Table Of Contents
| τοΰ λόγου δ’ἐόντος ζυνοΰ ζώουσιν οί πολλοί ώς ἰδίαν ἔχοντες ϕρόνησιν. 1. p. 77. Fr. 2. ὀδὸς ἄνω κάτω μία καὶ ὡυτή. 1. p. 89. Fr. 60. Diels: Die Fragmente der Vorsokratiker (Herakleitos). | 道（Logos）是共同的，但多数人却生活得仿佛各有自己的理智。 （22B2） 上升之路与下降之路乃是一途。（22B60） ——赫拉克利特 Diels–Kranz《前苏格拉底哲学家的残篇》 |
| I wish to acknowledge my obligation to friends for their criticism, and particularly to Mr John Hayward for improvements of phrase and construction. | 我谨向诸位朋友致谢，感谢他们的批评指正，尤其感谢约翰·海沃德先生（Mr John Hayward）对措辞与结构所作的改进。 |
BURNT NORTON｜焚毁的诺顿庄园｜四重奏之一｜1936
I
| Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time is eternally present All time is unredeemable. | 时间降临，时间已逝1， 或许都存在于时间将至之中， 而时间将至又包含着时间已逝。 若一切时间都永恒地当下， 则一切时间皆不可赎回。 |
| What might have been is an abstraction Remaining a perpetual possibility Only in a world of speculation. What might have been and what has been Point to one end, which is always present. | “本可能如何”，是个抽象， 停留在永恒的可能性 只是在推测的世界中。 而“本可能如何”与“已然如何”， 都指向同一个终点，那终点总是当下。 |
| Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. My words echo Thus, in your mind. | 脚步声在记忆中回响， 沿着那条我们未曾走过的走廊， 通向那扇我们从未开启的门 进入玫瑰花园。我的言语也如此 在你心中回响。 |
| But to what purpose Disturbing the dust on a bowl of rose-leaves I do not know. | 但目的何在？ 搅动那一碗玫瑰干叶上的尘土， 我不知道。 |
| Other echoes Inhabit the garden. Shall we follow? Quick, said the bird, find them, find them, Round the corner. Through the first gate, Into our first world, shall we follow The deception of the thrush? Into our first world. | 还有别样的回声 栖息在花园中。我们是否该追随？ “快些，”鸟儿说，“去找他们，去找他们， 转过那角落。”穿过第一道门， 进入我们的第一个世界。我们是否该追随 鸫鸟的幻影？进入我们的第一个世界。 |
| There they were, dignified, invisible, Moving without pressure, over the dead leaves, In the autumn heat, through the vibrant air, And the bird called, in response to The unheard music hidden in the shrubbery, And the unseen eyebeam crossed, for the roses Had the look of flowers that are looked at. There they were as our guests, accepted and accepting. | 他们以前在那里，庄严而不可见， 轻盈地行走，在落叶之上， 在秋日的暖意里，在颤动的空气中。 鸟儿应声呼唤，回应 那隐藏在灌木间未被听见的乐音， 无形的眼光交错，因为那些玫瑰 有着被注视着的神情。 他们在那儿，曾是我们的客人，被接纳，也接纳。 |
| So we moved, and they, in a formal pattern, Along the empty alley, into the box circle, To look down into the drained pool. Dry the pool, dry concrete, brown edged, And the pool was filled with water out of sunlight, And the lotos rose, quietly, quietly, The surface glittered out of heart of light, And they were behind us, reflected in the pool. Then a cloud passed, and the pool was empty. | 于是我们前行，他们也是，依着一种庄重的秩序， 沿着空寂的小径，进入黄杨围成的圆环， 俯视那干涸的水池。 池已干，混凝土已干，褐色边缘， 而池又盛满了由阳光化成的水， 莲花静静地、静静地升起； 光的心脏迸射出闪烁的水面； 他们在我们身后，倒映在池中。 忽然一片云掠过，池又空了。 |
| Go, said the bird, for the leaves were full of children, Hidden excitedly, containing laughter. Go, go, go, said the bird: human kind Cannot bear very much reality. Time past and time future What might have been and what has been Point to one end, which is always present. | “去吧，”鸟儿说，因为树叶间满是孩子， 兴奋地藏匿，笑声盈盈。 “去吧，去吧，去吧，”鸟儿说，“人类 无法承受太多的真实。” 时间已逝，时间将至 “本可能如何”与“已然如何”， 都指向同一个终点——总是在当下。 |
II
| Garlic and sapphires in the mud Clot the bedded axle-tree. The trilling wire in the blood Sings below inveterate scars Appeasing long forgotten wars. | 蒜与蓝宝石在泥中 凝结在车轴的槽里。 血中颤动的琴弦 在久远的伤痕下歌唱 抚慰那早被遗忘的战争。 |
| The dance along the artery The circulation of the lymph Are figured in the drift of stars Ascend to summer in the tree We move above the moving tree In light upon the figured leaf And hear upon the sodden floor Below, the boarhound and the boar Pursue their pattern as before But reconciled among the stars. | 沿着动脉的舞蹈， 淋巴的流转 皆映照在星辰的漂移中 在树上升入夏季 我们升在树梢之上 在那形纹的叶上之光里 而在潮湿的地面下 獒犬与野猪 依旧追逐它们的图案 但在星辰间已得和解。 |
| At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. Neither movement from nor towards, Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only the dance. | 在旋转世界的静点。不是肉体不是非肉体； 不是来自不是趋向；在静点，那里有舞蹈， 却不是停息不是运动。也不要称其“固定”， 那里，过去未来汇聚。不是移动来不是去， 不是上升不是下降。惟有那个点，静点， 那里没有舞蹈——且唯有舞蹈。 |
| I can only say, there we have been: but I cannot say where. And I cannot say, how long, for that is to place it in time. | 我只能说：我们去过那里；却不能说，何处。 我也不能说，多久，因为那便是把它放入时间之中。 |
| The inner freedom from the practical desire, The release from action and suffering, release from the inner And the outer compulsion, yet surrounded By a grace of sense, a white light still and moving, Erhebung without motion, concentration Without elimination, both a new world And the old made explicit, understood In the completion of its partial ecstasy, The resolution of its partial horror. | 那从实用欲望中解放的内在自由， 那脱离行动与苦难的释放，那从内在 与外在强迫中脱离，却被感官的恩典所 环绕，一抹静而流动的白光， 升华而无运动，专注 而无剔除，既是新世界， 又使旧世界显现，被理解 在其部分的狂喜之完成中， 在其部分的恐惧之解脱中。 |
| Yet the enchainment of past and future Woven in the weakness of the changing body, Protects mankind from heaven and damnation Which flesh cannot endure. | 然而过去与未来的羁绊 织入变化之身的脆弱里， 使人类免于天堂与诅咒 那是肉身所不能承受的。 |
| Time past and time future Allow but a little consciousness. To be conscious is not to be in time But only in time can the moment in the rose-garden, The moment in the arbour where the rain beat, The moment in the draughty church at smokefall Be remembered; involved with past and future. Only through time time is conquered. | 时间已逝，时间将至 只容得一点意识。 有意识，便不在时间之中 唯有在时间中，那玫瑰园的片刻， 那雨打藤架的片刻， 那暮烟弥散教堂的片刻 方得忆起；与过去未来相交。 唯有经由时间，时间方被征服。 |
III
| Here is a place of disaffection Time before and time after In a dim light: neither daylight Investing form with lucid stillness Turning shadow into transient beauty With slow rotation suggesting permanence Nor darkness to purify the soul Emptying the sensual with deprivation Cleansing affection from the temporal. | 这是一个冷漠之地 时间之前与时间之后 在昏暗的光中：既非白昼 赋予形体以清澈的静谧 阴影被化作短暂的美 以缓缓的旋转暗示着永恒 亦非那能净化灵魂的黑暗 以剥夺倒空感官 洗尽尘世的眷恋。 |
| Neither plenitude nor vacancy. Only a flicker Over the strained time-ridden faces Distracted from distraction by distraction Filled with fancies and empty of meaning Tumid apathy with no concentration Men and bits of paper, whirled by the cold wind That blows before and after time, Wind in and out of unwholesome lungs Time before and time after. | 既非充盈，亦非空缺。唯有闪烁 掠过那些被时间磨损、紧绷的面孔 他们被分心之事从分心中分心 充满幻想，却空无意义 肿胀的倦怠，无一丝专注 人与纸屑，被寒风卷起 那吹拂时间前与时间后的风， 在污浊的肺中出入 时间之前与时间之后。 |
| Eructation of unhealthy souls Into the faded air, the torpid Driven on the wind that sweeps the gloomy hills of London, Hampstead and Clerkenwell, Campden and Putney, Highgate, Primrose and Ludgate. Not here Not here the darkness, in this twittering world. | 不健康灵魂的反胃 喷吐入这褪色的空气，迟缓的 被风驱赶，吹过伦敦的阴郁山丘， 汉普斯特、克拉肯威尔、坎登与普特尼， 海格特、普里姆罗斯与卢德盖特2。不在此处 黑暗不在此处——在这喋喋不休的世界。 |
| Descend lower, descend only Into the world of perpetual solitude, World not world, but that which is not world, Internal darkness, deprivation And destitution of all property, Desiccation of the world of sense, Evacuation of the world of fancy, Inoperancy of the world of spirit; | 更深地降下，只能降下 进入永恒孤寂的世界， 非世界的世界，而是不属于世界的存在， 内在的黑暗，匮乏 剥尽一切所有， 感官之界枯干， 幻想之界被掏空， 灵魂之界无所作为； |
| This is the one way, and the other Is the same, not in movement But abstention from movement; while the world moves In appetency, on its metalled ways Of time past and time future | 这是唯一的道路，而另一条 也是如此，不在于行动 而在于对行动的戒绝；同时世界运行 在饥渴中，沿着它铺设好的道路 时间已逝，时间将至 |
IV
| Time and the bell have buried the day, The black cloud carries the sun away. | 时间与钟声一同埋葬了白昼， 黑云将太阳掩去。 |
| Will the sunflower turn to us, will the clematis Stray down, bend to us; tendril and spray Clutch and cling? | 向日葵可会转向我们，铁线莲可会 垂下身来，俯向我们；卷须与枝蔓 可会攀附，纠缠？ |
| Chill Fingers of yew be curled Down on us? After the kingfisher’s wing Has answered light to light, and is silent, the light is still At the still point of the turning world. | 冷冽 紫杉的指尖可会弯曲 覆落在我们身上？当翠鸟的翅翼 以光答复光，而后归于寂静，光仍停驻 停驻在旋转世界的静点。 |
V
| Words move, music moves Only in time; but that which is only living Can only die. Words, after speech, reach Into the silence. Only by the form, the pattern, Can words or music reach The stillness, as a Chinese jar still Moves perpetually in its stillness. | 言语在流动，音乐在流动 唯在时间之中；然而凡属生命之物， 终将归于死亡。言语，在言说之后，进入 寂静。唯藉形式，藉着纹理， 言语或音乐方能抵达 那静止，如一只中国的陶罐 在其静止中恒久地流动。 |
| Not the stillness of the violin, while the note lasts, Not that only, but the co-existence, Or say that the end precedes the beginning, And the end and the beginning were always there Before the beginning and after the end. | 并非如小提琴的静止，仅于音符尚存之时 不仅如此，而是共存， 或可言其终点先于起点， 而终点与起点常已同在 在起点之前，在终点之后。 |
| And all is always now. Words strain, Crack and sometimes break, under the burden, Under the tension, slip, slide, perish, Decay with imprecision, will not stay in place, Will not stay still. Shrieking voices Scolding, mocking, or merely chattering, Always assail them. The Word in the desert Is most attacked by voices of temptation, The crying shadow in the funeral dance, The loud lament of the disconsolate chimera. The detail of the pattern is movement, As in the figure of the ten stairs. Desire itself is movement Not in itself desirable; Love is itself unmoving, Only the cause and end of movement, Timeless, and undesiring Except in the aspect of time Caught in the form of limitation Between un-being and being. Sudden in a shaft of sunlight Even while the dust moves There rises the hidden laughter Of children in the foliage | 一切恒常为当下。言语紧绷， 裂开，有时破碎，在重负之下， 在紧张之中，滑落、流逝、消亡， 以模糊而腐败，无法停留于其位， 无法保持静止。尖厉的声音 斥责、嘲弄，或只是喋喋不休， 总在袭击它们。而那荒漠中的圣言 最易遭受诱惑之声的攻击， 葬舞中哭泣的影子， 与那悲吟的怪灵的高声哀号。 纹理的细节即是运动， 如同十级阶梯的形象。 欲望自身即是运动 却并非因自身而可欲； 爱自身则无所动， 唯是运动的缘由与目的， 没有时间，也没有欲求 除非在时间方面 被拘系于有限之形 介于无和有之间。 忽然，在一道阳光中 即使尘埃仍在飞扬 升起了隐藏的欢笑， 那是林叶间的孩童 |
| Quick now, here, now, always – Ridiculous the waste sad time Stretching before and after. | 迅疾，如今，这里，如今，永恒—— 荒谬啊，浪费而哀伤的时间 在“之前”与“之后”之间无尽伸展。 |
EAST COKER｜东科克村｜四重奏之二｜1940
I
| In my beginning is my end. In succession Houses rise and fall, crumble, are extended, Are removed, destroyed, restored, or in their place Is an open field, or a factory, or a by-pass. | 在我的开端里，便有我的终结。继而 房屋兴起又倾覆，崩塌，被扩建， 被拆除、毁坏、修复，或其处所化为 一片旷野，或一间工厂，或一条岔路。 |
| Old stone to new building, old timber to new fires, Old fires to ashes, and ashes to the earth Which is already flesh, fur and faeces, Bone of man and beast, cornstalk and leaf. | 旧石化作新屋，旧木化作新火， 旧火成灰，灰又归于大地 而大地已是血肉、皮毛与粪壤， 人兽之骨，谷秆与树叶。 |
| Houses live and die: there is a time for building And a time for living and for generation And a time for the wind to break the loosened pane And to shake the wainscot where the field-mouse trots And to shake the tattered arras woven with a silent motto. | 房屋生又死：有建造之时 有居住与繁衍之时 亦有风打碎松动的窗格之时 摇晃田鼠奔行的墙板， 摇晃那织有无声箴言的破旧帷幔。 |
| In my beginning is my end. Now the light falls Across the open field, leaving the deep lane Shuttered with branches, dark in the afternoon, Where you lean against a bank while a van passes, And the deep lane insists on the direction Into the village, in the electric heat Hypnotised. In a warm haze the sultry light Is absorbed, not refracted, by grey stone. | 在我的开端里，便有我的终结。此刻光线斜落 越过空旷的原野，离开那深巷 被枝条遮蔽，午后而昏暗， 你倚在土坡上，一辆篷车驶过， 深巷固执地指引方向—— 通往村庄；在电热的 催眠中。温雾弥漫，闷热的光线 被灰石吸纳，而不折射。 |
| The dahlias sleep in the empty silence. Wait for the early owl. In that open field If you do not come too close, if you do not come too close, On a summer midnight, you can hear the music Of the weak pipe and the little drum And see them dancing around the bonfire The association of man and woman In daunsinge, signifying matrimonie – A dignified and commodious sacrament. | 大丽花在空寂的沉默中酣睡。 等待那早来的鸮鸟。 在那片空地上， 若你不过于靠近，若你不过于靠近， 在夏日的午夜，你可听见那乐声 微弱的笛音与细鼓之拍 你可见他们围绕篝火起舞 男与女的结合， 在舞蹈中象征婚姻—— 一种庄严而安适的圣礼。 |
| Two and two, necessarye coniunction, Holding eche other by the hand or the arm Whiche betokeneth concorde. Round and round the fire Leaping through the flames, or joined in circles, Rustically solemn or in rustic laughter Lifting heavy feet in clumsy shoes, Earth feet, loam feet, lifted in country mirth | 两两相对，必要的结合， 手牵手，或挽着臂膀， 象征和谐。旋转围火旋转 跃入火焰，或围成一圈， 质朴的庄重，或质朴的欢笑， 笨重的鞋下抬起沉脚—— 泥土之足，壤土之足，举于乡野之乐 |
| Mirth of those long since under earth Nourishing the corn. Keeping time, Keeping the rhythm in their dancing As in their living in the living seasons The time of the seasons and the constellations | 那是久已入土者的欢笑， 滋养着谷物。守着时间， 守着舞步的韵律 如他们在生时守着季节的韵律 季节与星辰的时序 |
| The time of milking and the time of harvest The time of the coupling of man and woman And that of beasts. Feet rising and falling. Eating and drinking. Dung and death. | 挤奶之时，收获之时， 男女交合之时， 以及兽群的那时侯。双足升起又落下， 饮食。排泄，死亡。 |
| Dawn points, and another day Prepares for heat and silence. Out at sea the dawn wind Wrinkles and slides. I am here Or there, or elsewhere. In my beginning. | 黎明指向前方，又一天 预备着炎热与寂静。海上，晨风 皱起又滑过水面。我在这里 或在那里，或什么地方。——在我的开端中。 |
II
| What is the late November doing With the disturbance of the spring And creatures of the summer heat, And snowdrops writhing under feet And hollyhocks that aim too high Red into grey and tumble down Late roses filled with early snow? | 十一月末在做什么？ 带着春天的骚动 与盛夏的生灵一同而来， 雪花莲在脚下扭动 蜀葵昂得太高 红入灰中，随之坠落 晚开的玫瑰，盈满了早来的雪？ |
| Thunder rolled by the rolling stars Simulates triumphal cars Deployed in constellated wars Scorpion fights against the Sun Until the Sun and Moon go down Comets weep and Leonids fly Hunt the heavens and the plains Whirled in a vortex that shall bring The world to that destructive fire Which burns before the ice-cap reigns. | 雷声滚过旋转的星辰 仿佛凯旋的战车 在星座的战场上布阵 天蝎与太阳交锋 直到日与月一同陨落 彗星在哭泣，狮子座流星飞驰 追逐天际与原野， 被卷入一个漩涡，终将带来 那毁灭性的火焰 在冰盖统治之前燃烧。 |
| That was a way of putting it – not very satisfactory: A periphrastic study in a worn-out poetical fashion, Leaving one still with the intolerable wrestle With words and meanings. The poetry does not matter | 这只是种说法——并不太令人满意： 一种迂回的表达，以陈旧的诗体手法， 让人依旧陷入那难以忍受的搏斗 与词语，与意义。诗本身并不重要 |
| It was not (to start again) what one had expected. What was to be the value of the long looked forward to, Long hoped for calm, the autumnal serenity And the wisdom of age? Had they deceived us Or deceived themselves, the quiet-voiced elders, Bequeathing us merely a receipt for deceit? | 这并非（重新说起）人所期望的。 那价值是什么，那漫长期待的， 盼望已久的宁静，秋的平和 与岁月的智慧？他们是否欺骗了我们？ 或欺骗了他们自己？那些声音温柔的长者， 只是传下了一份欺骗的秘方？ |
| The serenity only a deliberate hebetude, The wisdom only the knowledge of dead secrets Useless in the darkness into which they peered Or from which they turned their eyes. There is, it seems to us, At best, only a limited value In the knowledge derived from experience. | 那宁静，其实是有意的迟钝， 那智慧，只是对死去秘密的知晓 在他们凝视的黑暗中无所用处 或是他们转眼避开的黑暗。看来，对我们而言， 顶多也只是有限的价值 在经验而来的知识中。 |
| The knowledge imposes a pattern, and falsifies, For the pattern is new in every moment And every moment is a new and shocking Valuation of all we have been. We are only undeceived Of that which, deceiving, could no longer harm. | 知识强加出一个模式，却因此造假， 因为那模式在每一刻都是新的， 而每一刻都重新、惊异地 衡量我们曾经的一切。我们只是清醒过来 从那已失去伤害力的谎言中。 |
| In the middle, not only in the middle of the way But all the way, in a dark wood, in a bramble, On the edge of a grimpen, where is no secure foothold, And menaced by monsters, fancy lights, Risking enchantment. Do not let me hear Of the wisdom of old men, but rather of their folly, Their fear of fear and frenzy, their fear of possession, Of belonging to another, or to others, or to God. | 在中途，不仅仅是旅途的中间 而是在一片幽暗的林中，在荆棘里， 在险峻的边缘，没有稳固的立足之地， 受怪物威胁，被幻光迷惑， 冒着被魔法诱惑的风险。不要让我再听 老人的智慧，宁愿听他们的愚昧， 他们对恐惧和疯狂的恐惧，对“被从属”的恐惧， 对属于别人、属于群体、或属于上帝的恐惧。 |
| The only wisdom we can hope to acquire Is the wisdom of humility: humility is endless. The houses are all gone under the sea. The dancers are all gone under the hill. | 我们唯一能希望得到的智慧， 是谦卑的智慧；谦卑是无尽的。 那些房屋，全都沉入了海底。 那些舞者，全都埋在山丘之下。 |
III
| Ο dark dark dark. They all go into the dark, The vacant interstellar spaces, the vacant into the vacant, The captains, merchant bankers, eminent men of letters, The generous patrons of art, the statesmen and the rulers, Distinguished civil servants, chairmen of many committees, Industrial lords and petty contractors, all go into the dark, And dark the Sun and Moon, and the Almanach de Gotha And the Stock Exchange Gazette, the Directory of Directors, And cold the sense and lost the motive of action. | 噢，黑暗，黑暗，黑暗。他们全都进入黑暗， 那空旷的星际虚空，虚空归于虚空， 船长、商贾、杰出的文人， 慷慨的艺术赞助人，政治家与统治者， 显赫的公务员，数个委员会的主席， 工业巨头与微小的承包人，都走入黑暗。 太阳与月亮也暗淡，还有哥达年鉴、 还有证券公报、董事名录， 理智冰冷，行动的动机消失无踪。 |
| And we all go with them, into the silent funeral, Nobody’s funeral, for there is no one to bury. I said to my soul, be still, and let the dark come upon you Which shall be the darkness of God. As, in a theatre, The lights are extinguished, for the scene to be changed With a hollow rumble of wings, with a movement of darkness on darkness, And we know that the hills and the trees, the distant panorama And the bold imposing façade are all being rolled away – | 而我们全都随他们，进入寂静的葬礼， 那无人之葬礼，因为无人可葬。 我对我的灵魂说：“安静，让黑暗临到你 那将是上帝的黑暗。”如在剧院中， 灯光熄灭，为的是变换场景， 伴着翅翼的空洞轰鸣，黑暗在黑暗上流动， 我们知道，那些山岭与树木，远处的全景 那雄伟庄严的外立面，全都被卷走—— |
| Or as, when an underground train, in the tube, stops too long between stations And the conversation rises and slowly fades into silence And you see behind every face the mental emptiness deepen Leaving only the growing terror of nothing to think about; Or when, under ether, the mind is conscious but conscious of nothing – | 又如地铁，在两站间的地道停得太久， 谈话声渐起，复又慢慢消逝于沉默 你看见每张脸孔背后，心灵的空虚在加深 只剩那滋长的无物可思的恐怖； 或在乙醚之下，心志清醒，却空洞—— |
| I said to my soul, be still, and wait without hope For hope would be hope for the wrong thing; wait without love For love would be love of the wrong thing; there is yet faith But the faith and the love and the hope are all in the waiting. Wait without thought, for you are not ready for thought: So the darkness shall be the light, and the stillness the dancing. | 我对我的灵魂说：“安静，且无望地等待 因为希望，只会是错误之物的希望；无爱地等待 因为爱，只会是错误之物的爱；然而仍有信 而信、爱与望，皆在等待之中。 无思地等待，因为你尚未准备好去思考： 于是黑暗将成为光明，静止将成为舞蹈。” |
| Whisper of running streams, and winter lightning. The wild thyme unseen and the wild strawberry, The laughter in the garden, echoed ecstasy Not lost, but requiring, pointing to the agony Of death and birth. | 潺潺的水声，冬日的闪电。 野百里香未见，野草莓无踪， 花园中的笑声，回荡的狂喜 未曾失落，却要求，指向那 死亡与诞生的痛楚。 |
| You say I am repeating Something I have said before. I shall say it again. | 你说我在重复 我已说过的话。我要再说一次。 |
| Shall I say it again? In order to arrive there, To arrive where you are, to get from where you are not, You must go by a way wherein there is no ecstasy. In order to arrive at what you do not know You must go by a way which is the way of ignorance. In order to possess what you do not possess You must go by the way of dispossession. In order to arrive at what you are not You must go through the way in which you are not. | 我要再说一次？为了抵达那里， 抵达你所在之地，从你尚未在的地方出发， 你必须走一条无狂喜之路。 为了到达你所未知的， 你必须走一条无知之路。 为了获得你尚未拥有的， 你必须走一条失却之路。 为了成为你尚未成为的， 你必须经过一条你不在的道路。 |
| And what you do not know is the only thing you know And what you own is what you do not own And where you are is where you are not. | 而你所不知道的，正是你唯一知道的 你所拥有的，正是你未曾拥有的 你所在之处，正是你不在之处。 |
IV
| The wounded surgeon plies the steel That questions the distempered part; Beneath the bleeding hands we feel The sharp compassion of the healer’s art Resolving the enigma of the fever chart. | 受伤的外科医生操纵着手术刀 探询那失调的部分； 在他那流血的双手之下，我们感受到 治疗艺术的锋利同情 解读着病程图上的谜题。 |
| Our only health is the disease If we obey the dying nurse Whose constant care is not to please But to remind of our, and Adam’s curse, And that, to be restored, our sickness must grow worse. | 我们唯一的健康即疾病 若我们服从那临终的护士 她日复一日的关照并非为取悦， 而是提醒我们，及亚当的诅咒， 要复原，疾病必须愈加严重。 |
| The whole earth is our hospital Endowed by the ruined millionaire, Wherein, if we do well, we shall Die of the absolute paternal care That will not leave us, but prevents us everywhere. | 整个大地是我们的医院 由破产的富翁所捐赠， 在其中，若我们行得正，便将 死于那绝对父性的关怀， 它不曾离开，却处处阻止我们。 |
| The chill ascends from feet to knees, The fever sings in mental wires. If to be warmed, then I must freeze And quake in frigid purgatorial fires Of which the flame is roses, and the smoke is briars. | 寒意自足尖升至膝盖， 热病在思维的经络中歌唱。 若要取暖，我必须冻结 在寒冷炼狱之火中战栗 其火焰是玫瑰，其烟雾是荆棘。 |
| The dripping blood our only drink, The bloody flesh our only food: In spite of which we like to think That we are sound, substantial flesh and blood – Again, in spite of that, we call this Friday good. | 滴落的血液是我们唯一的饮料， 血肉是我们唯一的食物： 尽管如此，我们仍愿相信 自己是健全、实在的血肉之躯—— 即便如此，我们仍称这周五是好的。 |
V
| So here I am, in the middle way, having had twenty years – Twenty years largely wasted, the years of l’entre deux guerres – Trying to learn to use words, and every attempt Is a wholly new start, and a different kind of failure | 于是我就在这里，在中途，已经度过了二十年—— 二十年大多虚度，介于两次大战之间的岁月—— 努力学习如何使用语言，而每一次尝试 都是一个全新的开始，一种不同的失败。 |
| Because one has only learnt to get the better of words For the thing one no longer has to say, or the way in which One is no longer disposed to say it. And so each venture Is a new beginning, a raid on the inarticulate With shabby equipment always deteriorating In the general mess of imprecision of feeling, Undisciplined squads of emotion. And what there is to conquer By strength and submission, has already been discovered Once or twice, or several times, by men whom one cannot hope To emulate – but there is no competition – There is only the fight to recover what has been lost And found and lost again and again: and now, under conditions That seem unpropitious. But perhaps neither gain nor loss. For us, there is only the trying. The rest is not our business. | 因为人只是学会了驾驭那些语言 去表达自己已不必再说的事，或者那些表达方式 自己已不再愿意使用。于是每一次努力 都是新的开端，对“无言之物”的突袭 用着那破旧、日渐衰败的装备， 陷入情感混乱的总汪洋中， 那一群群未经训练的情绪士兵。那些可以被征服 凭力量与顺服，早已被人发现过 一两次，或数次，被那些人无法希望去 效仿的——但这并非竞争—— 我们只有去奋斗去夺回那些一再失去 又一再寻回的东西：而如今，环境 似乎并不有利。但也许，无所谓得失。 我们唯有努力。其余的，不关我们的事。 |
| Home is where one starts from. As we grow older The world becomes stranger, the pattern more complicated Of dead and living. Not the intense moment Isolated, with no before and after, But a lifetime burning in every moment And not the lifetime of one man only But of old stones that cannot be deciphered. | 家，是人出发的地方。随着年岁增长， 世界变得愈发陌生，生与死的纹理 更为繁复。并非那强烈的一瞬， 被孤立，无前无后， 而是一生在每一刻中燃烧 不仅是一个人的一生， 更是那些无法被解读的古老石头的岁月。 |
| There is a time for the evening under starlight, A time for the evening under lamplight (The evening with the photograph album). Love is most nearly itself When here and now cease to matter. Old men ought to be explorers Here or there does not matter | 有那星光下的夜晚， 也有灯光下的夜晚 （那翻阅相册的夜晚） 爱最接近其本身的时刻 是当“此时此地”已不再重要。 老年人理当成为探险者 远方或近处，都无所谓 |
| We must be still and still moving Into another intensity For a further union, a deeper communion Through the dark cold and the empty desolation, The wave cry, the wind cry, the vast waters Of the petrel and the porpoise. In my end is my beginning. | 我们必须静止，又前行 进入另一种更强烈的境界 为更深的联合，更深的相通 穿越黑暗、寒冷与空寂的荒原， 听浪的呼喊，风的呼喊，浩渺水声中 海燕与海豚的回音。我的终结便是我的开端。 |
THE DRY SALVAGES｜干岩礁｜四重奏之三｜1941
| The Dry Salvages – presumably les trois sauvages – is a small group of rocks, with a beacon, off the N.E. coast of Cape Ann, Massachusetts.Salvages is pronounced to rhyme with assuages. Groaner : a whistling buoy. | 《干岩礁》（The Dry Salvages——大概指 les trois sauvages）是一小片岩石群，带有一座信标，位于马萨诸塞州安角（Cape Ann）东北海岸外3。“Salvages”的发音与 assuages 押韵。附注：Groaner——一种发哨声的浮标。 |
I
| I do not know much about gods; but I think that the river Is a strong brown god – sullen, untamed and intractable, Patient to some degree, at first recognised as a frontier; Useful, untrustworthy, as a conveyor of commerce; Then only a problem confronting the builder of bridges. | 我对诸神所知不多；但我想，那条河 是一位强壮的褐色神祇——阴郁、桀骜而难以驯服， 某种程度的耐心，最初被当作边界； 有用，却不可靠，作为商贸的运输者； 然后仅成为建桥人面临的问题。 |
| The problem once solved, the brown god is almost forgotten By the dwellers in cities – ever, however, implacable, Keeping his seasons and rages, destroyer, reminder Of what men choose to forget. Unhonoured, unpropitiated By worshippers of the machine, but waiting, watching and waiting. His rhythm was present in the nursery bedroom, In the rank ailanthus of the April dooryard, In the smell of grapes on the autumn table, And the evening circle in the winter gaslight. | 问题一旦解决，这位褐色神祇几乎 被城市居民遗忘——然而它始终冷酷， 遵循自己的季节与暴怒，是毁灭者，也是提醒者， 提醒人类选择遗忘的事物。未被机器崇拜者 尊崇、未被安抚，但它仍在等待、观察、等待。 它的节奏出现于婴儿房间， 四月门前那浓密的臭椿林， 秋天餐桌上的葡萄香气， 冬日煤气灯下的围坐。 |
| The river is within us, the sea is all about us; The sea is the land’s edge also, the granite Into which it reaches, the beaches where it tosses Its hints of earlier and other creation: The starfish, the horseshoe crab, the whale’s backbone; The pools where it offers to our curiosity The more delicate algae and the sea anemone. It tosses up our losses, the torn seine, The shattered lobsterpot, the broken oar And the gear of foreign dead men. The sea has many voices, Many gods and many voices. | 河流在我们中间，海洋环绕四周； 海洋亦是陆地之边缘，花岗岩 之所及，沙滩之所在，它投掷出 早期及其他创造的痕迹： 海星、马蹄蟹、鲸的脊骨； 那些水潭向我们的好奇心展示 更为娇嫩的海藻和海葵。 它掀起我们的失物——破碎的围网、 断裂的龙虾笼、折断的桨 以及异乡逝者的装备。海有许多声音， 许多神祇与许多声音。 |
| The salt is on the briar rose, The fog is in the fir trees. The sea howl And the sea yelp, are different voices Often together heard: the whine in the rigging, The menace and caress of wave that breaks on water, The distant rote in the granite teeth, And the wailing warning from the approaching headland Are all sea voices, and the heaving groaner Rounded homewards, and the seagull: And under the oppression of the silent fog The tolling bell Measures time not our time, rung by the unhurried Ground swell, a time | 盐落在蔷薇荆上， 雾笼在杉树间。 海的怒嚎 与海的尖啸，各自诉说不同的心声 常常同时响起：索具中的尖啸， 破浪的威胁与轻抚， 远处花岗岩齿列的轰鸣， 临近岬角的哀鸣警告—— 都是海的声音；那起伏的哀鸣浮标 绕回家岸，以及海鸥： 在沉重雾气的压迫下 鸣响的钟 计量的时间非我们的时间，由缓慢的 潮涌敲响，一个时间 |
| Older than the time of chronometers, older Than time counted by anxious worried women Lying awake, calculating the future, Trying to unweave, unwind, unravel And piece together the past and the future, Between midnight and dawn, when the past is all deception, The future futureless, before the morning watch When time stops and time is never ending; And the ground swell, that is and was from the beginning, Clangs The bell. | 那是比计时器更古老的时间，更古老 比那些焦虑、担忧的妇人 辗转难眠、计算未来、 试图解开、拆散、解开纠结 并将过去与未来重新拼凑起来，， 在夜半至黎明，当过去尽是欺骗， 未来毫无保障，黎明巡查前 时间停止，而时间永无止境； 而这潮涌，自始至今， 敲响了 那钟。 |
II
| Where is there an end of it, the soundless wailing, The silent withering of autumn flowers Dropping their petals and remaining motionless; Where is there an end to the drifting wreckage, The prayer of the bone on the beach, the unprayable Prayer at the calamitous annunciation? | 它在哪里会有尽头呢？那无声的哀号， 秋花静默枯萎， 落下花瓣而静止不动； 何处才有尽头，那漂流的残骸 沙滩上骨骸的祈祷，那无法祷告的 灾难性报信的祈祷？ |
| There is no end, but addition: the trailing Consequence of further days and hours, While emotion takes to itself the emotionless Years of living among the breakage Of what was believed in as the most reliable – And therefore the fittest for renunciation. | 没有尽头，只有延续：尾随的 更多的日子和时光的后果， 情感继承了那无情的 在残破之中度过的岁月—— 那些曾被视为最可靠的事物， 因此也最适合舍弃。 |
| There is the final addition, the failing Pride or resentment at failing powers, The unattached devotion which might pass for devotionless, In a drifting boat with a slow leakage, The silent listening to the undeniable Clamour of the bell of the last annunciation. | 终极的延续，是衰败中的 傲慢或因能力衰退而生的怨恨， 漂泊船上的无所依附的虔诚 或可被误认为无虔诚； 慢慢渗水的漂流小舟中， 静静聆听那不可否认的 最后宣告的钟声的喧嚣。 |
| Where is the end of them, the fishermen sailing Into the wind’s tail, where the fog cowers? We cannot think of a time that is oceanless Or of an ocean not littered with wastage Or of a future that is not liable Like the past, to have no destination. | 他们的终点在哪里，渔民们驶入 风尾、雾气退避之处？ 我们无法想象没有海的时刻， 也无法想象没有废弃物的海洋， 也无法想象未来不可能 像过去一样，毫无归宿。 |
| We have to think of them as forever bailing, Setting and hauling, while the North East lowers Over shallow banks unchanging and erosionless Or drawing their money, drying sails at dockage; Not as making a trip that will be unpayable For a haul that will not bear examination. | 我们必须想象他们永远在舀水， 起网、收网，而东北风压下 浅滩不变、无侵蚀， 或收取他们的报酬，在码头晾干风帆； 而不是做一次无法支付、 一次不能经得起检验的捕捞之旅。 |
| There is no end of it, the voiceless wailing, No end to the withering of withered flowers, To the movement of pain that is painless and motionless, To the drift of the sea and the drifting wreckage, The bone’s prayer to Death its God. Only the hardly, barely prayable Prayer of the one Annunciation. | 这没有尽头，无声的哀号， 枯萎的花朵枯萎， 无痛而静止的痛苦之流动， 海水与浮游残骸的漂动， 白骨向死亡祈祷——它的神。只有勉强可祷 一次宣告的祈祷。 |
| It seems, as one becomes older, That the past has another pattern, and ceases to be a mere sequence – Or even development: the latter a partial fallacy Encouraged by superficial notions of evolution, Which becomes, in the popular mind, a means of disowning the past. | 随着年龄增长，似乎过去呈现出另一种模式， 不再是简单的序列—— 甚至不是发展：后者是局部谬误 被对进化的肤浅理解所鼓励， 在大众眼中，成为否认过去的手段。 |
| The moments of happiness – not the sense of well-being, Fruition, fulfilment, security or affection, Or even a very good dinner, but the sudden illumination – We had the experience but missed the meaning, And approach to the meaning restores the experience In a different form, beyond any meaning We can assign to happiness. I have said before That the past experience revived in the meaning Is not the experience of one life only But of many generations – not forgetting Something that is probably quite ineffable: The backward look behind the assurance Of recorded history, the backward half-look Over the shoulder, towards the primitive terror. | 幸福的瞬间——不是安适感、 成就、圆满、安全或情感， 甚至不是一顿美餐，而是突如其来的顿悟—— 我们经历过，却错过了意义， 而接近意义，使经验得以复现， 以一种不同的形式，超越我们 能赋予幸福的任何意义。我曾说过 过去经验在意义中复活， 并非仅属于一生 而是属于多代人——不忘记 那些大概难以言传的东西： 回望记录的历史 背后的保证，半回头 望向肩后，面向原始的恐惧。 |
| Now, we come to discover that the moments of agony (Whether, or not, due to misunderstanding, Having hoped for the wrong things or dreaded the wrong things, Is not in question) are likewise permanent With such permanence as time has. We appreciate this better In the agony of others, nearly experienced, Involving ourselves, than in our own. For our own past is covered by the currents of action, But the torment of others remains an experience Unqualified, unworn by subsequent attrition. People change, and smile: but the agony abides. | 现在我们发现，痛苦的瞬间—— （是，或者否，因误解， 或期待错误之事，或恐惧错误之事—— 不在问题中）都是如此的永恒 以时间所赋予的永恒。我们更能体会这一点， 在几乎亲历的他人痛苦中， 当我们将自己投入其中时，而非在自身经历中。 因为我们的过去被行动的潮流覆盖， 但他人的折磨仍是经验， 未受后续磨损，无所修饰。 人会改变，会微笑，但痛苦仍在。 |
| Time the destroyer is time the preserver, Like the river with its cargo of dead negroes, cows and chicken coops, The bitter apple and the bite in the apple. And the ragged rock in the restless waters, Waves wash over it, fogs conceal it; On a halcyon day it is merely a monument, In navigable weather it is always a seamark To lay a course by: but in the sombre season Or the sudden fury, is what it always was. | 时间摧毁者，也是时间守护者， 如河流载着死去的黑人、牛群与鸡棚， 苦苹果与苹果的咬痕。 波涛不息中，那破碎岩石， 浪水冲刷，雾气遮蔽； 风平日，它只是纪念碑， 可航行时，它总是航标 但在阴沉季节，或突如其来的暴怒中， 它仍是它本来的样子。 |
III
| I sometimes wonder if that is what Krishna meant – Among other things – or one way of putting the same thing: That the future is a faded song, a Royal Rose or a lavender spray Of wistful regret for those who are not yet here to regret, Pressed between yellow leaves of a book that has never been opened. | 我时常想，这也许正是克里希纳的含义—— 或者说，是对同一真理的另一种表述： 未来是褪色的歌，皇家玫瑰，或熏衣草花束， 的淡淡遗憾，为那些尚未来这里悔恨的人， 被夹在从未翻开的书的黄叶之间。 |
| And the way up is the way down, the way forward is the way back. You cannot face it steadily, but this thing is sure, That time is no healer: the patient is no longer here. When the train starts, and the passengers are settled To fruit, periodicals and business letters (And those who saw them off have left the platform) Their faces relax from grief into relief To the sleepy rhythm of a hundred hours. | 而向上的路是向下的路，前行路就是回归路。 你无法稳稳地直面它，但这事是确定的， 时间不是疗愈者：患者已不再。 当火车启动，乘客安坐， 享受水果、期刊与商务信函， （送行的人已离开站台） 他们的面容从悲伤舒展为宽慰， 顺着上百小时的昏昏节奏。 |
| Fare forward, travellers! not escaping from the past Into different lives, or into any future; You are not the same people who left that station Or who will arrive at any terminus, While the narrowing rails slide together behind you; And on the deck of the drumming liner Watching the furrow that widens behind you, You shall not think ‘the past is finished’ Or ‘the future is before us’. | 前行吧，旅行者们！不是逃离过去 也不是进入不同的生活，或任何未来； 你们已非离开那站的同一人 也不会是抵达终点站的同一人， 当那渐窄的铁轨在身后闭合； 在鼓点般航行的轮船甲板上 看着身后渐宽的水痕， 你不应认为“过去已结束” 或者“未来在我们面前”。 |
| At nightfall, in the rigging and the aerial, Is a voice descanting (though not to the ear, The murmuring shell of time, and not in any language) ‘Fare forward, you who think that you are voyaging; You are not those who saw the harbour Receding, or those who will disembark. Here between the hither and the farther shore While time is withdrawn, consider the future And the past with an equal mind. | 夜幕降临，在索具与空中， 有一个声音吟诵（虽非耳可闻， 而是时间低语的壳，且非任何语言） “前行吧，你们以为自己在航行； 你们并非那些看见港口 渐远的人，也不是那些将要下船的人。 在这此岸与彼岸之间 当时间收回时，用平等的心态 思考未来与过去。 |
| At the moment which is not of action or inaction You can receive this: “on whatever sphere of being The mind of a man may be intent At the time of death” – that is the one action (And the time of death is every moment) Which shall fructify in the lives of others: And do not think of the fruit of action. | 在非行动亦非不行动的瞬间， 你可以领会这点：‘无论是何种存在层面 人在死亡之际 所专注的’——那就是唯一的行动， （而临终之时即是每一刻） 将在他人的生命中开花结果： 且不要去思考行动的果实。 |
| Fare forward. Ο voyagers, Ο seamen, You who come to port, and you whose bodies Will suffer the trial and judgement of the sea, Or whatever event, this is your real destination.’ So Krishna, as when he admonished Arjuna On the field of battle. Not fare well, But fare forward, voyagers. | 前行吧。 哦，航海者们，哦，水手们， 你们将抵港，而你们的身体 将接受大海的考验与审判， 或其他任何事件，这才是你们真正的目的地。” 就像克里希纳训诫阿周那时一样4 在战场上。 不要说好走， 而是向前走，旅行者们。 |
IV
| Lady, whose shrine stands on the promontory, Pray for all those who are in ships, those Whose business has to do with fish, and those concerned with every lawful traffic And those who conduct them. | 圣女啊，你的圣地立于海岬之上， 请为所有在船上的人祈祷，为那些 以捕鱼为业的人祈祷，还有 与一切合法交通相关的人们 还有那些经营这些事务的人祈祷。 |
| Repeat a prayer also on behalf of Women who have seen their sons or husbands Setting forth, and not returning: Figlia del tuo figlio, Queen of Heaven. Also pray for those who were in ships, and Ended their voyage on the sand, in the sea’s lips Or in the dark throat which will not reject them Or wherever cannot reach them the sound of the sea bell’s Perpetual angelus. | 请不住的祷告 为那些目送儿子或丈夫出航 却未能归来的妇人： Figlia del tuo figlio， 天上的女王5。 同样为那些曾在船上， 却在沙滩、海的唇边结束旅程的人祈祷 或在黑暗的深渊中——那里不会将他们拒绝， 或在海钟永恒的报时声无法触及的任何地方。 永恒的祈祷。 |
V
| To communicate with Mars, converse with spirits, To report the behaviour of the sea monster, Describe the horoscope, haruspicate or scry, Observe disease in signatures, evoke Biography from the wrinkles of the palm And tragedy from fingers; release omens By sortilege, or tea leaves, riddle the inevitable With playing cards, fiddle with pentagrams Or barbituric acids, or dissect The recurrent image into pre-conscious terrors – To explore the womb, or tomb, or dreams; all these are usual | 要与火星交流，与灵魂交谈， 报告海怪的行迹， 描述星盘，观肝占卜或占卜水晶， 从手纹中察觉疾病， 从手指中揭示传记 与悲剧；通过抽签 释放预兆，或借茶叶解谜，用纸牌 推演必然，玩弄五芒星， 或用巴比妥酸，或解剖 反复出现的影像而进入前意识的恐惧—— 探索子宫、坟墓或梦境；这些都是平常的 |
| Pastimes and drugs, and features of the press: And always will be, some of them especially When there is distress of nations and perplexity Whether on the shores of Asia, or in the Edgware Road. | 消遣和迷药，也出现在新闻报道中： 并且总会如此，尤其在 国家危机与困惑之时， 无论是在亚洲的海岸，还是在埃奇韦尔路上6。 |
| Men’s curiosity searches past and future And clings to that dimension. But to apprehend The point of intersection of the timeless With time, is an occupation for the saint – No occupation either, but something given And taken, in a lifetime’s death in love, Ardour and selflessness and self-surrender. | 人的好奇心探索过去与未来， 并紧抓那一维度。但要领会 永恒与时间的交汇点， 这是圣人的工作—— 也不是工作，而是在一生的爱情、 热忱、无私与自我舍弃中 得到与付出的。 |
| For most of us, there is only the unattended Moment, the moment in and out of time, The distraction fit, lost in a shaft of sunlight, The wild thyme unseen, or the winter lightning Or the waterfall, or music heard so deeply That it is not heard at all, but you are the music While the music lasts. These are only hints and guesses, | 对大多数人而言，只有那不在意的瞬间 在时间之内与之外的瞬间， 迷离的分心，消失在阳光光芒中， 看不见的野生百里香，或冬日闪电 或瀑布，或被如此深切聆听的音乐 以至于根本未被听到，而你就是音乐 当音乐持续时。这些只是暗示与猜测， |
| Hints followed by guesses; and the rest Is prayer, observance, discipline, thought and action. The hint half guessed, the gift half understood, is Incarnation. Here the impossible union Of spheres of existence is actual, Here the past and future Are conquered, and reconciled, Where action were otherwise movement Of that which is only moved And has in it no source of movement – Driven by dæmonic, chthonic Powers. And right action is freedom From past and future also. | 暗示之后是猜测；其余是 祈祷、观察、纪律、思考与行动。 暗示半被猜测，礼物半被理解，这就是道成肉身。 在此，不可能的存在层面 联合成为现实， 过去与未来 被征服，并得以和解， 否则行动只是 被驱动之物的移动， 而其中没有自主的运动源—— 受魔力与地底 力量驱动。而正当的行动是自由 也超脱过去与未来。 |
| For most of us, this is the aim Never here to be realised; Who are only undefeated Because we have gone on trying; We, content at the last If our temporal reversion nourish (Not too far from the yew-tree) The life of significant soil. | 对大多数人来说，这是目标 却永远无法在此实现； 我们之所以未被击败， 只是因为不断尝试； 我们最终心安 若我们短暂的努力 （不离那紫杉树太远7） 能滋养这片充满意义的土地。 |
LITTLE GIDDING｜小吉丁村｜四重奏之四｜1942
I
| Midwinter spring is its own season Sempiternal though sodden towards sundown, Suspended in time, between pole and tropic. | 隆冬的春天是它自己的季节， 尽管在日落时分潮湿，却是常存的， 悬浮于时间内，介于极地与热带间。 |
| When the short day is brightest, with frost and fire, The brief sun flames the ice, on pond and ditches, In windless cold that is the heart’s heat, Reflecting in a watery mirror A glare that is blindness in the early afternoon. | 当短暂的白昼最明亮，冰与火光共存， 微弱的阳光燃烧池塘与沟渠的冰面， 在无风的寒冷中，这是心之热度， 映在水面镜中， 反射出早午时分令人失明的光芒。 |
| And glow more intense than blaze of branch, or brazier, Stirs the dumb spirit: no wind, but pentecostal fire In the dark time of the year. Between melting and freezing The soul’s sap quivers. There is no earth smell Or smell of living thing. This is the spring time But not in time’s covenant. Now the hedgerow Is blanched for an hour with transitory blossom Of snow, a bloom more sudden Than that of summer, neither budding nor fading, Not in the scheme of generation. | 比枝条火焰或火盆更强烈的光辉， 激起了沉默的灵魂：无风，却有五旬节之火 在这一年最黑暗的时节。在融化与冻结之间， 灵魂的汁液颤动。没有泥土的气息 也没有活物的气息。这是春天 却不属于时间的约定。如今篱笆上 一时短暂盛开的 雪，一种更骤然的绽放 胜过夏天，既不萌芽，也不凋谢， 不在生长的规律之中。 |
| Where is the summer, the unimaginable Zero summer? If you came this way, Taking the route you would be likely to take From the place you would be likely to come from, If you came this way in may time, you would find the hedges White again, in May, with voluptuary sweetness. | 夏天在哪里，那不可想象的 零度夏天？ ——如果你从这条路经过， 沿着你最可能走的路线， 从你最可能来的地方出发， 如果你在五月时分经过，你会发现篱笆 再次洁白，带着盛夏般的甜美。 |
| It would be the same at the end of the journey, If you came at night like a broken king, If you came by day not knowing what you came for, It would be the same, when you leave the rough road And turn behind the pig-sty to the dull façade And the tombstone. And what you thought you came for Is only a shell, a husk of meaning From which the purpose breaks only when it is fulfilled If at all. Either you had no purpose Or the purpose is beyond the end you figured And is altered in fulfilment. There are other places Which also are the world’s end, some at the sea jaws, Or over a dark lake, in a desert or a city – But this is the nearest, in place and time, Now and in England. | 在旅程的终点，也会一样， 如果你夜行而来，如同破碎的国王， 如果你白日而来，不知所为何事， 也会一样，当你离开泥泞的路 绕过猪圈，看向平淡的正面 与墓碑。你以为前来的目的， 只是意义的外壳、果壳， 唯有在目的实现时才显现—— 如果真的实现了。要么你没有目的， 要么目的超越了你所设想的终点， 且在实现时发生了变化。还有其他地方 也属于世界的尽头，有的在海口， 有的在幽暗的湖泊、沙漠或城市—— 但这是最近的，就地点与时间而言， 就在现在，在英格兰。 |
| If you came this way, Taking any route, starting from anywhere At any time or at any season, It would always be the same: you would have to put off Sense and notion. You are not here to verify, Instruct yourself, or inform curiosity Or carry report. You are here to kneel Where prayer has been valid. And prayer is more Than an order of words, the conscious occupation Of the praying mind, or the sound of the voice praying. And what the dead had no speech for, when living, They can tell you, being dead: the communication Of the dead is tongued with fire beyond the language of the living. Here, the intersection of the timeless moment Is England and nowhere. Never and always. | 如果你从这条路经过， 无论何种路线，从何处出发 任何时间或季节， 都会是相同的：你必须搁置 感官与概念。你不是来验证， 也不是来自我指引，或满足好奇 或传递信息。你是来跪下的 在祈祷曾有效的地方。祈祷不仅是 言语的顺序，有意识的祈祷心智的 活动，也不仅是开声祈祷的声音。 而死者生前无法言说的事， 他们死后可以告诉你：死者的交流 被火焰舌头点燃，超越生者的语言。 在这里，永恒瞬间的交汇点， 是英格兰，也是虚无。从来不，永远是。 |
II
| Ash on an old man’s sleeve Is all the ash the burnt roses leave. Dust in the air suspended Marks the place where a story ended. Dust inbreathed was a house – The wall, the wainscot and the mouse. The death of hope and despair, This is the death of air. | 老人的袖子上的灰烬， 不过是燃尽的玫瑰留下的灰。 空中悬浮的尘土， 标记着一个故事结束的地方。 吸入的尘土曾是一座房子—— 墙壁、护墙板和老鼠。 希望与绝望的消逝， 这就是空气的死亡。 |
| There are flood and drouth Over the eyes and in the mouth, Dead water and dead sand Contending for the upper hand. The parched eviscerate soil Gapes at the vanity of toil, Laughs without mirth. | 洪水与干旱交替 在眼中，在口中， 死水与死沙 争夺上风。 干涸的掏空土地 张口嘲笑劳作的虚妄， 笑而不喜。 |
| This is the death of earth. Water and fire succeed The town, the pasture and the weed. Water and fire deride The sacrifice that we denied. Water and fire shall rot The marred foundations we forgot, Of sanctuary and choir. | 这就是大地的死亡。 水与火继之而来， 镇子、牧场和杂草。 水与火嘲弄 我们所否认的牺牲。 水与火将腐蚀 我们遗忘的破损基石， 那圣所与唱诗班的根基。 |
| This is the death of water and fire. In the uncertain hour before the morning Near the ending of interminable night At the recurrent end of the unending After the dark dove with the flickering tongue Had passed below the horizon of his homing While the dead leaves still rattled on like tin Over the asphalt where no other sound was Between three districts whence the smoke arose I met one walking, loitering and hurried As if blown towards me like the metal leaves Before the urban dawn wind unresisting. And as I fixed upon the down-turned face That pointed scrutiny with which we challenge The first-met stranger in the waning dusk I caught the sudden look of some dead master Whom I had known, forgotten, half recalled Both one and many; in the brown baked features The eyes of a familiar compound ghost Both intimate and unidentifiable. | 这就是水与火的死亡。 在晨曦前不确定的时刻 在无尽黑夜的尽头附近 在无尽之尽的反复终结处 当那暗鸽舌头闪烁飞过 家园地平线以下时 死叶仍像锡片般叮当作响 在沥青上，其他无声 从三处冒烟的地区之间 我遇见一人，徘徊又匆忙 仿佛被都市黎明前的风吹向我 像金属叶片般无抵抗。当我凝视 他低垂的面孔 那是我们在黄昏余晖中 对初遇陌生人投去的审视目光，我捕捉到 某位死去大师的突然眼神 我曾认识，却已遗忘，半记起—— 既是一，又是多；在褐色晒干的面容中 浮现熟悉的复合幽灵之眼， 既亲近又无法辨认。 |
| So I assumed a double part, and cried And heard another’s voice cry: ‘What! are you here?’ Although we were not. I was still the same, Knowing myself yet being someone other – And he a face still forming; yet the words sufficed To compel the recognition they preceded. | 于是我扮演双重角色，哭者，又听见 另一声呼喊：“什么！你在这里？” 尽管我们并未真正相见。我仍是自己， 认知自我，却又成为他人——而他的面孔 尚在形成；言语足以 促成那预先的认知。 |
| And so, compliant to the common wind, Too strange to each other for misunderstanding, In concord at this intersection time Of meeting nowhere, no before and after, We trod the pavement in a dead patrol. | 于是，顺从共同之风，太陌生 以致彼此不致误会， 在这交汇的时间的和谐中， 在这无处所的相会，无之前，无之后，我们踏过 铺就的路，如死般巡逻。 |
| I said: ‘The wonder that I feel is easy, Yet ease is cause of wonder. Therefore speak: I may not comprehend, may not remember.’ And he: ‘I am not eager to rehearse My thought and theory which you have forgotten. These things have served their purpose: let them be. So with your own, and pray they be forgiven By others, as I pray you to forgive Both bad and good. Last season’s fruit is eaten And the fullfed beast shall kick the empty pail. For last year’s words belong to last year’s language And next year’s words await another voice. But, as the passage now presents no hindrance To the spirit unappeased and peregrine Between two worlds become much like each other, So I find words I never thought to speak In streets I never thought I should revisit When I left my body on a distant shore. | 我说：“我感到的奇异很容易， 然而容易本身就够奇异。因此说：我可能 无法理解，可能无法记忆。” 他答：“我不急于复述 你已忘却的思想与理论。这些 事已尽其用：任其随风。 你的亦然，祈求被别人 饶恕，正如我祈你宽恕，不论善恶。往季的 果实已食尽， 饱足的兽将踢空桶。 去年的言语属于去年的语言， 来年的言语等待新的声音。 然而，如今通道不阻， 心灵不安而漂泊，在两界之间 互为映照， 我便找到从未想过要说的话， 在离开身体后不曾想重游的街道。 |
| Since our concern was speech, and speech impelled us To purify the dialect of the tribe And urge the mind to aftersight and foresight, Let me disclose the gifts reserved for age To set a crown upon your lifetime’s effort. First, the cold friction of expiring sense Without enchantment, offering no promise But bitter tastelessness of shadow fruit As body and soul begin to fall asunder. | 既然我们关心言语，而言语驱使我们 净化族群方言，并促心以 回顾与预见， 让我揭示年岁储藏的礼物， 为你生命的努力戴上冠冕。首先，那冰冷的 感官消逝的摩擦， 无魔力，不承诺， 只有影子果实的苦涩无味，像身体和灵魂 开始分崩。 |
| Second, the conscious impotence of rage At human folly, and the laceration Of laughter at what ceases to amuse. And last, the rending pain of re-enactment Of all that you have done, and been; the shame Of motives late revealed, and the awareness Of things ill done and done to others’ harm Which once you took for exercise of virtue. Then fools’ approval stings, and honour stains. From wrong to wrong the exasperated spirit Proceeds, unless restored by that refining fire Where you must move in measure, like a dancer.’ | 其次，愤怒的无力的清醒感 对人类愚行，以及那撕裂之痛 对那些已不再令人发笑之事的讽刺。 最后，是重演剧烈痛苦 来自过去所做所为；那些动机 在事后才被揭示而产生的羞耻感， 意识到所作之恶及对他人伤害， 曾以为是美德之行。愚人的 赞许因此刺痛，荣誉因此染污。 从错到错，心灵愤慨 前行，除非借炼火得以复原， 你必须如舞者般循度而动。” |
| The day was breaking. In the disfigured street He left me, with a kind of valediction, And faded on the blowing of the horn. | 黎明破晓。残缺街道上， 他离开我，以一种告别的姿态， 随号角声消逝在风中。 |
III
| There are three conditions which often look alike Yet differ completely, flourish in the same hedgerow: Attachment to self and to things and to persons, detachment From self and from things and from persons; and, growing between them, indifference Which resembles the others as death resembles life, Being between two lives – unflowering, between The live and the dead nettle. This is the use of memory: For liberation – not less of love but expanding Of love beyond desire, and so liberation From the future as well as the past. Thus, love of a country Begins as attachment to our own field of action And comes to find that action of little importance Though never indifferent. History may be servitude, History may be freedom. See, now they vanish, The faces and places, with the self which, as it could, loved them, To become renewed, transfigured, in another pattern. | 有三种状态，常常看起来相似， 却完全不同，并在同一篱笆边繁盛： 对自我、对事物、对人的执着，超然 对自我、对事物、对人；以及，在它们之生长的漠然， 它像死亡模仿生命， 处于两种生命之间——未开花，夹在 活荨麻与死荨麻之间。这就是记忆的用途： 为解脱——不是减少爱，而是扩展 超越欲望的爱，因此释放 不仅来自过去，也来自未来。因此，对一片土地的爱 始于对自身行动领域的依恋， 最终发现行动并非多么重要， 但绝非漠不关心。历史可能是奴役， 历史可能是自由。看，现在它们消逝了， 面孔与地点，与那个曾尽力爱它们的自我， 以另一种模式更新、升华。 |
| Sin is Behovely, but All shall be well, and All manner of thing shall be well. If I think, again, of this place, And of people, not wholly commendable, Of no immediate kin or kindness, But some of peculiar genius, All touched by a common genius, United in the strife which divided them; If I think of a king at nightfall, Of three men, and more, on the scaffold And a few who died forgotten In other places, here and abroad, And of one who died blind and quiet, Why should we celebrate These dead men more than the dying? It is not to ring the bell backward Nor is it an incantation To summon the spectre of a Rose. | 罪是必要的，但 一切终将安好 万事终将安好。8 如果我再次想起此地， 以及那些并非完全可嘉的人， 非近亲或恩惠之人， 而是某些具有独特天赋的人， 皆受一种共同天赋感召， 在分裂中团结； 如果我想起夜幕下的国王， 三人乃至更多在断头台上 以及一些被遗忘而死的人 在别处或海外， 以及一位盲目而安静死去的人， 为何我们应该庆贺 这些死者比临终者更甚？ 这并不是要把钟声敲回过去， 也不是一声咒语， 去召唤那朵玫瑰的幽灵。 |
| We cannot revive old factions We cannot restore old policies Or follow an antique drum These men, and those who opposed them And those whom they opposed Accept the constitution of silence And are folded in a single party. Whatever we inherit from the fortunate We have taken from the defeated What they had to leave us – a symbol: A symbol perfected in death. And all shall be well and All manner of thing shall be well By the purification of the motive In the ground of our beseeching. | 我们无法复活那些旧的派别 我们也无法重建那些旧的政策 也不能再跟随那面古老的战鼓 这些人，以及与他们为敌的人 还有他们所敌对的人 都已接受了“沉默的宪章” 归于同一党派。 凡我们从幸运者继承的， 皆取自失败者， 他们必须留给我们的——一个象征： 在死亡中得以完善的象征。 一切终将安好 万事终将安好。 通过动机的净化， 在我们恳求的基础上。 |
IV
| The dove descending breaks the air With flame of incandescent terror Of which the tongues declare The one discharge from sin and error. The only hope, or else despair Lies in the choice of pyre or pyre – To be redeemed from fire by fire. Who then devised the torment? Love. Love is the unfamiliar Name Behind the hands that wove The intolerable shirt of flame Which human power cannot remove. We only live, only suspire Consumed by either fire or fire. | 降临的鸽子撕裂长空 带来白热恐惧的火焰， 其舌尖宣告： 这是罪与谬误中唯一释放。 唯一的希望，或者绝望， 在于柴堆的选择——被火以火救赎。 那么是谁设计了这折磨？爱。 爱是那陌生的名字， 在编织着无法忍受的 火焰衬衫的手背后， 这是人力无法移除的。 我们只生存，只叹息， 被火焰吞噬，或被火焰吞噬。 |
V
| What we call the beginning is often the end And to make an end is to make a beginning. The end is where we start from. And every phrase And sentence that is right (where every word is at home, Taking its place to support the others, The word neither diffident nor ostentatious, An easy commerce of the old and the new, The common word exact without vulgarity, The formal word precise but not pedantic, The complete consort dancing together) Every phrase and every sentence is an end and a beginning, Every poem an epitaph. And any action Is a step to the block, to the fire, down the sea’s throat Or to an illegible stone: and that is where we start. | 我们所谓的开始，往往就是结束， 而要结束，也正是为了开始。 结束是我们出发之处。每一句话 每一个句子都是正确的（每个词都安然就位， 彼此支撑， 既不胆怯，也不张扬， 旧与新自如交融， 普通词准确而不粗俗， 正式词精确而不迂腐， 完美的组合共舞）， 每一句话、每一条句子都是终点，也是起点， 每一首诗都是墓志铭。任何行动 都是走向刑架、火焰、海喉 或难以辨认的石碑的一步；那就是我们的起点。 |
| We die with the dying: See, they depart, and we go with them. We are born with the dead: See, they return, and bring us with them. The moment of the rose and the moment of the yew-tree Are of equal duration. A people without history Is not redeemed from time, for history is a pattern Of timeless moments. So, while the light fails On a winter’s afternoon, in a secluded chapel History is now and England. | 我们与将死者共死： 看，他们离去，而我们随之而去。 我们与死者共生： 看，他们归来，并带我们随行。 玫瑰的时刻与紫杉的时刻 持续同等长。无历史的民族 无法从时间中被拯救，因为历史是 由永恒瞬间编织的模式。因此，当光线消逝 在冬日下午，在一座幽僻的教堂中， 历史即现在，亦即英格兰。 |
| With the drawing of this Love and the voice of this Calling We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time. Through the unknown, remembered gate When the last of earth left to discover Is that which was the beginning; At the source of the longest river The voice of the hidden waterfall And the children in the apple-tree Not known, because not looked for But heard, half-heard, in the stillness Between two waves of the sea. Quick now, here, now, always – A condition of complete simplicity (Costing not less than everything) And all shall be well and All manner of thing shall be well When the tongues of flame are in-folded Into the crowned knot of fire And the fire and the rose are one. | 凭借这份爱与召唤的声音， 我们不要停止探索； 所有探索的终点 将是回到出发之处， 并第一次真正认识这个地方。 穿越未知、被记忆的门， 当地球上最后未被发现的东西 正是起点； 在最长河流的源头， 隐藏瀑布的声音， 苹果树上的孩子， 无人认识，因为未曾寻找， 却在静谧中半被听见， 在海浪之间。 迅速，现在，此刻，永远—— 完全纯粹的状态 （代价不下于一切）； 一切终将安好 万事终将安好。 当火焰之舌被编入 冠状的火焰打的结 火焰与玫瑰合而为一的时候9。 |
中译：基督教教育网 英文版原著：Four Quartets T. S. Eliot. First published in 1944 by Faber and Faber Ltd Bloomsbury House 74–77 Great Russell Street London WC1B 3DA This ebook edition first published in 2009 All rights reserved © T.S. Eliot, 1944 © Valerie Eliot, 1979
关于作者
托马斯·斯特恩斯·艾略特（Thomas Stearns Eliot）1888年出生于密苏里州圣路易斯。他曾就读于哈佛大学、巴黎索邦大学和牛津大学默顿学院。
他的早期诗歌深受法国象征主义诗人的影响，尤其是波德莱尔（Baudelaire）和拉福格（Laforgue）。他的学术研究专攻哲学和逻辑学。他的博士论文研究的是布拉德利（F. H. Bradley）。1915年，他定居英国，同年与薇薇安·海伍德（Vivienne Haigh-Wood）结婚，并第一次结识了他的同代诗人埃兹拉·庞德（Ezra Pound）。在任教一年左右后，他于1917年加入伦敦金融城的劳埃德银行，并于同年出版了他的第一部诗集《普鲁弗洛克及其他观察（Prufrock and Other Observations）》。1919年，《诗集（Poems）》由伦纳德·伍尔夫和弗吉尼亚·伍尔夫夫妇（Leonard and Virginia Woolf）亲手印刷。他的第一部散文集《神圣的森林（The Sacred Wood）》出版于1920年。他最著名的作品《荒原（The Waste Land）》出版于1922年，与詹姆斯·乔伊斯（James Joyce）的《尤利西斯（Ulysses）》同年。这首诗被收录在他创办并编辑的期刊《标准（The Criterion）》创刊号中。三年后，他离开银行，成为费伯-格威尔（Faber and Gwyer）公司（后来的Faber and Faber）的董事。他的《诗集1909-25》是杰弗里·费伯（Geoffrey Faber）新公司出版的首批作品之一，也是他标准诗集《诗集1909-1962》的基础。1927年，他加入英国国教，并成为英国公民。《圣灰星期三（Ash Wednesday）》于1930年复活节出版。他的杰作《四个四重奏（Four Quartets）》始于1936年的《焚毁的诺顿庄园》，随后是1940年的《东科克村》，1941年的《干岩礁》和1942年的《小吉丁村》。1943年，这些独立的诗歌被整理成一部作品。
艾略特的戏剧创作始于讽刺诗集《力士理发师（Sweeney Agonistes）》的片段。1934年，他创作了伦敦教堂庆典剧《岩石（The Rock）》，该剧的合唱部分保存在《诗集》中。次年，他受坎特伯雷艺术节委托创作了《大教堂谋杀案（Murder in the Cathedral）》，讲述圣托马斯·贝克特（St Thomas à Becket）的殉道故事。1939年，他创作了《家庭团聚（The Family Reunion）》，同年还出版了他的经典儿童文学作品《老负鼠的猫经（Old Possum’s Book of Practical Cats）》，封面由艾略特亲自绘制。 （“负鼠”是艾略特在朋友间的别名）。后来，他又创作了三部诗剧，均在爱丁堡艺术节首映：《鸡尾酒会（The Cocktail Party）》、《机要秘书（The Confidential Clerk）》和《元老政治家（The Elder Statesman）》。1951年，《大教堂谋杀案》的电影在威尼斯电影节上放映。艾略特最重要的文学批评作品收录在《1917-1932年选集》中，他于1951年扩充了该书。此外，他还出版了许多其他讲座和论文集，其中包括《诗歌的用途和批评的用途（The Use of Poetry and the Use of Criticism）》、《致兰斯洛特·安德鲁斯（For Lancelot Andrewes）》、《论诗歌与诗人（On Poetry and Poets）》，以及两部社会批评著作——《基督教社会的理念（The Idea of a Christian Society）》和《文化定义札记（Notes Towards the Definition of Culture）》。
艾略特于1948年1月被授予功绩勋章，并于同年秋天获得诺贝尔文学奖。1957年，他与瓦莱丽·弗莱彻（Valerie Fletcher）再婚。他于 1965 年 1 月去世。在威斯敏斯特教堂，与丁尼生（Tennyson）和勃朗宁（Browning）的纪念碑并列有他的纪念碑。他的骨灰安放在东科克（East Coker）的圣迈克尔教堂，这是萨默塞特郡的一个村庄（Somerset village），他的祖先安德鲁·艾略特（Andrew Eliot）于 1667 年从这里移民到美国。他死后，他的遗孀编辑了《荒原（The Waste Land）》的遗失已久的原始手稿和他的一卷书信。她还委托编辑了他的早期诗歌《三月兔的发明（Inventions of a March Hare）》和他的克拉克和特恩布尔讲座《形而上学诗歌的种类（The Varieties of Metaphysical Poetry）》。《老负鼠的猫之书》为安德鲁·劳埃德·韦伯（Andrew Lloyd Webber）的舞蹈音乐剧《猫》提供了歌词，该剧在过去 25 年里在世界各地上演。
- 奥古斯丁说：有三种时间：“There are three times — a present of things past, a present of things present, and a present of things future.”即：
“关于过去事物的现在”（记忆的现在）（present of past things）
“关于当下事物的现在”（注意的现在）（present of present things）
“关于未来事物的现在”（期待的现在）（present of future things）。 ↩︎ - Hampstead（汉普斯特德）位于伦敦西北部，传统上是富人区和知识分子、艺术家的聚居地。象征文化、理性、上层社会的安逸。Clerkenwell（克拉肯韦尔）位于伦敦市中心偏北，早期是工人区，有许多机械厂与印刷厂。象征工人阶级、工业伦敦、现实的劳苦与喧嚣。Campden（坎普登）多指 Campden Hill（在肯辛顿一带），同样是中上阶层住宅区。可与 Hampstead 一起代表“体面世界”的一端。Putney（帕特尼）在泰晤士河南岸，早年是郊区住宅地，象征一种城市外缘的平庸安稳，也可暗指政治激进历史（英国内战时“帕特尼辩论” Putney Debates）。Highgate（海格特）北伦敦的高地，著名墓园所在地（马克思墓就在此）。象征死亡、记忆、历史的重量。Primrose Hill（报春花山）一处视野开阔的公园山丘，常被文学作品用作浪漫与理想的象征，带一点田园式的超脱。Ludgate（卢德门）是伦敦古城墙的旧门之一，靠近圣保罗大教堂。象征宗教、传统与城市中心的精神象征。 ↩︎
- 地理位置：42°40′20″N 70°34′03″W ↩︎
- 这一句引用的是《薄伽梵歌》（Bhagavad Gita）中的著名场景：克里希纳（Krishna）在库鲁克舍特拉战场上对阿周那（Arjuna）进行劝诫和教导。阿周那是大史诗《摩诃婆罗多》（Mahabharata）中的英雄，他在战场上面临亲族与朋友为敌的战争，心生疑惑和不安，不知是否应当开战。克里希纳作为他的御车司机和精神导师，劝导阿周那履行自己的责任（dharma），并传授他灵魂不灭、轮回与专注行动的哲理。这段劝诫最终形成了《薄伽梵歌》的核心内容：以智慧、无私和信念行动，不执着于结果。 ↩︎
- 意大利语“Figlia del tuo figlio”意为“你儿子的女儿”，“Figlia del tuo figlio”这句意大利语出自Dante《神曲·天堂篇》第三十三章：“Vergine Madre, figlia del tuo figlio” —— “处女之母，你是你之子的女儿。”这是圣母玛利亚最神秘的称呼：她是基督之母，却又因她的救赎，也成为上帝之女。 ↩︎
- Edgware Road 是伦敦的一条主要道路和地区名。象征“熟悉的伦敦日常生活场景”。相比遥远的亚洲海岸，Edgware Road 代表现代都市、日常琐事、商业街道的喧嚣。 ↩︎
- 紫杉树在英国传统上常种在教堂墓地里，是墓地的标志性树种。这里的“Not too far from the yew-tree”暗示人类努力和人生实践，虽然在世间有限（temporal），但最终要与死亡、历史联系在一起。紫杉寿命长，象征长久与永恒。 ↩︎
- 接下来的 “All shall be well…” 是朱利安·诺里奇（Julian of Norwich）的名句：“All shall be well, and all manner of thing shall be well.”：尽管罪存在，终极救赎仍会使一切重归圆满。朱利安·诺里奇（Julian of Norwich）（约 1342 – 1416 之后）是一位英国中世纪的神秘主义者与神学作家。她的真名已不可考，“Julian” 实际来自她隐修的小堂——St. Julian’s Church（位于诺里奇 Norwich）。她是一位 anchorite（隐修女）—— 终生独居于教堂旁的石室中，过祈祷与默想的生活。她留下了一本著名的神秘神学著作：《神圣之爱的启示》（Revelations of Divine Love）这是已知第一部由英国女性用英语写成的书（14世纪末）。 ↩︎
- 火是净化与苦难，玫瑰是美与永恒，当火与玫瑰合一时，意味着苦难被转化，时间与永恒、行动与意义达成和谐。 ↩︎
