Divinity must live within herself:
Passions of rain, or moods in falling snow;
Grievings in loneliness, or unsubdued 25
Elations when the forest blooms; gusty
Emotions on wet roads on autumn nights;
All pleasures and all pains, remembering
The bough of summer and the winter branch. (24-29)
These are the measures destined for her soul. 30

III (Summary)
Jove in the clouds had his inhuman birth.
No mother suckled him, no sweet land gave
Large-mannered motions to his mythy mind. (32-33)
He moved among us, as a muttering king,
Magnificent, would move among his hinds, 35
Until our blood, commingling, virginal,
With heaven
, brought such requital to desire
The very hinds discerned it, in a star. (34-38)
Shall our blood fail? Or shall it come to be
The blood of paradise? And shall the earth 40
Seem all of paradise that we shall know? (39-41)
The sky will be much friendlier then than now,
A part of labor and a part of pain,
And next in glory to enduring love,
Not this dividing and indifferent blue. 45 (42-45)

IV (Summary)
She says, "I am content when wakened birds,
Before they fly, test the reality
Of misty fields, by their sweet questionings;
But when the birds are gone, and their warm fields
Return no more, where, then, is paradise?" 50
There is not any haunt of prophesy,
Nor any old chimera of the grave,
Neither the golden underground, nor isle
Melodious
, where spirits gat them home,
Nor visionary south, nor cloudy palm 55
Remote on heaven's hill, that has endured
As April's green endures; or will endure
Like her remembrance of awakened birds,
Or her desire for June and evening, tipped
By the consummation of the swallow's wings. 60 (51-60)

V (Summary)
She says, "But in contentment I still feel
The need of some imperishable bliss."
Death is the mother of beauty; hence from her,
Alone, shall come fulfilment to our dreams
And our desires. Although she strews the leaves 65
Of sure obliteration on our paths, (65-66)
The path sick sorrow took, the many paths
Where triumph rang its brassy phrase, or love
Whispered a little out of tenderness,
She makes the willow shiver in the sun 70
For maidens who were wont to sit and gaze
Upon the grass, relinquished to their feet. (65-72)
She causes boys to pile new plums and pears
On disregarded plate. The maidens taste
And stray impassioned in the littering leaves. 75

VI (Summary)
Is there no change of death in paradise?
Does ripe fruit never fall? Or do the boughs
Hang always heavy in that perfect sky,
Unchanging, yet so like our perishing earth,
With rivers like our own that seek for seas 80
They never find, the same receding shores
That never touch with inarticulate pang?
Why set the pear upon those river banks
Or spice the shores with odors of the plum?
Alas, that they should wear our colors there, 85
The silken weavings of our afternoons,
And pick the strings of our insipid lutes!
Death is the mother of beauty, mystical,
Within whose burning bosom we devise
Our earthly mothers waiting, sleeplessly
. 90

VII (Summary)
Supple and turbulent, a ring of men
Shall chant in orgy on a summer morn
Their boisterous devotion to the sun,
Not as a god, but as a god might be,
Naked among them, like a savage source. 95 (91-95)
Their chant shall be a chant of paradise,
Out of their blood, returning to the sky; (96-97)
And in their chant shall enter, voice by voice,
The windy lake wherein their lord delights,
The trees, like serafin, and echoing hills, 100
That choir among themselves long afterward. (98-101)
They shall know well the heavenly fellowship
Of men
that perish and of summer morn. (102-103)
And whence they came and whither they shall go
The dew upon their feet shall manifest. 105 (104-105)

VIII (Summary)
She hears, upon that water without sound,
A voice that cries, "The tomb in Palestine
Is not the porch of spirits lingering.
It is the grave of Jesus, where he lay." (106-109)
We live in an old chaos of the sun, 110
Or old dependency of day and night,
Or island solitude, unsponsored, free,
Of that wide water, inescapable. (110-113)
Deer walk upon our mountains, and the quail
Whistle about us their spontaneous cries; 115 (114-115)
Sweet berries ripen in the wilderness;
And, in the isolation of the sky,
At evening, casual flocks of pigeons make
Ambiguous undulations as they sink,
Downward to darkness, on extended wings. 120 (114-120) / (117-120)

 
 
 

 

Line
Word or phrase
Annotation

I.

第一節大意:一位中年的女士在星期日早晨,穿著晨衣怡然自得,在陽光下的椅子上享受遲遲的早餐;地毯上美冠鸚鵡也自由自在,此時內心的安適與外在事物的美好使她忘卻了宗教上對永生的企望。然而不久,死亡的陰影偷偷來襲,於是她不復享受感官所察覺的美好事物,而想著耶穌的血和墳墓,企望永生。(back)

1-5   這五行為一句,動詞是mingle。[back]
1 Complacencies of the peignoir peignoir為女人所著的晨衣。星期日早晨遲遲始起,穿著晨衣,有怡然自得之感。[back]
3-4 the green freedom of a cockatoo / Upon a rug Cockatoo是一種美冠鸚鵡。這隻鸚鵡可能是一隻活的美冠鸚鵡暫時停在地毯上,也可能是地毯上的圖案,不過以前者的解釋較佳。green指美冠鸚鵡羽毛的顏色,另給人青春自在的聯想。freedom一字令人想起向鳥一樣的自由自在。[back]
4-5 dissipate / The holy . . . sacrifice dissipate為驅散,逐散之意。the holy hush因星期日是上教堂做禮拜的日子故稱holy。這一天那位女士的鄰居可能都上了教堂,固寂靜無譁。ancient sacrifice指耶穌之死。對基督徒而言,星期日做禮拜即紀念耶穌的犧牲。所以整個說來,在當天早晨經由感官所感覺的具體事物,其真實使她忘卻宗教上抽象的對永生的祈求。[back]
6-8   那位女士享受了一陣眼前事物的美好之後,不久又陷入了幻想。他感到死亡念頭的來襲有如一種寧靜在水光中變得黑暗起來 (顯出強烈的明暗對比)。這幾行在說他經由感官獲致的經驗為死亡的陰影所逐;她不再享受外界美好的事物。[back]
6-7 The dark / Encroachment 暗暗侵入,即不知不覺中而有的,這也表明了這種想法的可怕。[back]
7 old catastrophe 古老的大災難,即死亡。此處即指耶穌的受難,也指她不可避免的死亡。[back]
8   水中所反射的燈光非常明亮,而沒有反射燈光的地方則很暗。此用以譬喻死亡念頭的黑暗可怕。[back]
9-11   此時馨冽的橘子和鮮豔,青綠的翅膀 (即外在美好的事物)似乎成為死亡行列中的事物,繞過重洋,無聲無息。[back]
9 pungent 辛味的;刺鼻的。此處用以形容橘子的香味。[back]
10 some procession of the dead 某種死亡事物的行列。也就是說橘子,鸚鵡等實物變為死的,抽象的,沒有實質的東西。[back]
12-15   這一天 (Sunday)像無聲的海洋變得一片沈寂,此乃因為在幻想中她越過重洋到寂靜的巴勒斯坦-受耶穌的血和墓所管轄的領域。這也就是說,她想到死,天國,永生,那一天就變得空虛而無意義。[back]
13 stilled 變得沈寂。從本詩的開頭看來,外在的事物,橘子,咖啡,鸚鵡等似乎高聲的對著她說話,此刻因幻想到死亡而使得那一天變得寂然,有如大海無聲無息。[back]
14-15 to silent . . . sepulchre 寂靜的巴勒斯坦,血和墳墓的領域。即是耶穌的血和墓所管轄的領域。如此她的思想即在宗教的籠罩之下。[back]

II.

第二節大意:評述者認為那位女士不應捨棄現實的美好事物而幻想著天堂。神祇只是幻夢。人應從日光,水果,大地的美景中獲得慰藉。在大自然中,人雖有苦有樂。然而生命意義的衡量也就在此。(back)

16 bounty 報酬,獎金之意。即該女士經由感官所得的愉悅。評述者問道:「為什麼她要把她從感官得來的愉悅捨棄給死亡呢?」[back]
17-18   他再問道:「如果神只能以靜靜的陰影或夢的方式而來,還有什麼神聖可言?」意思在說如果宗教的慰藉,對死後的許諾都只是抽象的想像那麼就沒有什麼意義了。[back]
19-22   在這幾行中,評述者以反問的語氣追問。意思是說她應該在日光,水果,大地的醇膏,美景等像天堂思想那樣值得珍藏的事物中找到慰藉。此處也就是說她應該從具體的,經由感官所感覺的實物中尋求慰藉,而非消極的遁入虛無的宗教幻想中。[back]
23   這一行是說神必須活在她的心中,也就是要她與大自然的萬事萬物相戚,享受大自然中的事事物物。
[back]
24-29   這幾行中舉例說明大自然中有那些東西會使她感動:雨天時的心緒,下雪時的情懷,孤獨的悲戚,樹林花放時不可抑制的歡欣;秋夜在雨溼的路上迸發的陣陣激情;回憶夏日的粗枝和冬日的枒槎時 (所感受的)一切歡樂和一切痛苦。[back]
30   這一行總結上面幾行,說明在大自然中雖然有樂有苦,但最為真實。我們生命的意義也就靠此衡量了。[back]

III.

第三節大意:評述者在進一步批評那位女士的謬誤。他認為神只是抽象的存在。人在創造神之後,將之捧得高高的,於是反而祈求與神相合。然而這只是妄想。人應該了解這世界才是人世的天堂,也唯有如此,才能人天相戚,真正享受大自然。(back)

31 Jove 宙斯,為古羅馬之主神,(Jupiter天王)。在此代表所有宗教或神話中的神。神乃是人想像出來的東西,所以其誕生也異於人。[back]
32-33   正因為神乃是人想像出來的,只是抽象的存在,所以無須母親乳他,大地育他。large-mannered motions指氣宇軒昂的行動,人把神想像成為巍巍然的樣子。[back]
33 his mythy mind 人也把神想像成有超人的智力。mythy:像神話般的。[back]
34-38   人創造神,且將之捧得高高的,於是人反而祈求與神相合,希望人神相交,而使人具有神性。於是神就像牧者一般行動於我們之間,直到我們的血,以童真的方式與神相交而遂所願。[back]
34 a muttering king 一位喃喃而語的國王。暗示神已老大,說話不清。
[back]
35 Magificent

among his hinds
我們把神視為莊嚴堂皇,故稱。
hinds為 (母)鹿群,此處即指人類。也就是說神像牧者一樣在我們中間走動。在基督教中,把耶和華譬喻成牧羊人而人則是一群羔羊。[back]
36-37 commingling, virginal, / With heaven 指我們的血與上天相混,而且是以童真的方式。在基督教中,瑪利亞以童真之軀而懷上帝的兒子耶穌。其他宗教或神話中亦有人神相交而孕的說法。
[back]
37 such requital to desire requital為酬答,回報之意。人得償所願。[back]
38 The very . . . star

discerned

star

這是一個附屬子句,即前面有一個that省略。這一行在說人可以從一顆星中辨明人已經如願以償。

(用目或用心)辨明。it指the requital of desire。

或指The star of Bethlehem(伯利恆之星),耶穌誕生時,天空出現此星,東方三博士即靠此引導到伯利恆朝見耶穌。[back]

39-41   於是評述者問道:我們的血會不會白費?或是它會因此而成為樂園之血;他在問句中即暗示了人實際上並未得遂所願與神相交。因此,他又問道:而大地會像我們所知的樂園嗎?從評述者看來,這世界才是人世的樂園。[back]
42-45   在人了解了這個世界才是人生的樂園之後,人纔能真正的享受大自然,而大自然也就顯得親善可愛。
[back]
42 then 指人了解了這個世界才是人間天堂後的時間。一個人在那個時候仰望天空亦覺得比現在親善可愛。The sky可謂是大自然的代表。[back]
43   人世是真實的,具體的,並非絕對沒有變化沒有痛苦的,所以在蒼天之下,人還是要有部份勞動與痛苦。[back]
44   而在榮耀上這苦樂參半的大自然僅次於耐久的愛。enduring一面有長久不變之意,一面還有忍受之意。愛雖然榮耀偉大,但也需要人的培養,灌溉,維護和容忍,才能滋長,耐久。[back]
45   而非這種天是天,人是人,天空只顯示一片漠然的藍。也就是說人天相戚,真正享受大自然。[back]

IV.

第四節大意:詩中女士認為人間並非天堂,雖然春滿人間,享盡歡樂,但春去東來,樂園何在?意味人間生活並非完美。評述者認為天堂 (指非人間之樂園,即宗教中人類所虛構出來的天國)虛無飄渺,並不實在,還不如客觀的現實,人間的生活享受-春或春之回憶-那樣實際,恆久,且耐人尋味。意味客觀的人間生活,具體的感官享受,才是真正的樂園。(back)

46 wakened birds 醒來的鳥。此處「鳥」可做多重的聯想:「鳥」是自由,歡樂的象徵。讀者可以從春晨小鳥自由的歡唱連想到人類生活中的感官享受。In spring birds are awakened to the sense and begin to taste the joy of life. [back]
47 test the reality "test"即examine之意,它的主詞是 "wakened birds"。此處指清晨時鳥兒啼叫,聲聲問著生活中客觀的現實。[back]
48 misty fields

by sweet questionings
"misty"霧的,使人聯想到morning fields。從46-48行,所給人的是「春晨」的意象。但這�堙A"misty fields"亦可使人聯想到incomprehensible world,因為"misty"亦有朦朧或含糊不清之意。

"sweet"給人一種歡樂甜蜜的感覺,「鳥」在examine the reality,因為人間不易了解,所以提出許多可愛的問題,充滿了好奇心,想要了解客觀的現實。[back]
49 when birds are gone

warm fields
當鳥走時,意指冬天來臨。

指「春野」。[back]
50 where, then, is paradise 樂園何在?這句話說明了詩中女士心目中的樂園並不是在人間,而是在宗教中的天國�堙C這種想法與評述人的想法不同,評述人認為人間才是真正的樂園,天國虛無飄渺並不實在。[back]
51 haunt of prophecy 預言中常到的地方,可能指天國,或古希臘預言家Sibyl在Cumae的巖穴。[back]
52 old chimera of the grave Chimera是希臘神話中一種獅頭,羊身,蛇尾的吐火怪獸,引申為非非之想。因此也可能指人死後靈魂想住的地方。[back]
53 golden underground 指的可能是人死後靈魂歸宿之處,亦可能指Aeneas的golden bough。[back]
53-54 isle / Melodious 即melodious island,或指Sirens所居之島。在希臘神話中,Sirens以美妙的歌聲蠱惑過路的航海者而卒至滅亡。此處意指靈魂的歸宿。[back]
54 spirits

gat
指人死後之靈魂 (Souls after death)

即got。[back]
55 Visionary south

cloudy palm . . . on heaven's hill
幻想中的南國勝地。

指天堂。[back]
57 April's green 四月之綠野;春之綠野。[back]
58 her remembrance of the wakened birds 參閱46行指感官世界愉快的回憶。[back]
59 her desire for June and evening tipped 六月白天最長,黃昏也是美麗的時刻,可說是人間極美之境界。touched (by the tips of the swallow's wings);ended。[back]
59-60 evening, tipped / By . . . wings 指燕鳥的翅膀一揮而結束黃昏。consummation完成,圓滿。[back]
51-60   51-60行只是一句話There is not . . . nor . . . neigher . . . nor . . . that has endured as . . .﹔or will endure like . . . or . . . , topped by the consummation of the swallow's wings. 這句話是指所有人類想像中的天堂,人死後靈魂之去處,並不如人間春天或春之回憶或六月和黃昏之美好那樣恆久而耐人尋味,意指天堂並不如人間。真正的樂園,在於充分的享受人間感官生活而非響往死後的天堂,因為它並不實在。[back]


V.

第五節大意:詩中女士再說:在滿足現世生活之餘,仍覺需要一種永恆的慰藉,也就是說,她仍有宗教信仰的需要。評述者繼稱:世間的一切美好皆來自「死亡」,「死亡」引起一切變化,我們的一切成敗得失都會在「死亡」中消失,青年男女感於人生匆匆而相互熱愛。總之,這個世界因為有「死亡」才有各種變化,有變化的世界方值得我們留戀。(back)

62 imperishable bliss 永恆不滅的安慰,指宗教信仰中天國永生的慰藉。
[back]
63 Death is the mother of beauty 人世的美皆來自死亡 (有死亡才有新生)。死就像母親一般,並為世間帶來各種變化,讓人們更珍惜生命。[back]
65-72   八行為一複合句。65-69 (Although . . . tenderness)為附句;70-72行 (she . . . feet)為主句。[back]
65-66   Although . . . paths 雖然死亡在人生的旅途上撒下了葉子,使一切消失蹤跡。[back]
67 The path; the many paths

sick sorrow
都是66行paths的同位語,再詳加說明Paths的內容。

sorrow被人格化了,故稱之為「生了病的悲哀」。[back]
68 triumph rang its brassy phrase 人生得意的事好比號角爭鳴的勝利一般。[back]
70 She . . . sun 死亡使柳樹在陽光中顫抖。Shiver一詞,除描述柳樹的顫抖之外,似在暗示下行�堣痐k們內心感情的激盪。[back]
71 wont to 習慣於。[back]
72 relinquished to their feet relinquished意為放棄,投降,為一過去分詞,可能與前面的 "maidens"或 "grass"有關。若屬前者,則整個片語的含意為:The maidens were left to themselves. 若屬後者,則可解為:草因踐踏而伏倒在少女們的腳前。按前後文來看,似以前解為宜。[back]
74 disregarded plate 受人忽視的盤子。意味該盤曾被用來向少女獻禮獻桃;如今又被用來做同樣的事 (李梨為愛情的象徵)。字裡行間似在指明,在這恆變得世界�堙A人們一代一代的轉替著。男女間的愛情事多麼古老的事,但在當事人的心中愛情又是多麼新穎。[back]
75 stray impassioned the littering leaves 熱情滿腔地四處亂走。stray一字,似在暗示少女們初嚐戀愛滋味,不禁意亂情迷。落葉滿地,與65行strews the leaves暗中一脈相繫。[back]

VI.

第六節大意:評述者反問:在 (女士的)天堂中是否萬物亙古不變,無「死」無終,熟果不落?天堂中的穹蒼,河川和我們這萬變世界�堛獄a穹,河川其實相同,所異者,在於天堂中恆然無變化,河川不流故不能奔注入海…。這樣恆然不變的天堂和我們這萬變的世界相比之下,顯得多麼死寂無聊,還是我們這個充滿變化的世界可愛得多。(back)

81 receding shores (愛海潮侵蝕而)向後退縮的海洋。[back]
82 never touch with

inarticulate pangs
touch之後似須加 "us"方可解。

天國�堛漁�岸不使我們感觸那種無以言欲的痛苦。[back]
83 why . . . ? 何必……呢?意思是說:在這樣乏味的天國�堙A何必再獻李獻桃呢?(參見73-74行)。[back]
85 they should . . .

wear our colors
他們 (天國中的人)竟然…。

穿著我們這種顏色 (的衣裳)。[back]
86 The silken . . . afternoons 為前句colors的同位語,一日之中,以下午這段時間最沈悶無聊。silken wearings絲質的料子。全行指外觀高雅實則無味的東西。[back]
87 insipid lutes: (lute為一種古代彈樂器,面平背駝,頗似半個梨子,多為仕女彈奏。)乏味的音樂。[back]
88-90 Death . . . sleeplessly 死亡就像一位神祕的母親,我們終將歸返她那愛心洋溢的懷抱。這種歸返的過程就像我們外出時慈母在家晝夜無眠地等待我們一樣。[back]

VII.

第七節大意:人們將歌頌太陽,不目之為神,僅視之為「若神」,認為是生命的源泉。人們將歌頌湖泊,樹木,山丘。即使人生自何來,死往何去等大問題亦可從大自然中獲得答案。(back)

91-95 人們將要在夏日之晨聚會狂歡,圍成一圈來歌頌太陽。不目之為神,僅視之為「若神」,但認為它是大自然一切生命的泉源。[back]
91 supple and turbulent supple意為易屈的;turbulent意為激烈的。此處指歌舞者之生氣蓬勃。[back]
92 orgy 狂歡的聚會。[back]
93 boisterous devotion to the sun 即對太陽的熱愛、虔敬。boisterous:喧鬧的。[back]
95 naked among them (太陽)為人人所見,沒有遮蔽。[back]
96-97 由熱誠所唱出之歌將為天堂之歌,高入雲霄。[back]
97 Out of their blood enthusiastically,熱誠地;出自內心深處地。[back]
98-101 在他們的歌聲中,他們聲聲歌頌其上主 (their lord) (指太陽)所喜愛的湖泊,歌頌美如最高天使的樹木,也歌頌回聲不絕的山丘。[back]
99 其上主所喜愛的在風中的湖泊,暗示太陽照入湖中,益顯得光彩奪目。[back]
100 serafin 六翼天使 (九級天使中地位最高者。)[back]
101 回音不絕。[back]
102-103 縱使人生短促,他們將要在夏日之晨體驗存於人類間的神聖友誼。[back]
102 know well well experience經驗,體會。[back]
102-103 the heavenly fellowship / Of men 人類的神聖友誼。[back]
103 (the heavenly fellowship) of summer mourn 夏晨的神聖友誼。意思是說非常有生氣。[back]
104-105 而人生自何來,死往何去 (人類有使以來的大疑問),在腳上的露水將會顯示出來。[back]

VIII.

第八節大意:暮然,那位女士聽到:「巴勒斯坦並非通往永生之門。那只是耶穌的墳墓」。我們所住的大自然雖然混亂,孤獨,但也是萬物滋生之地,和人生的歸宿。(back)

106-109   詩中的女士正在幻夢中,經過大海到巴勒斯坦去 (參看11行),聽見一個聲音大聲的說:巴勒斯坦並非靈魂通往永生之門,它僅是耶穌安息的墓地。[back]
108 porch entrance,入口。或入內廳之走廊。[back]
110-113   形容我們現在所處的世界。[back]
110 old chaos of the sun
chaos
天有不測風雲。

混亂狀態。[back]
111 dependency 靠著晝夜的循環。指隨著自然的韻律而生活。依賴、服從。[back]
112   世界像大海中不能逃走的孤島,沒有保證,也沒有約束。[back]
114-120   形容世界上日常的現象。[back]
114-115   鹿群在山上逡巡,鵪鶉(quail)在我們四週自然的高鳴 (whistle)。[back]
116   甜莓在荒野中成熟。[back]
117-120   在遠處隔離的天空中,黃昏時,時而出現的鴿群,如波浪般高飛低翔;伸著翅膀,低飛而下,消逝於黑夜之中 (象徵人生旅途的中止)。[back]
118 casual 時而出現的;偶然的。[back]
119 Ambiguous undulations undulation意為波浪般起伏的動作。此處或指在遠處飛的鴿子,其高低起伏不容易看清楚,或指時近黃昏,看不清楚。[back]
 
 
   
 
   
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