賽吉頌 (濟慈 1819.4.)

http://www.youtube.com/watch?v=QVH7EV-AmzA
http://www.youtube.com/watch?v=IYChvrk3vo8&feature=related
Ode to Psyche
John Keats. 1819.4

賽吉頌
濟慈 1819年4月

O GODDESS! hear these tuneless numbers, wrung
By sweet enforcement and remembrance dear,
And pardon that thy secrets should be sung
Even into thine own soft-conched ear:
Surely I dream'd to-day, or did I see
The winged Psyche with awaken'd eyes?
I wandered in a forest thoughtlessly,
And, on the sudden, fainting with surprise,
Saw two fair creatures, couched side by side
In deepest grass, beneath the whisp'ring roof
Of leaves and trembled blossoms, where there ran
A brooklet, scarce espied:

哦！女神！ 請聽這些不著調的歌曲
那發自傾心的執著和親切的回憶，
對不起，你的秘密該對著自己
柔軟的螺狀耳輪唱起：今天
我究竟夢見，或是看見了
長著翅膀，瞪大眼睛的賽吉？
我漫步在這一片森林，無憂無慮，
突然，我無比驚奇，目眩神迷：
兩個美麗的精靈，在深草叢裏，
偎依在一起，絮語的樹葉
和顫動的鮮花蔭庇，
那裏溪水流過，無人窺視：(飄塵譯)

女神啊！ 請聽這些不成調的韻律---
由傾心的執著和親切的回憶所促成---
請原諒，這詩句唱出了你的秘密，
直訴向你那柔軟的海螺狀耳輪：
無疑我今天曾夢見 --- 或者我是否目睹
長著翅膀，睜著眼睛的賽吉？
我在森林中無憂無慮地漫步，
突然，我竟驚奇得目眩神迷，
我見到兩個美麗的精靈相依偎
在深草叢裏，上麵有絮語的樹葉
和顫動的鮮花蔭庇，溪水流淌
在其間，無人偷窺：(屠岸譯)

'Mid hush'd, cool-rooted flowers, fragrant-eyed,
Blue, silver-white, and budded Tyrian
They lay calm-breathing on the bedded grass;
Their arms embraced, and their pinions too;
Their lips touch'd not, but had not bade adieu,
As if disjoined by soft-handed slumber,
And ready still past kisses to outnumber
At tender eye-dawn of aurorean love:
The winged boy I knew;
But who wast thou, O happy, happy dove?
His Psyche true!


四周寧靜清涼的花卉，芬芳的嫩蕊，
藍色，銀白色，紫色，待放的花蕾
呼吸均勻，他們躺臥在這片綠茵；
讓手臂相擁，讓翅膀交匯；
嘴唇既沒有相識，但也沒有別離，
仿佛剛被睡眠的柔腕分開一寸，
準備醒後繼續那無數次的親吻
在歡愛的黎明醒來的時分：
帶翅的男孩，我認識他；
可你又是誰， 幸福快樂的小鴿？
他的“真”賽吉！(飄塵譯)

周圍是寧靜的，清涼的花朵，芬芳的嫩蕊，
藍色的，銀色花，紫色的花苞待放，
他們躺臥在綠茵上，呼吸得安詳；
他們的手臂相擁，翅膀交疊；
他們的嘴唇還沒相碰，也沒告別，
仿佛被睡眠的柔腕分開一時，
準備醒後繼續親吻無數次
在歡愛的黎明睜眼來到的時刻：
帶翅的男孩我熟悉；
可你是你呀， 幸福的， 幸福的小鴿？
他的好賽吉！(屠岸譯)

O latest-born and loveliest vision far
Of all Olympus' faded hierarchy!
Fairer than Phoebe's sapphire-region'd star,
Or Vesper, amorous glow-worm of the sky;
Fairer than these, though temple thou hast none,
Nor altar heap'd with flowers;
Nor Virgin-choir to make delicious moan
Upon the midnight hours;
No voice, no lute, no pipe, no incense sweet
From chain-swung censer teeming;
No shrine, no grove, no oracle, no heat
Of pale-mouth'd prophet dreaming.

哦， 最後出生而美麗超群的景色
遙遠奧林匹斯山隱逝的眾仙！
比月神藍寶石的清芒更秀麗，
比天邊啟明星的熒光更冷豔；
比他們更美，盡管你既無神廟，
又無花卉布滿的祭壇；
更沒有金童玉女的唱詩班
在午夜時分唱出哀婉的詠歎；
沒有聲音， 沒有豎琴，沒有風管，
更沒有香霧，從金鏈懸掛的香爐裏飄散；
沒有神龕，沒有聖林， 沒有神諭，
更沒有狂熱，口唇蒼白的先知的夢幻。(飄塵譯)

啊， 出生在最後而秀美超群的形象
來自奧林匹斯山黯淡的神族！
藍寶石一般的福柏減卻清芒，
天邊威斯佩多情的熒光比輸；
你比他們美，雖然你沒有神廟，
沒堆滿供花的祭壇；
也沒童男女唱詩班等午夜來到
便唱出哀婉的詠歎；
沒聲音， 沒詩琴，沒風管， 沒香煙濃烈
從金鏈懸掛的香爐播散；
沒神龕，沒聖林， 沒神諭， 沒先知狂熱，
嘴唇蒼白， 沉迷於夢幻。(屠岸譯)

O brightest! though too late for antique vows,
Too, too late for the fond believing lyre,
When holy were the haunted forest boughs,
Holy the air, the water, and the fire;
Yet even in these days so far retired
From happy pieties, thy lucent fans,
Fluttering among the faint Olympians,
I see, and sing, by my own eyes inspired.
So let me be thy choir, and make a moan
Upon the midnight hours;
Thy voice, thy lute, thy pipe, thy incense sweet
From swinged censer teeming:
Thy shrine, thy grove, thy oracle, thy heat
Of pale-mouth'd prophet dreaming.

哦， 最明亮的光！雖沒趕上古代的誓約，
更沒聽到善男信女的祝歌，
可精靈出沒的樹林神聖莊嚴
神聖的空氣， 流水，神聖的焰火；
即使在遠古的日子，遠離
敬神的虔誠，你那發光的翅膀
仍然在失色的山巒間陣羽飛過，
我親眼有幸看到了， 我唱起歌
就讓我做你的唱詩班吧，在午夜時分
唱出哀婉的詠歎；
做你的聲音， 豎琴，風管， 濃烈的香霧
從懸空的香爐中播散；
做你的神龕，聖林， 神諭， 狂熱，
嘴唇蒼白的先知， 沉迷於夢幻。(飄塵譯)

啊， 至美者！你雖沒趕上古代的誓約，
更沒聽到善男信女的祝歌，
可神靈出沒的樹林莊嚴聖潔，
空氣， 流水，火焰純淨諧和；
即使在那些遠古的日子裏，遠離開
敬神的虔誠，你那發光的翅膀
仍然在失色的諸神間陣羽飛翔，
我兩眼有幸看到了， 我歌唱起來
就讓我作你的唱詩班吧，等午夜到來
便唱出哀婉的詠歎；
做你的聲音， 詩琴，風管， 香煙濃烈
從懸空擺動的香爐播散；
做你的神龕，聖林， 神諭， 先知狂熱，
嘴唇蒼白， 沉迷於夢幻。(屠岸譯)

Yes, I will be thy priest, and build a fane
In some untrodden region of my mind,
Where branched thoughts, new grown with pleasant pain,
Instead of pines shall murmur in the wind:
Far, far around shall those dark-cluster'd trees
Fledge the wild-ridged mountains steep by steep;
And there by zephyrs, streams, and birds, and bees,
The moss-lain Dryads shall be lull'd to sleep;
And in the midst of this wide quietness
A rosy sanctuary will I dress
With the wreath'd trellis of a working brain,
With buds, and bells, and stars without a name,
With all the gardener Fancy e'er could feign,
Who breeding flowers, will never breed the same;
And there shall be for thee all soft delight
That shadowy thought can win,
A bright torch, and a casement ope at night,
To let the warm Love in!

是的， 我要做你的祭司，在我心中
未經踩踏的地方，修建一所聖堂，
讓思緒從那裏分叉，長出快樂和悲傷，
那裏沒有鬆樹在風中沙沙作響：
遠處，覆蓋著綠蔭濃濃的樹木，
遍布荒山野嶺，懸崖峭壁之上。
林仙安臥蒼台，在清風，溪澗，
小鳥， 蜜蜂的歌聲中入睡安詳；
我要在這片空曠幽靜的心地中央，
整修出一座玫瑰色的聖堂，
讓花環構架成思索的大腦，
點綴上無名的星鬥，花蕾和鈴鐺，
讓“幻想”的園丁構思這一切奇妙，
決不讓雷同的花朵出自他手上：
為你準備好一切柔和的愉悅
好讓憂鬱的思緒能變得歡暢，
火炬照亮黑夜，好讓熱情的愛神
進入這敞開的扇窗！ (飄塵譯)

是的， 我要做你的祭司， 在我心中
未經踐踏的地方為你建教堂，
有沉思如樹枝長出， 既快樂，又痛苦，
代替了鬆樹在風中沙沙作響：
還有綠蔭濃濃的雜樹大片
覆蓋著懸崖峭壁， 野嶺荒山。
安臥蒼台的林仙在清風，溪澗，
小鳥， 蜜蜂的歌聲裏安然入眠；
在這寂靜的廣闊領域的中央，
我要整修出一座玫瑰色的聖堂，
它將有花環型構架如思索的人腦，
點綴著花蕾，鈴鐺， 無名的星鬥
和“幻想”這園丁構思的一切奇妙，
雷同的花朵決不會出自他手：
將為你準備冥想能贏得的一切
溫馨柔和的愉悅歡快，
一支火炬，一扇窗敞開在深夜，
好讓熱情的愛神進來！ (屠岸譯)

注：濟慈六大頌詩之一的《賽吉頌》僅4節67行，卻鑲嵌著隱顯程度不等的9個神話典故和5個聖經典故。這些典故貌似雜亂無章，實則形散神凝，通過珠聯壁合的淵源、寓意等超出文字層麵的成分，豐富了詩中的意象、增強了語境的連貫性。全詩意象鮮活、行文洗練、含蓄雋永，表達了“思”“情”合璧、永葆藝術生機的主題，有著深厚的藝術生態意蘊。

"Ode to Psyche" is a poem by John Keats written in spring 1819. The poem is the first of his 1819 odes, which include "Ode on a Grecian Urn" and "Ode to a Nightingale". "Ode to Psyche" is an experiment in the ode genre, and Keats's attempt at an expanded version of the sonnet format that describes a dramatic scene. The poem serves as an important departure from Keats's early poems, which frequently describe an escape into the pleasant realms of one's imagination. Keats uses the imagination to show the narrator's intent to resurrect Psyche and reincarnate himself into Eros(love). Keats attempts this by dedicating an "untrodden region" of his mind to the worship of the neglected goddess.

"Ode to Psyche", Keats's 67 line ode, was the first of his major odes of 1819. As such, the poem is an experiment in the ode structure that he was to then rely on for his next five odes. Although Keats spent time considering the language of the poem, the choice of wording and phrasing is below that found within his later works, including Hyperion or the odes that followed.

"Ode to Psyche" is important because it is Keats's first attempt at an altered sonnet form that would include longer more lines and would end with a message or truth. Also, he did not want the poem to be based simply around that message, so he incorporated narrative elements, such as plot and characters, along with a preface to the poem. Of these additions, the use of a preface was discontinued in his next odes along with the removal of details that describe setting within the poems; they would only be implied within later odes.

H. W. Garrod, in his analysis of Keats's sonnet form, believes that Keats took various aspects of sonnet forms and incorporated only those that he thought would benefit his poetry. In particular, Keats relies on Petrarch's sonnet structure and the "pouncing rhymes" that are found within Petrarch's octave stanzas. However, M. R. Ridley disputes that Keats favours Petrarch and claims that the odes incorporate a Shakespearean rhyme scheme. Regardless of which sonnet structure was favoured over the other, Keats wanted to avoid the downsides of both forms. "Ode to Psyche" begins with an altered Shakespearean rhyme scheme of ababcdcdeffeef. The use of rhyme does not continue throughout the poem, and the lines that follow are divided into different groups: a quatrain, couplets, and a line on its own. These are then followed by a series of twelve lines that are modelled after the Shakespearean sonnet form, but lack the final couplet. The next lines are of two quatrains, with cddc rhyme, followed by two lines that repeat the previous rhymes, and then a final quatrain, with efef rhyme.

The poem does not describe the plot of the original Cupid and Psyche myth. Instead, the poem, according to Harold Bloom, "has little to do with the accepted myth". In the original myth, Aphrodite punishes Psyche, a well admired girl, by having Cupid use his power to make her fall in love. Cupid, instead, falls in love with her, but he could only be with her in the cover of darkness in order to disguise his identity. Curious, she uses a light to reveal Cupid's identity, but he flees from her presence. Psyche begins to search after Cupid, and Aphrodite forces her to perform various tasks before she could be united with her love. After nearly dying from one of the tasks, Cupid asks Zeus to transform Psyche into a goddess so the two can be together.

The action of "Ode to Psyche" begins with a narrator witnessing two individuals embracing. The narrator immediately recognizes Cupid and is astonished when he recognizes Psyche:

The narrator, inspired by young goddess, becomes her priest. His imagination allows him to join with both the natural and supernatural elements of Psyche, and his form of worship is within himself while "Ode to Psyche" the poem serves as a song in praise of the goddess. The narrator becomes the prophet for Psyche and says in the final stanza:

Yes, I will be thy priest, and build a fane
In some untrodden region of my mind,
Where branched thoughts, new grown with pleasant pain,
Instead of pines shall murmur in the wind:
In the conclusion of the poem, the narrator metaphorically says that he will expand his consciousness, which would allow him to better understand both the good and the bad of the world. This will allow the narrator to attain a new sense of inspiration while providing Psyche with a sanctuary:

And in the midst of this wide quietness
A rosy sanctuary will I dress
With the wreathed trellis of a working brain,
With buds, and bells, and stars without a name,
With all the gardener Fancy e'er could feign,
Who breeding flowers, will never breed the same:
And there shall be for thee all soft delight
That shadowy thought can win,
A bright torch, and a casement ope at night,
To let the warm Love in!

Keats' speaker opens the poem with an address to the goddess Psyche, urging her to hear his words, and asking that she forgive him for singing to her her own secrets. He says that while wandering through the forest that very day, he stumbled upon "two fair creature" lying side by side in the grass, beneath a "whisp'ring roof" of leaves, surrounded by flowers. They embraced one another with both their arms and wings, and though their lips did not touch, they were close to one another and ready ǒpast kisses to outnumber.ō The speaker says he knew the winged boy, but asks who the girl was. He answers his own question: She was Psyche.

In the second stanza, the speaker addresses Psyche again, describing her as the youngest and most beautiful of all the Olympian gods and goddesses. He believes this, he says, despite the fact that, unlike other divinities, Psyche has none of the trappings of worship: She has no temples, no altars, no choir to sing for her, and so on. In the third stanza, the speaker attributes this lack to Psyche' youth; she has come into the world too late for "antique vows" and the "fond believing lyre." But the speaker says that even in the fallen days of his own time, he would like to pay homage to Psyche and become her choir, her music, and her oracle. In the fourth stanza, he continues with these declarations, saying he will become Psycheós priest and build her a temple in an "untrodden region" of his own mind, a region surrounded by thought that resemble the beauty of nature and tended by "the gardener Fancy," or imagination. He promises Psyche "all soft delight" and says that the window of her new abode will be left open at night, so that her winged boy "the warm Love" can come in.

Form

The four stanzas of "Ode to Psyche" are written in the loosest form of any of Keats' odes. The stanzas vary in number of lines, rhyme scheme, and metrical scheme, and convey the effect of spontaneous rhapsody rather than considered form. Lines are iambic, but vary from dimeter to pentameter; the most common rhymes are in alternating lines (ABAB), but there are abundant exceptions, and there are even unrhymed lines. ("Hours," at the end of line ten in the third stanza, is an example.) The number of lines in a stanza is simply organic and irregular; stanza one has 23 lines, stanza two has 12, stanza three has 14, and stanza four has 18.

In the first stanza, every line is written in iambic pentameter except lines 12, 21, and 23 (the first two are trimeter, the last dimeter). The full rhyme scheme is ABAB CDCD EFGEEGH IIJJ KIKI. It can essentially be broken into five parts: two pairs of four-line, alternating rhymes (ABAB CDCD), a looser seven-line sequence that includes rhythmic irregularity and two unrhymed words (EFGEEGH, with the trimeter in line 12 and the unrhymed words ǒroofō at the end of line 10 and "grass" at the end of line 15), two couplets (IIJJ), and a final four-line section with alternating rhymes (KIKI), differing from the first in that the "I" rhyme-lines (which match the rhymes of the first couplet above) are shorter than the "K" lines, with the trimeter of line 21 and the dimeter of line 23. (This sounds far more complicated than it is; penciling in the letters at the end of each line will make the scheme much easier to follow.)

The second stanza is shorter and much simpler. It follows a strictly alternating rhyme scheme: ABAB CDCD EFEF, and the only irregularities are metrical, with two trimeters, lines 6and 8. The result is that the CDCD section of this stanza differs slightly from the others; the D-lines are shorter. The third stanza has trimeters in lines 10, 12, and 14; other than that, the stanza is written in iambic pentameter. Its rhyme scheme is ABAB CDDCEF GHGH. This is relatively self-explanatory, except that ǒmoanō and "hours," the E- and F-lines (lines 9and 10) do not have precise matches; "moan" rhymes roughly with "fans" and "Olympians," and "hours" rhymes roughly with "vows" and "boughs," but neither of these matches is as precise as the other rhymes in the stanza. If those rhymes "count," the rhyme scheme of the stanza should be written as ABAB CDDCDA EFEF.

The final stanza has trimeters in lines 16 and 18, and follows a relatively simple and natural rhyme scheme: ABAB CDCD EE FGFG HIHI. In other words, each section is four lines long and alternates rhyming lines, except for the EE couplet in lines 9 and 10.

It is very important to note that the large number of irregularities and long algebraic rhyme schemes in this ode should not be taken as signs of great formal complexity. "Ode to Psyche" is much more freely and loosely written than any of Keats' other odes, and the fact that it is difficult to schematize testifies to this spontaneity and freedom rather than to an elaborate preconceived formal scheme. The other odes, though their stanzas and rhyme schemes are easier to describe in terms of form, are much more strictly ordered and make much deeper use of strict form than does the "Ode to Psyche." In fact, there is little to gain from long formal analysis of the Psyche ode; its form is better understood in the loose and general terms in which it seems to have been planned.

Themes

With its loose, rhapsodic formal structure and its extremely lush sensual imagery, the "Ode to Psyche" finds the speaker turning from the delights of numbness (in "Ode on Indolence") to the delights of the creative imagination even if that imagination is not yet projected outward into art.

The basis for the story of "Ode to Psyche" is a famous myth. Psyche was the youngest and most beautiful daughter of a king. She was so beautiful that Aphrodite, the goddess of love and beauty, was jealous of her; she dispatched her son, Eros, the god of love (the Cupid of Roman mythology and the "winged boy" of Keatsós poem) to punish Psyche for being so beautiful. But Eros was so startled by Psycheós beauty that he pricked himself with his own arrow and fell in love with her. Eros summoned Psyche to his palace, but he remained invisible to her, coming to her only and night and ordering her never to try to see his face. One night, Psyche lit a lamp in order to catch a glimpse of her lover; but Eros was so angry with her for breaking his trust that he left her. Psyche was forced to perform a number of difficult tasks to placate Venus and win back Eros as her husband. The word "psyche" is Greek for "soul," and it is not difficult to imagine why Keats would have found the story attractiveùthe story of the woman so beautiful that Love fell in love with her.

Additionally, as Keats observed, the myth of Psyche was first recorded by Apuleius in the second century A.D., and is thus much more recent than most myths (this is why Keats refers to Psyche as the "latest born" of "Olympusós faded hierarchy"). It is so recent, in fact, that Psyche was never worshipped as a real goddess. That slight is what compels Keatsós speaker to dedicate himself to becoming her temple, her priest, and her prophet, all in one. So he has found a way to move beyond the numbness of indolence and has discovered a goddess to worship. To worship Psyche, Keats summons all the resources of his imagination. He will give to Psyche a region of his mind, where his thoughts will transform into the sumptuous natural beauties Keats imagines will attract Psyche to her bower in his mind. Taken by itself, "Ode to Psyche" is simply a song to love and the creative imagination; in the full context of the odes, it represents a crucial step between "Ode on Indolence" and "Ode to a Nightingale": the speaker has become preoccupied with creativity, but his imagination is still directed toward wholly internal ends. He wants to partake of divine permanence by taking his goddess into himself; he has not yet become interested in the outward imaginative expression of art.