Song of Myself (Part 19) - Walt Whitman
自我之歌（第19部分） - 沃尔特·惠特曼
探索自我与自然的深刻联结
I sing the body electric,
我歌颂那充满活力的肉体，
The armies of those I love engirth me and I engirth them,
我所爱的人们如军队般环绕着我，我也环绕着他们，
They will not let me off till I go with them, respond to them,
他们不会放过我，除非我与他们同行，回应他们，
And discorrupt them, and charge them full with the charge of the soul.
并且净化他们，用灵魂的力量充实他们。
Was it doubted that those who corrupt their own bodies conceal themselves?
那些腐化自己身体的人难道不是在隐藏自己吗？
And if those who defile the living are as bad as they who defile the dead?
而亵渎生者的人是否和亵渎死者的人一样坏呢？
And if the body does not do fully as much as the soul?
如果身体不能完全做到像灵魂那样多的事情？
And if the body were not the soul, what is the soul?
如果身体不是灵魂，那么灵魂又是什么？
The love of the body of man or woman balks account,
对男人或女人身体的爱无法估量，
The body itself balks account,
身体本身也无法估量，
That of the male is perfect, and that of the female is perfect.
男性的身体是完美的，女性的身体也是完美的。
The expression of the face balks account,
面部表情难以言表，
But the expression of a well-made man appears not only in his face,
但一个体格健美的男子的表情不仅体现在他的脸上，
It is in his limbs and joints also, it is curiously in the joints of his hips and wrists,
也体现在他的四肢和关节上，尤其是在髋部和手腕的关节中，
It is in his walk, the carriage of his neck, the flex of his waist and knees, dress does not hide him,
它在他的步伐中，在他颈部的姿态、腰部和膝盖的弯曲中，衣服遮不住他，
The strong sweet supple quality he has strikes through the cotton and broadcloth,
他那强健、甜美、柔韧的品质穿透了棉布和厚呢，
To see him pass conveys as much as the best poem, perhaps more,
看他经过传达的信息可能比最好的诗还要多，
You linger to see his back, and the back of his neck and shoulder-side.
你会驻足凝视他的背影，还有他的颈后和肩膀。
The sprawl and fulness of babes, the bosoms and heads of women, the folds of their dress, their style as we pass in the street, the contour of their shape downwards,
婴儿的伸展和丰满，女人的胸部和头部，她们衣裙的褶皱，我们在街上经过时她们的风姿，向下勾勒出的轮廓，
The swimmer naked in the swimming-bath, seen as he swims through the transparent green-shine, or lies with his face up and rolls silently to and fro in the heave of the water,
裸泳者在泳池中游泳，透过透明的绿水看见他游动，或者仰面躺着，在水波中无声地来回滚动，
The bending forward and backward of rowers in row-boats, the horseman in his saddle,
划船者在小船上前后弯曲，骑手在他的马鞍上，
Girls, mothers, house-keepers, in all their performances,
女孩们、母亲们、主妇们，在她们的所有表现中，
The group of laborers seated at noon-time with their open dinner-kettles, and their wives waiting,
中午时分坐在那里的一群工人，他们的饭盒打开着，妻子们在一旁等待，
The female soothing a child, the farmer's daughter in the garden or cow-yard,
安抚孩子的妇女，花园或牛栏中的农夫女儿，
The naked bathers in summer, the snow-sleighs in winter, the drivers covered with snow-flakes,
夏天的裸浴者，冬天的雪橇，被雪花覆盖的车夫，
The hurrying hoof of harnessed horses on the road—the driver with his whip uplifted,
道路上套着缰绳的马匹匆忙的蹄声——车夫举起鞭子，
The guest at table, the host serving him—the lady in her parlor—the tradesman in his shop,
餐桌上的客人，主人为他服务——客厅里的女士——店铺里的商人，
The young fellow hoeing corn—ploughing or sowing grain—the teamster driving his six-horse team,
锄玉米的小伙子——耕地或播种谷物——赶着六匹马的车夫，
The boatman steering through rapids—the oarsmen rowing—the swimmer diving and rising again,
在急流中掌舵的船夫——划桨的桨手——潜水后又浮起的游泳者，
The haymakers at work—the mower swinging his scythe—the drover urging his cattle—the peddler with his cart,
正在劳作的割草人——挥舞镰刀的割草工——驱赶牲畜的牧人——推着小车的小贩，
The runaway slave came to my house and stopt outside,
逃亡的奴隶来到我家，停在外面，
I heard his motions crackling the twigs of the woodpile,
我听见他在柴堆旁折断树枝的声音，
Through the swung half-door of the kitchen I saw him limpsy and weak,
透过厨房半开的门，我看到他软弱无力，
And went where he sat on a log and led him in and assured him,
于是走到他坐着的木头上，把他领进来并安慰他，
And brought water and fill'd a tub for his sweated body and bruis'd feet,
然后打来水，为他汗湿的身体和受伤的脚准备了一桶水，
And gave him a room that entered from my own, and gave him some coarse clean clothes,
给了他一间从我的房间进入的屋子，并给了他一些粗布干净衣服，
And remember perfectly well his revolving eyes and his awkwardness,
我还清楚记得他转动的眼睛和他的笨拙，
And remember putting plasters on the galls of his neck and ankles;
还记得我给他脖子和脚踝的伤处贴上了膏药；
He staid with me a week before he was recuperated and pass'd north,
他在恢复健康之前在我这里待了一个星期，然后向北而去，
I had him sit next me at table, my fire-lock lean'd in the corner.
我让他坐在我旁边用餐，我的火枪靠在角落里。
The splash of swimmers, the sound of their voices, the laughter of children, the clatter of dishes,
游泳者的拍水声，他们的说话声，孩子们的笑声，盘子的叮当声，
The roll of drums and the blare of trumpets, the tramp of soldiers marching,
鼓声隆隆，号角嘹亮，行军士兵的脚步声，
The murmur of crowds, the shouts of auctioneers, the cries of newsboys,
人群的低语，拍卖人的叫喊，报童的呼喊，
The hum of bees, the chirp of birds, the rustle of leaves, the ripple of waters,
蜜蜂的嗡嗡声，鸟儿的啁啾声，树叶的沙沙声，水的涟漪声，
All these I hear or imagine—I become the subject of them.
所有这些我都听到或想象到了——我成为了它们的主题。
A woman waits for me—she contains all, nothing is lacking,
一个女人在等我——她包含了一切，什么都不缺，
Yet all were lacking if sex were lacking, or if the moisture of the right man were lacking.
然而，如果缺少了性，或者缺少了合适男人的滋润，那就全都缺失了。
Sex contains all, bodies, souls,
性包含了一切，身体，灵魂，
Meanings, proofs, purities, delicacies, results, promulgations,
意义，证明，纯洁，精致，结果，公布，
Songs, commands, health, pride, the maternal mystery, the seminal milk,
歌曲，命令，健康，骄傲，母性的奥秘，精液，
All hopes, benefactions, bestowals, all the passions, loves, beauties, delights of the earth,
所有的希望，恩惠，馈赠，所有的情感，爱，美丽，地上的快乐，
All the governments, judges, gods, follow’d persons of the earth,
所有的政府，法官，神明，追随者们，
These are contain’d in sex as parts of itself and justifications of itself.
这些都包含在性中，作为其自身的一部分和对其自身的正当理由。
Without shame the man I like knows and avows the deliciousness of his sex,
我喜欢的男人无羞耻地知道并承认他性别的美好，
Without shame the woman I like knows and avows hers.
我喜欢的女人也无羞耻地知道并承认她的性别。
Now I will dismiss myself from impassive women,
现在我要远离那些冷漠的女人，
I will go stay with her who waits for me, and with those women that are warm-blooded enough to receive me.
我要去陪伴等待我的她，以及那些热情洋溢足以接纳我的女人。
I am she who adorn’d herself and folded her hair expectantly,
我是那个装饰自己、满怀期待地盘起头发的女人，
My flesh was quiver’d with pure desire,
我的肉体因纯粹的欲望而颤抖，
My pulse beat quick and strong, my eyes sparkled, my cheeks flush’d,
我的脉搏跳动得又快又强，眼睛闪闪发光，脸颊泛红，
I waited for the bell to ring, the signal to rise.
我在等铃声响起，那是起身的信号。
O you whom I often and silently come where you are, that I may be with you,
哦，你啊，我常常默默地走到你所在之处，只为能与你在一起，
As I walk by your side, or sit near, or remain in the same room with you,
当我走在你身旁，或坐在你附近，或与你同处一室时，
Little you know the subtle electric fire that for your sake is playing within me.
你很少知道，为了你，在我体内燃烧着微妙的电火。
The efflux of the soul is happiness, here is happiness,
灵魂的流露就是幸福，这里就是幸福，
I think it pervades the open air, waiting at all times,
我想它弥漫在空气中，随时等待着，
Now it flows unto us, we are rightly charged.
现在它流向我们，我们被正确地充满。
Here rises the fluid and attaching character,
这里升起了流动且依附的性格，
The fluid and attaching character is the freshness and sweetness of man and woman,
这种流动且依附的性格是男女的新鲜与甜美，
(The herbs of the morning sprout no fresher and sweeter every day out of the roots of themselves, than it sprouts fresh and sweet continually out of itself.)
(晨间的草药从自己的根部每天发芽得再新鲜甜美不过，也不如它不断从自身发芽得那么新鲜甜美。)
Toward the fluid and attaching character exudes the sweat of the love of young and old,
朝向这种流动且依附的性格渗出了老少之爱的汗水，
From it falls distill’d the chyle of fondness,
从中滴下喜爱的乳糜，
From it advances the granules of bone and muscle,
从中长出骨与肌肉的颗粒，
From it advances the veiny ladder of jointed bones.
从中长出关节骨头的静脉梯子。
The womb, the teat, nipples, breast-milk, tears, laughter, weeping, love-looks, love-perturbations and risings,
子宫，乳房，乳头，乳汁，眼泪，笑声，哭泣，爱的眼神，爱的骚动与升起，
The soul arising from the body, the body arising from the soul,
灵魂从身体中升起，身体从灵魂中升起，
The afflatus of the soul over the body,
灵魂对身体的灵感，
The afflatus of the body over the soul.
身体对灵魂的灵感。
Each moment and whatever happens thrills me with joy,
每一刻，无论发生什么，都让我感到喜悦，
I cannot tell how my ankles bend, nor whence the cause of my faintest wish,
我说不清我的脚踝如何弯曲，也不知我最微弱愿望的原因，
Nor the cause of the friendship I emit, nor the cause of the friendship I take again.
也不知我所散发友谊的原因，也不知我再次接受友谊的原因。
That I walk up my stoop, I pause to consider if it really be,
当我走上台阶，我停下来思考这是否真实，
A morning-glory at my window satisfies me more than the metaphysics of books.
窗前的牵牛花比书本中的形而上学更令我满足。
To behold the day-break!
看那破晓！
The little light fades the immense and diaphanous shadows,
微光褪去了巨大而透明的阴影，
The air tastes good to my palate.
空气尝起来对我味蕾很好。
诗歌背景与主题
《自我之歌》（第19部分）是美国诗人沃尔特·惠特曼的代表作之一，体现了超验主义的思想。这部分着重探讨了身体与灵魂的关系，强调了身体的重要性以及其与灵魂的统一性。惠特曼通过丰富的意象和细腻的描写，表达了对人类身体的赞美和对生命力的颂扬。
第一节：身体与灵魂的统一
开篇“我歌唱带电的肉体”直接点明主题，表明诗人要歌颂人类的身体。这里的“electric”不仅指生理上的活力，更暗示着精神层面的能量。“那些我所爱的人们的军队环绕着我，我也环绕着他们”描绘了一种人与人之间的紧密联系，强调了个体与群体的相互依存关系。
第二节：身体的重要性
诗人提出了一系列反问句，质疑那些贬低身体价值的观点：
第三节：身体的完美性
惠特曼认为男女身体都具有完美的特质，“男人或女人身体的爱难以估量”。他特别强调：
第四节：日常生活中的身体之美
诗人通过一系列生动的画面展示了日常生活中人们身体的美：
第五节：生命的交响曲
诗人列举了各种声音，构成了一幅生机勃勃的生活画卷：
第六节：性的神圣性
惠特曼突破传统禁忌，正面讨论性的话题：
第七节：坦然面对性
诗人主张以自然的态度对待性：
第八节：期待的喜悦
通过第一人称的视角，描写了等待爱情时的激动心情：
第九节：微妙的情感交流
描述了人与人之间微妙的情感互动：
第十节：生命力的延续
强调了生命力的持续流动：
第十一节：生命的基本元素
列举了生命的基本元素：
第十二节：生命的奇迹
表达了对生命每一刻的欣喜：
第十三节：自然的满足
最后部分强调了自然带来的满足感：
总结
这首诗通过歌颂身体和性，打破了维多利亚时代的道德禁忌，强调了身体与灵魂的统一性。惠特曼运用了大量的意象和细腻的描写，展现了生命的活力和美好，表达了对自然和生命的热爱。整首诗充满了积极向上的生命力，体现了超验主义的核心思想，即万物皆有灵性，身体与灵魂不可分割。
要点
沃尔特·惠特曼在《自我之歌》中通过生动的意象和自由诗体，表达了个体与宇宙万物之间的紧密联系，强调了生命的平等性与神圣性，启发读者重新审视人与自然的关系，感受存在的真实与美好。
