赛吉颂 (济慈 1819.4.)

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Ode to Psyche
John Keats. 1819.4

赛吉颂
济慈 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！ 请听这些不着调的歌曲
那发自倾心的执着和亲切的回忆，
对不起，你的秘密该对着自己
柔软的螺状耳轮唱起：今天
我究竟梦见，或是看见了
长着翅膀，瞪大眼睛的赛吉？
我漫步在这一片森林，无忧无虑，
突然，我无比惊奇，目眩神迷：
两个美丽的精灵，在深草丛里，
偎依在一起，絮语的树叶
和颤动的鲜花荫庇，
那里溪水流过，无人窥视：(飘尘译)

女神啊！ 请听这些不成调的韵律---
由倾心的执着和亲切的回忆所促成---
请原谅，这诗句唱出了你的秘密，
直诉向你那柔软的海螺状耳轮：
无疑我今天曾梦见 --- 或者我是否目睹
长着翅膀，睁着眼睛的赛吉？
我在森林中无忧无虑地漫步，
突然，我竟惊奇得目眩神迷，
我见到两个美丽的精灵相依偎
在深草丛里，上面有絮语的树叶
和颤动的鲜花荫庇，溪水流淌
在其间，无人偷窥：(屠岸译)

'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!


四周宁静清凉的花卉，芬芳的嫩蕊，
蓝色，银白色，紫色，待放的花蕾
呼吸均匀，他们躺卧在这片绿茵；
让手臂相拥，让翅膀交汇；
嘴唇既没有相识，但也没有别离，
仿佛刚被睡眠的柔腕分开一寸，
准备醒后继续那无数次的亲吻
在欢爱的黎明醒来的时分：
带翅的男孩，我认识他；
可你又是谁， 幸福快乐的小鸽？
他的“真”赛吉！(飘尘译)

周围是宁静的，清凉的花朵，芬芳的嫩蕊，
蓝色的，银色花，紫色的花苞待放，
他们躺卧在绿茵上，呼吸得安详；
他们的手臂相拥，翅膀交叠；
他们的嘴唇还没相碰，也没告别，
仿佛被睡眠的柔腕分开一时，
准备醒后继续亲吻无数次
在欢爱的黎明睁眼来到的时刻：
带翅的男孩我熟悉；
可你是你呀， 幸福的， 幸福的小鸽？
他的好赛吉！(屠岸译)

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， 最后出生而美丽超群的景色
遥远奥林匹斯山隐逝的众仙！
比月神蓝宝石的清芒更秀丽，
比天边启明星的荧光更冷艳；
比他们更美，尽管你既无神庙，
又无花卉布满的祭坛；
更没有金童玉女的唱诗班
在午夜时分唱出哀婉的咏叹；
没有声音， 没有竖琴，没有风管，
更没有香雾，从金链悬挂的香炉里飘散；
没有神龛，没有圣林， 没有神谕，
更没有狂热，口唇苍白的先知的梦幻。(飘尘译)

啊， 出生在最后而秀美超群的形象
来自奥林匹斯山黯淡的神族！
蓝宝石一般的福柏减却清芒，
天边威斯佩多情的荧光比输；
你比他们美，虽然你没有神庙，
没堆满供花的祭坛；
也没童男女唱诗班等午夜来到
便唱出哀婉的咏叹；
没声音， 没诗琴，没风管， 没香烟浓烈
从金链悬挂的香炉播散；
没神龛，没圣林， 没神谕， 没先知狂热，
嘴唇苍白， 沉迷于梦幻。(屠岸译)

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！虽没赶上古代的誓约，
更没听到善男信女的祝歌，
可精灵出没的树林神圣庄严
神圣的空气， 流水，神圣的焰火；
即使在远古的日子，远离
敬神的虔诚，你那发光的翅膀
仍然在失色的山峦间阵羽飞过，
我亲眼有幸看到了， 我唱起歌
就让我做你的唱诗班吧，在午夜时分
唱出哀婉的咏叹；
做你的声音， 竖琴，风管， 浓烈的香雾
从悬空的香炉中播散；
做你的神龛，圣林， 神谕， 狂热，
嘴唇苍白的先知， 沉迷于梦幻。(飘尘译)

啊， 至美者！你虽没赶上古代的誓约，
更没听到善男信女的祝歌，
可神灵出没的树林庄严圣洁，
空气， 流水，火焰纯净谐和；
即使在那些远古的日子里，远离开
敬神的虔诚，你那发光的翅膀
仍然在失色的诸神间阵羽飞翔，
我两眼有幸看到了， 我歌唱起来
就让我作你的唱诗班吧，等午夜到来
便唱出哀婉的咏叹；
做你的声音， 诗琴，风管， 香烟浓烈
从悬空摆动的香炉播散；
做你的神龛，圣林， 神谕， 先知狂热，
嘴唇苍白， 沉迷于梦幻。(屠岸译)

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
未经踩踏的地方，修建一所圣堂，
让思绪从那里分叉，长出快乐和悲伤，
那里没有松树在风中沙沙作响：
远处，覆盖着绿荫浓浓的树木，
遍布荒山野岭，悬崖峭壁之上。
林仙安卧苍台，在清风，溪涧，
小鸟， 蜜蜂的歌声中入睡安详；
我要在这片空旷幽静的心地中央，
整修出一座玫瑰色的圣堂，
让花环构架成思索的大脑，
点缀上无名的星斗，花蕾和铃铛，
让“幻想”的园丁构思这一切奇妙，
决不让雷同的花朵出自他手上：
为你准备好一切柔和的愉悦
好让忧郁的思绪能变得欢畅，
火炬照亮黑夜，好让热情的爱神
进入这敞开的扇窗！ (飘尘译)

是的， 我要做你的祭司， 在我心中
未经践踏的地方为你建教堂，
有沉思如树枝长出， 既快乐，又痛苦，
代替了松树在风中沙沙作响：
还有绿荫浓浓的杂树大片
覆盖着悬崖峭壁， 野岭荒山。
安卧苍台的林仙在清风，溪涧，
小鸟， 蜜蜂的歌声里安然入眠；
在这寂静的广阔领域的中央，
我要整修出一座玫瑰色的圣堂，
它将有花环型构架如思索的人脑，
点缀着花蕾，铃铛， 无名的星斗
和“幻想”这园丁构思的一切奇妙，
雷同的花朵决不会出自他手：
将为你准备冥想能赢得的一切
温馨柔和的愉悦欢快，
一支火炬，一扇窗敞开在深夜，
好让热情的爱神进来！ (屠岸译)

注：济慈六大颂诗之一的《赛吉颂》仅4节67行，却镶嵌著隐显程度不等的9个神话典故和5个圣经典故。这些典故貌似杂乱无章，实则形散神凝，通过珠联壁合的渊源、寓意等超出文字层面的成分，丰富了诗中的意象、增强了语境的连贯性。全诗意象鲜活、行文洗练、含蓄隽永，表达了“思”“情”合璧、永葆艺术生机的主题，有著深厚的艺术生态意蕴。

"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.