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普罗旺斯的文字(1)彼德拉克 精选

已有 9904 次阅读 2013-7-20 17:32 |个人分类:历史哲学|系统分类:人物纪事|关键词:学者| 普罗旺斯, 彼德拉克, Petrarch

有一小段时间,我住在那个遍地绿色葡萄树,金色向日葵和紫色熏衣草的法国南部。每天的旅行,仿佛是在阳光下梵高塞尚色彩中的穿行。然而,你知道,文字是我的生命,我的酒精。我在那里,有众多的酒友与我对话同行:我沿着清澈的索格河散步,河水悠悠,像是在把文艺复兴鼻祖彼德拉克(Patrarch)的诗篇吟诵。在卡马谷,沼泽湖边无限的孤寂中我能听到西蒙·德·波娃的脚步声。在娄玛云,我知道,这段路,加缪曾经走过。还有一次,我到方村去看一个风车。虽然有些绕路,只因那是都德的风车,我能看到他年轻时的踪影。

我的住所不远处是小镇Fountain Vancluse,我把它译成万颗露泉,是索格河的源头。河水清澈见底,让人有一捧欲饮的冲动。我马上被这个河边山脚下的小城所吸引。附近的山城Gords比这个地方有名,也更美,为什么我对这个小城更为心动呢! 想想自己喜欢的地方一定要有河流,莫非与自己出生地有条江有关系?不可思议。

河水从山脚下汹涌出来,几千年如此,实在很神秘。山脚下有彼得拉克(Patrarch)的小博物馆。这个文艺复兴的鼻祖,在这里为自己喜欢的女人Laura写了无数十四行诗。不过据说二人并不曾直接交流过。诗人在二十三岁时瞥了她一眼之后,就知道自己终生妄想的目标了[p1]。

在《文明的故事-文艺复兴》这本书里,威尔杜兰这样写到:

1327年,彼得拉克告诉我们,他看见了那个让他终生难忘然后因为她而青史留名的女人。他用细致迷人的语言描述她,但从不暴露她的身份,以致他的朋友们都觉得这只是他的想像,诗人的狂想。但是,在米兰“天香”图书馆珍藏的,弗吉尔一本书的扉页上,我们看到他在1348年这样写到:

劳拉,美德出众,在我的诗中不断出现的人,在1327年的四月六日,爱维农,圣塔克拉拉教堂那个时刻,第一次出现在我的面前。在1348年,同一个城市,同一个月份,同样的第六天,同一个时间,消逝而去,一同带走了我的阳光。[p2]

人们按图索骥发现了劳拉的背景:大概彼得拉克初次见到她时她已名花有主。不管怎样诗人把他的爱情藏到了心底,远远地躲起来。来到这个万颗露泉。他说:“我几乎所有的诗篇都源于这个地方”。[p3]

拜伦说过,如果劳拉真的成了彼得拉克的老婆,他还会写出那些诗篇吗?

我不知道:也许不会,因为她全部是他的想象!也许会的,因为她是他想象的全部!

维基上说:弗朗西斯克·彼特拉克(意大利语:Francesco Petrarca,1304年7月20日-1374年7月19日),意大利学者、诗人、和早期的人文主义者,亦被视为人文主义之父。彼特拉克出生在意大利佛罗伦萨附近的阿雷佐,是一个公证人的儿子。他的童年是在一个靠近佛罗伦萨的名为Incisa的乡村中度过的。他的父亲,瑟·彼特拉克(Ser Petracco),和但丁一起于1302年被黑党政权从佛罗伦萨放逐。他与其家人追随从1309年教会分裂中迁居到法国南部亚维农的教宗克萊孟五世而到亚维农居住,他的早年生活就在那里度过。

意大利式十四行诗(Petrarchan Sonnet)一名即来源于他。浪漫作曲家李斯特给他的三首十四行诗(47,104和123)加谱为歌,名为"Tre sonetti del Petrarca"(意即“彼特拉克的三首十四行诗”)。后来作曲家把它作为 Années de Pélerinage II - Italie 组曲(《旅游岁月》第二集「意大利」)共七首钢琴独奏曲的其中第四、第五和第六首。

很久以前,大概心喜,摘录了下面的话(p4),可是我一直忙,竟把这段话忽略过去了。昨天翻日志箱底时忽然发现,才猛然大悟,怪不得在万颗露泉逗留甚久,原来我的心早已和他相通且有碰撞。彼得拉克,我普罗旺斯的第一个酒友,为什么被誉为文艺复兴的鼻祖,先于达芬奇,米开朗基罗,也先于薄伽丘呢,是因为:

他对知识极其渴望。...他的研究持久,精确,具分析性,批判性和内省。他兴趣广泛,对自己感兴趣的东西采集所有的证据。他寻求精确的含义,广征博引,他对他读过的任何内容都在心头加以分析,他比较各种解释和意见,并仔细和确切地判断它们,把他了解到的观点密切地编织在他的思想之中。

他对各种形式的美极度敏感,尤其是声音和乐器的美丽,单词,短语和节奏的美。他爱自然之美,无论是高山大湖还是万颗露泉周边细致和孤独的美,他在那里的林中日夜徜徉。

他的想象力:一个景象,一个声响,一件身边发生的事,都会马上让他想到更多的景象,声音,更多的事件,掀起更大的涟漪。  视觉影像可以来自河边,林地,或是梦中;记忆中的事件可以让他激动,想象中可能的事件也同样能让他兴奋;很多世纪以前的生活在他心中成为可能,很久以后的生活在他心中栩栩如生。

因为他心质细密,他的写作也必须准确到底;如果他必须写首诗文,那么它必须重复修改,直到他的内心体验得到忠实的表达,格律完美,语言的美感达到极致。 

这最后一段与我最为共鸣,我前边说过,文字是我的生命,我的酒精。




地名我译:

索格河(sorgue)

卡马谷(Camargue)

娄玛云(Lourmarin)

方村(Fountville)


英文附录

p1:

她美丽的金发飘在肩上,

长长的黑睫毛令人着迷,

洁白的面颊似雪无寒意,

步履轻盈如天使,

声音宛自天堂里。

Her locks of beautiful golden hair flowed down her back,

Her eyes with long ebony lashes were ravishing,

Here face was as white as snow but without its coldness

She walked as softly as angel and her voice sounded otherworldly.

p2:

It was on Good Friday of 1327, he tells us, that he saw the woman whose withheld charms made him the most famous poet of his age.  He described her in fascinating detail, but kept the secret of her identity so well that even his friends thought her the invention of his muse, and counted all his passion as poetic license.  But on the flyleaf of his copy of Virgil, jealously treasured in the Ambrosian Library at Milan, may still be seen the words that he wrote in 1348:

Laura, who was distinguished by her virtues, and widely celebrated by my songs, first appeared to my eyes...in the year of Our Lord 1327, on the sixth day of April, at the first hour, in the church of Santa Clara at Avignon. In the same city, in the same month, on the same sixth day, at the same first hour, in the year 1348, that light was taken from our day.

p3:(“Almost all of the poems that my pen produced were composed there or inspired by that place.”)

“The occasional sincerity of his feeling for her is suggested by his later remorse over its sensual elements, and his gratitude for the refining influence of this unrequited love.”

p4:He was in the highest degree eager for knowledge. …… His scholarship was persistent, precise, analytical, critical, and reflective.  He got all the evidence he could possibly get on the many subjects in which he was interested; he sought exact meanings, and quoted ipsissima verba; he analyzed, mentally, the content of whatever he read; he compared variant accounts and opinions, and judged between them carefully and with assurance; and whatever he learned was woven safely into the texture of his thought.

He was sensitive to all forms of beauty, especially to beauty of voice and of instrument, and to beauty of word and phrase and rhythm.  He loved natural beauty, both the larger beauty of lake and mountain and the more intimate and solitary beauty of Vaucluse and of the woods in which he was wont to wander, by day or by night.

He was imaginative: a sight, a sound, a happening was likely to suggest to him, swiftly, other sights, sounds, happenings, which took on thereby an ever-increasing richness of connotation and of similitude; vision came to him by riverside, in woodland, or in dream; his mind was astir not only with experiences remembered but with experiences conceived as possible; he was conscious of the reality of the life that had been lived long centuries ago, and of the life that posterity was still to live.

Because of the attendant qualities of his mind he must write with accuracy; and if he were writing verse he must, after the first outpouring, revise and revise until his lines attained both a faithful recording of his inner experience and a perfect metrical and verbal beauty.

Petrarch was a man of powerful and active mind, of strong personal desires, of generous enthusiasms, and of violent antipathies.




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