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Goldsworthy Lowes Dickinson - Literature in Cathay 汉译

2012-1-3 21:41| 发布者: patrick| 查看: 813| 评论: 0

摘要: 刘士聪 译

In China letters are respected not merely to a degree but in a sense which must seem, I think, to you unintelligible and overstrained. But there is a reason for it. Our poets and literary men have taught their successors, for long generations, to look for good not in wealth, not in power, not in miscellaneous activity, but in a trained, a choice, an exquisite appreciation of the most simple and universal relations of life. To feel, and in order to feel to express, or at least to understand the expression of all that is lovely in Nature, of all that is poignant and sensitive in man, is to us in itself a sufficient end. A rose in a moonlit garden, the shallow of trees on the turf, almond blossom, scent of pine, the wine-cup and the guitar; these and the pathos of life and death, the long embrace, the hand stretched out in vain, the moment that glides for ever away, with its freight of music and light, into the shadow and hush of the haunted past, all that we have, all that eludes us, a bird on the wing, a perfume escaped on the gale—to all these things we are trained to respond, and the response is what we call literature.

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文学在中国

 

在中国,文学是受到尊重的,不只是在一定程度上,而且是在某种意义上,我想,你们一定认为这种意义是难以理解、过于强调了。可是,这里是有道理的。长期以来,我们的世人和文人教育他们的继承者不要在财富里、不要在权力里、也不要在琐碎的活动里寻找美好的东西,而是用经过训练的、有选择的和敏锐的眼光在对最简单、最普遍的生活关系的鉴赏中去寻找。去感受,而且,感受是为了表达,或者至少是为了理解大自然所表现的所有痛楚的和敏感的东西,对我们来说,这本身就是目的,足够了。月光下花园里的一朵玫瑰花,草地上树木的影子,扁桃的花朵,松树的香味,酒杯和吉他;以上这些以及生与死的痛苦,长时间的拥抱,徒劳伸出的手臂,时光,承载着它的音乐和光明悄然而过的、永远消逝在不安宁的往昔的阴影和寂静里的时光,我们所拥有的一切,从我们身边遁去的万物,正在飞行的鸟儿,随风飘逝的芳香对于所有这些,我们已有训练并能作出反应,而这一反应就是我们所谓的文学。

 

 


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