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8月5日晚,里约奥运会开幕,我被一首诗歌惊艳——
“它很丑。但它是一朵花。/它捅破了沥青、厌倦、恶心和仇恨。”
表演中,一个小男孩寻找绿色树苗的场景让人印象深刻:一粒娇嫩的种子冲破土壤奋力发芽。在背景音乐声中,巴西女演员费尔南德·蒙特纳哥和英国女演员朱迪·丹奇,分别用葡文和英文朗诵了巴西诗人卡洛斯·德鲁蒙德·德·安德拉德的《花与恶心》,诗中言之凿凿地说:“它很丑。但它是一朵花。/它捅破了沥青、厌倦、恶心和仇恨。”
我不认识这位巴西诗人,却十分欣赏开幕式上这样的安排,在体育竞技的盛事中,仍不忘记对人文和文学的敬畏,蓦地对巴西好感油然而生!不管有多少人曾唱衰里约,随着开幕式都会消失殆尽。
有人说,一个读诗的开幕式就是一个了不起的开幕式。事实上,奥运会跟诗歌的关系很紧密。在古希腊,各种运动盛会与诗歌表演本来就是一家,观众欣赏的不仅是体育竞技,还有大诗人的表演。
找来卡洛斯·德鲁蒙德(1902—1987)的《花与恶心》,我大声地默读:
“被我的阶级和衣着所囚禁,/我一身白色走在灰白的街道上。/忧郁症和商品窥视着我。/我是否该继续走下去直到觉得恶心?/我能不能赤手空拳地反抗?
“钟楼上的时钟里肮脏的眼睛:/不,全然公正的时间并未到来。/时间依然是粪便、烂诗、癫狂和拖延。
“可怜的时间,可怜的诗人/困在了同样的僵局里。”
里约奥运会开幕式表演了一首晦涩却充满力量的诗。可以当着全世界念出“我的仇恨是我身上最好的东西”的时候,那得是一个多么有自信的民族啊。无怪乎曾有人说:审美拯救人民。
中国绝大多数文学读者不知道卡洛斯·德鲁蒙德的名字,只有极少的葡语学习者和冷知识积累者,知道他是巴西20世纪被国民接受程度最高的诗人和巴西的标志性文化符号之一。
在所有的巴西现代主义诗人里面,担任过教育部部长的卡洛斯·德鲁蒙德可能是最受普通民众敬爱的诗人。他的头像在上个世纪80年代末还被印上了巴西的50元纸币。里约最著名的科帕卡巴纳海滩上就有卡洛斯·德鲁蒙德的雕像,上面铭刻着他写里约的一句诗:“在海中,一座城市已被写就。”
《花与恶心》是卡洛斯·德鲁蒙德1945年的作品,当时正值巴西比较极权的时期。从小生长在乡间的诗人感觉到自由受到威胁,所以他笔锋如刀,包含着对极权主义的批评。“花与恶心”式的强悍表达,在巴西语境里不过是日常生活,那是来自“上帝之城(巴西里约的社区,意指中下层社会)”的直抒胸臆。
因此,也难怪卡洛斯·德鲁蒙德成为了巴西的“国家诗人”。他开创了一代诗风,把诗歌语言从平庸刻板的规约化中解放出来,大胆采用平民化的口语来书写日常生活,甚至糅合市井俚语,从而让诗歌走出象牙之塔,赢得了更广阔的阅读空间。卡洛斯·德鲁蒙德的诗歌始终关注他周边的世界、周边的人,显示出深刻的思考和温馨的人文关怀。面对社会弊端,他时而讥讽,时而挖苦;他用调侃的态度看待人生、用人民的眼光看待人民,形成了独有的文学风格。
“我徒劳地试图对自己解释,墙壁是聋的。/在词语的皮肤下,有着暗号和代码。/太阳抚慰着病人,却没有让他们康复。/事物。那些不引人注目的事物是多么悲伤。
“沿着城市呕吐出这种厌倦。/四十年了,没有任何问题/被解决,甚至没有被排上日程。/所有人都回到家里。/他们不怎么自由,但可以拿起报纸/拼读出世界,他们知道自己失去了它。
“大地上的罪行,怎么可以原谅?/我参与了其中的很多,另一些我做得很隐蔽。/有些我认为很美,让它们得以出版。/柔和的罪行助人活命。/错误像每日的口粮,分发到家中。/烘焙着邪恶的狠心面包师。/运送着邪恶的狠心牛奶贩。”
从一开始,里约奥运就是最特别的一届。污染、疫病、安保、经费等等,这场奥运会还未开始,就已经被全世界质疑。媒体充满了讥讽之声,连BBC的里约奥运宣传片,拍出了人与动物之间运动和力量的无缝连接,也被有才的网友解读为:“这是在说里约的运动场馆都很烂,大家要在丛林里比赛吗?”
难道这届奥运真的不行?其实,它可能预算不足,它可能首次在南美举办,它可能无序和混乱,它可能充满这样那样的问题,它可能饱受争议和批评,但这些都不重要。体育,奥运,就是要打破这一切纷扰,把人类团结在一起,和平地竞争,让体育回归体育,更高、更快、更强。开幕式上气势磅礴的声光乐和焰火表演,演员们激情四射又张弛有度的表演,对巴西流行文化的阐释和演义,确实将人们镇住了。他们有快乐的嘻哈,有狂放的桑巴,有美妙的爵士,有全地球人最美的肉体天神娘娘吉赛尔·邦臣,也有像《花与恶心》那样深邃的诗篇,这是具有现代性的东西,它提供了现代文明的宽度。
“把这一切都点上火吧,包括我,/交给1918年的一个被称为无政府主义者的男孩。/然而,我的仇恨是我身上最好的东西。/凭借它我得以自救/还能留有一点微弱的希望。”
《花与恶心》就像把拉丁美洲的《百年孤独》演绎到了21世纪。在过去那个时代,拉丁美洲是被其他列强所殖民和欺骗的,而今不同了,巴西人似乎已经明显感到不同了,在世界面前,能够感受到巴西人依然孤独,生活依然痛苦,但是他们已经意识到世界能够给予巴西的只有帮助,他们并不掩盖自身的问题,而是勇敢地把本国的问题说出来,说给本国的政客听,说给世界各国来参赛和参观的国际朋友听,说给全世界听。
“一朵花当街绽放!/它们从远处经过,有轨电车,公共汽车,钢铁的车河。/一朵花,尽管还有些黯淡,/在躲避警察,穿透沥青。/请你们安静下来,停下手里的生意,/我确信一朵花正当街绽放。
“它的颜色毫不起眼。/它的花瓣还未张开。/它的名字书中没有记载。/它很丑。但它千真万确是一朵花。
“下午五点钟,我坐在一国之都的地面上/缓慢地把手伸向这尚未明朗的形状。/在山的那边,浓密的云团在膨胀。/一个个小白点在海上晃动,受惊的鸡群。 “它很丑。但它是一朵花。/它捅破了沥青、厌倦、恶心和仇恨。”
作为金砖国家、全球第七大经济体的巴西,里约奥运会不就是这样一朵小花吗?
在巴西,巴西没有巴西人那么重要;在里约,奥运也没有里约人的日常生活那么重要。那是一座不完美的城市,所以上帝才有事可做,所以才会在开幕式上有这样一首诗悍然现身。
(本文图片由梁凤英提供)
“The Flower and The Nausea” Loud at Rio Olympic Games
By Shu Shu
For many in China, hearing the poem cited at the opening ceremony of the Rio Olympic Games and learning what is really about was a big surprise. Many in China, a country of poetry, found it touching to hear a poem cited on such a grand occasion, a kind of homage paid to poetry and poets in general. It is also amazing to find how confident Brazil was to pick such a poem when the ceremony was opening the games. The last two lines read: “It’s ugly. But it’s a flower. It breached the asphalt, the ennui, the nausea and the hate.”
No matter how inappropriate the poem might have sounded at the first sight, an opening ceremony where a poem was recited must be great and the poem, though a bit convoluted, was full of energy.
The poem was written by the modernist writer Carlos Drummond de Andrade, probably the best known and most loved poet in Brazil. It was read in Portuguese by another Brazilian national treasure, the actress Fernanda Montenegro, with English provided by Britain’s national star Judi Dench.
Most readers in China know almost nothing about Carlos Drummond de Andrade (1902-1987). Only some who read the Portuguese and those who specialize in obscure knowledge would know that he was the most influential poet of the 20th century Brazil and that he is a cultural icon of Brazil. In 1990, his portrait and poem Friendly Song were printed on the Brazilian 50 cruzados banknote. A life-size bronze statue of the poet sits on Copacabana beach in Rio.
The Flower and the Nausea was written in 1945 when Brazil suffered from despotism. The poem highlights his criticism, a straightforward expression from the city of god. His poems found echoes in the heart of people and he grew to be something of a national poet. Moreover, he broke new trails in writing poems, liberating poetry from standardized expressions and adopting a secular vocabulary to describe everyday life and sentiments. His poems broke away from the tower of ivory and reached broad strata of readers.
Some Chinese readers understand Rio Olympic Games by comparing Rio as that flower. The Rio Olympic Games in the media were so much saddled with issues such as pollution, Zika, security, funds, sporting venues that the world eyeballed Brazil with suspicion.
But the world is always full of problems. The Rio Olympic Games is the first ever held in the South America. There were disorder and even chaos, but they were not important. The world came together, that counts. The Olympic Games is always designed to bring mankind together. The opening ceremony was a huge success and the poem read at the ceremony bespoke the width of the spirit. Brazil didn’t want to cover up its problems. It spoke about itself bravely to the politicians from all over the world and to international friends and visitors. In Brazil, Brazil isn’t as important as its people. In Rio, the Olympic Games isn’t as important as the everyday life of the people there. It isn’t a perfect city and that is why God has things to do there and that is why such a poem made its guts way into the opening ceremony.
“它很丑。但它是一朵花。/它捅破了沥青、厌倦、恶心和仇恨。”
表演中,一个小男孩寻找绿色树苗的场景让人印象深刻:一粒娇嫩的种子冲破土壤奋力发芽。在背景音乐声中,巴西女演员费尔南德·蒙特纳哥和英国女演员朱迪·丹奇,分别用葡文和英文朗诵了巴西诗人卡洛斯·德鲁蒙德·德·安德拉德的《花与恶心》,诗中言之凿凿地说:“它很丑。但它是一朵花。/它捅破了沥青、厌倦、恶心和仇恨。”
我不认识这位巴西诗人,却十分欣赏开幕式上这样的安排,在体育竞技的盛事中,仍不忘记对人文和文学的敬畏,蓦地对巴西好感油然而生!不管有多少人曾唱衰里约,随着开幕式都会消失殆尽。
有人说,一个读诗的开幕式就是一个了不起的开幕式。事实上,奥运会跟诗歌的关系很紧密。在古希腊,各种运动盛会与诗歌表演本来就是一家,观众欣赏的不仅是体育竞技,还有大诗人的表演。
找来卡洛斯·德鲁蒙德(1902—1987)的《花与恶心》,我大声地默读:
“被我的阶级和衣着所囚禁,/我一身白色走在灰白的街道上。/忧郁症和商品窥视着我。/我是否该继续走下去直到觉得恶心?/我能不能赤手空拳地反抗?
“钟楼上的时钟里肮脏的眼睛:/不,全然公正的时间并未到来。/时间依然是粪便、烂诗、癫狂和拖延。
“可怜的时间,可怜的诗人/困在了同样的僵局里。”
里约奥运会开幕式表演了一首晦涩却充满力量的诗。可以当着全世界念出“我的仇恨是我身上最好的东西”的时候,那得是一个多么有自信的民族啊。无怪乎曾有人说:审美拯救人民。
中国绝大多数文学读者不知道卡洛斯·德鲁蒙德的名字,只有极少的葡语学习者和冷知识积累者,知道他是巴西20世纪被国民接受程度最高的诗人和巴西的标志性文化符号之一。
在所有的巴西现代主义诗人里面,担任过教育部部长的卡洛斯·德鲁蒙德可能是最受普通民众敬爱的诗人。他的头像在上个世纪80年代末还被印上了巴西的50元纸币。里约最著名的科帕卡巴纳海滩上就有卡洛斯·德鲁蒙德的雕像,上面铭刻着他写里约的一句诗:“在海中,一座城市已被写就。”
《花与恶心》是卡洛斯·德鲁蒙德1945年的作品,当时正值巴西比较极权的时期。从小生长在乡间的诗人感觉到自由受到威胁,所以他笔锋如刀,包含着对极权主义的批评。“花与恶心”式的强悍表达,在巴西语境里不过是日常生活,那是来自“上帝之城(巴西里约的社区,意指中下层社会)”的直抒胸臆。
因此,也难怪卡洛斯·德鲁蒙德成为了巴西的“国家诗人”。他开创了一代诗风,把诗歌语言从平庸刻板的规约化中解放出来,大胆采用平民化的口语来书写日常生活,甚至糅合市井俚语,从而让诗歌走出象牙之塔,赢得了更广阔的阅读空间。卡洛斯·德鲁蒙德的诗歌始终关注他周边的世界、周边的人,显示出深刻的思考和温馨的人文关怀。面对社会弊端,他时而讥讽,时而挖苦;他用调侃的态度看待人生、用人民的眼光看待人民,形成了独有的文学风格。
“我徒劳地试图对自己解释,墙壁是聋的。/在词语的皮肤下,有着暗号和代码。/太阳抚慰着病人,却没有让他们康复。/事物。那些不引人注目的事物是多么悲伤。
“沿着城市呕吐出这种厌倦。/四十年了,没有任何问题/被解决,甚至没有被排上日程。/所有人都回到家里。/他们不怎么自由,但可以拿起报纸/拼读出世界,他们知道自己失去了它。
“大地上的罪行,怎么可以原谅?/我参与了其中的很多,另一些我做得很隐蔽。/有些我认为很美,让它们得以出版。/柔和的罪行助人活命。/错误像每日的口粮,分发到家中。/烘焙着邪恶的狠心面包师。/运送着邪恶的狠心牛奶贩。”
从一开始,里约奥运就是最特别的一届。污染、疫病、安保、经费等等,这场奥运会还未开始,就已经被全世界质疑。媒体充满了讥讽之声,连BBC的里约奥运宣传片,拍出了人与动物之间运动和力量的无缝连接,也被有才的网友解读为:“这是在说里约的运动场馆都很烂,大家要在丛林里比赛吗?”
难道这届奥运真的不行?其实,它可能预算不足,它可能首次在南美举办,它可能无序和混乱,它可能充满这样那样的问题,它可能饱受争议和批评,但这些都不重要。体育,奥运,就是要打破这一切纷扰,把人类团结在一起,和平地竞争,让体育回归体育,更高、更快、更强。开幕式上气势磅礴的声光乐和焰火表演,演员们激情四射又张弛有度的表演,对巴西流行文化的阐释和演义,确实将人们镇住了。他们有快乐的嘻哈,有狂放的桑巴,有美妙的爵士,有全地球人最美的肉体天神娘娘吉赛尔·邦臣,也有像《花与恶心》那样深邃的诗篇,这是具有现代性的东西,它提供了现代文明的宽度。
“把这一切都点上火吧,包括我,/交给1918年的一个被称为无政府主义者的男孩。/然而,我的仇恨是我身上最好的东西。/凭借它我得以自救/还能留有一点微弱的希望。”
《花与恶心》就像把拉丁美洲的《百年孤独》演绎到了21世纪。在过去那个时代,拉丁美洲是被其他列强所殖民和欺骗的,而今不同了,巴西人似乎已经明显感到不同了,在世界面前,能够感受到巴西人依然孤独,生活依然痛苦,但是他们已经意识到世界能够给予巴西的只有帮助,他们并不掩盖自身的问题,而是勇敢地把本国的问题说出来,说给本国的政客听,说给世界各国来参赛和参观的国际朋友听,说给全世界听。
“一朵花当街绽放!/它们从远处经过,有轨电车,公共汽车,钢铁的车河。/一朵花,尽管还有些黯淡,/在躲避警察,穿透沥青。/请你们安静下来,停下手里的生意,/我确信一朵花正当街绽放。
“它的颜色毫不起眼。/它的花瓣还未张开。/它的名字书中没有记载。/它很丑。但它千真万确是一朵花。
“下午五点钟,我坐在一国之都的地面上/缓慢地把手伸向这尚未明朗的形状。/在山的那边,浓密的云团在膨胀。/一个个小白点在海上晃动,受惊的鸡群。 “它很丑。但它是一朵花。/它捅破了沥青、厌倦、恶心和仇恨。”
作为金砖国家、全球第七大经济体的巴西,里约奥运会不就是这样一朵小花吗?
在巴西,巴西没有巴西人那么重要;在里约,奥运也没有里约人的日常生活那么重要。那是一座不完美的城市,所以上帝才有事可做,所以才会在开幕式上有这样一首诗悍然现身。
(本文图片由梁凤英提供)
“The Flower and The Nausea” Loud at Rio Olympic Games
By Shu Shu
For many in China, hearing the poem cited at the opening ceremony of the Rio Olympic Games and learning what is really about was a big surprise. Many in China, a country of poetry, found it touching to hear a poem cited on such a grand occasion, a kind of homage paid to poetry and poets in general. It is also amazing to find how confident Brazil was to pick such a poem when the ceremony was opening the games. The last two lines read: “It’s ugly. But it’s a flower. It breached the asphalt, the ennui, the nausea and the hate.”
No matter how inappropriate the poem might have sounded at the first sight, an opening ceremony where a poem was recited must be great and the poem, though a bit convoluted, was full of energy.
The poem was written by the modernist writer Carlos Drummond de Andrade, probably the best known and most loved poet in Brazil. It was read in Portuguese by another Brazilian national treasure, the actress Fernanda Montenegro, with English provided by Britain’s national star Judi Dench.
Most readers in China know almost nothing about Carlos Drummond de Andrade (1902-1987). Only some who read the Portuguese and those who specialize in obscure knowledge would know that he was the most influential poet of the 20th century Brazil and that he is a cultural icon of Brazil. In 1990, his portrait and poem Friendly Song were printed on the Brazilian 50 cruzados banknote. A life-size bronze statue of the poet sits on Copacabana beach in Rio.
The Flower and the Nausea was written in 1945 when Brazil suffered from despotism. The poem highlights his criticism, a straightforward expression from the city of god. His poems found echoes in the heart of people and he grew to be something of a national poet. Moreover, he broke new trails in writing poems, liberating poetry from standardized expressions and adopting a secular vocabulary to describe everyday life and sentiments. His poems broke away from the tower of ivory and reached broad strata of readers.
Some Chinese readers understand Rio Olympic Games by comparing Rio as that flower. The Rio Olympic Games in the media were so much saddled with issues such as pollution, Zika, security, funds, sporting venues that the world eyeballed Brazil with suspicion.
But the world is always full of problems. The Rio Olympic Games is the first ever held in the South America. There were disorder and even chaos, but they were not important. The world came together, that counts. The Olympic Games is always designed to bring mankind together. The opening ceremony was a huge success and the poem read at the ceremony bespoke the width of the spirit. Brazil didn’t want to cover up its problems. It spoke about itself bravely to the politicians from all over the world and to international friends and visitors. In Brazil, Brazil isn’t as important as its people. In Rio, the Olympic Games isn’t as important as the everyday life of the people there. It isn’t a perfect city and that is why God has things to do there and that is why such a poem made its guts way into the opening ceremony.