Elegy XIX: Going to Bed - John Donne
第十九首挽歌：就寝 - 约翰·多恩
夜幕下灵欲交融的私语
Come, Madam, come, all rest my powers defy;
来吧，夫人，让一切安宁远离我的感官；
Until I labour, I in labour lie.
除非我付出热切的努力，否则我便困于焦灼的等待。
The foe oft-times having the foe in sight,
敌手相逢之时，总会紧紧盯住对方，
Is tired with standing though they never fight.
即使尚未开战，也会因对峙而感疲惫。
Off with that girdle, like heaven’s zone glistering,
解开那腰带吧，宛如天带般熠熠生辉，
But a far fairer world encompassing.
却将更美好的世界环抱于我面前。
Unpin that spangled breastplate which you wear,
褪去你那璀璨如星的护胸衣，
That th’ eyes of busy fools may be stopped there.
使得那些多事的目光在此停驻，不再窥探。
Unlace yourself, for that harmonious chime
松开你的束缚，让你我之间的和谐音调得以回响，
Tells me from you that now ’tis your bed time.
那声音告诉我，你已准备歇息于床。
Off with that happy busk, which I envy,
除去那让人羡慕的胸衣，它得以亲近你的身躯，
That still can be, and still can stand so nigh.
且始终贴合你，守在你的身体旁。
Your gown going off, such beauteous state reveals,
当你脱去外衣，便呈现美妙的仪态，
As when from flowery meads th’ hill’s shadow steals.
仿佛山影自花海中抽离，现出原本的清丽境地。
Off with your wiry coronet and show
取下那发丝间的冠饰，让我瞧见，
The hair about it more hair than it was,
你柔发本就胜过任何珠玉所饰，
Or swells upon the sight; but this alas
这已让我心潮澎湃；可叹，
Is more than everything, for everything
即便这一丝半缕，已胜却我曾见的所有，
Hath reference to you and all depends on you.
万物都因你而生，也依赖于你。
But if there be a thing which that doth move
如若有哪样事物，能够使你动心，
Seem contraries—for what you love you love
似乎相互矛盾——可你只会挚爱，
Because ’tis mine—something you do desire
只因那是我的——你也期待，
I would to you you were your own dear fire;
但我盼望你成为你心中最珍贵的火焰；
But we no more can own that which is free
可自由之物我们无从占有，
Than can you that which I do give to thee.
如同你也无法据为己有我所奉给你的一切。
Full nakedness! All joys are due to thee;
一切赤裸坦然！所有欢愉皆因此诞生；
As souls unbodied, bodies unclothed must be
正如灵魂摆脱肉身，而身体亦需褪去衣物，
To taste whole joys. Gems which you women use
方能品尝到彻底的喜悦。你们用作点缀的宝石，
Are like Atlanta’s balls cast in men’s views,
就像亚特兰塔的金球般投向众人眼帘，
That when a fool’s eye lighteth on a gem,
愚者见宝即驻足凝望，
His earthly soul may covet theirs, not them.
他的凡心渴求的却是宝石，而非凝视之人。
Like pictures, or like books’ gay coverings made
如同图画，或书籍那华丽的封皮，
For laymen, are all women thus arrayed;
只是用来引诱外行人的目光，女子的衣饰何尝不是？
Themselves are mystic books, which only we
她们才是神秘的经典，唯有我们，
(Whom their imputed grace will dignify)
即承接她优雅恩典的人，才能真正阅读，
Must see revealed. Then since that I may know,
得见其内在奥妙。既然我能窥其真谛，
As liberally, as to a midwife, show
请像产婆面前那般坦诚地为我展露，
Thyself; cast all, yea, this white linen hence,
抛却所有，连这白布也一并丢开，
Here is no penance, much less innocence.
此处无需忏悔，更不存在什么“纯洁”之说。
To teach thee, I am naked first; why then
让我先示范，我已赤裸，缘何你，
What needst thou have more covering than a man?
还要比我多一层遮蔽？
《第十九首挽歌：就寝》（Elegy XIX: Going to Bed）是约翰·多恩（1572-1631）最具挑逗性的作品之一，也常被认为是他在玄学派诗歌中对于情欲与肉体直接赞美的代表作。整首诗以男性视角向其情人“劝衣宽带”，语气大胆而充满渴望，却又透着多恩特有的机智与思辨。
在莎士比亚同期的英国，社会仍对公开谈及肉欲和女性身体持相对保守的态度。然而，多恩运用华丽又讥诮的语言，以解衣为中心场景，层层推进男人对于女人之身的欣赏与渴望。比起纯粹的欲望宣泄，他更倾向于将“肉体的交流”提升为一种不逊于精神或灵魂交融的盛典。
诗歌前半部分表现出一种“劝导”或“嘲弄”式的语气，诗人指责外在装饰（无论是腰带、珍珠或织锦）都仅是遮掩真我的幌子，真正的“神秘典籍”乃是女性本身，值得他以虔敬之心去探寻。后半部分则将裸露与灵魂解放相提并论，暗示唯有放下禁忌，才能彻底体验彼此合而为一的满足。
值得注意的是，多恩运用了玄学派经典的“对比”与“诡辩”手法：一面要求“去除身上华丽服饰”，一面又将“赤裸”视为进入更高层次相知的必要条件。这种把肉体解放等同于灵魂袒露的阐释，在当时的时代背景下颇具冲击力，也让后世读者读来感叹其大胆与新颖。该诗在形式上虽为“挽歌”，却并非悲叹，而是对生命与情爱之欢愉的热情拥抱，成为玄学派诗歌中最具争议与代表意义的篇章之一。
要点
• 多恩以玄学派式“诡辩”与“对比”，将解衣与灵魂袒露视为统一。
• 诗人嘲讽外在装饰，只为强调女性本身才是真正的“神秘典籍”。
• 虽名为“挽歌”，却以欢愉和大胆姿态颂扬肉体之美，体现了多恩与时代保守观念的张力与冲撞。
