VII《茶之書》中英文對照茶師之死(絕命詩)

1、VII. Tea-Masters 茶師In religion the Future is behind us. In art the present is the eternal. The tea-masters held that real appreciation of art is only possible to those who make of it a living influence. Thus they sought to regulate their daily life by the high standard of refinement which obtained i

2、n the tea-room. In all circumstances serenity of mind should be maintained, and conversation should be conducted as never to mar the harmony of the surroundings. The cut and color of the dress, the poise of the body, and the manner of walking could all be made expressions of artistic personality. Th

3、ese were matters not to be lightly ignored, for until one has made himself beautiful he has no right to approach beauty. Thus the tea-master strove to be something more than the artist,-art itself. It was the Zen of aestheticism. Perfection is everywhere if we only choose to recognise it. Rikiu love

4、d to quote an old poem which says: "To those who long only for flowers, fain would I show the full-blown spring which abides in the toiling buds of snow-covered hills."在宗教里，未來是身后之事；在藝術(shù)中，當(dāng)下即是永恒。茶師們的觀點(diǎn)是，真正的藝術(shù)鑒賞，只存在于那些以藝術(shù)為生活方式的人中間。他們在茶室中獲得高水準(zhǔn)的優(yōu)雅精致，以此引領(lǐng)瑣碎的日常生活。在任何情況下都必須保持心靈的寧靜；必得慎言而不使話語破壞周遭的和諧

5、；衣裝的剪裁色調(diào)，體態(tài)姿勢，行路風(fēng)范都可能是對藝術(shù)性情的表露，皆不可等閑視之，因?yàn)槿绻粋€(gè)人不把自身引向美，那么他就沒有任何資格接近美。所以，茶師努力使自己超越藝術(shù)家的概念，而成為藝術(shù)本身。這便是唯美主義的禪。完美境界處處存在，只需我們的辨識(shí)與認(rèn)同。千利休總愛引述一首古歌：世人曰迎春，只盼花開早； 不知山野中，雪間生春草。1Manifold indeed have been the contributions of the tea-masters to art. They completely revolutionised the classical architecture and inte

6、rior decorations, and established the new style which we have described in the chapter of the tea-room, a style to whose influence even the palaces and monasteries built after the sixteenth century have all been subject. The many-sided Kobori-Enshiu has left notable examples of his genius in the Imp

7、erial villa of Katsura, the castles of Najoya and Nijo, and the monastery of Kohoan. All the celebrated gardens of Japan were laid out by the tea-masters. Our pottery would probably never have attained its high quality of excellence if the tea-masters had not lent it to their inspiration, the manufa

8、cture of the utensils used in the tea-ceremony calling forth the utmost expenditure of ingenuity on the parts of our ceramists. The Seven Kilns of Enshiu are well known to all students of Japanese pottery. Many of our textile fabrics bear the names of tea-masters who conceived their color or design.

9、 It is impossible, indeed, to find any department of art in which the tea-masters have not left marks of their genius. In painting and lacquer it seems almost superfluous to mention the immense services they have rendered. One of the greatest schools of painting owes its origin to the tea-master Hon

10、nami-Koyetsu, famed also as a lacquer artist and potter. Beside his works, the splendid creation of his grandson, Koho, and of his grand-nephews, Korin and Kenzan, almost fall into the shade. The whole Korin School, as it is generally designated, is an expression of Teaism. In the broad lines of thi

11、s school we seem to find the vitality of nature herself.茶師在諸多方面對藝術(shù)產(chǎn)生了卓越的貢獻(xiàn)。在茶室那章我們已經(jīng)描述過，他們徹底革新了傳統(tǒng)建筑與室內(nèi)裝潢的樣式，建立了新的樣式，甚至十六世紀(jì)以后修建的宮廷與寺廟建筑都屈從于它的影響。多才多藝的小堀遠(yuǎn)州，在桂離宮2、名古屋城3、二條城4，還有孤篷庵5，都留下了天才的印跡。日本所有著名的庭園，皆出自茶師之手。而我們的陶藝，如果沒有茶師賦之予靈感，恐怕無法到達(dá)卓絕的品質(zhì)。正是茶道中茶具制造的需要，陶藝師潛在的智巧天分被最大限度地激發(fā)了。凡是日本陶器的研究者，對“遠(yuǎn)州七窯”6一定耳熟能詳。而我們的很

12、多織物，也常因其色調(diào)或樣式出自某個(gè)茶師之手，而冠以其名。確實(shí)很難發(fā)現(xiàn)一個(gè)茶師未曾涉獵的藝術(shù)領(lǐng)域。至于他們對于繪畫與漆器藝術(shù)的貢獻(xiàn)，則更是無需贅言。日本繪畫最重要的流派之一琳派7，就起源于茶師本阿彌光悅8，此外他還是有名的陶藝家與漆藝家。在他作品的光芒里，連他的孫子光甫9，及甥孫光琳10和乾山11的佳作都幾乎黯然失色。整個(gè)琳派就是茶道精神的表達(dá)，這已然是眾所周知之事。在那粗曠的筆觸之間，我們似乎能觸摸到自然本身的生命力量。Great as has been the influence of the tea-masters in the field of art, it is as nothing

13、 compared to that which they have exerted on the conduct of life. Not only in the usages of polite society, but also in the arrangement of all our domestic details, do we feel the presence of the tea-masters. Many of our delicate dishes, as well as our way of serving food, are their inventions. They

14、 have taught us to dress only in garments of sober colors. They have instructed us in the proper spirit in which to approach flowers. They have given emphasis to our natural love of simplicity, and shown us the beauty of humility. In fact, through their teachings tea has entered the life of the peop

15、le.茶師在藝術(shù)領(lǐng)域影響巨大，但倘若與其對日常生活的影響相比，那便有些微不足道了。不僅是禮儀社交的慣俗，還是日?，嵤碌乃查g，我們無時(shí)不刻不能體會(huì)到茶師的存在。我們很多精致的菜式，以及奉食的方式，都由他們所創(chuàng)。他們教會(huì)我們衣裝須樸素穩(wěn)重；他們指導(dǎo)我們用正確的態(tài)度蒔花弄草；他們強(qiáng)調(diào)對簡樸之愛源于本心；他們向我們展示謙遜之美。通過茶師的教誨，茶已浸潤了我們生活的點(diǎn)滴。Those of us who know not the secret of properly regulating our own existence on this tumultuous sea of foolish trouble

16、s which we call life are constantly in a state of misery while vainly trying to appear happy and contented. We stagger in the attempt to keep our moral equilibrium, and see forerunners of the tempest in every cloud that floats on the horizon. Yet there is joy and beauty in the roll of billows as the

17、y sweep outward toward eternity. Why not enter into their spirit, or, like Liehtse, ride upon the hurricane itself?這充滿愚蠢紛擾的人生之海啊，碌碌的人們終日在那洶涌波濤中沉浮打滾，對如何調(diào)適自身的奧秘一竅不通。他們的狀況是何其悲慘，卻仍要徒勞地裝作幸福自足。我們望見地平線上涌流的每一朵云上，舞動(dòng)著暴風(fēng)雨的先兆，自己卻仍小心翼翼地在守護(hù)道德標(biāo)界的道路上步履蹣跚。君不見，在那卷襲一切奔向永恒的驚濤駭浪中，正涌動(dòng)無限的喜悅和美嗎？何不就縱身躍入這狂風(fēng)巨浪，與風(fēng)浪的靈魂一道律動(dòng)，或如列子

18、那樣御風(fēng)而行？11He only who has lived with the beautiful can die beautifully. The last moments of the great tea-masters were as full of exquisite refinement as had been their lives. Seeking always to be in harmony with the great rhythm of the universe, they were ever prepared to enter the unknown. The &quo

19、t;Last Tea of Rikiu" will stand forth forever as the acme of tragic grandeur.唯有那些生時(shí)環(huán)抱美的人，才有絕美的離去。利休，這位偉大茶師最后的辰光仍舊雅致純凈，一如他生前。茶師們追求與宇宙自然的節(jié)律和諧一致，早將死生看做平常之事，隨時(shí)準(zhǔn)備踏入那未知的河流。而“利休的絕飲”，作為悲壯莊嚴(yán)的極致，將在時(shí)光中永存。Long had been the friendship between Rikiu and the Taiko- Hideyoshi, and high the estimation in which

20、the great warrior held the tea-master. But the friendship of a despot is ever a dangerous honour. It was an age rife with treachery, and men trusted not even their nearest kin. Rikiu was no servile courtier, and had often dared to differ in argument with his fierce patron. Taking advantage of the co

21、ldness which had for some time existed between the Taiko and Rikiu, the enemies of the latter accused him of being implicated in a conspiracy to poison the despot. It was whispered to Hideyoshi that the fatal potion was to be administered to him with a cup of the green beverage prepared by the tea-m

22、aster. With Hideyoshi suspicion was sufficient ground for instant execution, and there was no appeal from the will of the angry ruler. One privilege alone was granted to the condemned- the honor of dying by his own hand.那時(shí)利休與豐臣秀吉結(jié)交已久，這一代梟雄給予了茶師極高的評價(jià)。然而伴君如伴虎，與暴君的友誼終是危險(xiǎn)的榮耀。利休非精于阿諛奉承之徒，常毫無顧忌地對暴戾的主公出言不遜

23、。那是一個(gè)盛傳背叛之事的時(shí)代，人們甚至連至親都不相信。利休的敵人利用他與豐臣秀吉之間時(shí)而產(chǎn)生的冷漠齟齬，誣陷他參與了毒害君王的陰謀。他們偷偷告訴豐臣秀吉，利休已為他備上了一碗劇毒的茶湯。還需辯解什么，光是秀吉的疑心已構(gòu)成即死之罪的充分理由；還能辯解什么，憤怒的暴君哪還容你絲毫辯解的余地。賜你自我了斷的尊嚴(yán)吧這是罪人獲得的唯一特權(quán)。On the day destined for his self-immolation, Rikiu invited his chief disciples to a last tea-ceremony. Mournfully at the appointed tim

24、e the guests met at the portico. As they look into the garden path the trees seem to shudder, and in the rustling of their leaves are heard the whispers of homeless ghosts. Like solemn sentinels before the gates of Hades stand the grey stone lanterns. A wave of rare incense is wafted from the tea-ro

25、om; it is the summons which bids the guests to enter. One by one they advance and take their places. In the tokonoma hangs a kakemon, -a wonderful writing by an ancient monk dealing with the evanescence of all earthly things. The singing kettle, as it boils over the brazier, sounds like some cicada

26、pouring forth his woes to departing summer. Soon the host enters the room. Each in turn is served with tea, and each in turn silently drains his cup, the host last of all. According to established etiquette, the chief guest now asks permission to examine the tea-equipage. Rikiu places the various ar

27、ticles before them, with the kakemono. After all have expressed admiration of their beauty, Rikiu presents one of them to each of the assembled company as a souvenir. The bowl alone he keeps. "Never again shall this cup, polluted by the lips of misfortune, be used by man." He speaks, and b

28、reaks the vessel into fragments.在執(zhí)行自決的那一天，利休將他的大弟子們邀至此生最后的一場茶會(huì)。指定的那一刻來到了，客人們相會(huì)在門廊，心情哀沉。當(dāng)他們望著露地小徑，樹叢似在悲傷顫抖，葉子沙沙作響，如同孤魂野鬼的低語。而那些灰色的石燈籠，仿佛是幽冥地府門前的威武守衛(wèi)。這時(shí)，一襲稀有的熏香香味自茶室款款飄出，那是邀請客人進(jìn)屋的召喚。客人依序入屋就座。只見壁龕之上，懸著一幅古代僧人的書法掛軸，遒勁絕妙，講述著諸行無常的佛家至理。水壺在火爐之上沸騰吟唱，如同對漸行漸遠(yuǎn)的夏日傾吐悲聲的鳴蟬。未待多時(shí)，主人進(jìn)屋依序奉茶，客人也依序默默飲盡。最后，主人舉杯喝完自己那一碗。根據(jù)茶

29、道禮儀，次位最高的那位客人要向主人要求品賞茶具。利休便將所有器物，連同那副掛軸，一齊放在了客人面前。在所有人都表達(dá)了贊嘆欣羨之意后，利休將它們一一贈(zèng)予在座的客人，以作留念。唯獨(dú)利休留下了那只茶碗?！按似饕驯晃疫@不幸之唇所污，它不應(yīng)留存世間，再供他人之用?！闭f著，便將它摔成了碎片。The ceremony is over; the guests with difficulty restraining their tears, take their last farewell and leave the room. One only, the nearest and dearest, is req

30、uested to remain and witness the end. Rikiu then removes his tea-gown and carefully folds it upon the mat, disclosing the immaculate white death robe which it had hitherto concealed. Tenderly he gazes on the shining blade of the fatal dagger, and in exquisite verse thus addresses it:茶道結(jié)束，客人都含淚辭了茶屋。只

31、有一個(gè)最親近之人留下來，見證最后一刻的到來。利休褪去茶袍，露出之前藏在茶袍內(nèi)潔白無瑕的喪衣。他將茶袍細(xì)致地疊好，端放于席子之上。他溫柔地凝視那致命短劍上閃亮的刀鋒，頌出如下絕唱："Welcome to thee,/ O sword of eternity!/ Through Buddha/ And through Daruma alike/ Thou hast cleft thy way."人世七十，力圍希咄。吾這寶劍，祖佛共殺。得具足矣，的一大刀， 今在此時(shí)，拋予天公。12With a smile upon his face Rikiu passed forth into the unknown.隨后，微笑著，利休邁向了那未知的彼岸。注釋：1 此歌為日本鐮倉時(shí)代的和歌詩人藤原家?。?158-1237）所作，名若草。原文為：花待人山里雪間草見。2 桂離宮位于日本京都西部桂川西岸，從1617動(dòng)工到1625年完工歷時(shí)九年，為日式建筑巔峰之