英诗金典：The Golden Treasury of Poetry（英文朗读版）

汉译《英诗金库》序 象中国一样，英国也有选学，即把诗文精编在一个选本的学问。1557年的《托特尔集》就是一本有影响的英国抒情诗选，展示英国文艺复兴初期几位抒情诗人的作品。十九世纪中叶，一位叫做弗兰西斯·特纳·帕尔格雷夫（Francis Turner Palgrave,1824——1897）的诗人编了一部《英诗金库》，主要收集抒情诗，出版之后，受到欢迎，以后重版多次，并经后人补充，成为至今有名的选本之一。原编者收了288首诗，按时代先后分为四部份，第一部分到1616年，是十六世纪及十七世纪初叶的作品；第二部分到1700年，以十七世纪作品为主；第三部分到1800年，是古典主义及浪漫主义前期之作；第四部分则是十九世纪前半叶的作品，全是浪漫主义盛世之作。华兹华斯一人入选41首之多。后加的诗数目达145首，为原编的一半还多，创作年代直到二十世纪初年，把丁尼生、勃朗宁以至所谓乔治时期的诗人包括在内了。总起来看，这是一部包罗从文艺复兴直到二十世纪初年各时期抒情佳作的选本。 任何选本都受编写时的文学风尚的影响，《金库》也不例外。编者帕尔格雷夫本人是一个后期浪漫派诗人，他的选目呈现出后期浪漫主义的诗歌的长处和缺点。几位主要浪漫派诗人——华兹华斯，柯勒律治，雪莱，济慈——得到了较多的篇幅，重要的抒情作品几乎都收集在内，只是拜伦的作品入选较少。还有一个重大的遗漏：布莱克这位大诗人无一诗入选。十八世纪的格雷等人有机会展露才华，但十七世纪则少了玄学派的典型之作，邓恩一首也未收，马威尔只收进了《花园》等二、三首，未选至少同样出色的《致矜持的情人》。 有些选进的诗并不高明。托玛斯·坎贝尔的歌颂英国武功的诗选得多了，这里透露了编者本人的政治思想，然而这也是十九世纪中叶不少英国诗人共有的思想，例如他的朋友，当时最有名的诗人丁尼生就写了《轻骑旅的冲锋》。 此外，从现代版本学的标准来看，编者对于作品本文的选择也失之任意之处。他不是力求体现作者的原意或最后的考虑，而是从他本人认为“最有诗意”（前言，第V页）的这一点来确定版本的。 因此，不能说《金库》在今天还是本标准的甚至权威的选本。二十世纪中叶以后，陆续出现了新的英诗选本，如约翰·海华德（John Hayward）编的《企鹅版英诗选》（1956年）就获得好评。 然而《金库》还是大有可读的。这是因为就抒情诗而论，它所选的大部分是有定评的优秀之作。读了它们，对于英国诗的发展过程和每个时期的重要作品是可以比较清楚的。编者着重欣赏，这也比力图体现一家之说的选本要比较全面些，因而也就比较适合一般读者。《金库》自1861年初版以来，不断重印，这事实也说明它受到了若干代读者的爱好。 中国老一代的文学学生学习英诗，往往从《金库》开始。它帮助他们形成了诗歌趣味，也带来了某些局限性。现在是轮到新的一代中国学生来读它了。在这个时候，编出一个中英对照本，将十分有助于他们读懂所包含的诗篇。读懂也包含用马克思主义去分析，去区别优劣，但是首先要了解学习的意义，因此好译本仍是不可少的，特别是对于不识英语的青年读者。 然而诗却难译。这选本所收的四百三十多首诗里，有的十分难译。对照本的编注者们在收集和整理译诗上花了力气，既采用了旧译中的脍炙人口之作，又补充了大批新译，译者来自各方。这等于是开了译诗展览会，可以让读者看出我国在诗歌翻译上的成就和不足，对于推进文学翻译无疑也是有好处的。 王佐良 1984年6月 PREFACE 编者序言 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/. 这部诗集的独特之处在于，我们力图收录英语世界中历代已故诗人创作的所有最优美的原创抒情诗与歌谣——且只收录最杰出的作品。因此，读者将会遇见许多熟悉的诗篇，也会发现不少本应广为传诵的佳作。编者期待的理想读者，是那些深爱诗歌之人——他们对优秀诗作的熟悉程度，可能让编者无从献上任何他们尚未熟知并珍视的作品。为以严谨学术态度阅读本书的读者，现就编选原则与执行标准说明如下。 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. 编者虽未见过关于抒情诗的严格且完备的定义，但在编选过程中秉持若干简明原则时，实际抉择反而愈发清晰顺畅。本书对抒情诗的基本理解是：每首诗应围绕某个单一的思想、情感或情境展开。据此，叙事诗、描写诗与说教诗——除非兼具轻快的韵律、简洁的文字与人性情感的渲染——均未予收录。幽默诗歌，除极少数通篇洋溢着真正诗意的特例，以及那些纯粹个人化、应景性或宗教题材的作品，都被认为不符合本集的编选理念。无韵诗和十音节双行体，以及所有明显具有戏剧特征的作品，因其与普遍理解的"歌"相去甚远，且很少符合抒情诗的表现要求，也未被采纳。 当然，编者并不预期也不可能让所有读者都认同这些界限的精确性。有些诗作，如格雷的《墓园挽歌》（Gray's Elegy）、《欢乐颂》与《沉思颂》（Allegro and Penseroso）、华兹华斯的《露丝》（Wordsworth's Ruth）或坎贝尔的《乌林勋爵》（Campbell's Lord Ullin），或许以同等理由也可入选叙事诗或描写诗选集。至于民谣与十四行诗的取舍，编者只能郑重声明：已竭尽所能，务求判断不受个人好恶影响。 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. 对于另一个更易引发争议的问题——作品应达到何种水准方堪列入"最佳"之列——编者所能申辩的亦止于此。诸如：诗作应不负作者天赋，须达到与其创作意图相称的完美境界；篇幅愈短，我们愈要求形式的精粹；激情、文采与独创性，无法弥补清晰度、统一性或真实性方面的重大缺陷；佳句片段不足以构成完美诗篇；大众评价可作为路标参考，却不宜奉为指南针；最重要的是，卓越性应着眼于整体而非局部——此类准则始终被严格恪守。 然编者尚可补充：所选诗篇及数量更为庞大的落选作品，均经过反复审慎考量；除献辞中提及的杰出人士外，更有两位见解独立、经验丰富的友人全程协助。冀望通过此般程序，本选集得以规避个人决断必然存在的偏颇——然最终遴选之责，当由编者独力承担。 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. 钱默斯编纂的宏篇巨帙、其中未收录的其他可考诗人全集，以及各个时期的代表性诗选，我们均已进行两轮系统研读。因此，若有任何令人遗憾的遗漏，恐非疏失所致。除极少数诗作（于注释中标明）略去个别诗节外，所有作品均以完整面貌呈现。唯有在删节能使诗作更契合抒情诗的整体性时，我们才冒险采取此举；而明显属于节选性质的片段，因根本违背这种整体性要求，概不收录。关于文本处理，本书的编纂宗旨要求：凡存在多个版本的篇目，均择取最具诗意的文本；我们在诗作编排、拼写与标点校订方面倾注大量心力，务求每首作品都能以最完美的形态呈现。 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.” 在编排体例上，我们力求呈现最具诗学效果的整体结构。英国诗歌在这三百年间历经的思想潮流与文化变迁如此纷繁迥异，若在新旧诗作间快速切换，犹如眺望风景时频繁调整视觉焦距，必将损害读者的审美感受。因此，我们将诗作划分为四卷：第一卷迄于1616年左右的九十年间，第二卷至1700年，第三卷至1800年，第四卷则收录刚逝去的半个世纪。若以代表诗人命名，可分别称为莎士比亚诗卷、弥尔顿诗卷、格雷诗卷与华兹华斯诗卷。就此而言，本选集在既定范畴内，精准映现了英诗的自然生长与演进历程。 严格编年体例更适合以知识传授为目标的文集，而本书旨在传递阅读乐趣以及由乐趣升华的智慧——故各卷内部均按情感起伏与主题关联进行有机编排。我们始终以莫扎特与贝多芬交响乐的展开方式为范本，每首诗的安置都经过深思熟虑。但愿这本选集的内容能如雪莱所言，呈现某种内在统一性："所有诗人如同伟大心灵的协同思想，自太初伊始共同建构宏伟诗篇中的若干插曲"。 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. 当编者完成这段漫长的巡礼之际，愿能不揣冒昧地坦言：那些认为诗歌评判应局限于"历代精选少数人"的严苛批评家们，实则低估了公众声誉那看似模糊的普遍裁决所具有的公正性。凡获得诗名者，多半拥有与其声誉相称的天赋或成就；若某些文采胜于风骨、或思辨强于表达的诗人作品未收入本集，绝非轻率舍弃，实经反复权衡——他们的价值从未被忽视。在这片已然沉寂的歌者构成的悲怆星河中，凡获得诗人桂冠者，几乎无不具备文字技艺、审美共鸣、情感温度或沉思深度，纵使其作品未能达到本集要求的精严标准，但相较于人们用于自我提升或寻求高尚乐趣的有限时光里所接触的多数读物，这些诗篇仍更值得一读。 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 如果说平庸诗作已具如此价值，那么面对最杰出的诗篇，我们更当怀有怎样的虔敬！恰如亚速尔传说中的仙泉，却拥有更丰沛的魔力，这门艺术能为生命的每个阶段赐予相应的祝福：予青春以阅历，予盛年以沉静，予暮岁以朝气。诗歌馈赠的珍宝"比黄金更璀璨"，引领我们行走于超脱尘俗的崇高之路，为我们解读自然万象的启示。但诗艺最完美的诠释永远存于其自身。若本书的编撰不失其旨，这些英语诗人们的真实韵律将在后续书页中悠然回响——无论在何处，只要英语诗人仍受尊崇，只要这主宰世界的语言仍被传诵，这部选集终将寻得知音。 ——F. T. 帕尔格雷夫 F. T. 帕尔格雷夫 (Francis Turner Palgrave, 1824–1897) 是英国维多利亚时期著名的诗人、批评家和学者，以其卓越的文学鉴赏力与编纂工作影响深远。他毕业于牛津大学，曾担任政府艺术顾问，并与丁尼生、哈代等文坛巨擘交往密切。1861年，他编纂的 《英诗金库》 出版，迅速成为英语世界最具影响力的诗歌选集之一，被誉为"英语世界的《唐诗三百首》"。 📚 《英诗金库》的编纂特色 1. 选诗标准严谨 · 帕尔格雷夫以"只选最佳"为原则，专注收录16世纪至19世纪上半叶已故诗人的抒情诗与歌谣，排除在世作家作品，确保经典的永恒性。 · 他强调诗歌应围绕"单一情感或情境"展开，排除冗长叙事诗、说教诗及戏剧独白，追求抒情性与艺术完整性的统一。 · 在筛选时，他参考了公众声誉与文学价值，并邀请诗人丁尼生参与修订，使选本兼具大众审美与专业眼光。 2. 结构编排的创新 · 全书按历史分期分为四卷： · 第一卷（至1616年）：莎士比亚时代，突出文艺复兴的活力； · 第二卷（1616–1700）：弥尔顿时代，体现古典主义精神； · 第三卷（1700–1800）：格雷时代，聚焦启蒙时期的沉思； · 第四卷（1800–1850）：华兹华斯时代，展现浪漫主义的自然与情感。 · 这种分期不仅反映英语诗歌的历史演变，还以"情感渐变"为线索，在每卷内部实现主题与韵律的有机衔接，借鉴了贝多芬交响乐的结构逻辑。 3. 文本考据与注释 · 帕尔格雷夫对多版本诗作进行精细校勘，选择"最具诗意的文本"，并保留原拼写与标点，力求学术严谨性。 · 他拒绝节选片段，坚持收录完整诗作，以维护诗歌的整体艺术效果。 🌟 文学影响与历史地位 1. 经典地位的奠定 《英诗金库》自出版后重版百余次，被纳入欧美家庭与学校的必备读物。毛姆、弗罗斯特、施蛰存等作家视其为文学启蒙之书，而中国学者如朱光潜、卞之琳等亦将其作为英诗教学范本。 2. 跨文化传播 中译本《英诗金库》由曹明伦等学者编注，汇聚卞之琳、王佐良等翻译名家的译文，成为双语诗歌研究的权威版本。其"中英对照+注释"的体例，既保留原诗韵律，又通过汉语诗意转化，使中国读者深入理解英语诗歌精髓。 3. 后世续编与演变 原版收录288首诗，后经学者增补145首19世纪末至20世纪初诗作（如叶芝、艾略特作品），形成433首的扩充版，延续了帕尔格雷夫的经典化框架。 📖 代表诗作与美学理念 帕尔格雷夫在序言中强调：诗歌应传递"通过愉悦获得的智慧"，其选本融合了浪漫主义的自然崇拜与古典主义的形式节制。例如： · 华兹华斯《我心儿激动》：展现对自然永恒的虔敬； · 雪莱《爱的哲学》：体现万物交融的哲学主题； · 莎士比亚《菲黛尔》：呈现死亡与永恒的抒情沉思。 这些诗作共同构建了帕尔格雷夫的诗歌宇宙——以美感启迪心灵，以永恒对抗时间。 💎 总结 F. T. 帕尔格雷夫通过《英诗金库》实现了双重使命： · 为大众提供精粹的诗歌启蒙，让读者"在有限时光中接触最值得阅读的篇章"； · 为英语文学立典，其选本成为连接文艺复兴与浪漫主义的桥梁。 正如弗罗斯特所言："我会梦见那本读旧的《英诗金库》"，这部选集至今仍是世界文学中"比金子更珍贵的宝藏"。

Finally finished reading it!

还可以，碎片时间用来练英语听力。诗句优美还是停留读一读欣赏更好。 还是觉得短篇文章，短小新闻刊物作一些定期练习会更有效率和短期成就感。