The Outlaw’s Bridal
- Dost thou not fear an outlaw’s mournful love:
- To be always with him, young lowland daughter,
- Who slew his brother by the western water,
- A dweller with rivers on the hills above?
- Dost thou not fear an outlaw’s cave
- Where are no yielding pillows for thy head,
- An outlaw’s arms and heather for thy bed
- And in the end an outlaw’s grave?
- Dost thou not fear the tireless bandog’s hate
- Tracking our way by every sandy fountain,
- Tracking our way along the heathery mountain,
- Awaking to an undivided fate
- My steel-worn brows and thy soft head?
- Dost thou not fear the tireless bandog’s yell?
- To pass from love to loveless heaven or hell,
- From dreams of dalliance to the dead?
- And thou shalt fear him in each kiss and see
- His slouching phantom in the golden morning,
- And fear him when beside some pool adorning
- Thy bodily form, to make it beautiful for me.
- Dost thou not fear, dost thou not fear
- The mushroom-dotted grass at chilly Dawn
- Where are no dolphined fountains, no smooth lawn
- And pleasant house to give you cheer?
- Maiden, dost thou not fear a love so lone?
- No eyes of friends to see thy soft hair flowing,
- For they are dead my old companions—blowing,
- Blowing the winds are through each white breast-bone.
- In dewy wood or on bare hill
- The sword or arrow found them and they ceased.
- The raven of their flesh has made a feast
- And the strong eagle taken his fill.
- Yea, wilt thou have an outlaw’s mournful love:
- Then up, spring up before me on the saddle.
- As I have ridden far, let Brian paddle
- His tired hooves in the stream. I have thy glove
- Still on the fore of my steel cap.
- But hark, dost thou not hear the bandog bay
- Rolling among the hollows far away,
- Rolling along the mountain gap?
- On! On! They overtake us. Leap thy best
- Now Brian. Over the dark ravine thy furthest
- Leap thou. Cling close beloved, now thou earnest
- Long days of love or an eternal rest.
- Kiss me lest thou should’st find the last.
- We’re safe. Hear how the great stones clash and fall
- Below us from the ravine’s ragged wall
- Clanging—we loosed them as we passed.
- On—on—now are they miles and miles away.
- Where the slow surges shoreward march we wander
- Loose-reined along the grey sea sands. There yonder
- I slew my brother; mingling in mere play
- Our swords, the fever of the fight
- Fell on us and I slew. He was the first
- And last of all my band. Now am I curst
- Of God by noon, and morn and night,
- And all who go with me are ever lost
- And pass out to the grave-world sorrow-laden,
- And ah dost thou not fear God’s curses, maiden?
- Thine eyes give answer, my sad life wrath-tossed
- Thou sharest here in heaven or hell.
- Cling close beloved that I may feel thy peace
- Near to my soul where day by day increase
- The ever starless whirlwinds fell.
- The sea sands pass. The gathering mountains close
- Close gathering round us. Yon our pathway lieth,
- The slow morn dawns. Our twisted shadow flieth
- Along with us. The cloud-washed mountain goes
- Sheer to the plain a thousand feet—
- Tread softly now, have I not called thee best
- Of steeds and from great Brian named thee—West
- White Equinoxial billows beat.
- Below the moonlight fits a forest’s gloom;
- Often above the thunder’s roar and rattle
- The war-god’s talking of my land’s long battle
- Here where on man’s worn spirit falls a doom
- Of sadness from the monstrous clouds
- He is so near to, is our lime-stone cave,
- Here will we live, far off from shield and glaive
- Far off from tedious warrior crowds.
流寇的婚礼
- 难道你不怕流寇的凄惋爱情？
- 永远跟着他，年轻的低地女儿，
- 他在西海边杀死了他的兄弟，
- 是一个依山傍水而居的游民。
- 难道你不怕流寇的洞穴？
- 那里没有温顺的枕头供你躺，
- 只有流寇的胳膊和干草当床，
- 最终是一个流寇的墓穴。
- 难道你不怕不倦的獒犬之仇
- 到每处沙漠泉源边追寻我们，
- 沿石楠丛生的山坡追寻我们，
- 把我戴铁的额和你柔弱的头
- 惊醒去面对共同的运命？
- 难道你不怕不倦的獒犬之吼？
- 从爱走到无爱的天堂或地狱
- 从欲乐之梦到亡魂之梦？
- 你每次接吻都会怕他，看见他
- 金色晨曦中佝偻而行的幽魂；
- 在水池旁边梳洗打扮你自身，
- 为了我修饰妆容的时候怕他。
- 难道你不怕，难道你不怕
- 寒冷黎明时点缀蘑菇的草莽？
- 那里无海豚喷泉，无平滑草场
- 和舒适宅邸令你心情佳。
- 女孩，难道你不怕爱如此孤独？
- 没有朋友的眼看你柔发飘然，
- 因为他们都死了，我的老伙伴——
- 风吹呀吹过每一块白色胸骨。
- 在露湿树林或光秃山丘，
- 剑或箭追上了他们，他们完蛋。
- 乌鸦把他们的血肉当做盛宴，
- 强悍的鹰隼也吃饱喝足。
- 你若是想要流寇的凄惋爱情，
- 那就跳上来坐在鞍上我前头。
- 驱驰已久，就让布赖恩在溪头
- 刨刨疲惫的蹄子。在铁盔头顶
- 我永远佩戴着你的手套。
- 可是听，难道你不怕獒犬之吠
- 滚滚回响在遥远的空谷之内，
- 滚滚回响在山间的小道？
- 驾！驾！他们要追上了。尽力跳跃，
- 布赖恩！从黑暗裂谷之上一跃
- 而过！抓紧，亲爱的，此刻将赢得
- 爱情的长久日子或永久安歇。
- 吻我吧，恐怕你得到后者。
- 我们安全了。听巨石相撞坠下
- 裂谷的嵯岈崖壁，在我们脚下
- 哐啷响——我们踏过时 松落。
- 驾——驾——现在他们有许多里之遥。
- 在柔波拍岸之处，我们把马辔
- 放松，沿灰色沙滩漫游。在那里
- 我杀了我兄弟；我们刀剑相交
- 仅仅为嬉戏，战斗的狂热
- 袭来，我下了杀手。他是我帮里
- 第一和最后一位。现在我午时、
- 早晚都遭受上帝的谴责；
- 跟我一起走的人都总是迷路，
- 出外到满载悲哀的坟墓世界，
- 难道你不怕上帝的谴责，女孩？
- 你的眼回答，无论天堂或地狱，
- 你在此同享我凄惨人生。
- 抓紧，亲爱的，让我感受你和平
- 靠近我灵魂，永无星光的无情
- 黑旋风在那里与日俱增。
- 走过海滩，聚集的群山合拢来
- 紧围着我们。我们的路在那里，
- 天光渐放亮。我们扭曲的影子
- 随我们飞奔。云洗的山峦拔地
- 而起，在平原上高耸千尺——
- 我若不曾称你为良马，以伟大
- 布赖恩为你命名，现在就轻踏
- 西洋白分时巨浪的拍子。
- 月光下面配置着森林的阴暗；
- 常常在雷霆的吼叫震响上边，
- 战神谈论着我国长久的争战；
- 此处有我们的石灰岩洞，悲惨
- 厄运从离他切近的巨怪
- 云团降到人类的疲惫精神上；
- 我们将住在此，远离盾牌刀枪，
- 远离一群群讨厌的武士
傅浩 译
附
Dost: archaic second person singular present of do.
slew: the past tense of slay.
heather: a low, spreading bush, usually with small pink, purple, or white flowers, that grows wild, especially on hills.
石楠丛生的山坡: 原文"heathery mountain", 丛生的应该不是石楠。
brow: a person's forehead.
dalliance: a casual romantic or sexual relationship. etymology
taken his fill: satisfid his hunger. George Bornstein版原书为"taken"。
wilt: archaic or poetic form of "will" used with the second person singular pronoun "thou."
布赖恩：此行两书都无注释。
hark: listen.
ravine: a ravine is a landform that is narrower than a canyon and is often the product of streambank erosion.
Clanging: clang, a loud, resonant metallic sound or series of sounds.
mingling: mingle, mix.
curst: cursed.
wrath: extreme anger.
toss: move or cause to move from side to side or back and forth.
sharest: "share" in the second person singular, used with the pronoun "thou."
Yon: over there.
lieth: third-person singular simple present form of lie
维护者注——
伟大布赖恩：指布赖恩·博如（941—1014），中世纪著名的爱尔兰最高国王。
叶芝诗集（增订本） 2018 ——
This ten-stanza narrative poem reflects Yeats’s turn to Irish materials and settings in his poety after meeting the aged Fenian John O’Leary in 1885. It preserves some of the atmosphere of “Hushed in the vale of Dagestan” but transfers it to seventeenth-century Ireland. Although Yeats’s subtitle “Ireland 16—” is chronologically broad, he may have had specifically Cromwellian times in mind. His related poem “The Protestants’ Leap” was published in The Gael, of which O’Leary was literary editor, and the present work may have been intended for the same journal. Although the outlaw has inadvertently slain his brother, his reference to “my land’s long battle” suggests a nationalist dimension to his predicament. The fusion of nationalism, eroticism, and a solitary hero wondering if his beloved will forsake the world for him recurs frequently in Yeats’s later poetry.
bandog: “Bandog” originally meant a fierce dog tied or chained up, hence a mastiff or bloodhound.
grate Brain: Given the other Irish references in the poem, the name “great Brian” suggests Brian Boru, the famous high king of Ireland in the Middle Ages.
Immediately after this line in the manuscript follows a draft of Yeats’s lyric “A Faery Song” (first published in 1891) written in a different ink and with a device of a circle with an “x” through it separating that lyric from the poem transcribed here.
George Bornstein—