English-Chinese 英漢雙語本

莎士比亞的詩歌紀念碑

A Monument of Poetry Built By William Shakespeare & Others

Edited and Translated by Fu Zhengming 

About the Book

This book in three parts, entitled A Monument of Poetry Built By William Shakespeare & Others, is a bilingual anthology including 108 poems, translated into Chinese with both classical and modern Chinese forms and styles. The Introduction to the book, entitled “The Obscure Luminosities,” is an analysis of Shakespeare's works from mainly the perspectives of politics and Buddhism.The first part is a new poetical translation of some of William Shakspeare’s works, including the top 10 sonnets, a whole piece and extracts from the narrative poems, selected poetical speeches, poems and songs from the plays.The second part is a translation of selected poems by the possible authors of Shakespeare’s works. The third part is a new translation of selected poems on Shakespeare written by famous English and American poets.

莎士比亚隐秘的灿烂

《莎士比亚的诗歌纪念碑》导论（节选）

傅正明

Abstract

William Shakespeare’s works look like a male Mona Lisa with eyes of light and a smile hiding obscure luminosities.Dealing with the mysteries of authorship in his canon, this introduction introduces William Shakespeare’s life and his last will and testament by quoting and interpreting Ted Hughes’ poem entitled: “Shakespeare, drafting his will in 1605, plots an autobiographical play for 1606”. It also introduces briefly Edward de Vere, 17th Earl of Oxford, Francis Bacon and etc. as the possible authors of Shakespeare.

We will never solve all the mysteries out in Shakespeare's works. Aesthetics and politics, however, are two keys to unlock more or less them. The poet emphasizes the three themes of 'fair, kind and true' in one, proclaiming that virtue is beauty, and that inner beauty, especially in the verse, shines more than the outer one, and shall shine for ever. Shakespeare's political legacy, especially embodied in his narrative poem The Rape of Lucrece, classic play Julius Caesar, tragedy Hamlet and romance The Tempest. In The Rape of Lucrece and Julius Caesar, Shakespeare defends the rights of oppressed men and recognizes the legitimacy of overthrowing tyranny. Hamlet, in which the prince lives in the kingdom built upon the twin pillars of violence and lies, has huge implications for recognizing contemporary dictatorship and the source of the social cancer. In The Tempest, the dreams of the native Caliban are with both political and sexual meanings. After his dream for power seems dead, the protagonist Prospero realizes that everything is empty.

The religious views of Shakespeare are a difficult subject because of the authorship question. We can only discuss his spiritual beliefs, his love and legacy, based on his published work. Shakespeare’s voices of mercy from the mouths of Portia in The Merchant of Venice and others, are that of a universal humanism in Christianity. In one of Shylock's speeches in the play we hear the protest of the Jew's human rights trodden under foot.

Shakespeare's humanism is combined with pantheistic and naturalistic elements, which are shared by Platonism and Buddhism. The great poet can be regarded as a Pratyekabuddha, "a lone buddha," one of different types of enlightened beings. His realization of emptiness is embodied in the speeches of some characters. In Shakespeare's works, we can see human nature as the combination of natural desire and reason, and the taming of the self or the self-taming of both the 'wolfish earls,' the aristocrats of the ruling class, and the lamblike but brutal people, which is sometimes the scene of the wolves and the lambs dancing together.

In analyzing the sonnet 29, the author notes that the poet-speaker’s love, the " master-mistress," cannot be read as a biological intersexed person but a symbol for spiritual androgyny, which is resemble to the harmony model of Yin and Yang or the temperament of tamper force with mercy (gangrouxiangji) in the Chinese Culture.

Keywords: authorship, beauty, politics, humanism, Buddhism, human nature, love, androgyny

       别人遭受我们质疑。你诗魂飘逸。

       我们问了又问——你答以微笑

　　这是英国诗人麦修．阿诺德的〈莎士比亚〉一诗的开头两行。莎士比亚的难解之谜，因此被后世批评家称为「男性蒙娜莉萨的微笑」。

　　莎士比亚及其作品的神秘之谜包含多个方面，我以一种矛盾修辞法称之为「隐秘的灿烂」，本文就三个方面加以简要评介。

一、莎士比亚著作的作者之谜

　　关于莎士比亚全部著作的真实作者身分，争议由来已久。人所共知，依照传统说法，英国诗人、剧作家和演员威廉．莎士比亚，被广泛视为最伟大的英国作家和世界文豪，于1564年4月生于埃文河畔斯特拉福德小镇一个商人家庭里，念过文法学校，十八岁那年，与比他大八岁的安妮（Anne Hathaway）结婚，六个月后安妮生下女儿苏珊娜（Susanna），两年后又生一对龙凤胎，男孩十来岁早夭，女孩名叫朱迪斯（Judith）。十六世纪末到十七世纪初的二十多年间，莎翁在伦敦投身戏剧事业，并且是宫内大臣剧团的合伙人之一，一生写了《哈姆雷特》、《奥赛罗》、《李尔王》、《麦克白》等38部剧作，154首十四行诗和2部长篇叙事诗。

       英国桂冠诗人和莎学家特德．休斯（Ted Hughes）发表于1998年的一首短诗，题为〈莎士比亚，1605年草书遗嘱，构思次年的一部自传性戏剧〉，可以见出莎翁晚年心态：

       我的遗嘱／依照原计划：／财宝土地／一分为三，

       一份用来／扶助安妮的晚年／消除她年轻时的／愤怒和怨恨。

      一份给朱迪斯，／要不她会不会／嫁给我孩子的／死亡的艺术？

      第三份／留给苏伊，／包括我的心／——被我自己的长矛／

      刺穿的心／那时身穿青年埃德蒙的／讨厌鬼埃德蒙的／世袭的手工品

　　在休斯的想象中，莎翁立遗嘱时像李尔王一样把全部遗产一分为三。莎学家大都认为莎翁与他的妻子安妮的关系扑朔迷离，可能相互怨恨。在莎翁1616年3月的亲笔遗嘱中，他只把「我的次好的床」，即他们婚后共享的床等几件遗物留给妻子。家里最好的床是给宾客用的。莎学家邓肯—琼斯（Katherine Duncan-Jones）在《莎士比亚：非绅士的一生》等最新传记中认为：莎翁写遗嘱的时候，决意不让安妮占用那张最好的床，甚至在他死后她也不能占用。遗嘱之外莎翁的另一真迹，是四行诗〈墓志铭〉：

      Good frend for Iesvs sake forbeare, / To digg the dvst encloased heare.

      Bleste be ye man yt spares thes stones, / And cvrst be he yt moves my bones.

     请君多念耶稣情，勿掘黄尘惊睡魂。

     祝福精心护墓者，降愆移骨动坟人。

　　邓肯—琼斯认为这首诗的末行是对安妮的诅咒，意思是安妮死后，请不要动坟把他们合葬在一起。休斯想象的莎翁立遗嘱的那一年，他疼爱聪明伶俐的苏伊（Sue，Susanna的昵称），她和妹妹朱迪斯都已嫁人，唯一的男性后嗣是埃德蒙（Edmund），即莎翁弟弟的文盲儿子。休斯短诗末行提到的是一件军大衣，是莎翁的父亲在1596年得到的惠赠。

      1616年4月23日（儒略历，公历5月3日）莎翁逝世，葬于当地圣三一教堂。有关他的私人生活，史料甚少。第一四开本（the first Quarto）十四行诗集于1609年出版，署名Shake-speare，莎剧第一对折本（the First Folio）是在他身后七年于1623年出版的，题为《威廉·莎士比亚先生的喜剧、历史剧和悲剧》。这些作品究竟出自谁的手笔，留下难解之谜，早就日渐形成了质疑传统说法，与正统派论战的怀疑派。怀疑派的共识之一是：斯特拉福德的威廉·莎士比亚和在伦敦从艺的威廉·莎士比亚是两个不同的人，后者只是一个笔名，被过去的历史学家错误地混为同一个人。

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《莎士比亚的诗歌纪念碑》

（台湾）唐山出版社，2016年

威廉·莎士比亚等原著  傅正明译著

◎内容简介

 ＊莎士比亚逝世400周年纪念＊

※英汉对照版本，各诗篇皆附有原文供读者参考※

 本书是译者研究和重译莎士比亚的最新成果， 三卷合为一册。卷首是本书的长篇导论，侧重从政治维度和佛教视角诠释莎士比亚。全书译诗108 首。

卷一精选新译莎士比亚54 首诗歌，包括十四行诗中的10 首最佳诗作，叙事诗的代表作或摘选、莎剧中的部分诗体台词、 诗篇和歌词。

卷二是「莎士比亚背后的写手」诗歌选译18首。

卷三是「英美诗人论莎士比亚诗歌」诗歌选译36首，不少出自莎士比亚同时代以来英美大诗人的手笔， 一部分作品是首次译为中文。

从英汉对照中可以看出，全部译诗注重诗的意象意境， 语言锤炼和韵律之美， 力求在翻译的 「异化」与「归化」之间保持平衡，风格与前人各家翻译迥然相异。

About the Author and Translator

Fu Zhengming, Chinese poet, scholar and translator living in Sweden, was born in Shaoyang city in Hunan province in 1948 and graduated from the Chinese Department of Beijing University with a Degree of Master of Arts.

 Fu has written and published a number of books such as On the Ruins in Poland - Szymborska 's Art of Poetry and the Cultural Traditions (Beijing, 1998), Dark Poet Huang Xiang and His Colorful World ( New York, 2003), Comment on a Century of the Nobel Prize In Literature (Taipei, 2004), The Structure of World Literature (Taipei, 2013), A Parachute Jump from Dreams: The Poetic Word of Tomas Transrtrömer (Taipei, Commercial Press, 2013) and The Poet-Monk With Crazy Wisdom: A Romantic Trilogy of Chögyam Trunpa ( Taipel, 2017). In the area of translation, Fu’s numerous works include The Art of Greek Comedy (Catherine Lever, E-C, Beijing, 1988), A New Translation of English Lyrics(Taipei, Commercial Press, 2012) , Five Hundred Poems from the Rubaiyat of Omar Khayyam (Taipei, 2015) and A Monument of Poetry Built by William Shakespeare & Others (Taipei, 2016).