英詩金典：The Golden Treasury of Poetry（英文朗讀版）

漢譯《英詩金庫》序 象中國一樣，英國也有選學，即把詩文精編在一個選本的學問。1557年的《托特爾集》就是一本有影響的英國抒情詩選，展示英國文藝復興初期幾位抒情詩人的作品。十九世紀中葉，一位叫做弗蘭西斯·特納·帕爾格雷夫（Francis Turner Palgrave,1824——1897）的詩人編了一部《英詩金庫》，主要收集抒情詩，出版之後，受到歡迎，以後重版多次，並經後人補充，成爲至今有名的選本之一。原編者收了288首詩，按時代先後分爲四部份，第一部分到1616年，是十六世紀及十七世紀初葉的作品；第二部分到1700年，以十七世紀作品爲主；第三部分到1800年，是古典主義及浪漫主義前期之作；第四部分則是十九世紀前半葉的作品，全是浪漫主義盛世之作。華茲華斯一人入選41首之多。後加的詩數目達145首，爲原編的一半還多，創作年代直到二十世紀初年，把丁尼生、勃朗寧以至所謂喬治時期的詩人包括在內了。總起來看，這是一部包羅從文藝復興直到二十世紀初年各時期抒情佳作的選本。 任何選本都受編寫時的文學風尚的影響，《金庫》也不例外。編者帕爾格雷夫本人是一個後期浪漫派詩人，他的選目呈現出後期浪漫主義的詩歌的長處和缺點。幾位主要浪漫派詩人——華茲華斯，柯勒律治，雪萊，濟慈——得到了較多的篇幅，重要的抒情作品幾乎都收集在內，只是拜倫的作品入選較少。還有一個重大的遺漏：布萊克這位大詩人無一詩入選。十八世紀的格雷等人有機會展露才華，但十七世紀則少了玄學派的典型之作，鄧恩一首也未收，馬威爾只收進了《花園》等二、三首，未選至少同樣出色的《致矜持的情人》。 有些選進的詩並不高明。託瑪斯·坎貝爾的歌頌英國武功的詩選得多了，這裏透露了編者本人的政治思想，然而這也是十九世紀中葉不少英國詩人共有的思想，例如他的朋友，當時最有名的詩人丁尼生就寫了《輕騎旅的衝鋒》。 此外，從現代版本學的標準來看，編者對於作品本文的選擇也失之任意之處。他不是力求體現作者的原意或最後的考慮，而是從他本人認爲“最有詩意”（前言，第V頁）的這一點來確定版本的。 因此，不能說《金庫》在今天還是本標準的甚至權威的選本。二十世紀中葉以後，陸續出現了新的英詩選本，如約翰·海華德（John Hayward）編的《企鵝版英詩選》（1956年）就獲得好評。 然而《金庫》還是大有可讀的。這是因爲就抒情詩而論，它所選的大部分是有定評的優秀之作。讀了它們，對於英國詩的發展過程和每個時期的重要作品是可以比較清楚的。編者着重欣賞，這也比力圖體現一家之說的選本要比較全面些，因而也就比較適合一般讀者。《金庫》自1861年初版以來，不斷重印，這事實也說明它受到了若干代讀者的愛好。 中國老一代的文學學生學習英詩，往往從《金庫》開始。它幫助他們形成了詩歌趣味，也帶來了某些侷限性。現在是輪到新的一代中國學生來讀它了。在這個時候，編出一箇中英對照本，將十分有助於他們讀懂所包含的詩篇。讀懂也包含用馬克思主義去分析，去區別優劣，但是首先要了解學習的意義，因此好譯本仍是不可少的，特別是對於不識英語的青年讀者。 然而詩卻難譯。這選本所收的四百三十多首詩裏，有的十分難譯。對照本的編注者們在收集和整理譯詩上花了力氣，既採用了舊譯中的膾炙人口之作，又補充了大批新譯，譯者來自各方。這等於是開了譯詩展覽會，可以讓讀者看出我國在詩歌翻譯上的成就和不足，對於推進文學翻譯無疑也是有好處的。 王佐良 1984年6月 PREFACE 編者序言 This little Collection differs/, it is believed, from others in the attempt made to include in it all the best original Lyrical pieces and Songs in our language, by writers not living, —and none beside the best. Many familiar verses will hence be met with/; many also which should be/ familiar: —the Editor will regard/ as his fittest readers those who love/ Poetry so well, that he can offer/ them nothing not already known and valued. For those who take up/ the book in a serious and scholarly spirit, the following remarks on the plan and the execution are added/. 這部詩集的獨特之處在於，我們力圖收錄英語世界中歷代已故詩人創作的所有最優美的原創抒情詩與歌謠——且只收錄最傑出的作品。因此，讀者將會遇見許多熟悉的詩篇，也會發現不少本應廣爲傳誦的佳作。編者期待的理想讀者，是那些深愛詩歌之人——他們對優秀詩作的熟悉程度，可能讓編者無從獻上任何他們尚未熟知並珍視的作品。爲以嚴謹學術態度閱讀本書的讀者，現就編選原則與執行標準說明如下。 The Editor is acquainted with/ no strict and exhaustive definition of Lyrical Poetry; but he has found/ the task of practical decision <increase in clearness and in facility> as he advanced/ with the work, whilst keeping in view a few simple principles. Lyrical has been here held/ essentially to imply that each Poem shall turn on/ some single thought, feeling, or situation. In accordance with this, narrative, descriptive, and didactic poems, —unless accompanied by rapidity of movement, brevity, and the colouring of human passion, —have been excluded/. Humorous poetry, except in the very unfrequent instances where a truly poetical tone pervades/ the whole, with what is strictly personal, occasional, and religious, has been considered/ foreign to the idea of the book. Blank verse and the ten-syllable couplet, with all pieces markedly dramatic, have been rejected/ as alien from what is commonly understood/ by Song, and rarely conforming to Lyrical conditions in treatment. But it is/ not anticipated, nor is/ it possible, that all readers shall think/ the line accurately drawn. Some poems, as Gray's Elegy, the Allegro and Penseroso, Wordsworth's Ruth or Campbell's Lord Ullin, might be claimed/ with perhaps equal justice for a narrative or descriptive selection: whilst with reference especially to Ballads and Sonnets, the Editor can only state/ that he has taken/ his utmost pains to decide without caprice or partiality. 編者雖未見過關於抒情詩的嚴格且完備的定義，但在編選過程中秉持若干簡明原則時，實際抉擇反而愈發清晰順暢。本書對抒情詩的基本理解是：每首詩應圍繞某個單一的思想、情感或情境展開。據此，敘事詩、描寫詩與說教詩——除非兼具輕快的韻律、簡潔的文字與人性情感的渲染——均未予收錄。幽默詩歌，除極少數通篇洋溢着真正詩意的特例，以及那些純粹個人化、應景性或宗教題材的作品，都被認爲不符合本集的編選理念。無韻詩和十音節雙行體，以及所有明顯具有戲劇特徵的作品，因其與普遍理解的"歌"相去甚遠，且很少符合抒情詩的表現要求，也未被採納。 當然，編者並不預期也不可能讓所有讀者都認同這些界限的精確性。有些詩作，如格雷的《墓園輓歌》（Gray's Elegy）、《歡樂頌》與《沉思頌》（Allegro and Penseroso）、華茲華斯的《露絲》（Wordsworth's Ruth）或坎貝爾的《烏林勳爵》（Campbell's Lord Ullin），或許以同等理由也可入選敘事詩或描寫詩選集。至於民謠與十四行詩的取捨，編者只能鄭重聲明：已竭盡所能，務求判斷不受個人好惡影響。 This also is/ all he can plead/ in regard to a point even more liable to question; —what degree of merit should give/ rank among the Best. That a Poem shall be/ worthy of the writer's genius, —that it shall reach/ a perfection commensurate with its aim, —that we should require/ finish in proportion to brevity,—that passion, colour, and originality cannot atone/ for serious imperfections in clearness, unity, or truth, —that a few good lines do not make/ a good poem, —that popular estimate is/ serviceable as a guidepost more than as a compass, —above all, that Excellence should be looked for/ rather in the Whole than in the Parts, —such and other such canons have been always steadily regarded/. He may however add/ that the pieces chosen, and a far larger number rejected, have been carefully and repeatedly considered/; and that he has been aided/ throughout by two friends of independent and exercised judgment, besides the distinguished person addressed in the Dedication. It is hoped/ that by this procedure the volume has been freed/ from that one-sidedness which must beset/ individual decisions: —but for the final choice the Editor is/ alone responsible. 對於另一個更易引發爭議的問題——作品應達到何種水準方堪列入"最佳"之列——編者所能申辯的亦止於此。諸如：詩作應不負作者天賦，須達到與其創作意圖相稱的完美境界；篇幅愈短，我們愈要求形式的精粹；激情、文采與獨創性，無法彌補清晰度、統一性或真實性方面的重大缺陷；佳句片段不足以構成完美詩篇；大衆評價可作爲路標參考，卻不宜奉爲指南針；最重要的是，卓越性應着眼於整體而非局部——此類準則始終被嚴格恪守。 然編者尚可補充：所選詩篇及數量更爲龐大的落選作品，均經過反覆審慎考量；除獻辭中提及的傑出人士外，更有兩位見解獨立、經驗豐富的友人全程協助。冀望通過此般程序，本選集得以規避個人決斷必然存在的偏頗——然最終遴選之責，當由編者獨力承擔。 Chalmers' vast collection, with the whole works of all accessible poets not contained in it, and the best Anthologies of different periods, have been twice systematically read/ through: and it is/ hence improbable that any omissions which may be regretted/ are/ due to oversight. The poems are printed/ entire, except in a very few instances (specified in the notes) where a stanza has been omitted/. The omissions have been risked/ only when the piece could be thus brought/ to a closer lyrical unity: and, as essentially opposed to this unity, extracts, obviously such, are excluded/. In regard to the text, the purpose of the book has appeared/ to justify the choice of the most poetical version, wherever more than one exists/: and much labour has been given/ to present each poem, in disposition, spelling, and punctuation, to the greatest advantage. 錢默斯編纂的宏篇巨帙、其中未收錄的其他可考詩人全集，以及各個時期的代表性詩選，我們均已進行兩輪系統研讀。因此，若有任何令人遺憾的遺漏，恐非疏失所致。除極少數詩作（於註釋中標明）略去個別詩節外，所有作品均以完整面貌呈現。唯有在刪節能使詩作更契合抒情詩的整體性時，我們才冒險採取此舉；而明顯屬於節選性質的片段，因根本違背這種整體性要求，概不收錄。關於文本處理，本書的編纂宗旨要求：凡存在多個版本的篇目，均擇取最具詩意的文本；我們在詩作編排、拼寫與標點校訂方面傾注大量心力，務求每首作品都能以最完美的形態呈現。 In the arrangement, the most poetically effective order has been attempted/. The English mind has passed/ through phases of thought and cultivation so various and so opposed during these three centuries of Poetry, that a rapid passage between Old and New, like rapid alteration of the eye's focus in looking at the landscape, will always be/ wearisome and hurtful to the sense of Beauty. The poems have been therefore distributed/ into Books corresponding, I. to the ninety years closing about 1616, II. thence to 1700, III. to 1800, IV. to the half century just ended. Or, looking at the Poets who more or less give/ each portion its distinctive character, they might be called/ the Books of Shakespeare, Milton, Gray, and Wordsworth. The volume, in this respect, so far as the limitations of its range allow/, accurately reflects/ the natural growth and evolution of our Poetry. A rigidly chronological sequence, however, rather fits/ a collection aiming at instruction than at pleasure, and the Wisdom which comes/ through Pleasure: —within each book the pieces have therefore been arranged/ in gradations of feeling or subject. The development of the symphonies of Mozart and Beethoven has been here thought of/ as a model, and nothing (has been) placed/ without careful consideration. And it is hoped/ that the contents of this Anthology will thus be found/ to present a certain unity, “as episodes, ” in the noble language of Shelley,“to that great Poem which all poets, like the co-operating thoughts of one great mind, have built up/ since the beginning of the world.” 在編排體例上，我們力求呈現最具詩學效果的整體結構。英國詩歌在這三百年間歷經的思想潮流與文化變遷如此紛繁迥異，若在新舊詩作間快速切換，猶如眺望風景時頻繁調整視覺焦距，必將損害讀者的審美感受。因此，我們將詩作劃分爲四卷：第一卷迄於1616年左右的九十年間，第二卷至1700年，第三卷至1800年，第四卷則收錄剛逝去的半個世紀。若以代表詩人命名，可分別稱爲莎士比亞詩卷、彌爾頓詩卷、格雷詩卷與華茲華斯詩卷。就此而言，本選集在既定範疇內，精準映現了英詩的自然生長與演進歷程。 嚴格編年體例更適合以知識傳授爲目標的文集，而本書旨在傳遞閱讀樂趣以及由樂趣昇華的智慧——故各卷內部均按情感起伏與主題關聯進行有機編排。我們始終以莫扎特與貝多芬交響樂的展開方式爲範本，每首詩的安置都經過深思熟慮。但願這本選集的內容能如雪萊所言，呈現某種內在統一性："所有詩人如同偉大心靈的協同思想，自太初伊始共同建構宏偉詩篇中的若干插曲"。 As he closes/ his long survey, the Editor trusts/ he may add/ without egotism, that he has found/ the vague general verdict of popular Fame more just than those have thought/, who, with too severe a criticism, would confine/ judgments on Poetry to “the selected few of many generations.” Not many appear/ to have gained reputation without some gift or performance that, in due degree, deserved/ it: and if no verses by certain writers who show/ less strength than sweetness, or more thought than mastery in expression, are printed/ in this volume, it should not be imagined/ that they have been excluded/ without much hesitation and regret, —far less that they have been slighted/. Throughout this vast and pathetic array of Singers now silent, few have been honoured/ with the name Poet, and have not possessed/ a skill in words, a sympathy with beauty, a tenderness of feeling, or seriousness in reflection, which render/ their works, although never perhaps attaining that loftier and finer excellence here required, —better worth reading than much of what fills/ the scanty hours that most men spare/ for self-improvement, or for pleasure in any of its more elevated and permanent forms. 當編者完成這段漫長的巡禮之際，願能不揣冒昧地坦言：那些認爲詩歌評判應侷限於"歷代精選少數人"的嚴苛批評家們，實則低估了公衆聲譽那看似模糊的普遍裁決所具有的公正性。凡獲得詩名者，多半擁有與其聲譽相稱的天賦或成就；若某些文采勝於風骨、或思辨強於表達的詩人作品未收入本集，絕非輕率捨棄，實經反覆權衡——他們的價值從未被忽視。在這片已然沉寂的歌者構成的悲愴星河中，凡獲得詩人桂冠者，幾乎無不具備文字技藝、審美共鳴、情感溫度或沉思深度，縱使其作品未能達到本集要求的精嚴標準，但相較於人們用於自我提升或尋求高尚樂趣的有限時光裏所接觸的多數讀物，這些詩篇仍更值得一讀。 And if this be/ true of even mediocre poetry, for how much more are we indebted/ to the best! Like the fabled fountain of the Azores, but with a more various power, the magic of this Art can confer/ on each period of life its appropriate blessing: on early years Experience, on maturity Calm, on age Youthfulness. Poetry gives/ treasures “more golden than gold, ” leading us in higher and healthier ways than those of the world, and interpreting to us the lessons of Nature. But she speaks/ best for herself. Her true accents, if the plan has been executed/ with success, may be heard/ throughout the following pages:-wherever the Poets of England are honoured/, wherever the dominant language of the world is spoken/, it is hoped/ that they will find/ fit audience. F. T. PALGRAVE 如果說平庸詩作已具如此價值，那麼面對最傑出的詩篇，我們更當懷有怎樣的虔敬！恰如亞速爾傳說中的仙泉，卻擁有更豐沛的魔力，這門藝術能爲生命的每個階段賜予相應的祝福：予青春以閱歷，予盛年以沉靜，予暮歲以朝氣。詩歌饋贈的珍寶"比黃金更璀璨"，引領我們行走於超脫塵俗的崇高之路，爲我們解讀自然萬象的啓示。但詩藝最完美的詮釋永遠存於其自身。若本書的編撰不失其旨，這些英語詩人們的真實韻律將在後續書頁中悠然迴響——無論在何處，只要英語詩人仍受尊崇，只要這主宰世界的語言仍被傳誦，這部選集終將尋得知音。 ——F. T. 帕爾格雷夫 F. T. 帕爾格雷夫 (Francis Turner Palgrave, 1824–1897) 是英國維多利亞時期著名的詩人、批評家和學者，以其卓越的文學鑑賞力與編纂工作影響深遠。他畢業於牛津大學，曾擔任政府藝術顧問，並與丁尼生、哈代等文壇巨擘交往密切。1861年，他編纂的 《英詩金庫》 出版，迅速成爲英語世界最具影響力的詩歌選集之一，被譽爲"英語世界的《唐詩三百首》"。 📚 《英詩金庫》的編纂特色 1. 選詩標準嚴謹 · 帕爾格雷夫以"只選最佳"爲原則，專注收錄16世紀至19世紀上半葉已故詩人的抒情詩與歌謠，排除在世作家作品，確保經典的永恆性。 · 他強調詩歌應圍繞"單一情感或情境"展開，排除冗長敘事詩、說教詩及戲劇獨白，追求抒情性與藝術完整性的統一。 · 在篩選時，他參考了公衆聲譽與文學價值，並邀請詩人丁尼生參與修訂，使選本兼具大衆審美與專業眼光。 2. 結構編排的創新 · 全書按歷史分期分爲四卷： · 第一卷（至1616年）：莎士比亞時代，突出文藝復興的活力； · 第二卷（1616–1700）：彌爾頓時代，體現古典主義精神； · 第三卷（1700–1800）：格雷時代，聚焦啓蒙時期的沉思； · 第四卷（1800–1850）：華茲華斯時代，展現浪漫主義的自然與情感。 · 這種分期不僅反映英語詩歌的歷史演變，還以"情感漸變"爲線索，在每卷內部實現主題與韻律的有機銜接，借鑑了貝多芬交響樂的結構邏輯。 3. 文本考據與註釋 · 帕爾格雷夫對多版本詩作進行精細校勘，選擇"最具詩意的文本"，並保留原拼寫與標點，力求學術嚴謹性。 · 他拒絕節選片段，堅持收錄完整詩作，以維護詩歌的整體藝術效果。 🌟 文學影響與歷史地位 1. 經典地位的奠定 《英詩金庫》自出版後重版百餘次，被納入歐美家庭與學校的必備讀物。毛姆、弗羅斯特、施蟄存等作家視其爲文學啓蒙之書，而中國學者如朱光潛、卞之琳等亦將其作爲英詩教學範本。 2. 跨文化傳播 中譯本《英詩金庫》由曹明倫等學者編注，匯聚卞之琳、王佐良等翻譯名家的譯文，成爲雙語詩歌研究的權威版本。其"中英對照+註釋"的體例，既保留原詩韻律，又通過漢語詩意轉化，使中國讀者深入理解英語詩歌精髓。 3. 後世續編與演變 原版收錄288首詩，後經學者增補145首19世紀末至20世紀初詩作（如葉芝、艾略特作品），形成433首的擴充版，延續了帕爾格雷夫的經典化框架。 📖 代表詩作與美學理念 帕爾格雷夫在序言中強調：詩歌應傳遞"通過愉悅獲得的智慧"，其選本融合了浪漫主義的自然崇拜與古典主義的形式節制。例如： · 華茲華斯《我心兒激動》：展現對自然永恆的虔敬； · 雪萊《愛的哲學》：體現萬物交融的哲學主題； · 莎士比亞《菲黛爾》：呈現死亡與永恆的抒情沉思。 這些詩作共同構建了帕爾格雷夫的詩歌宇宙——以美感啓迪心靈，以永恆對抗時間。 💎 總結 F. T. 帕爾格雷夫通過《英詩金庫》實現了雙重使命： · 爲大衆提供精粹的詩歌啓蒙，讓讀者"在有限時光中接觸最值得閱讀的篇章"； · 爲英語文學立典，其選本成爲連接文藝復興與浪漫主義的橋樑。 正如弗羅斯特所言："我會夢見那本讀舊的《英詩金庫》"，這部選集至今仍是世界文學中"比金子更珍貴的寶藏"。

Finally finished reading it!

還可以，碎片時間用來練英語聽力。詩句優美還是停留讀一讀欣賞更好。 還是覺得短篇文章，短小新聞刊物作一些定期練習會更有效率和短期成就感。