{"id":377,"date":"2020-04-30T13:27:51","date_gmt":"2020-04-30T13:27:51","guid":{"rendered":"https:\/\/www.soleil-noir.me\/blog\/?p=377"},"modified":"2022-11-15T07:26:11","modified_gmt":"2022-11-15T07:26:11","slug":"broken-vase","status":"publish","type":"post","link":"https:\/\/www.soleil-noir.me\/blog\/broken-vase\/","title":{"rendered":"LE VASE BRIS\u00c9 \u7834\u788e\u7684\u82b1\u74f6"},"content":{"rendered":"


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\u6e05 \u9673\u6d2a\u7dac\u300a\u74f6\u82b1\u5716\u300b<\/em>\u7d79\u672c
Chen Hongshou, Flowers in a Vase, pigments on silk<\/figcaption><\/figure><\/div>\n\n\n
\u4e5f\u8a31\uff0c\u6211\u5011\u53ef\u4ee5\u628a\u5176\u6b78\u7d50\u65bc\u4e0d\u540c\u7684\u6587\u5316\u50b3\u627f\u548c\u7f8e\u5b78\u7406\u5ff5\uff0c\u76f8\u4f3c\u7684\u610f\u8c61\uff0c\u6771\u897f\u65b9\u5169\u5927\u8a69\u4eba\u8655\u7406\u7684\u624b\u6cd5\u8fe5\u7136\u4e0d\u540c: \u666e\u5442\u591a\u59c6\u5f9e\u99ac\u97ad\u8349\u958b\u59cb\uff0c\u4e00\u7b46\u4e00\u7b46\u6162\u6162\u5730\u523b\u756b\u51fa\u5b8c\u6574\u7684\u756b\u9762\uff0c\u529b\u6c42\u6e05\u6670\u660e\u4e86\uff0c\u628a\u610f\u8c61\u7684\u7d30\u7bc0\u76e1\u53ef\u80fd\u5730\u63cf\u7e6a\u51fa\u4f86\uff0c\u4e0d\u8ad6\u662f\u99ac\u97ad\u8349\uff0c\u9084\u662f\u6253\u64ca\u7684\u8072\u97ff\uff0c\u82b1\u74f6\u6c34\u6676\u822c\u7684\u8cea\u5730\uff0c\u7de9\u7de9\u5c55\u958b\u7684\u88c2\u7d0b\uff0c\u6f38\u6f38\u6ef2\u900f\u7684\u6c34\u6ef4\uff0c\u4ee5\u53ca\u6700\u5f8c\u67af\u840e\u7684\u9bae\u82b1\uff0c\u6309\u7167\u6642\u9593\u63a8\u79fb\u7684\u9806\u5e8f\uff0c\u4e00\u6b65\u4e00\u6b65\u5730\u6162\u6162\u5c55\u958b\u4f86\uff0c\u82b1\u74f6\u548c\u5fc3\u9748\u610f\u8c61\u7684\u878d\u5408\u4e5f\u662f\u9806\u7406\u6210\u7ae0\uff0c\u81ea\u7136\u800c\u7136\u3002\u53cd\u89c0\u7d0d\u862d\u6027\u5fb7\uff0c\u4ed6\u5f9e\u4e00\u500b\u5e38\u898b\u7684\u610f\u8c61(\u660f\u9d09)\u958b\u59cb\uff0c\u4ee5\u4e00\u7a2e\u7c97\u7565\u7684\u7b46\u6cd5\u9ede\u7db4\u51fa\u4e00\u7cfb\u5217\u4e0d\u540c\u7684\u610f\u8c61\uff0c\u5b83\u5011\u4e4b\u9593\u4e26\u6c92\u6709\u660e\u78ba\u7684\u754c\u9650\uff0c\u53ea\u6709\u6a21\u7cca\u800c\u9ecf\u9023\u7684\u904e\u6e21\uff0c\u4f3c\u96fb\u5f71\u4e2d\u7684\u8499\u592a\u5947(montage, [4]), \u4e00\u7cfb\u5217\u4e26\u7f6e\u7684\u610f\u8c61\u672c\u8eab\u50ac\u751f\u4e86\u4ff1\u6709\u8a69\u610f\u7684\u756b\u9762\u548c\u60f3\u50cf\uff0c\u800c\u975e\u62d8\u6ce5\u65bc\u55ae\u4e00\u93e1\u982d\u7684\u6558\u4e8b\u548c\u63cf\u7e6a\uff0c\u7121\u8ad6\u662f\u660f\u9d09\u3001\u5e7d\u5ba4\u3001\u96ea\u82b1\u3001\u6e05\u98a8\u3001\u81bd\u74f6\u9084\u662f\u5fc3\u5b57\u9999\uff0c\u9019\u4e9b\u50b3\u7d71\u6771\u65b9\u5be9\u7f8e\u610f\u8c61\u7684\u8a69\u610f\u9023\u63a5\uff0c\u672c\u8eab\u5c31\u662f\u6975\u5bcc\u6709\u60c5\u8da3\u7684\u666f\u8c61\u3002\u53ef\u4ee5\u8aaa\uff0c\u666e\u5442\u591a\u59c6\u7528\u7684\u662f\u897f\u65b9\u50b3\u7d71\u7684\u5beb\u5be6\u6cb9\u756b\u624b\u6cd5\uff0c\u5f9e\u7d20\u63cf\u7814\u7a76\u548c\u8349\u7a3f\u958b\u59cb\uff0c\u4e00\u6b65\u4e00\u6b65\u7406\u6027\u5730\u5efa\u69cb\u8d77\u756b\u9762\u548c\u4e3b\u9ad4\uff0c\u4ed6\u5145\u5206\u5730\u8003\u616e\u4e86\u69cb\u5716\u3001\u5f62\u9ad4\u548c\u8272\u5f69\uff0c\u5728\u6df1\u601d\u719f\u616e\u5f8c\u958b\u59cb\u63cf\u7e6a\u4e26\u9054\u6210\u53ef\u9810\u898b\u7684\u6548\u679c\u3002\u7d0d\u862d\u6027\u5fb7\u6b63\u597d\u76f8\u53cd\uff0c\u4ed6\u7684\u8655\u7406\u985e\u4f3c\u65bc\u6771\u4e9e\u7e6a\u756b\u4e2d\u6e05\u96c5\u5beb\u610f\u7684\u624b\u6cd5\uff0c\u6c92\u6709\u56fa\u5b9a\u6216\u56b4\u8b39\u7684\u8003\u616e\uff0c\u96a8\u6027\u800c\u767c\uff0c\u8a5e\u724c\u50c5\u50c5\u662f\u63d0\u4f9b\u4e86\u4e00\u500b\u53ef\u4f9b\u53c3\u8003\u7684\u7bc4\u672c\uff0c\u985e\u4f3c\u65bc\u756b\u8b5c\u822c\u7684\u5b58\u5728\uff0c\u5728\u7b46\u58a8\u767d\u63cf\u9593\u7565\u65bd\u6de1\u5f69\uff0c\u96a8\u624b\u9ede\u7db4\u9593\u628a\u4e0d\u540c\u7684\u610f\u8c61\u52fe\u9023\u51fa\u4f86\uff0c\u5728\u610f\u8c61\u548c\u756b\u5e45\u7684\u4e0d\u540c\u8f49\u63db\u9593\u4ea4\u7e54\u51fa\u4ff1\u6709\u6558\u4e8b\u6548\u679c\u7684\u7d62\u721b\u93e1\u982d\uff0c\u4e26\u7d66\u8b80\u8005\u7559\u4e0b\u4e86\u5927\u91cf\u7684\u60f3\u50cf\u7a7a\u9593\uff0c\u5982\u540c\u4e2d\u570b\u756b\u4e2d\u7684\u7559\u767d\u548c\u97f3\u6a02\u88cf\u7684\u4f11\u6b62\uff0c\u8b93\u8b80\u8005\u81ea\u5df1\u4f86\u586b\u5145\u5176\u4e2d\u8c50\u5bcc\u800c\u6df1\u523b\u7684\u610f\u85f4\u3002–\u53ef\u4ee5\u8aaa\uff0c\u9019\u662f\u5169\u7a2e\u5e7e\u4e4e\u76f8\u53cd\u7684\u85dd\u8853\u624b\u6cd5\uff0c\u4e00\u500b\u7406\u6027\u3001\u7cbe\u78ba\u800c\u5c08\u6ce8\uff0c\u6ce8\u91cd\u65bc\u55ae\u4e00\u756b\u9762\u7684\u5b8c\u6574\u548c\u7368\u7acb\uff1b\u53e6\u4e00\u500b\u5247\u611f\u6027\u3001\u96a8\u610f\u800c\u81ea\u7136\uff0c\u6d41\u9023\u65bc\u4e0d\u540c\u756b\u9762\u9593\u7684\u95dc\u4fc2\u800c\u7522\u751f\u8a69\u610f\u548c\u7f8e\u611f\u3002<\/p>\n\n\n\n
\u53ef\u4ee5\u8aaa\uff0c\u9019\u5e7e\u4e4e\u662f\u8a69\u6b4c\u88cf\u201c\u963f\u6ce2\u7f85\u7cbe\u795e(\u592a\u967d\u795e\u7cbe\u795e, Apollonian, Apollinisch, [5])\u201d\u8207\u201c\u6234\u5967\u5c3c\u7d22\u65af\u7cbe\u795e(\u9152\u795e\u7cbe\u795e, Dionysian, Dionysisch, [5])\u201d\u7684\u5169\u500b\u7f8e\u5999\u6848\u4f8b: \u4e00\u500b\u6e05\u6670\u3001\u51b7\u975c\u800c\u5916\u89c0\uff0c\u50cf\u592a\u967d\u795e\u7121\u6240\u4e0d\u5728\u7684\u76ee\u5149\u4e00\u822c\u6d1e\u5bdf\u7e96\u6beb\uff0c\u908f\u8f2f\u7cbe\u78ba\u800c\u5206\u660e\uff0c\u529b\u6c42\u6c92\u6709\u4efb\u4f55\u6a21\u7cca\u6216\u8005\u4e0d\u6e05\u695a\u7684\u90e8\u4f4d\uff1b\u53e6\u4e00\u500b\u5247\u6a21\u7cca\u3001\u611f\u6027\u800c\u5167\u7701\uff0c\u50cf\u96a8\u6642\u8655\u65bc\u9163\u9189\u800c\u534a\u7761\u534a\u9192\u7684\u9152\u795e\uff0c\u5916\u90e8\u4e16\u754c\u548c\u5167\u5728\u4e16\u754c\u7684\u754c\u9650\u4e26\u4e0d\u6e05\u6670\uff0c\u4e00\u9023\u4e32\u7684\u4e8b\u4ef6\u767c\u751f\u4e26\u6c92\u6709\u5177\u9ad4\u7684\u95dc\u806f\u6216\u76f4\u63a5\u7684\u908f\u8f2f\uff0c\u6709\u5927\u91cf\u4ff1\u6709\u591a\u7a2e\u89e3\u91cb\u53ef\u80fd\u6027\u7684\u90e8\u5206\uff1b\u67d0\u7a2e\u610f\u7fa9\u4e0a\uff0c\u9019\u4e5f\u662f\u897f\u65b9\u6587\u660e\u7cbe\u795e\u548c\u6771\u65b9\u6587\u660e\u7cbe\u795e\u7684\u5dee\u7570\u6240\u5728: \u4f5c\u70ba\u6771\u4e9e\u8a9e\u8a00\u7684\u6210\u54e1\uff0c\u6f22\u8a9e\u3001\u65e5\u8a9e\u548c\u97d3\u8a9e\u53ca\u8d8a\u5357\u8a9e\u7b49\u8a9e\u8a00\u4e26\u4e0d\u64c5\u9577\u65bc\u7cbe\u78ba\u3001\u7d30\u7dfb\u5165\u5fae\u7684\u63cf\u8ff0\uff0c\u548c\u897f\u6b50\u8a9e\u8a00\u76f8\u6bd4\u8f03\uff0c\u6f22\u8a9e\u7b49\u8a9e\u8a00\u6c92\u6709\u660e\u78ba\u7684\u6027\u5225(\u9670\u967d\u6027\u6216\u4e2d\u6027), \u6c92\u6709\u540d\u8a5e\u55ae\u5fa9\u6578\u8b8a\u5316\uff0c\u6c92\u6709\u6642\u9593(\u6642\u614b)\u548c\u5730\u9ede\u7684\u7cbe\u78ba\u63cf\u8ff0\u6216\u5b9a\u7fa9\uff0c\u6c92\u6709\u8a9e\u614b\u548c\u5f15\u8a9e\u7684\u5177\u9ad4\u5dee\u5225\uff0c\u53ef\u4ee5\u6839\u64da\u4e0a\u4e0b\u6587\u8a9e\u5883\u4ff1\u6709\u591a\u7a2e\u7684\u89e3\u91cb\u53ef\u80fd\u6027–\u751a\u81f3\u53ef\u80fd\u662f\u5b8c\u5168\u76f8\u53cd\u7684\u89e3\u91cb\u3002\u9019\u4e5f\u662f\u9020\u6210\u9019\u5169\u9996\u8a69\u6b4c\u8655\u7406\u540c\u4e00\u76f8\u4f3c\u610f\u8c61\uff0c\u537b\u7522\u751f\u5b8c\u5168\u4e0d\u540c\u7684\u6548\u679c\u7684\u539f\u56e0\u4e4b\u4e00\uff0c\u56e0\u70ba\uff0c\u8a69\u6b4c\u7684\u57fa\u790e\u6750\u6599\u4e43\u662f\u8a9e\u8a00\uff0c\u8a9e\u8a00\u672c\u8eab\u7684\u5dee\u7570\u6027\u8db3\u4ee5\u69cb\u6210\u85dd\u8853\u4e0a\u5b8c\u5168\u76f8\u53cd\u7684\u5169\u7a2e\u6548\u679c\u3002<\/p>\n\n\n\n
\u4e5f\u8a31\uff0c\u5728\u4eba\u985e\u5efa\u9020\u5df4\u5225\u5854(\u0721\u0713\u0715\u0720\u0710 \u0715\u0712\u0712\u0720, \u05de\u05b4\u05d2\u05b0\u05d3\u05b7\u05bc\u05dc \u05d1\u05b8\u05bc\u05d1\u05b6\u05dc\u200e, Tower of Babel, [6])\u6642\uff0c\u4e0a\u5e1d\u4e0d\u50c5\u50c5\u662f\u70ba\u4e86\u4e0d\u8b93\u4eba\u985e\u76f4\u9054\u5929\u5802\uff0c\u8af8\u795e\u9818\u57df\u4e5f\u4e0d\u50c5\u50c5\u53ea\u5c0d\u4eba\u985e\u7981\u8db3\uff0c\u4e5f\u8a31\uff0c\u4e0a\u5e1d\u9084\u5728\u5c0d\u4eba\u985e\u6697\u793a\uff0c\u8a9e\u8a00\u7684\u5dee\u7570\u8207\u5206\u5225\uff0c\u9084\u53ef\u4ee5\u9020\u6210\u5404\u7a2e\u4e0d\u540c\u7684\u7f8e\u548c\u4e0d\u540c\u7684\u611f\u609f\uff0c\u7531\u6b64\uff0c\u6211\u5011\u7684\u4e16\u754c\u548c\u4eba\u751f\u624d\u5982\u8a31\u7684\u8c50\u5bcc\u591a\u5f69\u00b7\u00b7\u00b7\u00b7\u00b7\u00b7<\/p>\n\n\n
\n
\"\"
Pieter Bruegel dem \u00c4lteren
Turmbau zu Babe
\u8001\u5f7c\u5f97\u00b7\u52c3\u9b6f\u84cb\u723e\u300a\u5df4\u5225\u5854\u300b<\/figcaption><\/figure><\/div>\n\n\n

\u8a3b\u91cb:<\/span><\/p>\n\n\n\n
[1]. \u8607\u5229\u00b7\u666e\u5442\u591a\u59c6<\/span><\/a><\/strong>(Sully Prudhomme, 1839-1907),<\/span> <\/span>\u6cd5\u570b\u8457\u540d\u8a69\u4eba\uff0c\u7b2c\u4e00\u500b\u8afe\u8c9d\u723e\u6587\u5b78\u734e\u7372\u5f97\u8005\u3002<\/span><\/p>\n\n\n\n
[2]. \u5c3c\u5fb7\u862d<\/span><\/strong>(Netherlands, Nederduits)\uff0c<\/span>\u6b77\u53f2\u540d\u8a5e\uff0c\u5305\u62ec\u73fe\u4eca\u7684\u8377\u862d\u3001\u6bd4\u5229\u6642\u7684\u4e00\u90e8\u5206\uff0c\u5341\u4e03\u4e16\u7d00\u4ee5\u4f86\u51fa\u73fe\u4e86\u7121\u6578\u7684\u7e6a\u756b\u5927\u5e2b\u3002<\/span><\/p>\n\n\n\n
[3]. \u7d0d\u862d\u6027\u5fb7<\/span><\/a><\/strong>(1655-1685), <\/span>\u6e05\u671d\u8457\u540d\u8a5e\u4eba\u3002<\/span><\/p>\n\n\n\n
[4]. \u8499\u592a\u5947<\/span><\/strong><\/a>(montage), <\/span>\u4e00\u7a2e\u96fb\u5f71\u526a\u8f2f\u6280\u8853\uff0c\u901a\u904e\u5c07\u4e00\u7cfb\u5217\u8996\u9ede\u4e0d\u540c\u7684\u591a\u500b\u526a\u8f2f\uff08\u77ed\u93e1\u982d\uff09\u7d44\u5408\u4f7f\u7528\u4f86\u58d3\u7e2e\u7a7a\u9593\u3001\u6642\u9593\u548c\u4fe1\u606f\u3002\u6700\u65e9\u88ab\u5ef6\u4f38\u5230\u96fb\u5f71\u85dd\u8853\u4e2d\uff0c\u5f8c\u4f86\u9010\u6f38\u5728\u8996\u89ba\u85dd\u8853\u7b49\u884d\u751f\u9818\u57df\u88ab\u5ee3\u70ba\u904b\u7528\u3002<\/span><\/p>\n\n\n\n
[5]. \u9152\u795e\u8207\u592a\u967d\u795e\u7cbe\u795e<\/span><\/a><\/strong>(Apollinisch-dionysisch), <\/span>\u9152\u795e\u8207\u592a\u967d\u795e\u6216\u7a31\u6234\u5967\u5c3c\u7d22\u65af\u8207\u963f\u6ce2\u7f85\u662f\u4e00\u7a2e\u54f2\u5b78\u7684\u3001\u6587\u5b78\u7684\u6982\u5ff5\uff0c\u4e00\u7a2e\u4e8c\u5206\u6cd5\u3002\u897f\u65b9\u7684\u6587\u5b78\u53ca\u54f2\u5b78\u5bb6\u5982: \u666e\u9b6f\u5854\u514b\u3001\u5c3c\u91c7\u3001\u6258\u99ac\u65af\u00b7\u66fc\u7b49\uff0c\u90fd\u591a\u4ee5\u6b64\u7406\u8ad6\u70ba\u57fa\u790e\uff0c\u4f5c\u51fa\u6587\u5b78\u6216\u54f2\u5b78\u8a55\u8ad6\u3002<\/span><\/p>\n\n\n\n
[6]. \u5df4\u5225\u5854<\/span><\/strong><\/a>(\u0721\u0713\u0715\u0720\u0710 \u0715\u0712\u0712\u0720, \u05de\u05b4\u05d2\u05b0\u05d3\u05b7\u05bc\u05dc \u05d1\u05b8\u05bc\u05d1\u05b6\u05dc<\/span>\u200e, Tower of Babel), <\/span>\u4e5f\u8b6f\u4f5c\u5df4\u8c9d\u723e\u5854\u3001\u5df4\u6bd4\u502b\u5854\uff0c\u901a\u5929\u5854\uff0c\u672c\u662f\u7336\u592a\u6559\u300a\u5854\u7d0d\u8d6b\u00b7\u5275\u4e16\u7d00\u7bc7\u300b(\u300a\u5e0c\u4f2f\u4f86\u8056\u7d93\/\u820a\u7d04\u5168\u66f8\u300b)\u4e2d\u7684\u6545\u4e8b\uff0c\u662f\u4eba\u985e\u7522\u751f\u4e0d\u540c\u8a9e\u8a00\u4e4b\u8d77\u6e90\u3002<\/span>

<\/p>\n\n\n
\n
\"\"
Jean-Baptiste Sime\u0301on Chardin
Nature morte, fleurs dans un vase (vers 1760-1763)
\u8b93\u00b7\u5df4\u8482\u65af\u00b7\u897f\u7f8e\u7fc1\u00b7\u590f\u723e\u4e39\u300a\u975c\u7269\uff0c\u74f6\u4e2d\u82b1\u300b(\u7d04 1760-1763<\/em>)<\/figcaption><\/figure><\/div>\n\n\n



EN<\/span><\/strong>



<\/p>\n\n\n
LE VASE BRIS\u00c9
<\/p>\n\n
\u00c0 ALBERT DECRAIS<\/em><\/p>\n\n
Le vase o\u00f9 meurt cette verveine
D\u2019un coup d\u2019\u00e9ventail fut f\u00eal\u00e9;
Le coup dut effleurer \u00e0 peine:
Aucun bruit ne l\u2019a r\u00e9v\u00e9l\u00e9.<\/p>\n\n
Mais la l\u00e9g\u00e8re meurtrissure,
Mordant le cristal chaque jour,
D\u2019une marche invisible et s\u00fbre
En a fait lentement le tour.<\/p>\n\n
Son eau fra\u00eeche a fui goutte \u00e0 goutte,
Le suc des fleurs s\u2019est \u00e9puis\u00e9;
Personne encore ne s\u2019en doute;
N\u2019y touchez pas, il est bris\u00e9.<\/p>\n\n
Souvent aussi la main qu\u2019on aime,
Effleurant le c\u0153ur, le meurtrit;
Puis le c\u0153ur se fend de lui-m\u00eame,
La fleur de son amour p\u00e9rit;<\/p>\n\n
Toujours intact aux yeux du monde,
Il sent cro\u00eetre et pleurer tout bas
Sa blessure fine et profonde;
Il est bris\u00e9, n\u2019y touchez pas.

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Same flowers in vase, different Prudhomme and Nalan Xinde\u2026<\/pre>\n\n\n\n
This article was first published on WeChat official account: \u4eba\u9762\u9b5aFisage, co-authored by me and my wife, it has been revised since then.<\/em><\/p>\n\n\n\n
In Sully Prudhomme\u2019s [1] \u201cLe vase bris\u00e9<\/em> \u201d, he wrote about the crystal vase as well as a harmed, broken heart in love. In the Western culture, the vase has a long tradition as symbol of container, and as a symbol of female figure. No matter it is the concept that Virgin Saint Mary as a perfect container giving birth to Jesus Christ in theology of Christian Church and Eastern Orthodox Church , or the sexy, cursive female\u2019s back silhouettes in countless Western classic paintings, they are all the best metaphors and representations of the vase. Further more, in the old Netherlandish still life paintings and under the brushes of classical French masters, the vase is an unreplaceable existence on the canvas.<\/p>\n\n\n\n
The image of the Pudhomme\u2019s poem starts from a vase with verbena, step by step, with a slow and soft rhythm, the poet has entangled the broken vase, the withered flowers, the hands of lover and the harmed, broken heart together. Just like the time fleeting slowly in the film with the fade in\/fade out effect of the scenes, the poem describes these flowing scenes: there was a vase in a gloomy, dark chamber, it suddenly received a invisible blow and some tiny cracks started to appear on its skin, which had been spreading around its entire body ever since then. The water inside began to ooze and leak from these wandering cracks and the flowers in the vase became dry and withered. Then finally, the vase collapsed into a piles of pieces on the table, and the last remains of flower-buds and branches were buried in the splendid fragments with the unnoticeable signs in the air\u2026<\/p>\n\n\n\n
Prudhomme has set the hand of lover into the series of spleen yet beautiful images. As we can say, the beloved ones sometimes give out an inadvertent or careless blow, some words without intending offense, or even some random actions, all of them may give some inevitably damages to your beloved ones: it is because people in love tend to have sensitive, fragile and vulnerable hearts. All the happiness or sorrow, all in all, will be enlarged or strengthened endless in love itself. Sometimes a careless mistake may result in a long-lasting pain in a long run. In this poem, vase is not only a symbol of love, but also a symbol of heart. Prudhomme has depicted a sensitive heart in a touching and moving relationship of love, yearning for love yet fearing of hurt and pain, which has been impeccably combined and blended with the images of broken vase. And it reminds me another great poet in Classical Chinese literature, Nalan Xinde\u2019s(\u7d0d\u862d\u6027\u5fb7, [3]) \u201cDreaming Jiangnan(\u5922\u6c5f\u5357)\u201d:<\/p>\n\n\n
The crows vanished into the evening,
Why I still stood here, for whom I was so sad?
Like the flying willow leaves,
the snowflakes of the blizzard was turning around the pavilion,
A whisper of wind blowing into the chamber,
around the plum in the vase,
The heart-shaped incense had burnt into the ashes\u2026<\/em><\/p>\n\n
(\u660f\u9d09\u76e1\uff0c\u5c0f\u7acb\u6068\u56e0\u8ab0? \u6025\u96ea\u4e4d\u7ffb\u9999\u95a3\u7d6e\uff0c\u8f15\u98a8\u5439\u5230\u81bd\u74f6\u6885\uff0c\u5fc3\u5b57\u5df2\u6210\u7070\u3002)<\/p>\n\n
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Nalan Xinde
\u7d0d\u862d\u6027\u5fb7<\/figcaption><\/figure><\/div>\n\n\n
The last two sentences of the poem are similar in the images to that of Prudhomme\u2019s \u201cLe vase bris\u00e9<\/em>\u201d: both are vases, so are the same harmed or dead hearts. Nalan Xinde has begun the poem from a very classic Far Eastern image \u2014 the fleeting crows in the evening \u2014 the main character standing in a calm and quiet chamber, the snow is falling and the blizzard is blowing, as the leaves of willows flying in the sky, suddenly a cold, freezing whisper of wind penetrates into the room, the flowers of plum in the vase become dry, withered, and the incense of heart has been burnt into the ashes, only some vague smell lingering around in the air. They are like some brief encounters of love in our life, glittering yet infertile. They may force our hearts to beat fiercely at that time, though splendid and abundant like blooming flowers, all then just result in naught, bleaching into a vast, lonely scene of deserted snowy wasteland in the end. Only some insensible fragrance of perfumes remaining in the deep, dark and spleen strata of our memory, sometimes their faded and vague visages of the bygone golden days may still be casted onto the mottle and obscure night-screen of our life\u2026<\/p>\n\n\n\n
Perhaps the reason why the two great poets utilized totally contrary methods to write the nearly identical images can be traced back to the different cultural traditions and ideologies in \u00e6stheticism: Prudhomme wrote from the flower verbena, depicting the entire canvas step by step under his brushes, trying to describe the details of the images as clearly as possible. No matter the verbena, the sound of the blowing, the crystal material of the vase, the slowly spreading cracks, the leaking and dripping water and the flowers withering in the end, all of them were unfolded in the order, step after step as time goes by. And the image of vase and the image of heart were combined together predictably and naturally. Nalan Xinde, in the contrary, wrote the poem from a pretty common image in classical Chinese literature, using some rough strokes to draw and embellish a series of different images without any visible, predefined boundaries, only some blurry and sticking transitions as the montages in film. The series of juxtaposed images themselves have generated some poetic scenes and imaginations, which are far more beyond the scope and description of a single clip or footage. No matter the crows in the evenings, the obscure chamber, the snowflakes, the whisper of the wind, the vase or the heart-shaped incense, the poetic linking of all these traditional Eastern classic \u00e6sthetic images is a rather interesting and emotional scene in itself. In another word, Prudhomme has utilized the method in traditional Western realistic oil painting: starting from study of sketches and drafts, constructing the canvas and main object step by step rationally. Before holding his brushes to paint onto the canvas, the artist has carefully thought about the composition, shapes and colours, which would bring a foreseeable result in the end. Nalan Xinde, in the opposite, utilized a more causal, elegant yet freehand method somewhat similar to the traditional Far East paintings without predefined, fixed or rigorous pondering in style. The Cipai(\u8a5e\u724c, name of the lyrics\/tones) only supplies a kind of possible example and structure for references, just like a manual in traditional Chinese paintings. The artist has only set and painted a little, vague colours among the black and white lines of silhouettes, causally ornamenting different scenes to link varies of images together, creating some splendid and gorgeous shots with narrative effects by interweaving and transiting different scenes and canvas together, leaving a lot of blank and hollow spaces for imagination. Just as the white space on the canvas in traditional Chinese paintings and the mute in the music, the audience and the readers will certainly fill them with their own abundant and deep meanings from their personal experiences and imaginations.\u2014 Fairly, we can simply say that both are completely contrary methods and styles in the art, one is rational, precise and devoted, focusing on the completion and independence of a single image; the other, on the other hand, is sensible, causal and natural, yet lingering among the poetics and beauty arousing from the different relationships between canvas and images.<\/p>\n\n\n\n
It can be said, that these two poems are the best and wonderful example of \u201cApollinisch (Apollonian, [5])\u201d and \u201cDionysisch (Dionysian, [5])\u201d in poetry: one is crystal-clear, cold and outward-seeing, like the vision of Apollo\u2019s(\u0391\u03c0\u03cc\u03bb\u03bb\u03c9\u03bd) insight observing all the details with precise and distinctive logic, trying to avoid any possible blurs in any details; the other is fussy, vague and blurry, sensible yet self-meditating, like the forever half-awake, half-asleep, drunken Dionysus(\u0394\u03b9\u03cc\u03bd\u03c5\u03c3\u03bf\u03c2). The boundaries between the inner world and outer world are not clean or clear, series of events are happening randomly without any concrete, specific relationships or direct logics, there are plenty rooms for possible multi-purpose explanations in details; In some significances, these are from the differences between Western cultural spirits and Eastern cultural spirits: the members of East Asian Languages, like Chinese, Japanese, Korean and Vietnamese(CJKV), are not good at defining precise, detail-oriented descriptions, contrary to the West European languages generated from ancient Greek and Latin, languages like Chinese have no differentiations in grammatical genders of nouns(male, female or neutral), no differentiations in grammatical numbers, no precise definition of time(tense) or places, even no specific forms in different voices or direct\/indirect speeches. The meaning of these words and sentences are largely based on the linguistic context of the text with multiple possibilities of significations and explanations\u2014 some are even contrary to each other. And maybe that\u2019s one of the reason why the nearly identical images in these two poems of different languages(Chinese-French) can produce such different and varied effects finally. Because the basic foundation and material of poetry is the language, the differences in languages themselves can bring the two entirely contrary effects in Art.<\/p>\n\n\n\n
Perhaps when we human were building the Tower of Bable(\u0721\u0713\u0715\u0720\u0710 \u0715\u0712\u0712\u0720, \u05de\u05b4\u05d2\u05b0\u05d3\u05b7\u05bc\u05dc \u05d1\u05b8\u05bc\u05d1\u05b6\u05dc\u200e, [6]), God was not only preventing us from the paradise, the realm of gods is not only forbidding the feet of men, but also God was implying to us that the differences and variations in languages will generate different beauties and sentiments, from this moment on, our lives and world have being becoming so abundant and colourful\u2026<\/p>\n\n\n\n
Notes:<\/span><\/strong><\/p>\n\n\n\n
[1]. Sully Prudhomme<\/span><\/a><\/strong> (1839-1907), a famous French poet, the first winner of Nobel Prize in Literature.<\/p>\n\n\n\n
[2]. Nederland <\/span><\/strong>(Nederduits), a historical geographic term, including Nederland and parts of Belgium, a lot of famous artists and painters came from this region since 17th century.<\/p>\n\n\n\n
[3]. Nalan Xinde<\/span><\/a><\/strong> (\u7d0d\u862d\u6027\u5fb7, 1655-1685), a famous Chinese poet in Qing Dynasty.<\/p>\n\n\n\n
[4]. Montage<\/span><\/a><\/strong>, is a film editing technique in which a series of short shots are sequenced to condense space, time, and information.<\/p>\n\n\n\n
[5]. Apollinisch-dionysisch<\/span><\/a><\/strong> <\/a>(Apollonian and Dionysian), The Apollonian and Dionysian is a philosophical and literary concept and dichotomy\/dialectic, based on Apollo and Dionysus in Greek mythology. Some Western philosophical and literary figures have invoked this dichotomy in critical and creative works, most notably Friedrich Nietzsche and later followers.<\/p>\n\n\n\n
[6]. Tower of Bable<\/span><\/a><\/strong> (\u0721\u0713\u0715\u0720\u0710 \u0715\u0712\u0712\u0720, \u05de\u05b4\u05d2\u05b0\u05d3\u05b7\u05bc\u05dc \u05d1\u05b8\u05bc\u05d1\u05b6\u05dc\u200e), narrative in Genesis 11:1\u20139 is an origin myth meant to explain why the world’s peoples speak different languages.

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Sully Prudhomme
\u8607\u5229\u00b7\u666e\u5442\u591a\u59c6<\/figcaption><\/figure><\/div>\n\n\n
\u8072\u660e: \u672c\u7bc7\u97f3\u6a02\u4f86\u81ea\u514b\u52de\u5fb7\u00b7\u5fb7\u5f6a\u897f(Claude Debussy)\u7684\u300aG\u5c0f\u8abf\u5c0f\u63d0\u7434\u594f\u9cf4\u66f2(Violin Sonata in G Minor)\u300b\u7b2c\u4e00\u6a02\u7ae0(I. Allegro vivo)\uff0c\u5c0f\u63d0\u7434: \u59dc\u6771\u7199(Dong-Suk Kang), \u92fc\u7434: \u5e15\u65af\u5361\u723e\u00b7\u5fb7\u74e6\u96cd(Pascal Devoyon), \u4f86\u81ea\u5c08\u8f2f\u300a\u6cd5\u570b\u5c0f\u63d0\u7434\u594f\u9cf4\u66f2\u96c6(French Violin Sonatas)\u300bNo. 8.550276, DDD, Naxos(1989), \u984c\u5716\u539f\u5716\u70ba\u8b93\u00b7\u897f\u7f8e\u7fc1\u00b7\u590f\u723e\u4e39(Jean-Baptiste-Sim\u00e9on Chardin)\u7684\u300a\u975c\u7269, \u74f6\u4e2d\u82b1(Nature morte, fleurs dans un vase, vers 1760-1763)\u300b\u8607\u5229\u00b7\u666e\u5442\u591a\u59c6\u53ca\u7d0d\u862d\u6027\u5fb7\u5716\u7247\u4f86\u81ea\u570b\u969b\u7db2\u8def\uff0c\u90e8\u5206\u8a5e\u689d\u89e3\u91cb\u4f86\u81ea\u7dad\u57fa\u767e\u79d1(Wikipedia), \u5176\u5b83\u6587\u5b57\u3001\u6cd5\u6587\u3001\u82f1\u6587\u7ffb\u8b6f\u53ca\u5716\u7247\u5747\u70ba\u539f\u5275\uff0c\u8acb\u52ff\u7528\u65bc\u5546\u696d\u7528\u9014\uff0c\u8b1d\u8b1d!
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