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The following are some interesting examples of Tu Fu’s “impressionistic” little poems:
以下是杜甫一些極富印象派特色的有趣例子:
絕句二首之一 杜甫
絕句二首之二 杜甫
閣夜 杜甫
絕句漫興九首之七 杜甫
江畔獨步尋花七絕句之六 杜甫

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Short poems, it should be noted, were no innovation. In many of the short poems—actually folk songs of the third century—we find many similar records in which simple incidents and feelings were caught and registered. All the so-called “little songs” are attempts to seize fragments from nature of from human life and reveal their quintessence.
應該注意的是,短詩其實並不是什麼新的東西。許多短詩事實上就是三世紀的民歌,我們能夠發現他們同樣記錄了簡單的事件、捕捉了情感。幾乎所謂的「小詩」都企圖要捕捉自然與人事中的片段,並顯出其中的精華。

This mood and this technique made a special appeal to Tu Fu in his old age and in these little gems we see the dexterity of his mature hands in fashioning the short, crisp lines until they were artlessly natural and yet unexpectedly stunning.
在杜甫晚年,這種詩歌精神與技巧對他產生特別的吸引力,而且在這些小珍品中可以看到他用成熟且靈巧的手法,創作出簡潔明快的句子,直到句子毫無雕琢味並且還有意想不到的驚豔效果。

He would accuse the spring wind of intruding into his garden without permission and of breaking the branches of his flowers. He would poke fun at his neighbor’s willow tree for having flirted with the spring wind and losing its longest branch by way of penalty.
他會責備春風未經許可闖入他的花園還摧折花的枝葉。他會戲弄鄰人的柳樹,說柳樹向春風調情並且因此被罰,斷了最長的樹枝。

He would recognize the cormorant on the sandy beach as an old acquaintance and urge the latter to visit him a hundred times each day. These little poems, which appear to be most casual and effortless, were really the crystallizations of a long-practiced artistry.
他會認出沙洲上的鳧鳥彷若舊識,並且催促鳧鳥每天拜訪他一百次。這些小詩似乎是最隨意且容易的,實在是高明藝術技巧的具體化。

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當兵士將詩呈交於帥,帥又呈上朝廷,於是唐明皇遍尋六宮,指示作者不會受到懲罰所以不應隱藏身份。一名宮女承認了,並說她罪該萬死。明皇大為感動,決定讓她嫁給得到詩的人,還說:「我願實現你們今生之姻緣。」
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唐朝還有另一個傳統,在於描寫大量禁苑才女,及她們與外在世界隔離的壓抑情緒:(描寫的內容是)她們將詩寫在紅葉上並將這些文學作品(抒情詩)藉由護城河的流水送到更廣大的世界去。
難怪在長安,許多想要追求文學榮耀的人會在護城河到處閒逛,因為到了幕秋,那裡的樹葉轉紅,被隔離的女詩人會變得極度感性。
至少有三則記載,記錄詩人與女詩人,由於這些吉祥紅葉所帶來的宮廷恩典而歡喜結緣。
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--完--
★註:由於學期結束了,打字也累了,所以後面部分就偷懶了。

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