第27章 钟 The Bell (第1/12页)

《钟》,1845 年

“the bell, 1845”

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钟的主题是德国和丹麦浪漫主义诗人喜爱的主题之一,通过其宗教联想唤起崇敬,通过其声学奇观唤起敬畏。

the motif of the bell is a favorite one among German and danish Romantic poets, evoking reverence through its religious associations and awe through its acoustical wonders.

德国诗人弗里德里希?席勒着名的《钟之歌》(1799 年)为安徒生所熟知,他写了一个关于其创作的故事叫《老教堂的钟》(1862 年),在这个故事中,他明显与席勒产生共鸣,席勒在贫困中长大,但却获得了艺术上的卓越成就。

the renowned “Song of the bell” (1799) by the German poet Friedrich Schiller was familiar to Andersen, and he wrote a story about its position called “the old church bell” (1862), in which he clearly identifies with Schiller, who grew up in poverty but rose to artistic distinction.

席勒的诗转向了政治、意识形态,而不是朝着美学、宗教的方向发展。

Schiller’s poem takes a political, ideological turn rather than moving in an aesthetic, religious direction.

在写《钟》的十二年后,安徒生发表了《钟渊》(1857 年),这个故事捕捉了关于欧登塞的一个河鬼和从河里响起的一个神秘钟声的传说的主要特征。

twelve years after writing “the bell, “ Andersen published “the bell deep” (1857), a story capturing the main features of a legend about a river ghost in odense and about a mysterious bell that rings from the river.

《钟》是安徒生诗歌更深刻、更广泛的展现,演绎了一个将诗歌与自然结合起来的寓言,并传播了一种民主理想,在这个理想中,王子与穷人携手。

“the bell” is a deeper, broader staging of Andersen’s poetics, enacting an allegory that unites poetry with nature and broadcasting a democratic ideal in which a prince joins hands with a pauper.

这个故事在安徒生的文学作品中提供了一个至高无上的乌托邦时刻,而描述森林之美的场景提醒我们,视觉上的愉悦对安徒生来说和钟那引人入胜的声学魅力一样

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