Showing posts with label Amélie. Show all posts
Showing posts with label Amélie. Show all posts

12/01/2006

一辈子那么短

可你们却不知坚持,任自己的心迷失了。 可是有人说,人生确实就那么短短的,于是,迷失了也就那样,能留下些什么么?说些意义、目的、朝代兴衰,这又算得上什么?天地曾不能以一瞬呢。 但来这一遭,既然闻道了,就不能再装做不知道而浑浑噩噩下去吧。 我还是相信有“爱情”这东西存在于世上。 某年月日看某电影中,女A和男B恋爱,聪明的A用尽心思终于在一起,后来B吸毒了潦倒了,最终A没有离开他,两个人到了一个陌生的城市过着平静普通的生活。记者C来采访的时候问A,坦诚地说你是爱自己多一些还是爱他多一些?A想想说,我真的很爱他,毫无保留地,也只有通过爱他,我才发现自己身上的可爱之处。||其实说人都是爱自己的,倒也无妨,毕竟A这样做也无非是为了实现自己的想法,既然是为了实现自己的想法和理念,凭啥不让别人说你就是最爱自己、其他一切都是为了实现这个呢?啊呸,真废话,但有些人是直接爱自己的,不需要通过爱别人来证明什么。或许这是幸运?人各有命。 只是,爱情,永远不要代替对方为ta做决定。如果不够爱,如果想找个理由说分手,也不要说这是为了你好为了大家都有一个好前途。既然知道是怎么一回事,不妨开诚布公地说出来好了,说我想要过物质的生活,我有那些欲望,我不够爱你因此舍弃不了这些,于是你我这份爱情对我来说无非是一件附属品,那么分手吧,既然这行李已经成为累赘。 提问:王菲《当时的月亮》里面唱道:“有什么分别,能够呼吸的,就不能够放在身旁”,这句词是什么意思?

11/19/2006

短长书

最近接触了一些Arthur Rubinstein的钢琴作品。看了一段视频。以前不理解的时候,居然拿着肖邦的Nocturne来作催眠曲用,起初可以奏效的,如同其他音乐一般;但不久便不行了,这音乐清澈地从夜里出来的时候,开始慢慢能够感觉到其中的情绪来,每首都不一样,让人一点困意也无。流行歌手唱的祭奠什么爱情之类,似乎与这些想去甚远。Rubinstein是波兰血统移居他国,他的演绎被人称为“最正统的肖邦”,他也被乐界称为“萧邦祭酒”。ps,最近又找到了一个Maria Joao Pires版本的夜曲,只听了第一曲,颇有风味。 再看朗朗的,有些不堪入目,在那里摇摇摆摆做什么呢?我想知道钢琴对他意味着什么。挥之不去的暴发户气质?总之有些不舒服。俗话说“人不轻狂枉少年”,或许能让我心里宽容一些。 Rudolf Serkin演奏的贝多芬《月光》《悲怆》《热情》是我最早接触的古典一批,从磁带开始听的了。晶莹剔透的音乐,有人说气势与幅度不足,但现在我还没能感觉出来。关于他的八卦,是这位1903年出生的钢琴家在1920年遇到德国小提琴家Adolf Busch,从此开始与Busch家族一起生活,当他第一次到Busch家的时候,Busch四岁的女儿伊莲娜对他说将来我要嫁给你;1935年,他们真的就结婚了。 如果说20世纪的钢琴家比拼技术的话,那很可能是Vladimir Horowitz胜出。他被称为二十世纪唯一具有完美技术的钢琴大师,古典浪漫派钢琴的最后一个巨人,然而却又经常会在演奏会上弹错音,因为早期他每天练琴只有一两个小时,后来老了干脆不练了。据他的钢琴调音师说,他是一个真诚的人,然而脾气也是可以非常大的,对演出也极度挑剔,比如因为凳子需要低半英寸,因为钢琴的位置需要挪动那么一点点为了达到最好的音效;他固定在周六下午四点演练,然后在周日下午四点演出。不知道什么时候能找到些他的录音来听听呢…"It's better to make your own mistakes than to copy someone else's." "Perfection itself is imperfection." - Vladimir Horowitz 看到有一片文章说Menuhin的女儿是傅聪(1934-)的第一任妻子,我这才知道原来傅聪后来没有一直和弥拉在一起。查阅一下,1960年,26岁的他和21岁的弥拉结婚,十几年后,由于“终因东、西方人秉性差异太大”(傅聪的话),离婚了。随后有一次三个月的草率婚姻,对方是南朝鲜驻摩洛哥大使的女儿。再后来与中国籍的女钢琴家卓一龙结婚了。看一看傅雷当初的话:“深思熟虑,然后决定,切勿单凭一时冲动”;“我觉得最主要的还是本质的善良,天性的温厚,开阔的胸襟。有了这三样,其他都可以逐渐培养”;“对方把你作为她整个的世界固然很危险,但也很宝贵”。可是傅聪也真的有些草率了。 在Google的时候看到一段话,来自http://edu.mblogger.cn/jenna/archive/10182005.aspx,看样子貌似是某个版本的《傅雷家书》中的评语。

我一直觉得傅聪应该是个矛盾痛苦的人物,到现在可能都没有解脱。首先以他的家庭而言,他父亲那暴躁专制的脾气,年轻时的风流对善良的妻子造成的极大侮辱和伤害,给孩子心灵留下的阴影,却又道貌岸然地给孩子许多“道德”教育并以此为荣,这一定造成一种极其吊诡的悖反的环境。当我的同学对《傅雷家书》称赞有加的时候,我开玩笑说:傅雷大概只有在家书里才爱他的孩子;这孩子多半会离婚的;我要有这么个爸爸,一定在家里放把火出走,要不自杀,实在受不了。在音乐方面,傅雷也有“学琴的孩子不会变坏”类的超道德倾向,实际上却降低了音乐本应有的超于道德之上的地位。我怀疑傅聪从老爸爸那里学的这一套是否能适应西方社会。 傅雷教导傅聪怎么追求弥拉并测试她是否虚荣之类的话,完全表现出那时中国与美国在价值观、妇女观、情爱观念……上的巨大差异,其结果就会是两个人虽然都是好人,但完全不能理解和相处。其实也暴露出傅雷本身的矛盾,他疯狂追求过法国女郎又回国完婚,号称爱他的妻子又去嫖妓,已为人夫人父后又出轨力欲破毁家庭,使得他妻子孩子处于非常可悲的状况,然后他又回心转意;在文学艺术创作上具有很高的鉴赏力和水平,但是经常激烈地出口伤人,只好把生活局限在书斋里埋头翻译;最后跟老妻相濡以沫共同赴死……都反映出中西文化、政治强烈冲突时造成的混乱。他在内心是中国风流文人和波希米亚式艺术家的合体,但时代基本不给他这个自由,他只好终生以一个严谨的翻译家、学者处世,怀着不为人知的痛苦强烈地抑止了热狂浪漫的性情,这个终生为矛盾所困扰的人也算是个“世纪儿”了。 我猜傅雷对傅聪的感情是在他出走以后才强烈地爆发出来的,他深深忏悔以往的冷漠和暴烈,也看到孩子身上那种与自己相似的热情,又从自己的经历中得知这种热情可能给人带来的危害,于是傅雷成了一个道学先生,苦口婆心,书短情长。哈姆雷特变为波洛纽斯,费加罗变成老年的阿尔玛维瓦伯爵。 可是在这时空环境错位的道学先生教导下的傅聪就能好点吗?傅雷所了解的西方恐怕是战前的欧洲,二战后的美国呢?在施特劳斯《最后四首歌》之后,一切还能回到从前吗? 更重要的是,离开了中国的专制,美国就没有专制吗?中国有GANG,何处无GANG? 斯大林的女儿到了美国又得到了什么呢?

11/07/2006

Bread and Wine (Brod und Wein)

Original by Friedrich Hölderlin(in German), translated by Maxine Chernoff and Paul Hoover, from http://www.slope.org/23chernoffhoover.html. See original Destuch at http://gutenberg.spiegel.de/hoelderl/gedichte/brotwein.htm.


Bread and Wine (Brod und Wein)

To Heinse

    1
Around us the town is quiet, quiet the street in lamplight,
  And with torches flaming, coaches run here and there.
Satisfied with the pleasures of their day, men go home to rest,
  And weighing in their pensive heads the profit and loss,
They’re happy to be home; empty now of grapes and flowers
   And goods made by hand, the market stands are quiet.
But the music of strings can be heard from distant gardens,
  Perhaps one in love is playing, or a lonesome man thinking
Of distant friends and the days of his youth; and the fountains
  Always welling new murmur among fragrant beds of flowers.
Softly in the twilight air, the heavy church bells ring.
  And the time is called by a watcher of the hours.
Now a breeze rises, and stirs the tips of the grove.
  Look! And the moon, the shadow image of our world,
Secretly rises also; and the visionary night approaches,
  Replete with stars and indifferent to us entirely;
The astonishing one, a stranger to all things human,
  Mournful and brilliant, shines over the mountain tops.

     2
It’s wonderful to share this exalted one’s favors, and no one
  Knows the source of all that flows from her,
So she excites the world and the hopeful souls of men,
Not even a wise man understands what she’s preparing, for this
God the Highest has willed, who loves you so much, therefore
  Is clearer to you that the common sense of day.
But there are times when the clearest eye also loves shadows
  And tasting sleep for pleasure before sleep demands,
Or a generous man will also look gladly into the night,
  Yes, it’s fitting to dedicate songs to her starry diadem,
While she is holy to the dead and those who’ve lost their way,
  But by herself she stands, eternally free in spirit,
But to us also, so that, in the moment’s hesitation,
  Something at least endures for us in the dark,
She grants us forgetfulness and holy drunkenness,
   Grants us the rushing word, sleepless as lovers,
With our wine cups full, and full, audacious lives,
   Holy memory, too, keeps us wide-eyed at night.

     3
And, in vain, we hide our hearts in our breasts, in vain
  We hold our courage in check, master and boy,
For who would hinder us, who forbid our joy?
  By day and night, divine fire drives us on,
Cracks us open. So come! To gaze at the Open,
  To seek what is ours, remote as it may be.
One thing remains; at noon or just before midnight,
  A measure always endures, common to all,
Though everyone is apportioned his own,
  Each coming and going according to his reach.
Well! Let jubilant madness mock at the scorners
  When holy night suddenly seizes the poets.
Then comes to the Isthmus, where the open sea roars
  Near Parnassus and snow glistens on Delphic stones,
There in Olympian lands, to the heights of Cithaeron,
  Under the pine trees, under grape clusters, from which
Thebes and Ismenos descend, in the land of Cadmus,
  From there comes and points back the approaching god.

     4
Blessed land of the Greeks! Home of all the gods,
  So it is true then, what we first heard in youth?
Festive hall whose floor is the sea, whose tables are
  Mountains truly built in ancient times for a singular need,
But where are the thrones, the temple, and where the vessels,
  Filled with nectar, to delight the gods with songs?
Where, where then, do they shine, the far-reaching proverbs?
  Delphi is asleep, and where does the great fate resound?
Where is the quick? Where breaks through the full, all-pervasive joy,
  Out of clear skies, thundering to us above our eyes?
Father Aether, one cried, and it flew from tongue to tongue
  A thousand fold, for no one could bear such a life alone;
Shared, such wealth gives joy, and when traded with strangers
  Turns to exaltation, and its power grows in sleep—
Father! Clear one! The cry resounds as far as it travels, ancient
  Signs handed down from elders, creating and striking
Straight down. So the heavenly enter deeply shaking foundations,
  So their day travels out from shadows and down to man.

     5
Unnoticed at first, they come, and the children gravitate
  Toward them, the joy too bright, too dazzling,
And the men become afraid, a demigod hardly knows what to say
  Their names might be, who come so near with gifts.
But their courage is very great, they fill his heart with their joy,
  And he hardly knows what to do with such wealth;
Made and then squandered, the holy quickly becomes unholy,
  On which he, with consecrating hand, foolishly, indulgently depended.
The heavenly bear it as long as they can, but when
  In fact they arrive, men grow accustomed to joy,
To Day, to the gods stripped bare, and to their faces,
  Which once and for all, finally have names.
Their breasts were filled deeply with quiet contentment,
  And alone and from the start, every desire was met;
Such is man; when wealth is present and he’s tended with gifts
  By no less than a god, he sees and understands nothing.
First he must suffer; but now he names his most loved things,
  Now, now, he must instead find words standing up like flowers.

     6
And now he thinks to honor the holy gods in earnest,
  In truth indeed, all must repeat their praise.
Nothing must see the light but what pleases the high ones.
  The Upper Air was never made for such idle endeavors.
So to stand proudly in the gods’ presence, nations rise up
  And build in glorious order, competing with each other,
Gracious temples and cities; noble and firm, they tower high
  Above shores, but where are they? Laurels of the festival,
Where do the famous ones bloom? Thebes is withered,
  And Athens; no more do weapons ring out
In Olympia, nor the games’ golden chariots, and no longer
  Are Corinthian ships covered in garlands.
Where are they, too, the old holy theaters?
  Why is the sacred, holy dance no longer celebrated?
Why, as never before, is the brow of man unmarked by a god?
  Or he would come as himself and take a human shape,
And, comforting everyone, bring an end to the heavenly feast?

     7
But, friend, we’ve come too late. Though the gods are living,
  Over our heads, above in a different world,
Endlessly they do their work, and are so gracious to us
  They seem to pay little attention whether we live or die,
For a delicate vessel can’t always contain them,
  Only at times can men bear the gods’ fullness.
Even after life, we dream of them. But that labyrinth helps,
   Like sleep; distress and the night make us strong,
Until the heroes grow large enough in their steel cradles,
And only when our hearts are strong, as before, can we match
The heavenly. Then they come thundering. Meanwhile, I often
  Think it’s better to sleep than to be without friends,
Always waiting, and what to say or do in the meantime,
  I don’t know, and of what use are poets in such meager times?
But they are, as you say, like the holy priests of the wine god,
  Who roam from land to land in the holiness of night.

     8
Indeed, for a long time, to us it seems forever,
  Everyone rose up whose light had blessed us
When the father turned his face to man,
  And all over the earth, quite rightly, they began to mourn;
It appeared that at last a genius had come, offering heavenly
  Comfort, and he who named the day’s end then disappeared,
Leaving a token that once they were here and once would
  Come again; the heavenly chorus left gifts behind,
For, to spiritual joy, the great had become too great
  Among men; furthermore, lacking the strength
For God’s joy, they still offer silent thanksgiving.
  Bread is the fruit of earth, yet touched by the blessings
Of light, and, from the thundering god, comes the joy of wine.
  Thereby, partaking of them, we think of the heavenly,
Who once were here and will return at the moment prepared;
  Therefore poets sing earnest songs to the wine god
And never idly compose songs of praise for the ancients.

     9
Yes, they say rightly, he joins day with night,
  Drives the heaven’s stars endlessly up and down,
As glad always as the green bows of the evergreen,
  Which he loves, and the wreath made of ivy
Chosen because it lasts and, to the godless below
  In their gloom, contains the vanished god’s essence.
The ancient song foretells what God knows of his children.
  Look! We are those very same ones; it is Hesperian fruit!
And so quite perfectly it has been fulfilled in man.
  Believe since it has been proven! But so much happens,
Nothing succeeds, because we’re heartless, mere shadows
  Until our Father Aether is known and heard by all.
Meanwhile, however, the son of the highest, the Syrian,
  Comes down through the shadows on wings of flame.
The wise men are happy to see it, in their captive souls
  A radiant smile, and the light thaws out their eyes.
The Titans sleep gently and dream in the arms of earth;
  Even Cerberus, that envious one, drinks and goes to sleep.

[END]

These poems are from a 220-page manuscript, Selected Poems of Friedrich Holderlin, that will be published by Omnidawn in 2007.

10/23/2006

《约定》

有很多叫做《约定》的歌,更多与“约定”相关的歌,在搜索引擎上搜一下就可以知道了。不过Faye这首是我最喜欢的:)

约定

词:林夕 曲:陈小霞 编曲:Adrian Chan 专辑:(97)玩具

还记得当天旅馆的门牌/还留住笑着离开的神态
当天整个城市那样轻快
/沿路一起走半哩长街
还记得街灯照出一脸黄
/还燃亮那份微温的便档
剪影的你轮廓太好看
/凝住眼泪才敢细看
忘掉天地彷佛也想不起自己
/仍未忘相约看漫天黄叶远飞
就算会与你分离凄绝的戏
/要决心忘记我便记不起
明日天地只恐怕认不出自己
/仍未忘跟你约定假如没有死
就算你壮阔胸膛不敌天气
/两鬓斑白都可认得你

还记得当天吉他的和弦
/还明白每段旋律的伏线
当天街角流过你声线/沿路旅程如歌褪变
忘掉天地彷佛也想不起自己
/仍未忘相约看漫天黄叶远飞
就算会与你分离凄绝的戏
/要决心忘记我便记不起
明日天地只恐怕认不出自己
/仍未忘相约看漫天黄叶远飞
就算你壮阔胸膛不敌天气
/两鬓斑白都可认得你
就算你壮阔胸膛不敌天气
/两鬓斑白都可认得你

每逢到秋天,常常会记起“忘掉天地彷佛也想不起自己,仍未忘相约看漫天黄叶远飞”这两句词,简单两句勾勒,就有了一副极美的意象。

其实我不要你说什么,很多话不用说,我知道,你也知道,说多了反而生分了。