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发表于 2007-12-16 16:52:36
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引用第26楼Gossudar于2007-12-14 23:48发表的 :
from: THE POETICAL WORKS OF WILLIAM BLAKE. EDITED, WITH A PREFATORY MEMOIR, BY WILLIAM MICHAEL ROSSETTI. LONDON: G. BELL AND SONS, LTD. 1914
http://www.archive.org/details/poeticalworksofw00blakiala
仔细端详这第二行的“;”,恐怕兄的疑问解决了吧。
Blake的这片段,Dasha一直读若:
To see a World in a Grain of Sand
To see a Heaven in a Wild Flower
To hold Infinity in the palm of your hand
To hold eternity in an hour
.......
DASHA兄实在是目光如炬,这个“;”号确实有讨论的价值。查叶芝编Poems of William Blake,同样是“;”号:
看来用“;”号是有其道理的。不过Pickering MS上的原始版本是否也用“;”号,尚不清楚;宣称严格依照手稿本的John Sampson编The Layrical Poems Of William Blake,倒是用了“,”号的。不管用“,”还是用“;”,恐怕都不能支持DASHA兄的读法。DASHA兄的读法受中国诗“一句见意”诗格的影响,以为每一行都独立表意,其实这可以说是我们浸淫中国诗形成的潜意识。英文诗表意却很少以诗行为单位,而有完整的语法脉络,因此跨行的诗句(run-on lines)在英语诗中很常见,整首诗由一个句子构成的,也不乏其例。因此我觉得厘清语法结构,是我们读英语诗容易忽略的方面。本诗第二行用“;”号先是颇使我迷惑,遂查OED,发现“;”的一个用法可以帮助我自圆其说:
1800 L. MURRAY Eng. Gram. 227 The semi~colon is sometimes used, when the preceding member of the sentence does not of itself give a complete sense, but depends on the following clause..and sometimes when the sense of that member would be complete without the concluding one.
可见“;”号不仅用于句子与句子之间,而且用于同一句子的两个足意成句的成分之间。“:”另一个较为常见的用法是与“,”合用,区分意义层次,比如“A, B; C, D ”表明A和B、C和D是一个层次,A, B和C, D是另一个层次。这两种用法都可以用来说明我们讨论的这首诗。前两行不能独立表意,需要后两行足意成句,所以中间可以用“;”号隔开。这里用“,”号隔开本来亦无不可(如Sampson版),用“;”的好处是和“,”号配合使用,使意义层次更为显豁,W. M. Rosseti版和Yeats版都是“A, B; C, D”的标点模式,正可说明问题。
另梁译似据叶芝版Poems of William Blake译出。叶芝认为上引原文四行诗自成一首,Auguries of Innocence为其标题;四行以下,别以Proverbs为标题,另成一首,注解如下:
'roverbs'. Page 96.--This is one of the poems taken from that other 'small autograph collection' mentioned in Gilchrist. Mr Herne Shepherd gives in Blake's Poems and Songs of Innocence (Pickering and Chatto) a version different in the order of the verses, and in having several grammatical and one or two obvious metrical slips, not present in the version given by Mr Dante Rossetti in Gilchrist's book. Even if Mr Shepherd gave the text with accuracy, it is impossible to say in the absence of the manuscript how far he read Blake's intentions correctly. The poem is a series of magnificent proverbs and epigrams, rather than a poem with middle, beginning, and end, and Blake in all likelihood set these proverbs and epigrams down in order of composition, and not in order of thought and subject. The manuscript was never corrected for the press, and may have been little more than a series of notes to help his own memory. Mr D. G. Rossetti may therefore, in putting the lines in order of thought and subject, have gone really nearer to Blake's own intention than Mr Herne Shepherd in printing them in the order of the manuscript. One is the more ready to believe this, because the poem as arranged by Mr Rossetti was incomparably finer than Mr Shepherd's version. The writer has, therefore, adopted Mr Rossetti's version. Mr Rossetti has also left out several couplets given by Shepherd. The writer at first thought of restoring these, but on second thought prints them here, as they would assuredly mar with their clumsy rhythm and loose structure the magnificent sweetness and power of one of the greatest of all Blake's poems.
The couplet--
Every tear in every eye
Becomes a babe in eternity--
was continued as follows--
This is caught by females aright,
And return'd to its own delight.
a little further down came the lines--
The babe that weeps the rod beneath,
Writes revenge in realms of death;
and towards the end of the poem--
To be in a passion you good may do,
But no good if a passion is in you.
In one matter, however, the editor has differed both from the version of Mr Herne Shepherd and Mr Gilchrist. He is entirely convinced that the title 'Auguries of Innocence', refers only to the first four lines of this version. Blake was most exact in the use of terms, and would never have called either 'The harlot's cry from the street', or 'The whore and gambler by the state licensed', or 'The questioner who sits so sly', or 'The wanton boy who kills the fly', or well nigh any of the things mentioned in this poem, 'Auguries of Innocence'.
He did, upon the other hand, hold that 'Innocence' or the state of youthful poetic imagination was none other than to 'see a world in a grain of sand' and 'a heaven in a wild flower'. Neither Mr Rossetti nor Mr Shepherd believed Blake to use words with philosophical precision, but held him a vague dreamer carried away by his imagination, and may well have never given two thoughts to anything except the imaginative charm of the title. We have already seen how Mr W. M. Rossetti tacked on to 'The Garden of Love' two verses which Blake had clearly marked off as a separate poem. In this case, too, there was probably a line drawn between the first quatrain and the rest of the poem, and even if there were not, the internal evidence is itself conclusive. The editor has, therefore, printed the 'Auguries of Innocence' as a poem by itself, and called the lines thus separated from them 'roverbs', as that is a title used by Blake in The Marriage of Heaven and Hell for short gnomic sayings of the kind.
(Poems of William Blake, ed. W. B. Yeats, 2nd edn, 1905) |
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