“船長(zhǎng)”和他的船員們
“Oh,！Captain，My Captain,！”
“啊，船長(zhǎng),，我的船長(zhǎng),！”惠特曼在“紫丁香開放的庭院里”呼喊他的船長(zhǎng)，那是試圖喚醒林肯總統(tǒng)的呼喊,，如此肅慟昂揚(yáng),，恍若置身污濁的泥淖卻依然執(zhí)守不安靜的遙想。
直到許多年以后,，這一聲呼喊在《死亡詩(shī)社》中再次一絲絲爆裂,，我才漸漸明白，為何當(dāng)初愛(ài)默生能慧眼識(shí)珠參透《草葉集》對(duì)于世界文學(xué)史的價(jià)值,？
愛(ài)默生在給惠特曼的信中寫道,，“我揉揉眼睛,，想看看這道陽(yáng)光是不是幻覺(jué)；但是這本書給我的實(shí)感又是明確無(wú)疑的,。它的最大優(yōu)點(diǎn)就是加強(qiáng)和鼓舞人們的信心,。”
及至《死亡詩(shī)社》，一大群詩(shī)人住進(jìn)“惠特曼”的烏托邦,。他們站在密匝匝的森林里眺望大海,，他們說(shuō)：不可說(shuō)的，亦須說(shuō),；可說(shuō)的,，更不應(yīng)沉默。
詩(shī)社：“死亡”與“重生”
“當(dāng)我活著時(shí),，我要作生命的主宰,，而不作它的奴隸。”——沃爾特·惠特曼
《死亡詩(shī)社》是一個(gè)秘而不宣的故事,，人說(shuō)它只關(guān)乎暗夜里篝火般的騷動(dòng),，卻不經(jīng)意引燃了白晝的明火。時(shí)過(guò)境遷,，那些咆哮在印第安山洞里的火種,，便終于開始有了自己的顏色。
影片中,，孩子們學(xué)著年輕時(shí)的基廷老師,，重組了“死亡詩(shī)社”，恍若一場(chǎng)美好夢(mèng)魘的續(xù)篇,。那是一個(gè)前途未卜的社團(tuán),，只因藝術(shù)的信仰而彼此牽系。他們?cè)诿總€(gè)夜里穿過(guò)黑黢黢的樹林去印第安山洞誦詩(shī),，做一群短暫的不安靜的詩(shī)人,。黑茫茫的霧氣中，他們是火熱的影子,；林煙四起,，那是“夜的第幾章”在匆匆吟誦？而詩(shī)人們與山野的幽會(huì)又究竟能持續(xù)多久,？
那前行于夜幕中的不自由的靈魂吶,，我看到你們開始蹣跚起舞。滿樹林都是鐐銬的銹味和“咣當(dāng)咣當(dāng)”的碰撞聲,。你們的呼喊驚起了多少林鳥,？甚而撒旦的陽(yáng)光也淹沒(méi)在瘴氣之中，化成虛弱的青煙散去。
“當(dāng)我活著時(shí),，……”聽(tīng),，誰(shuí)在吟誦惠特曼的詩(shī)？“……我要作生命的主宰,，……”噢,，那鏗鏘的氣浪一波波傳入我的耳膜，“……而不作它的奴隸,。”親愛(ài)的詩(shī)人們,，這是怎樣一束堅(jiān)貞的信條？
人說(shuō),，“死亡詩(shī)社”是一道“向死而生”的符咒,，或而死去，或而重生,。不經(jīng)然想起余華的《活著》,，那么多年以后，那些埋葬于荒野的低于大地的尸骸是否安然沉睡呢,？那些活著的靈魂為何會(huì)沾染上莽莽蒼蒼的寂寞,？終究是因?yàn)樘珢?ài)回憶，還是未來(lái)的燭火過(guò)分微弱,？
曾跟朋友一起追溯過(guò)文學(xué)的源頭,，花了一下午時(shí)間，得出結(jié)論：詩(shī)歌是文學(xué)的策源地,，亦是藝術(shù)的基石,。在小說(shuō)的麥田里摸索了那么久，至終還是流浪到詩(shī)歌的河流,；人越長(zhǎng)大,，越企望純粹的思考和感悟，越不敢正視黑森林里弱肉強(qiáng)食的黑幕,。
我一直以為,，《死亡詩(shī)社》的出現(xiàn)為那些不懂詩(shī)歌的孩子啟開了一道自由的大門，盡管它只啟開在黑夜中,。我也一直相信,，詩(shī)歌是手術(shù)刀，割除了那些思想的腫瘤,，也淬煉了那些久已沉默的心。
詩(shī)人：“船長(zhǎng)”Keating
“站在世界屋脊上,，我喊出我野性的狂叫,。”——沃爾特·惠特曼
基廷（Keating）老師的存在是一束陽(yáng)光，也是一把匕首。影片中,，正是他引導(dǎo)學(xué)生們撕掉“庸人自擾”的教材,，正是他載著學(xué)生們偷渡去黑森林的山洞里誦詩(shī)吟唱。他是他們最英明的“船長(zhǎng)”,，最無(wú)懼無(wú)畏的精神導(dǎo)師,，卻也一步步把他們領(lǐng)向了被禁錮、被剝奪自由的危難境地,。于是,，孩子們看到了光亮，也嗅到了死亡,。人說(shuō),，那是鎖在鐵鏈上的象牙塔，是戴著鐐銬起舞的烏托邦,。
影片中,，“船長(zhǎng)”一詞被賦予了多義性，它成了“基廷老師”的綽號(hào)和“惠特曼精神”的代名詞,，亦喻指著對(duì)“自由”的呼喊,。
從基廷身上，我們看到了太多藝術(shù)家的影子,。他們從來(lái)不曾出名,，而是隱匿于每一座城市的角落，在鋼鐵森林的荒原里寫自己的詩(shī),，做自己的夢(mèng),。有人說(shuō)，基廷是一個(gè)“有詩(shī)人氣質(zhì)的海盜”,，在威爾頓學(xué)院里,，他出現(xiàn)得太不合時(shí)宜，他像海盜一樣盜取了孩子們的思想,，卻為理想混沌的心點(diǎn)亮了久違的燈塔,，給他們看見(jiàn)了生命中的另一面旗幟：黑色的旗面，白色的骷髏,，像一道死亡的符咒,。
他是如何執(zhí)迷于惠特曼的詩(shī)啊,？那原始的美,，那馳騁的風(fēng)，那野性的流淌,。是誰(shuí)咒罵惠特曼“不懂藝術(shù)盜世欺名”,？這多少年前的妄語(yǔ),，在《草葉集》風(fēng)靡美國(guó)詩(shī)壇一個(gè)多世紀(jì)后的今天，竟變得如此卑劣可笑,？而悲哀的是,，人還是那么的不自由，似乎從來(lái)都沒(méi)有自由過(guò),。詩(shī)歌本身所企望的自由,，卻被各種格律、音韻所牽制,，如同關(guān)押于牢籠的囚鳥,，支不開羽翼。
流浪詩(shī)人基廷終究做不了救世主,，他唯能盡力尋求改變,。尼爾死去時(shí)，他沉默得讓人害怕,，他長(zhǎng)久地盯著自己的影子,，恍若整個(gè)身軀要陷落到影子里。他是船長(zhǎng),，但終究也是海盜,。
所幸的是，終有東西被傳承下來(lái),，關(guān)于自由和希望的信仰,，關(guān)于詩(shī)歌的真諦。
寫在詩(shī)社”寶書”的扉頁(yè)上的那段話來(lái)自美國(guó)作家THOREAU(1818-1862)的《瓦爾登湖》. 1845年,28歲的THOREAU在好友EMERSON的林地里的WALDEN湖畔蓋了座木屋住下,此后兩年多里他過(guò)著清心寡欲,自給自足的生活,并時(shí)常記下自己的所思所想所悟,于是就有了這樣一本書. 中文版里徐遲的本子算是最最有名的了(上海譯文和吉林人民出版社都出過(guò),包裝不同,內(nèi)容是一樣的).個(gè)人以為這樣的書非徐遲這樣有底氣又有定力的老一輩學(xué)者(我見(jiàn)過(guò)他的照片,一個(gè)清澄平和的老人)不能譯.畢竟是150多年前的文章了,而且講的又是”人如何通過(guò)純感官與具有神性的大自然交流溝通”的超驗(yàn)主義問(wèn)題,不實(shí)際得一塌糊涂,不和時(shí)宜得一塌糊涂.現(xiàn)在的譯者心都比較活潑,對(duì)待此類作品的態(tài)度怕只會(huì)是句簡(jiǎn)單的”理你都傻”. I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practise resignation, unless it was quite necessary. I wanted to live deep and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion. For most men, it appears to me, are in a strange uncertainty about it, whether it is of the devil or of God, and have somewhat hastily concluded that it is the chief end of man here to "glorify God and enjoy him forever." Henry David Thoreau:Walden,or Life in the Woods 我到林中去,，因?yàn)槲蚁Ｍ?jǐn)慎地生活,，只面對(duì)生活的基本事實(shí)，看看我是否學(xué)得到生活要教育我的東西,，免得到了臨死的時(shí)候,，才發(fā)現(xiàn)我根本就沒(méi)有生活過(guò)。我不希望度過(guò)非生活的生活,，生活是那樣的可愛(ài),；我卻也不愿意去修行過(guò)隱逸的生活，除非是萬(wàn)不得已,。我要生活得深深地把生命的精髓都吸到,，要生活得穩(wěn)穩(wěn)當(dāng)當(dāng)，生活得斯巴達(dá)式的,，以便根除一切非生活的東西,，劃出一塊刈割的面積來(lái)，細(xì)細(xì)地刈割或修剪,，把生活壓縮到一個(gè)角隅里去,，把它縮小到最低的條件中,，如果它被證明是卑微的，那么就把那真正的卑微全部認(rèn)識(shí)到,，并把它的卑微之處公布于世界；或者,，如果它是崇高的,，就用切身的經(jīng)歷來(lái)體會(huì)它，在我下一次遠(yuǎn)游時(shí),，也可以作出一個(gè)真實(shí)的報(bào)道,。因?yàn)椋铱?，大多?shù)人還確定不了他們的生活是屬于魔鬼的,，還是屬于上帝的呢，然而又多少有點(diǎn)輕率地下了判斷,，認(rèn)為人生的主要目標(biāo)是“歸榮耀于神,，并永遠(yuǎn)從神那里得到喜悅”。（徐遲譯） ROBIN WILLIAMS念的《哦,船長(zhǎng)!我的船長(zhǎng)!》是紀(jì)念大胡子林肯的,WHITMAN(1819-1892)原作,出自《草葉集:紀(jì)念林肯總統(tǒng)》LEAVES OF GRASS:Memories of President Lincoln.我手頭沒(méi)有中文譯文,但問(wèn)題不大,WHITMAN的詩(shī)還是挺好懂的.他活在一個(gè)人們可以自由自在地理直氣壯地粗俗的時(shí)代,粗俗得純粹,粗俗得磅礴,粗俗得欣欣向榮,粗俗得可愛(ài)之極.之后美國(guó)文學(xué)便由浪漫主義轉(zhuǎn)入現(xiàn)實(shí)主義, 從W.D.HOWELLS到MARK TWAIN到HENRY JAMES到JACK LONDON主題漸漸深沉,情節(jié)漸漸復(fù)雜,作家那支筆也漸漸拖泥帶水起來(lái).隨后的自然主義作品行文雖稍稍松了口氣,主題卻達(dá)到了凝重的極至.WHITMAN的時(shí)代一去不返. O CAPTAIN! MY CAPTAIN! O Captain! my Captain! our fearful trip is done, The ship has weather'd every rack, the prize we sought is won, The port is near, the bells I hear, the people all exulting, While follow eyes the steady keel, the vessel grim and daring; But O heart! heart! heart! O the bleeding drops of red, Where on the deck my Captain lies, Fallen cold and dead. O Captain! my Captain! rise up and hear the bells; Rise up&emdash;for you the flag is flung&emdash;for you the bugle trills, For you bouquets and ribbon'd wreaths&emdash;for you the shores a-crowding, For you they call, the swaying mass, their eager faces turning; Here Captain! dear father! The arm beneath your head! It is some dream that on the deck, You've fallen cold and dead. My Captain does not answer, his lips are pale and still, My father does not feel my arm, he has no pulse nor will, The ship is anchor'd safe and sound, its voyage closed and done, From fearful trip the victor ship comes in with object won: Exult O shores, and ring O bells! But I with mournful tread, Walk the deck my Captain lies, Fallen cold and dead. ROBERT FROST(1874-1963)的詩(shī),我一直比較感興趣,大三時(shí)上美國(guó)文學(xué)課,聽(tīng)到他和HENRY JAMES的名字時(shí)就會(huì)莫名地興奮上好一陣子.和FAULKNER一樣,FROST也算是個(gè)大器晚成的人,11歲喪父后隨母遷居新英格蘭,曾在哈佛求學(xué),但學(xué)業(yè)未竟.1900-1909年,他閑居鄉(xiāng)里,,養(yǎng)雞,喝酒,種田,寫詩(shī),度過(guò)一段愜意卻挺沒(méi)出息的生活.1912年他去了LONDON,結(jié)識(shí)了初期意象派詩(shī)人F.S.FLINT,EZRA POUND,EDWARD THOMAS等人.1913年,他發(fā)表了第一部詩(shī)集A BOY’S WISH,從此開始了他的詩(shī)人生涯,隨即一路發(fā)達(dá):中年時(shí)擔(dān)任哈佛的詩(shī)學(xué)教授,4次獲得普利策獎(jiǎng),成為美國(guó)最負(fù)聲名的詩(shī)人.FROST認(rèn)為作家的職責(zé)在于說(shuō)出”人民所明白卻說(shuō)不出來(lái)的東西”.他常以新英格蘭的點(diǎn)點(diǎn)滴滴為題材作詩(shī), 從生活中汲取象征和隱喻,并將當(dāng)?shù)氐目谡Z(yǔ)語(yǔ)言融入詩(shī)的表現(xiàn)風(fēng)格,因此作品顯的平樸而恬淡,意味卻深遠(yuǎn),就是所謂”小生活中的大道理”吧. THE ROAD NOT TAKEN是他的名作之一,令人想到我國(guó)古代楊朱見(jiàn)歧路而哭的傳說(shuō).其實(shí)我想在面對(duì)選擇面對(duì)分岔路時(shí),我們嘴上說(shuō)不知該如何是好,心里卻總還是有些底的.真真假假的猶豫過(guò)后,最終總會(huì)邁出腳步踏上一條路.而之后若是再念叨FROST的這首詩(shī),很明顯的就只是為了讓自己好過(guò)一點(diǎn)而已了. THE ROAD NOT TAKEN Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler,long I stood And looked down one as far as I could To where it bent in the undergrowth; Then took the other,as just as fair, And having perhaps the better claim; Because it was grassy and wanted wear; Though as for that,the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden black. Oh,I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back. I shall be telling this with a sigh Somewhere ages and ages hence; Two roads diverged in a yellow wood,and I— I took the less traveled by, And that has made all the difference. 最后還要提到的是莎士比亞的第18號(hào)十四行詩(shī)和拜倫的”她在美中步履姍姍”.當(dāng)死亡詩(shī)社山洞里來(lái)了兩個(gè)女生時(shí),兩個(gè)男生為恭維她們甩出的漂亮句子實(shí)際上來(lái)自于這兩首不朽佳作.無(wú)論如何,MM們聽(tīng)到好詩(shī)的那一瞬散發(fā)出的光彩絕對(duì)是眩目而令人難忘的! Sonnet 18 Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed, And every fair from fair sometime declines, By chance, or nature's changing course untrimmed: But thy eternal summer shall not fade, Nor lose possession of that fair thou ow'st, Nor shall death brag thou wand'rest in his shade, When in eternal lines to time thou grow'st, So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. William Shakespeare 莎翁此詩(shī),一譯便死.尤其是最后兩句! She Walks In Beauty She walks in beauty,like the night Of cloudless climes and starry skies; And all that’s best of dark and bright Meet in her aspect and her eyes; Thus mellow’d to that tender light Which heaven to gaudy day denies. One shade the more,one ray the less, Had half impair’d the nameless grace Which waves in every raven tress, Or softly lightens o’er he face; Where thoughts serenely sweet express How pure,how dear their dwelling-place. And on that cheek,and o’er that brow, So soft,so calm,yet eloquent, The smiles thatv win,the tints that glow, But tell of days in goodness spent, A mind at peace with all below, A heart whose love is innocent! George Gorden Byron 她在美中步履姍姍 拜倫 她在美中步履姍姍, 像星空和無(wú)云的夜晚; 光明和黑暗的精華, 在她的臉上和眼里交叉; 這樣化為柔和的光, 上天不準(zhǔn)浮華的白日分享. 多一份陰影,少一份光, 那就會(huì)半損半傷 在她發(fā)上波動(dòng),臉上放輝, 那種無(wú)名的優(yōu)美; 臉上靜穆清新的思想 表現(xiàn)它來(lái)自多么純潔的地方. 在那面頰上,在那眉宇間, 那樣溫存,那樣寧?kù)o,勝過(guò)巧語(yǔ)花言, 引人愛(ài)的微笑,燦燦的光彩, 表示年華在善良中穩(wěn)度過(guò)來(lái), 心地和平,與世無(wú)爭(zhēng), 心靈光明,愛(ài)情純凈. 李霽野 譯 |
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來(lái)自： 一路心行 > 《影評(píng)》
