用几首有代表性的情诗来说明爱的复杂

我们总是把爱情作为一件可知物来理解，但这种认知却永远失败。爱情的全部复杂性如果呈现出来，可能会表现出全部动物和人的一切本质与特点，所以它终究是一个不可知的东西。由此，诗人们大可放手地去体验与表现。女人和男人永远是一对永恒的矛盾，永恒的朋友，也是永恒的谜。

We always understand love as a knowable thing, but this cognition always fails. If all the complexity of love is presented, it may show all the essence and characteristics of all animals and people, so it is an unknowable thing after all. Therefore, poets can let go to experience and express. Women and men are always a pair of eternal contradictions, eternal friends and eternal mysteries.

这里我引用一些有代表性的情诗来说明这个神话和谜。芬兰女诗人索德格朗少女时就患上了肺结核，从此，贫苦、得病、失恋、痛苦一直与她纠缠在一起，她一直在用写诗来慰藉自己的灵魂。直到31岁的时候，贫病交加之下死在了芬兰的一个小乡村。她死前的诗没有被人承认，死后却成为了北欧的现代主义诗歌的先驱。她有一首写爱情的好诗《现代处女》：

Here I quote some representative love poems to illustrate this myth and mystery. Finnish poetess sodergrand suffered from tuberculosis when she was a girl. Since then, poverty, illness, lovelorn and pain have been entangled with her. She has been writing poetry to comfort her soul. Until the age of 31, he died of poverty and illness in a small village in Finland. Her poems before her death were not recognized, but after her death she became a pioneer of modernist poetry in northern Europe. She has a good poem about love, modern virgins:

我不是女人，我是中性的。

I'm not a woman, I'm neutral.

我是孩子、童仆，是一种大胆的决定，

I am a child, a boy servant, a bold decision,

我是鲜红的太阳的一丝笑纹……

I am a smile of the bright red sun

我对于所有贪婪的鱼来说是一张网，

I am a net for all greedy fish,

我对于每个女人是表示敬意的祝酒，

I'm a toast to every woman,

我是走向幸运与毁灭的一步

I am a step towards luck and destruction

我是自由与自主之中的跳跃……

I am a leap between freedom and autonomy

我是在男人耳中血液的低语，

I'm a whisper of blood in a man's ear,

我是灵魂的颤栗，肉体的渴望与拒绝，

I am the trembling of the soul, the longing and rejection of the body,

我是进入新乐园的标记，

I'm a sign of entering the new paradise,

我是搜寻与勇敢之火

I am the fire of search and courage

我是冒昧得仅深及膝盖之水，

I took the liberty of reaching only knee deep,

我是火与水诚实而没有限度的结合……

I am an honest and unlimited combination of fire and water

索德格朗有不少写爱情的诗，但这首诗写得最为深刻、形象。她作为一个企盼得到爱情，但又无法得到爱情的女人，所以，这首诗表现出来那种对爱的企盼,但是矜持的企盼，对爱的想象，对肉体是渴望的拒绝，所以，她自称是中性的。这首诗所表现出来的爱纯粹是一种少女爱情的英雄主义宣言。这首诗的感人至深之处，也就是她说的“是火与水诚实而没有限度的结合”。

Sodergrand has many poems about love, but this poem is the most profound and vivid. She is a woman who hopes to get love, but can't get love. Therefore, this poem shows the hope for love, but the reserved hope, the imagination of love and the rejection of the desire for the body. Therefore, she claims to be neutral. The love expressed in this poem is purely a heroic declaration of girls' love. The touching part of this poem is that she said "it is an honest and unlimited combination of fire and water".

在俄罗斯诗人中，写爱情诗歌比较多的是茨维塔耶娃。茨维塔耶娃的爱情诗有一种天生的纯洁和无畏，无论是爱的绝对，又或是恨的绝对，她最擅长表现失望与失落之间撕心裂肺的那种痛中的爱。

Among the Russian poets, tsvitaeva wrote more love poems. Tsvitaeva's love poems have a natural purity and fearlessness. Whether it is the absolute love or the absolute hate, she is best at expressing the love in the pain between disappointment and loss.

你爱我用真实的虚伪——

You love me with true hypocrisy——

爱我也用虚伪的真理，

Love me with false truth,

你爱我爱到山穷水尽！

You love me to the end of the mountain!

爱我爱到他乡异域！

Love me to a foreign land!

爱我爱到天长地久，

Love me forever,

挥挥右手！永别！——

Wave your right hand! Farewell——

你再也不会爱我，从今以后：

You will never love me again, from now on:

这一真理是千真万确。

This truth is absolutely true.

这首诗写出了天地颠倒时的那种爱的转变与复杂，爱的许诺反衬着永别的痛苦，好像表现得很平静，没有惊心动魄，但内藏着失去爱情之后的惊心动魄。茨维塔耶娃曾经单恋上了德国著名诗人里尔克。单恋之中，她完全用诗人的丰富想象力把她苦恋之中的痛与苦写到淋漓尽致：

This poem describes the transformation and complexity of love when the world is upside down. The promise of love contrasts with the pain of farewell. It seems to be very calm and not soul stirring, but it contains the soul stirring after the loss of love. Tsvitaeva once fell in love with the famous German poet Rilke. In the single love, she wrote the pain and suffering in her bitter love incisively and vividly with the poet's rich imagination:

整个身体的疼痛——仿佛

The pain of the whole body - as if

衣服的下摆里裹着一座山！

A mountain is wrapped in the hem of the dress!

凭借整个身体的疼痛，

With the pain of the whole body,

我在领悟爱情

I'm understanding love

我体内的田野仿佛

The fields inside me are like

因为每一场暴雨而犁开。

Plough because of every rainstorm.

凭借众人的远方，

With the distance of everyone,

我在近处领悟爱情。

I understand love in a close place.

我的体内仿佛

My body seems

被掏了个洞，直抵漆黑的骨架

A hole was dug into the dark skeleton

凭借躯体内呻吟的血管，

With groaning blood vessels in the body,

我在领悟爱情。

I'm understanding love.

穿堂风像马鬃

The draught is like a horse's mane

掠过，匈奴人：

Passing by, Huns:

凭借喉咙忠诚琴统的断裂，

With the fracture of the Qin system,

我在领悟爱情。

I'm understanding love.

铁锈，活的盐。

Rust, live salt.

凭借偏布身体的裂缝，

With the cracks in the body,

我在领悟爱情。

I'm understanding love.

不，凭借身体的颤音。

No, with the vibrato of the body.

什么叫生与死的界限上爱的撕心裂肺，这就是痛着但又爱着。但综观帕斯捷尔纳克、茨维塔耶娃与里尔克的通信，会发现茨维塔耶娃的爱情是活在语言上的，不是活在行动上的。想象中的爱是腾飞在现实之上的幻觉，腾飞得越高，幻觉就越厉害，其艺术的包涵性、独特性也却越强，这样的诗由此才成为精神的稀缺物。但是，请注意，它与生活不是一回事。茨维塔耶娃有这样的夫子自道：“诗歌就是存在，不能做他想”。这就是诗人的爱情。

What is love on the boundary between life and death? This is pain but love. However, looking at the communication between Pasternak, tsvitaeva and Rilke, we can find that tsvitaeva's love lives in language, not in action. Imaginary love is an illusion that takes off above reality. The higher the take-off, the more powerful the illusion is, and the more inclusive and unique its art is. Therefore, such poetry has become a scarce thing of spirit. However, please note that it is not the same thing as life. Tsvetayeva had such a teacher who said, "poetry is existence and can't do what he wants". This is the poet's love.

Blue Seascape, Wave effect by Georges Lacombe, 1893

Blue Seascape, Wave effect by Georges Lacombe, 1893

爱往往需要加入时间的要素，爱一旦已经知道了，就不再是活生生的了，时间的出现就等于是让爱情像流动的河发生变化。甚至因为时间的距离，于是就会使得爱情产生天堂里的感觉。

Love often needs to add the elements of time. Once love has been known, it will no longer be alive. The emergence of time is to make love change like a flowing river. Even because of the distance of time, it will make love feel in heaven.

《追忆》是罗马尼亚现代派诗人斯特内斯库写的：

Reminiscence was written by Romanian modernist poet stenescu:

她美丽的犹如思想的影子——

Her beauty is like the shadow of thought——

她的后背散发出气息

Her back breathed

像婴儿的皮肤，像新砸开的石头，

Like a baby's skin, like a newly broken stone,

像来自死亡语言中的叫喊。

Like a cry from the language of death.

她没有重量，恰似呼吸。

She has no weight, just like breathing.

时而欢笑，时而哭泣，硕大的泪

Sometimes laugh, sometimes cry, big tears

使她咸得宛如异族人宴席上

Make her salty like an alien banquet

备受颂扬的盐巴。

Praised salt.

她美丽得犹如思想的影子

She is as beautiful as the shadow of thought

茫茫水域中，她是唯一的陆地

She is the only land in the vast waters

通过时间，有了距离，伟大的爱情才存在得如此美妙！法国诗人阿波利奈尔的著名诗篇《米拉波桥》也是写追忆：“塞纳河在米拉波桥下流逝/我们的爱情/还要记起吗/往日的欢乐总是在痛苦之后来临/……/爱情像这泓流水一样逝去/爱情逝去/生命多么缓迟/而希望又多么强烈/……消失多少个日子多少个星期/过去了的日子/和爱情都已不复回来/塞纳河在米拉波桥下流逝/夜来临吧钟声响起/时光流逝了而我还在这里”。这首诗之所以有名，实际上是说明“往日的欢乐总是在痛苦之后来临”“爱只有在真正成为回忆的时候才成为爱”。爱的道理，有的时候，没有现实的爱，只有回忆才有爱情，回忆才变幻出艺术品。

Through time, with distance, great love exists so beautifully! The famous poem mirabo bridge written by French poet apolionel is also a memory: "The Seine River passes under the mirabo bridge / our love / remember / the joy of the past always comes after pain /... / love passes like this water / love passes / life is so slow / and hope is so strong /... How many days and weeks have disappeared / the past days / and love have not come back / the Seine River passes under the mirabo bridge / night comes The reason why this poem is famous is that "the joy of the past always comes after the pain" and "love becomes love only when it really becomes a memory". The truth of love is that sometimes there is no real love, only memories can have love, and memories can change into works of art.

Edvard Munch作品《High Summer II》

High summer II by Edvard Munch

爱情是一个谜，是一个永远讲不透的谜。有一个诗人说：“从此，女人在眼泪下藏着一个秘密/并不时地眨着睫毛，仿佛像说/她知道一些/我们不知道的事情，/一些谁都不知道的事情，/包括上帝”。女人的这种谜一样的状态，在当代著名诗人阿多尼斯的诗中有很多反映。他有一首《女人的微型词典》：“她的爱情，是一个过去时/但只与未来对话/……爱情：/是敞开的胸膛，/但其中传出的声音/仿佛是失传的方言/……不是她的双臂/不是她的脚步/是她的身体打开的天际/爱情：/向着宇宙/乞讨的星辰。/从她爱情的床笫，/诞生了他憎恶的世界。/你妒忌黄昏——因为它是夕阳的枕头吗”。这首诗歌是讲女人爱情的巨大力量，仿佛这种巨大力量是一种深不可测的天火，一种无声的天火，“向着宇宙乞讨星辰”般的爱情。女人的爱有其全部的盲目性和原始性，是无法探底的。对于男人来说是不可知的。所以，阿多尼斯又把这种不可知的状态诗化为“深渊”：“我走进我看不见的一个深渊，/我害怕看见一个深渊/我走进一个溢满快乐的深渊/快乐与神喻和使者/快乐已听见我的歌变成另一首歌/为了引导这盲目的世界/快乐于犯下过错/活着的无罪的人。”（《深渊》）这种爱，就仿佛是深渊一样，无法拒绝，永远复杂的东西。男人既希望得到但又害怕得到，是快乐着犯下的过错，而男人却是一个无罪的罪人。

Love is a mystery, a mystery that can never be explained. A poet said, "from then on, a woman hides a secret under her tears / blinks her eyelashes from time to time, as if to say / she knows something / we don't know something, / something no one knows, / including God" This enigmatic state of women is reflected in the poems of Adonis, a famous contemporary poet. He has a mini dictionary of women "Her love is a past tense / but only talks to the future /... Love: / it is an open chest. / but the voice from it / seems to be a lost dialect /... It is not her arms / not her steps / the sky opened by her body / love: / towards the universe / begging stars. / from the bed of her love, / born the world he hates. / you are jealous of the evening - because This poem is about the great power of women's love, as if this great power is an unfathomable sky fire, a silent sky fire, "begging for stars from the universe" Like love. Women's love has all its blindness and primitiveness, which can't find the bottom. It's unknowable to men. Therefore, Adonis poeticized this unknowable state as an "abyss": "I walk into an abyss I can't see, / I'm afraid to see an abyss / I walk into an abyss full of happiness / happiness and God's metaphor and messenger / happiness has heard my song become another song / to guide this blind world / to be happy with those who commit mistakes / live innocent." (abyss) This kind of love is like an abyss, which can't be rejected. It's always complex. A man wants to get it but is afraid to get it. It's a happy mistake, but a man is an innocent sinner.

中国的当代爱情诗就我阅览的范围而言，能称为精品的并不多，大陆的爱情诗有两个里程碑，一个是舒婷的《致橡树》，表现女人力图摆脱另类的标志，要成为一个真正的女人的宣言。表现一个女人与男人独立存在着的，从爱情到生活的一个标志。虽然1949年以后，我们对于女人的评价永远是“半边天”。实际上我们说的只是劳动力的“半边天”，而不是真正与男人一样有生存权力和爱情存在的“半边天”。所以，《致橡树》的意义就在这里。当代写爱情诗最有里程碑式意义的是翟永明的《女人》。对这首诗歌，我有过一篇很长的评论。我认为《女人》是一首写出全部女人生死秘密、欢欣痛苦的女性人类学般的诗。诗呈现女人对于性与爱，对于母亲的情与痛，对于男人的需要和对男人的排斥，种种种种非常复杂的状态。诗的表现方法美而隐秘，有诗的特别的多向指涉与形式创新。最终诗人用痛切的诗句自问并他问：“爱为何物，我至死都不知道。”《女人》在中国当代诗歌史上将永远留下痕迹。

In terms of the scope of my reading, there are not many contemporary Chinese love poems that can be called boutiques. There are two milestones in mainland love poems. One is Shu Ting's to the oak , it shows that women try to get rid of alternative signs and become a real woman. It shows that women and men exist independently, from love to life. Although after 1949, our evaluation of women is always "half the sky". In fact, what we say is only "half the sky" of labor force , not the "half sky" that has the right to live and love like men. Therefore, the significance of "to the oak" is here. The most landmark in writing contemporary love poetry is Zhai Yongming's "women". I have a long comment on this poem. I think "women" It is a female anthropological poem that writes all the secrets of women's life and death, joy and pain. The poem presents a variety of very complex states of women's love for sex and love, mother's love and pain, men's needs and exclusion from men. The expression method of the poem is beautiful and secret, with special multi-directional reference and form innovation. Finally, the poet asked himself and him with painful poems Q: "I don't know what love is until I die." woman will always leave a trace in the history of contemporary Chinese poetry.

仿佛，大陆的爱情诗大多是女人写的，而台湾的爱情诗大多是男人写的。大陆的男诗人很少写爱情诗。在北岛早中期的诗歌中也只有两三首写爱情，欧阳江河好像没有一首是写爱情的。张枣写得成功并与爱情有关的诗像《镜中》《楚王梦雨》。多多的爱情诗写得很好，像《感情的时间》,还有王寅的《情人》等。大陆的女诗人写爱情诗，多像象伊蕾这种 “你不过来和我同居”之类呼唤性生活空缺的直白，这种直白果然有对现实的反叛意义，但缺少诗意的支撑。

It seems that most love poems in the mainland are written by women, while most love poems in Taiwan are written by men. Male poets in the mainland rarely write love poems. There are only two or three poems about love in the early and middle period of Beidao, and none of Ouyang river seems to write love. Zhang Zao's successful poems related to love are like in the mirror and king of Chu's dream of rain A lot of love poems are well written, such as the time of feeling, and Wang Yin's lover. Female poets in mainland China write love poems, such as "you don't come and live with me", which calls for the vacancy of sexual life. This directness is indeed of rebellious significance to reality, but it lacks poetic support.

台湾的当代诗人中，有余光中《等你》《在雨中》，郑愁予的《相思》，我认为写得最好的还是纪弦的《你的名字》：

Among the contemporary poets in Taiwan are Yu Guangzhong's waiting for you, in the rain, and Zheng Shouyu's Acacia. I think Ji Xian's your name is the best:

用了世界上最轻最轻的声音，

With the lightest and lightest voice in the world,

轻轻地唤你的名字每夜每夜。

Gently call your name every night.

写你的名字

Write your name

画你的名字

Draw your name

而梦见的是你的发光的名字

And dream of your shining name

……刻你的名字！

... engrave your name!

刻你的名字在树上。

Carve your name on the tree.

刻你的名字在不凋的生命树上

Engrave your name on the immortal tree of life

当这植物长成了参天的古木时

When the plant grows into towering ancient wood

啊啊，多好啊，多好啊，

Ah, how good, how good,

你的名字也大起来。

Your name gets bigger, too.

大起来了，你的名字

Big up, your name

亮起来了，你的名字。

It's on. Your name.

于是，轻轻轻轻轻轻轻地唤你的名字。”

So, gently call your name. "

在台湾新生代的诗人中，有很多写情诗的，而且大多数写的情诗非常地赤裸，明显地比大陆的诗歌在灵与肉的分离和性的追求上表现出一种明确无误地追寻，甚至有点让人震惊。有一首诗非常有名，作者是男性，叫陈可华，诗名《是》：

Among the new generation of poets in Taiwan, many write love poems, and most of them are very naked. Obviously, they show a clear and unmistakable pursuit of the separation of soul and flesh and the pursuit of sex than those in the mainland. It is even a little shocking. There is a very famous poem. The author is a male, Chen Kehua. The title of the poem is yes:

是。长官。是。

Yes, sir. Yes.

请。长官。请您。

Please, sir. Please.

蹂躏。是。尽情

Ravage. Yes. Enjoy

地。是的。长官。别。

Yes, sir. No.

再犹豫。了。请长官。

No more hesitation. Please, sir.

卸下。您。手中。和腰间

Remove. Your hands. And waist

已经陈旧。的。

It's old.

武器。是的。

Weapons. Yes.

长官。请您。

Sir, please.

蹂。

Ravage.

躏。是的。请

Yes, please

长官。举起

Sir, raise it

你胯。间。

Your crotch.

那副。崭新。大。粗。

That pair is brand new, big and thick.

硬。是的。

Hard. Yes.

够

enough

有冻头。的

With frozen head

新武器。

New weapons.

尽

all

情地。

Affectionately.

蹂躏

Ravage

我罢。

Let me.

这首诗用这种急促不加任何修饰并夸大化了的用语，让一个高高在上的男性长官，和一个低下的女人用请求蹂躏的对话，来说明性的大男子主义和虐爱也是一种性的需要。这种诗歌在形式上虽有创意，但作为肉欲横飞的现代性狂欢式的生活表现，只能是一种丑的审美。

This poem uses this hasty, unmodified and exaggerated language to make a high-ranking male officer and a low-ranking woman use a ravaged dialogue to illustrate that sexual male chauvinism and abusive love are also a sexual need. Although this poem is creative in form, as a manifestation of sensual modern Carnival life, it can only be an ugly trial Beauty.

诗的后现代性爱情表现必定涉及人性的最复杂、最神秘的领域，甚至是人生最丑陋的一面，这是人性真实的需要，不必惊讶而反对。情爱的兽性部分的充分提示是人性从至恶到至善的必然过程，人性与情爱的复杂与奇妙就在这里。但是人性的美的要求必须至高无上，即便是丑的真实也有美的一面。这里我引用著名诗人保罗·策兰《科罗娜》中写情爱的一段让大家欣赏：

The post-modern love expression of poetry must involve the most complex and mysterious field of human nature, and even the ugliest side of life, which is the real need of human nature, and there is no need to be surprised and object. The full hint of the animal part of love is the inevitable process of human nature from evil to good, and the complexity and wonder of human nature and love are here. However, the requirement of the beauty of human nature must be supreme , even the ugly truth has a beautiful side. Here I quote a paragraph about love written in Colona by the famous poet Paul Ceylan for your appreciation:

我的眼下沉，看着爱人的性：

My eyes sink and look at my lover's sex:

我们互视，

We look at each other,

我们互说暗语。

We speak code to each other.

我们相爱如罂粟和记忆，

We love each other like poppies and memories,

我们睡觉如蚌里的葡萄酒，

We sleep like wine in a clam,

如海在月的血注之中。

Like the sea in the blood of the moon.

保罗·策兰同样是写性，但写得艺术，高明，巧妙。他多用隐喻和象征，比喻“蚌”就是比喻女性的生殖器。“海在月的血注之中”展示的性爱如同穿越生死般的疯狂。“罂粟”是指人做爱时的如梦如幻的感觉。“记忆”是指恋人间的某种默契，和“说暗话”是一样的道理。这段诗歌表现出性爱瞬间即永恒的快乐，但它是用诗歌的美的密码来表现的。

Paul Ceylan also writes about sex, but his writing is artistic, clever and ingenious. He often uses metaphors and symbols to describe "clam" as a metaphor for female genitalia. "The sea in the blood of the moon" shows that sex is as crazy as passing through life and death. "Poppy" refers to people's dreamlike feeling when making love. "Memory" refers to some tacit understanding between lovers and "talking in secret" The same is true. This poem shows the instant of sex, that is, eternal happiness, but it is expressed in the code of poetic beauty.