酷我-北美枫

[戴玨]

當你老了

當你老了，華髮鬱積，睡意縈縈，
在爐火旁打盹時，取下這本書，
慢慢地讀，夢想你的雙眸當初
那柔和神色，和它們深邃的陰影；

多少人真情假意，愛慕你的美麗，
愛你雍容愉悅的時刻，有一個人
卻愛慕你朝聖者的心，
愛你變化的面容所帶的憂戚；

俯身於紅光閃閃的格柵邊，
略帶傷感，喃喃細語，愛如何逸走，
如何去了頭頂上的高山閑蹓，
在一大群星星間藏起了它的臉。

WHEN YOU ARE OLD
by W.B.Yeats

WHEN you are old and gray and full of sleep
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;

How many loved your moments of glad grace,
And loved your beauty with love false or true;
But one man loved the pilgrim soul in you,
And loved the sorrows of your changing face.

And bending down beside the glowing bars,
Murmur, a little sadly, how love fled
And paced upon the mountains overhead,
And hid his face amid a crowd of stars.

譯者按：
1889年，葉慈結識了莫德·岡（Maud Gonne）小姐。她是一位熱衷於愛爾蘭民族主義運動的女性。葉慈深深地迷戀上了這位小姐，而這位女士也極大地影響了葉慈以後的創作和生活。經過兩年的密切交往後，葉慈向岡小姐求婚，卻遭到拒絕。其後，他又共計向她求婚三次，分別是在1889年、1900年和1901年，均遭到了拒絕。盡管如此，他們的友誼依然持續直至葉慈去世，而岡小姐也不斷激發葉慈的創作靈感，因她寫下了不少作品。

玩偶

玩偶匠屋裡的一個玩偶
看著搖籃大聲哭訴：
“這是對我們的侮辱。”
可是最年長的玩偶，
因被留作樣品，見過
幾代同類，他的尖叫
蓋過了整個架子：“雖說
沒人能夠舉報
此地的罪惡，
那對男女竟把個
又吵又髒的東西帶到這兒，
丟盡了我們的臉。”
聽到他咕噥又伸懶腰，
玩偶匠的妻子意識到
她丈夫聽見了那壞蛋的話，
於是在他的座椅扶手旁蹲下，
頭倚著他的肩，
對著他的耳朵低聲叨念：
“親愛的，親愛的，哎呀，
那可是意外啊。”

The Dolls

A doll in the doll-maker's house
Looks at the cradle and bawls:
'That is an insult to us.'
But the oldest of all the dolls
Who had seen, being kept for show,
Generations of his sort,
Out-screams the whole shelf: 'Although
There's not a man can report
Evil of this place,
The man and the woman bring
Hither, to our disgrace,
A noisy and filthy thing.'
Hearing him groan and stretch
The doll-maker's wife is aware
Her husband has heard the wretch,
And crouched by the arm of his chair,
She murmurs into his ear,
Head upon shoulder leant:
'My dear, my dear, oh dear,
It was an accident.'
_________________
我的blog:
http://blog.sina.com.cn/u/1310527443

[[Edgar]]

當你老了

當你老了，華髮鬱積，睡意縈縈，
在爐火旁打盹時，取下這本書，
慢慢地讀，夢想你的雙眸當初
那柔和神色，和它們深邃的陰影；

多少人真情假意，愛慕你的美麗，
愛你雍容愉悅的時刻，有一個人
卻愛慕你朝聖者的心，
愛你變化的面容所帶的憂戚；

俯身於紅光閃閃的格柵邊，
略帶傷感，喃喃細語，愛如何逸走，
如何去了頭頂上的高山閑蹓，
在一大群星星間藏起了它的臉。

WHEN YOU ARE OLD
by W.B.Yeats

WHEN you are old and gray and full of sleep
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;

How many loved your moments of glad grace,
And loved your beauty with love false or true;
But one man loved the pilgrim soul in you,
And loved the sorrows of your changing face.

And bending down beside the glowing bars,
Murmur, a little sadly, how love fled
And paced upon the mountains overhead,
And hid his face amid a crowd of stars.

譯者按：
1889年，葉慈結識了莫德·岡（Maud Gonne）小姐。她是一位熱衷於愛爾蘭民族主義運動的女性。葉慈深深地迷戀上了這位小姐，而這位女士也極大地影響了葉慈以後的創作和生活。經過兩年的密切交往後，葉慈向岡小姐求婚，卻遭到拒絕。其後，他又共計向她求婚三次，分別是在1889年、1900年和1901年，均遭到了拒絕。盡管如此，他們的友誼依然持續直至葉慈去世，而岡小姐也不斷激發葉慈的創作靈感，因她寫下了不少作品。

玩偶

玩偶匠屋裡的一個玩偶
看著搖籃大聲哭訴：
“這是對我們的侮辱。”
可是最年長的玩偶，
因被留作樣品，見過
幾代同類，他的尖叫
蓋過了整個架子：“雖說
沒人能夠舉報
此地的罪惡，
那對男女竟把個
又吵又髒的東西帶到這兒，
丟盡了我們的臉。”
聽到他咕噥又伸懶腰，
玩偶匠的妻子意識到
她丈夫聽見了那壞蛋的話，
於是在他的座椅扶手旁蹲下，
頭倚著他的肩，
對著他的耳朵低聲叨念：
“親愛的，親愛的，哎呀，
那可是意外啊。”

The Dolls

A doll in the doll-maker's house
Looks at the cradle and bawls:
'That is an insult to us.'
But the oldest of all the dolls
Who had seen, being kept for show,
Generations of his sort,
Out-screams the whole shelf: 'Although
There's not a man can report
Evil of this place,
The man and the woman bring
Hither, to our disgrace,
A noisy and filthy thing.'
Hearing him groan and stretch
The doll-maker's wife is aware
Her husband has heard the wretch,
And crouched by the arm of his chair,
She murmurs into his ear,
Head upon shoulder leant:
'My dear, my dear, oh dear,
It was an accident.'
_________________
我的blog:
http://blog.sina.com.cn/u/1310527443

[戴玨]

外衣

我為我的歌做了件外衣，
從下擺到領子
都繡滿了
古老的神話故事；
卻被愚人們搶去，
在世人面前穿起，
仿佛那是出自他們之手。
歌啊，就讓他們拿去，
因為赤身行走
才更為進取。

譯者按：

1913年，葉慈結識了龐德，後者的朝氣和他後來倡導的意像主義運動，使中年的葉慈，在半迎半拒的心態下，接受新一代的影響。於是葉慈的詩從早期的浪漫主義和愛爾蘭神話中解脫出來，開始呈現一種正視現實的簡樸和誠摯的詩風。

A Coat

I made my song a coat
Covered with embroideries
Out of old mythologies
From heel to throat;
But the fools caught it,
Wore it in the world's eyes
As though they'd wrought it.
Song, let them take it,
For there's more enterprise
In walking naked.

萬靈節之夜(1)
《幻像》(2)跋

午夜降臨，基督教堂學院(3)的大鐘
還有許多小鐘，響徹
房間；這是萬靈節之夜。
桌上兩個長腳玻璃盅
注滿了麝香葡萄酒，泛著
泡沫。某個鬼魂大約
會來；因為，一個鬼魂經過了死的磨礪，
其構成元素变得如斯精细，當我们
的肉顎吞咽著酒漿的整體，那鬼魂
有权饮用酒的气息。

我需要一個心靈，即使
大炮從世界每個角落
響起，也能裹在沉思中的
那種，就像木乃伊
被裹在尸布中那樣；因為我
有一件奇事要說，一件只有活人才會嘲笑的
奇特的事，
雖不是要說給清醒的
耳朵聽；也許所有聽到的
都會又笑又哭一個小時。

我首先召喚霍頓。他愛怪誕的觀念，
他知道高傲的極度美妙，
即所謂柏拉圖式的戀愛，
他的激情已錘煉
至如此的強度，沒任何東西能給予他止痛藥，
在他妻子死去時，以安撫他的愛。
話語不過是浪費掉的呼吸；
他只有一個心願：
那個或下一個冬天的嚴寒
會是死。

兩種觀念如此混亂，我說不上
他想的最多的是她還是神，
我只想到他心靈的眼睛
向上望的時候，看到那唯一的影像；
那是個瘦小友好的鬼魂，
狂野而帶有神性，
令聖經上預示的那棟
廣大神奇的房子
平添生氣，
猶如一條金魚在碗中游泳。

接著我召喚弗羅倫絲·愛默麗，
在她那令人羡慕的美麗面容
第一次發現有皺紋的時候，
那惱人的未來，她已可預知；
美麗會減退，平凡會遞增；
她寜可遠離鄰居或朋友，
到黑皮膚人中間
去教書，在那兒可聽任可怕的歲月流逝
而避開他人的注視，
直至無人察覺的終點。

在到達那終點之前
有位博學的印度人曾向她論述
靈魂的歷程，從他的譬喻之中
她領悟了許多哲理。它如何到處回旋
遍及月亮所到之處，
直至投入太陽之中；
在那裏，自由卻又永恒，
既是選擇也是機遇，
終能忘掉它那些破爛的玩具
而沉入自身的歡欣之中。

我把麥格雷葛·邁瑟斯從墳墓裏喚起，
因為在我青春的最初艱難時期我們曾是朋友，
雖然近來我們疏遠了。
我曾認為他是半個瘋子，半個痞子，
我這樣對他說過，但我們的友誼卻又能持久；
要是心靈看似變了又如何，
似乎這友誼確已隨心靈而改變，
當思緒不由自主地升起
想起他做過的那些慷慨事跡
我便是瞎了眼也有些情願！

他當初很勤勉，
非常勇敢，那是在
孤寂把他逼瘋以前；因為
冥想未知的觀念
會使人之間的交流越來
越少；既不會有酬勞也不會
得到贊賞，但是他
會拒絕主人的敬酒，因為那是我的酒杯；
他本是個愛鬼的人，而現在做了鬼，
可能變得更加傲慢自大。

但名字算不了什麽。是哪一位并不要緊，
他的構成元素變得如此精細，
麝香葡萄酒的氣味能給予他敏銳的
味覺以狂喜，活人
縱使品嘗酒漿的整體
也喝不到的狂喜。我要說說
活人會嘲笑的木乃伊的真理，
雖不是要說給清醒的
耳朵聽；也許所有聽到的
都會又笑又哭一個小時。

這種觀念 — 持這種觀念的我
緊緊地抱著它，直到
冥想掌握了它各個部分，沒東西能阻擋
我的目光，直到那目光在世間的
怨恨中奔跑到受詛咒者痛心哀號
和受祝福者跳舞的地方；
這種觀念，我不需要
任何其他東西綁在裏面，
在心靈的漫游中盤旋，
就像木乃伊被尸布纏繞。

牛津，1920年秋

注：
1.這是葉慈用散文闡述自己哲學思想系統的書，於1925年出版，葉慈將本詩附於其後。
2.天主教節日，紀念已逝世的信徒即生前受過洗禮但有輕微罪過而被認為是在煉獄中進行滌罪的亡魂，通常為11月2日。根據天主教教義，在世信徒的祈禱有助於這些亡魂的滌罪，使他們得以進天堂。
3.牛津大學的一所學院。

All Souls' Night
Epilogue to ‘A Vision’
by W.B. Yeats

Midnight has come and the great Christ Church bell
And many a lesser bell sound through the room;
And it is All Souls' Night.
And two long glasses brimmed with muscatel
Bubble upon the table. A ghost may come;
For it is a ghost's right,
His element is so fine
Being sharpened by his death,
To drink from the wine-breath
While our gross palates drink from the whole wine.

I need some mind that, if the cannon sound
From every quarter of the world, can stay
Wound in mind's pondering,
As mummies in the mummy-cloth are wound;
Because I have a marvellous thing to say,
A certain marvellous thing
None but the living mock,
Though not for sober ear;
It may be all that hear
Should laugh and weep an hour upon the clock.

Horton's the first I call. He loved strange thought
And knew that sweet extremity of pride
That's called platonic love,
And that to such a pitch of passion wrought
Nothing could bring him, when his lady died,
Anodyne for his love.
Words were but wasted breath;
One dear hope had he:
The inclemency
Of that or the next winter would be death.

Two thoughts were so mixed up I could not tell
Whether of her or God he thought the most,
But think that his mind's eye,
When upward turned, on one sole image fell;
And that a slight companionable ghost,
Wild with divinity,
Had so lit up the whole
Immense miraculous house
The Bible promised us,
It seemed a gold-fish swimming in a bowl.

On Florence Emery I call the next,
Who finding the first wrinkles on a face
Admired and beautiful,
And by foreknowledge of the future vexed;
Diminished beauty, multiplied commonplace;
Preferred to teach a school
Away from neighbour or friend,
Among dark skins, and there
Permit foul years to wear
Hidden from eyesight to the unnoticed end.

Before that end much had she ravelled out
From a discourse in figurative speech
By some learned Indian
On the soul's journey. How it is whirled about
Wherever the orbit of the moon can reach,
Until it plunge into the sun;
And there, free and yet fast,
Being both Chance and Choice,
Forget its broken toys
And sink into its own delight at last.

I call MacGregor Mathers from his grave,
For in my first hard spring-time we were friends,
Although of late estranged.
I thought him half a lunatic, half knave,
And told him so, but friendship never ends;
And what if mind seem changed,
And it seem changed with the mind,
When thoughts rise up unbid
On generous things that he did
And I grow half contented to be blind!

He had much industry at setting out,
Much boisterous courage, before loneliness
Had driven him crazed;
For meditations upon unknown thought
Make human intercourse grow less and less;
They are neither paid nor praised.
but he'd object to the host,
The glass because my glass;
A ghost-lover he was
And may have grown more arrogant being a ghost.

But names are nothing. What matter who it be,
So that his elements have grown so fine
The fume of muscatel
Can give his sharpened palate ecstasy
No living man can drink from the whole wine.
I have mummy truths to tell
Whereat the living mock,
Though not for sober ear,
For maybe all that hear
Should laugh and weep an hour upon the clock.

Such thought — such thought have I that hold it tight
Till meditation master all its parts,
Nothing can stay my glance
Until that glance run in the world's despite
To where the damned have howled away their hearts,
And where the blessed dance;
Such thought, that in it bound
I need no other thing,
Wound in mind's wandering
As mummies in the mummy-cloth are wound.

Oxford, autumn 1920

原載《詩天空》
_________________
我的blog:
http://blog.sina.com.cn/u/1310527443

[[Edgar]]

外衣

我為我的歌做了件外衣，
從下擺到領子
都繡滿了
古老的神話故事；
卻被愚人們搶去，
在世人面前穿起，
仿佛那是出自他們之手。
歌啊，就讓他們拿去，
因為赤身行走
才更為進取。

譯者按：

1913年，葉慈結識了龐德，後者的朝氣和他後來倡導的意像主義運動，使中年的葉慈，在半迎半拒的心態下，接受新一代的影響。於是葉慈的詩從早期的浪漫主義和愛爾蘭神話中解脫出來，開始呈現一種正視現實的簡樸和誠摯的詩風。

A Coat

I made my song a coat
Covered with embroideries
Out of old mythologies
From heel to throat;
But the fools caught it,
Wore it in the world's eyes
As though they'd wrought it.
Song, let them take it,
For there's more enterprise
In walking naked.

萬靈節之夜(1)
《幻像》(2)跋

午夜降臨，基督教堂學院(3)的大鐘
還有許多小鐘，響徹
房間；這是萬靈節之夜。
桌上兩個長腳玻璃盅
注滿了麝香葡萄酒，泛著
泡沫。某個鬼魂大約
會來；因為，一個鬼魂經過了死的磨礪，
其構成元素变得如斯精细，當我们
的肉顎吞咽著酒漿的整體，那鬼魂
有权饮用酒的气息。

我需要一個心靈，即使
大炮從世界每個角落
響起，也能裹在沉思中的
那種，就像木乃伊
被裹在尸布中那樣；因為我
有一件奇事要說，一件只有活人才會嘲笑的
奇特的事，
雖不是要說給清醒的
耳朵聽；也許所有聽到的
都會又笑又哭一個小時。

我首先召喚霍頓。他愛怪誕的觀念，
他知道高傲的極度美妙，
即所謂柏拉圖式的戀愛，
他的激情已錘煉
至如此的強度，沒任何東西能給予他止痛藥，
在他妻子死去時，以安撫他的愛。
話語不過是浪費掉的呼吸；
他只有一個心願：
那個或下一個冬天的嚴寒
會是死。

兩種觀念如此混亂，我說不上
他想的最多的是她還是神，
我只想到他心靈的眼睛
向上望的時候，看到那唯一的影像；
那是個瘦小友好的鬼魂，
狂野而帶有神性，
令聖經上預示的那棟
廣大神奇的房子
平添生氣，
猶如一條金魚在碗中游泳。

接著我召喚弗羅倫絲·愛默麗，
在她那令人羡慕的美麗面容
第一次發現有皺紋的時候，
那惱人的未來，她已可預知；
美麗會減退，平凡會遞增；
她寜可遠離鄰居或朋友，
到黑皮膚人中間
去教書，在那兒可聽任可怕的歲月流逝
而避開他人的注視，
直至無人察覺的終點。

在到達那終點之前
有位博學的印度人曾向她論述
靈魂的歷程，從他的譬喻之中
她領悟了許多哲理。它如何到處回旋
遍及月亮所到之處，
直至投入太陽之中；
在那裏，自由卻又永恒，
既是選擇也是機遇，
終能忘掉它那些破爛的玩具
而沉入自身的歡欣之中。

我把麥格雷葛·邁瑟斯從墳墓裏喚起，
因為在我青春的最初艱難時期我們曾是朋友，
雖然近來我們疏遠了。
我曾認為他是半個瘋子，半個痞子，
我這樣對他說過，但我們的友誼卻又能持久；
要是心靈看似變了又如何，
似乎這友誼確已隨心靈而改變，
當思緒不由自主地升起
想起他做過的那些慷慨事跡
我便是瞎了眼也有些情願！

他當初很勤勉，
非常勇敢，那是在
孤寂把他逼瘋以前；因為
冥想未知的觀念
會使人之間的交流越來
越少；既不會有酬勞也不會
得到贊賞，但是他
會拒絕主人的敬酒，因為那是我的酒杯；
他本是個愛鬼的人，而現在做了鬼，
可能變得更加傲慢自大。

但名字算不了什麽。是哪一位并不要緊，
他的構成元素變得如此精細，
麝香葡萄酒的氣味能給予他敏銳的
味覺以狂喜，活人
縱使品嘗酒漿的整體
也喝不到的狂喜。我要說說
活人會嘲笑的木乃伊的真理，
雖不是要說給清醒的
耳朵聽；也許所有聽到的
都會又笑又哭一個小時。

這種觀念 — 持這種觀念的我
緊緊地抱著它，直到
冥想掌握了它各個部分，沒東西能阻擋
我的目光，直到那目光在世間的
怨恨中奔跑到受詛咒者痛心哀號
和受祝福者跳舞的地方；
這種觀念，我不需要
任何其他東西綁在裏面，
在心靈的漫游中盤旋，
就像木乃伊被尸布纏繞。

牛津，1920年秋

注：
1.這是葉慈用散文闡述自己哲學思想系統的書，於1925年出版，葉慈將本詩附於其後。
2.天主教節日，紀念已逝世的信徒即生前受過洗禮但有輕微罪過而被認為是在煉獄中進行滌罪的亡魂，通常為11月2日。根據天主教教義，在世信徒的祈禱有助於這些亡魂的滌罪，使他們得以進天堂。
3.牛津大學的一所學院。

All Souls' Night
Epilogue to ‘A Vision’
by W.B. Yeats

Midnight has come and the great Christ Church bell
And many a lesser bell sound through the room;
And it is All Souls' Night.
And two long glasses brimmed with muscatel
Bubble upon the table. A ghost may come;
For it is a ghost's right,
His element is so fine
Being sharpened by his death,
To drink from the wine-breath
While our gross palates drink from the whole wine.

I need some mind that, if the cannon sound
From every quarter of the world, can stay
Wound in mind's pondering,
As mummies in the mummy-cloth are wound;
Because I have a marvellous thing to say,
A certain marvellous thing
None but the living mock,
Though not for sober ear;
It may be all that hear
Should laugh and weep an hour upon the clock.

Horton's the first I call. He loved strange thought
And knew that sweet extremity of pride
That's called platonic love,
And that to such a pitch of passion wrought
Nothing could bring him, when his lady died,
Anodyne for his love.
Words were but wasted breath;
One dear hope had he:
The inclemency
Of that or the next winter would be death.

Two thoughts were so mixed up I could not tell
Whether of her or God he thought the most,
But think that his mind's eye,
When upward turned, on one sole image fell;
And that a slight companionable ghost,
Wild with divinity,
Had so lit up the whole
Immense miraculous house
The Bible promised us,
It seemed a gold-fish swimming in a bowl.

On Florence Emery I call the next,
Who finding the first wrinkles on a face
Admired and beautiful,
And by foreknowledge of the future vexed;
Diminished beauty, multiplied commonplace;
Preferred to teach a school
Away from neighbour or friend,
Among dark skins, and there
Permit foul years to wear
Hidden from eyesight to the unnoticed end.

Before that end much had she ravelled out
From a discourse in figurative speech
By some learned Indian
On the soul's journey. How it is whirled about
Wherever the orbit of the moon can reach,
Until it plunge into the sun;
And there, free and yet fast,
Being both Chance and Choice,
Forget its broken toys
And sink into its own delight at last.

I call MacGregor Mathers from his grave,
For in my first hard spring-time we were friends,
Although of late estranged.
I thought him half a lunatic, half knave,
And told him so, but friendship never ends;
And what if mind seem changed,
And it seem changed with the mind,
When thoughts rise up unbid
On generous things that he did
And I grow half contented to be blind!

He had much industry at setting out,
Much boisterous courage, before loneliness
Had driven him crazed;
For meditations upon unknown thought
Make human intercourse grow less and less;
They are neither paid nor praised.
but he'd object to the host,
The glass because my glass;
A ghost-lover he was
And may have grown more arrogant being a ghost.

But names are nothing. What matter who it be,
So that his elements have grown so fine
The fume of muscatel
Can give his sharpened palate ecstasy
No living man can drink from the whole wine.
I have mummy truths to tell
Whereat the living mock,
Though not for sober ear,
For maybe all that hear
Should laugh and weep an hour upon the clock.

Such thought — such thought have I that hold it tight
Till meditation master all its parts,
Nothing can stay my glance
Until that glance run in the world's despite
To where the damned have howled away their hearts,
And where the blessed dance;
Such thought, that in it bound
I need no other thing,
Wound in mind's wandering
As mummies in the mummy-cloth are wound.

Oxford, autumn 1920

原載《詩天空》
_________________
我的blog:
http://blog.sina.com.cn/u/1310527443

[ericcoliu]

Hi! 戴玨:

Thanks for your translation of Yeats’ work, especially for the poem entitled When You Are Old. A poem timely and meaningful to me.

Two things I want to discuss with you:

[[ericcoliu]]

Hi! 戴玨:

Thanks for your translation of Yeats’ work, especially for the poem entitled When You Are Old. A poem timely and meaningful to me.

Two things I want to discuss with you:

[戴玨]

[[Edgar]]

[ericcoliu]

Hi! 戴玨:


You're entitled to your interpretation of Yeats' work.

I just want to make one point here:

Element(s) translated here as 元素 is a mistake; it refers to the consecrated elements of The Eucharist: bread and wine.
_________________
Time is nothing but a disquiet of the soul

[[ericcoliu]]

Hi! 戴玨:


You're entitled to your interpretation of Yeats' work.

I just want to make one point here:

Element(s) translated here as 元素 is a mistake; it refers to the consecrated elements of The Eucharist: bread and wine.
_________________
Time is nothing but a disquiet of the soul

[戴玨]

[[Edgar]]

[星子]

当你年老时
　　
　　傅浩译
　　
　　当你年老，鬓斑，睡意昏沉，
　　在炉旁打盹时，取下这本书，
　　慢慢诵读，梦忆从前你双眸
　　神色柔和，眼波中倒影深深；
　　
　　多少人爱你风韵妩媚的时光，
　　爱你的美丽出自假意或真情，
　　但唯有一人爱你灵魂的至诚，
　　爱你渐衰的脸上愁苦的风霜；
　　
　　弯下身子，在炽红的壁炉边，
　　忧伤地低诉，爱神如何逃走，
　　在头顶上的群山巅漫步闲游，
　　把他的面孔隐没在繁星中间。

I like this better. I think this version convey a deeper and sadder emotion.
_________________

[[ANNA]]

当你年老时
　　
　　傅浩译
　　
　　当你年老，鬓斑，睡意昏沉，
　　在炉旁打盹时，取下这本书，
　　慢慢诵读，梦忆从前你双眸
　　神色柔和，眼波中倒影深深；
　　
　　多少人爱你风韵妩媚的时光，
　　爱你的美丽出自假意或真情，
　　但唯有一人爱你灵魂的至诚，
　　爱你渐衰的脸上愁苦的风霜；
　　
　　弯下身子，在炽红的壁炉边，
　　忧伤地低诉，爱神如何逃走，
　　在头顶上的群山巅漫步闲游，
　　把他的面孔隐没在繁星中间。

I like this better. I think this version convey a deeper and sadder emotion.
_________________

[anna]

你选的其他几首不错..很有味道.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[[星子安娜]]

你选的其他几首不错..很有味道.
_________________
---------------------

Anna Yin

《爱的灯塔-星子安娜双语诗选》
<Nightlights> <Seven Nights with the Chinese Zodiac> ...

http://annapoetry.com

[佩玖]

手头上的其他版本:

当你老了
　　　　
　　　　裘小龙译
　　　　
　　　　当你老了，头发灰白，满是睡意，
　　　　在炉火旁打盹，取下这一册书本，
　　　　缓缓地读，梦到你的眼睛曾经
　　　　有的那种柔情，和它们的深深影子；
　　　　
　　　　多少人爱你欢乐美好的时光，
　　　　爱你的美貌，用或真或假的爱情，
　　　　但有一个人爱你那朝圣者的灵魂，
　　　　也爱你那衰老了的脸上的哀伤；
　　　　
　　　　在燃烧的火炉旁边俯下身，
　　　　凄然地喃喃说，爱怎样离去了，
　　　　在头上的山峦中间独步踽踽，
　　　　把他的脸埋藏在一群星星中。

冰心译
　　
　　 当你老了，头发花白，睡意沉沉，
　　　　倦坐在炉边，取下这本书来，
　　　　慢慢读着，追梦当年的眼神
　　　　那柔美的神采与深幽的晕影。
　　　　多少人爱过你青春的片影，
　　　　爱过你的美貌，以虚伪或是真情，
　　　　惟独一人爱你那朝圣者的心，
　　　　爱你哀戚的脸上岁月的留痕。
　　　　在炉栅边，你弯下了腰，
　　　　低语着，带着浅浅的伤感，
　　　　爱情是怎样逝去，又怎样步上群山，
　　　　怎样在繁星之间藏住了脸。

[[佩玖]]

手头上的其他版本:

当你老了
　　　　
　　　　裘小龙译
　　　　
　　　　当你老了，头发灰白，满是睡意，
　　　　在炉火旁打盹，取下这一册书本，
　　　　缓缓地读，梦到你的眼睛曾经
　　　　有的那种柔情，和它们的深深影子；
　　　　
　　　　多少人爱你欢乐美好的时光，
　　　　爱你的美貌，用或真或假的爱情，
　　　　但有一个人爱你那朝圣者的灵魂，
　　　　也爱你那衰老了的脸上的哀伤；
　　　　
　　　　在燃烧的火炉旁边俯下身，
　　　　凄然地喃喃说，爱怎样离去了，
　　　　在头上的山峦中间独步踽踽，
　　　　把他的脸埋藏在一群星星中。

冰心译
　　
　　 当你老了，头发花白，睡意沉沉，
　　　　倦坐在炉边，取下这本书来，
　　　　慢慢读着，追梦当年的眼神
　　　　那柔美的神采与深幽的晕影。
　　　　多少人爱过你青春的片影，
　　　　爱过你的美貌，以虚伪或是真情，
　　　　惟独一人爱你那朝圣者的心，
　　　　爱你哀戚的脸上岁月的留痕。
　　　　在炉栅边，你弯下了腰，
　　　　低语着，带着浅浅的伤感，
　　　　爱情是怎样逝去，又怎样步上群山，
　　　　怎样在繁星之间藏住了脸。

[佩玖]

[[佩玖]]

[Lake]

[[Lake]]