于是,我们奋力向前划,逆流向上的小舟,不停地倒退,进入过去.


托马斯·科尔和他的《人生旅程》

在美国十九世纪的现实主义风景画家中,可能没有一个学派是比“哈德逊河画派”(Hudson River School) 更具有代表性和权威性的。这个画派的大部分画家都集中在美国东部的新英格兰地区,并且在最早的时候就受英国现实主义画家康斯坦布尔,特纳等人的影响,在艺术创作上重视对风景的描写。由于“哈德逊河画派”的创作素材是以美国纽约地区,哈德逊河两岸的风景为主,这个画派也因此得名。

 

与欧洲比较发达的一些国家不同,美国在十八世纪时期,还在继续扩展她自己大陆上的领土,尤其是由从东向西发展。由于美国土地的辽阔,继续不断垦荒和冒险的开拓者们,还无暇去从美学上欣赏这个新大陆的美丽风景。但到了十九世纪的初期,美国疆土的扩展已经完成,开始在这块新土地上扎根的原先那些开拓者们,开始为他们周围的美丽风景所倾倒。他们相信美国是上帝赐给人类的最后一块“美地”,而很多的平民和知识分子,都相信上帝和美丽的大自然是合为一体的。在一八三六年爱默生出版《自然》之前,“上帝”和“自然”是两个可以等同和交替使用的名词。因此,在当时的美国社会上有很大的一批人认为美国应该更保护自然的风景,人文和艺术也应以研究和歌颂美丽的大自然为课题。在这种社会思潮的带领下,“哈德逊河画派”的很多艺术家,也开始了他们自己的风景画创作,进而使得他们成为开创美国现实主义风景画创作的领军人物。而这个画派的首创人和主要代表人物,正是托马斯·科尔。(Thomas Cole 1801-1848)。

                                    


                                    

                                    托马斯·科尔(Thomas Cole,1801-1848)

托马斯·科尔一八零一年出生在英国,一八一八年,也就是他十八岁时,他随着父母及一家,移居到美国来住。定居在美国俄亥俄州的一个叫斯图奔特维尔小城里。并在那里从师学画肖像。他的绘画老师是一位在街头流浪的穷画家,科尔在跟他学了一些时候后,也开始奔走于各个城市之间为人画肖像。不久,在到处流浪为人画肖像的岁月里,科尔逐渐地领略到各地的美丽风景,也认识到,他自己的兴趣和专长不在为人画肖像画,而是画风景画。因此从那个时候起,他就画了不少的体现俄亥俄州的风景画。

一八二五年,他又随父母迁居纽约。在纽约定居后不久,科尔卖出了三幅画给一位名叫乔治·布儒恩的有钱人。那人就资助他在哈德逊河谷的上游地带逗留一个夏天,来描绘哈德逊河谷两岸的美丽风景。科尔的这些画,曾被纽约的报纸看中,并把它们刊登在报纸上。当然也就引起了不少文化名人和艺术家的注意。这些艺术家和评论家,又把科尔介绍给纽约和费城的一些喜爱艺术作品的富豪,他们开始赞助科尔画风景画。

 

科尔在沿哈德逊河的地方住了下来,一直住到他去世。后来,他成为了一位著名的风景画大师。他除了反复地在哈德逊河的两岸画出那里的风景,他也每年抽出时间到美国其他的各个州去画那里的风景。从他开始,一个以哈德逊河流域作为对象的风景画派就在美国产生了。通过科尔和“哈德逊河画派”各画家的描绘,美丽大自然进入了美国人和世人的视野。科尔的画,都是以自然为蓝本的。和他的前人不同,科尔的画不是把风景作为人物的背景来画。相反地,他是把自然风景作为主题来描绘,而人物只是自然的一部分。而且,在他的笔下和画内的风景,都体现了一种野性的美,从这个角度去看他的作品,科尔可以说是美国新风景画派的开创者。另外,科尔还是一位卓越的诗人和散文家。他常常为他的画所写的解释,都是既优美,又寓意深刻的文学作品。

 

在今年“烟花三月”的季节里,笔者来到华盛顿DC,本想一睹沿着波托马克河在早春先开的樱花。但今年的春天来得特别的晚,三月中旬后的华盛顿DC 非但樱花未开,天空里还飘起了片片雪花。在冷风凛冽的天气里,只有躲进博物馆去避风寒了,好在华盛顿的二十几家国家博物馆都是不收费就可以进去参观的。好久没有去华盛顿的“国家艺术博物馆”(National Gallery of Art)了,就顺道走了进去。博物馆很大,走进那里后,笔者就在专门陈列美国画家作品的厅里看到了挂在当中墙上由托马斯·科尔(Thomas Cole 1801-1848)作的的四幅题名为“人生旅程”(Voyage of Life)的巨幅油画。

 

科尔的这四幅画是美国国家艺术博物馆的永久陈列作品, 也是科尔比较晚期的作品。他的这四幅画是在一八四二年完成的。通过对人生从出生,青年,中年一直到老年这四个时期的描写,科尔不仅向他的观赏者提供了一个很现实和生动的画面,而且还提供了一个更深的宗教和哲理信息:即人生是一个不平凡的旅程,但每一个时期都有超自然的上帝在带领。他把人生的旅程放在一条船上,也意味着人生的曲折迂回,有时如航行在惊涛骇浪之上,有时又如一叶孤舟飘荡在平静的湖面上。同时,作为一位“哈德逊河画派”的主要创导人,科尔的画总是把美丽的风景结合在他的画中,使得上帝,人和自然风景在他的画里成了一个有机的组合。在这里值得一提的是,科尔为每一幅画都题了他自己的随笔和诗歌,而把这些短文,诗歌和画拿到一起来观赏,更是使人觉得意境深远,浮想联翩。



童年时期

科尔的解释:

 

一条小溪从一个大山洞里流出,在它的边上有峻峭的悬崖,而山顶却直入云霄。从山洞里飘出一叶轻舟。镀金的船头和船身上的雕像代表了时光。由一位天使的带领,装满了鲜花的的船上,躺着一个欢笑的婴孩--“人生的旅者”,他的曲折旅程将是艺术家们所要描绘的。小溪的两旁,无论是岸边还是水面都被茂盛的花草覆盖。初升的太阳以玫瑰般的光彩沐浴着群山和充满鲜花的两岸。

黑暗的大山洞象征着我们由大地而生的起始和神秘的过去。带着时光标志的小船,意味着“思想”是从我们来到这生命的小溪时就开始了。小船在以后的每幅画里都代表了一个主题。紧靠的两岸和有限的景色,说明了童年时的狭隘经验,但也意味着自然所带来的愉悦和欲望。画前的莲花是人类生命的标志。欢乐和好奇是孩童情绪的特点。

 

Childhood

A stream is seen issuing from a deep cavern, in the side of a craggy and precipitous mountain, whose summit is hidden in clouds. From out the cave glides a Boat, whose golden prow and sides are sculptured into figures of the Hours. Steered by an Angelic Form, and laden with buds and flowers, it bears a laughing Infant, the Voyager, whose varied course the Artist has attempted to delineate. On either hand, the banks of the stream are clothed in luxuriant herbage and flowers. The rising sun bathes the mountains and flowery banks with rosy light.

 

The dark cavern is emblematic of our earthly origin, and the mysterious Past. The Boat, composed of Figures of the Hours, images the thought, that we are borne on the hours down the Stream of Life. The Boat identifies the subject in each picture. The rosy light of the morning, the luxuriant flowers and plants, are emblems of the joyousness of early life. The close banks, and the limited scope of the scene, indicate the narrow experience of Childhood, and the nature of its pleasures and desires. The Egyptian Lotus, in the foreground of the picture, is symbolical of Human Life. Joyousness and wonder are the characteristic emotions of childhood. 

附录:

科尔更多的有关童年时期的话:

思想意识的世界从婴孩出生的第一天就开始了。随着时间和年月的推移,它一直发展到中年。到了老年,思想的连接逐步松动,致使曾经累积的记忆退化,越是后来记住的就越先失去,所以在婴儿时开始记忆的事,可以一直延续到老年,甚至直到人生的终结。

This world of the mind is a mere created point in infancy; it increases with the hours[,] the months & the years until the middle of life; then as old age advances the links are loosened one by one, the accumulated materials fall away, the latest first & so on to those of infancy which as being the first, cling to the retiring point with the greatest tenacity to the last.




青年时期

科尔的解释:

 

小溪开始奔向更广阔的,更美丽的境地。小溪两岸成了大树下的阴影,从山坡上一直延伸到大山之间。那位在前一副画里出现过的婴孩,现已成了一位青年。他现在独自一人在船上为自己掌舵,怀揣着自信和急切地期望,他仰头望着建立在空中的城堡,那一个高过一个的城堡圆顶,一直延伸到天边。护佑的天使站在溪旁的岸上,虽有些严肃,但又慈祥地告别这位急于启程的“人生旅者”,祝他“一路顺风”。美丽的小溪通向远方,直到天边。但小溪突然有个转弯,似乎就是在树下,直到最后流入一股从山石间穿过的急流。也就是“人生旅者”在下幅画中我们要看到的情景。在远处的山似乎是拦断了小溪,使得它又恢复了航道,通向了“人生旅者”欲去的云间。

 

这幅画的风景--清水流淌的小溪,郁郁葱葱的大树,高耸入云的大山,无边的远景还有透明的环境,都代表了青年的优美和浪漫,尤其是当思绪从邪恶或者低俗的地步提升到高尚的境界。远在当经验和经历告诉我们什么是“真实”之前。那华丽的云间城堡,以及它们荣美的圆顶,只向我们展露一半。当我们越向它眺望时,它显得越大,这正代表了年青人的“白日梦”,以及他们所追求的功利。但那些昏暗的途径,会使年青人望而生畏,在他们匆忙的生涯中,他们会轻易地忘却,他们是在生命的小溪里启航,而那些急流和不可阻挡的力量,会变得越来越快,一直向下奔腾到“永恒的大海”。

 

Youth

 

The stream now pursues its course through a landscape of wider scope, and more diversified beauty. Trees of rich growth overshadow its banks, and verdant hills form the base of lofty mountains. The Infant of the former scene is become a Youth, on the verge of Manhood. He is now alone in the Boat, and takes the helm himself, and, in an attitude of confidence and eager expectation, gazes on a cloudy pile of Architecture, an air-built Castle, that rises dome above dome in the far-off blue sky. The Guardian Spirit stands upon the bank of the stream, and, with serious, yet benignant countenance, seems to be bidding the impetuous Voyager "God speed." The beautiful stream flows for a distance, directly toward the aerial palace, for a distance; but at length makes a sudden turn, and is seen in glimpses beneath the trees, until it at last descends with rapid current into a rocky ravine, where the Voyager will be found in the next picture. Over the remote hills, which seem to intercept the stream, and turn in from its hitherto direct course, a path is dimly seen, tending directly toward the cloudy Fabric, which is the object and desire of the Voyager.

 

The scenery of the picture—its clear stream, its lofty trees, its towering mountains, its unbounded distance, and transparent atmosphere—figure forth the romantic beauty of youthful imaginings, when the mind elevates the Mean and Common into the Magnificent, before experience teaches what is the Real. The gorgeous cloud-built palace, whose glorious domes seem yet but half revealed to the eye, growing more and more lofty as we gaze, is emblematic of the daydreams of youth, its aspirations after glory and fame; and the dimly-seen path would intimate that Youth, in its impetuous career, is forgetful that it is embarked on the Stream of Life, and that its current sweeps along with resistless force, and increases in swiftness, as it descends toward the great Ocean of Eternity.

 

附录:

科尔更多的有关青年时期的话和诗

 

在人的一生中,有许多的曲折小溪,凭着对这一点的认知,我向前走。虽然,我们都知道这条小溪是通向永恒大海的,但它不是那么地直接。我的愿望是通过这每一幅画来作一个对比,以便更全面地说明人生中每一个阶段的变化。我相信,每一位观赏者对画中生命小溪的流向会有不同的见解。我也已把这些见解从中收集了起来,你如觉得这样的评论是有损于对画的评价,其实我却认为是最美的。

 

我还年轻,正想象着我会建造一座城堡。但我知道,城堡迟早是会分崩离析的。但如果我能从解体的废墟里探寻到一点金子的话,我想我就够幸运了。

 

There are many windings in the stream of life, and on this idea I have proceeded. Its course towards the Ocean of Eternity we all know to be certain, but not direct. Each picture I have wished to make a sort of antithesis to the other, thereby the more fully to illustrate the changeable tenor of our mortal existence. I am convinced the opinion of spectators will be various on the subject of the direction of the stream. This I have gathered from remarks already made. That which you have thought might be a defect, has been considered a beauty. 1

I am still a Youth in imagination & build castles still. They will crumble away most likely but if I can find by groping amid the ruins some bits of gold I may perhaps consider myself fortunate

 

你早年的希望逐个儿殉灭,

最光亮和最宏伟的首先逝去,

冷与漠的扩展凭吊着一切。

因此,在这最欢快的艳阳里,

灼热的云朵使天空快乐。

笑声带着夜的荣美,

直到星球坠入低沉的海水。

至高的天穹先已死亡,

其余的,也将跟随着走到凋零的边上。

意气消沉的大海,黑夜将它覆盖。

而风和潮则为之唱出一支挽歌。

这就是夜的降临,使青春目光不再。

然而,一个不变的希望却乐居我心房:

又一个黎明,将磅礴于永恒的东方。

 

Thine early Hopes are fading one by one
The brightest loftiest are the first to die
Grow faint; or cold; perish mournfully.
So in the splendor of the joyous sun
The burnished clouds do gladden all the sky
And laughing put their evening-glory on.
Till sunk the orb amid the murmuring surge:
The highest in the concave first is dead
And so successive withering to the verge
Of ocean drear—night's fall is o'er them spread
And winds and waves chaunt forth a funeral dirge.
Yet thus benighted; Youthful visions fled
One changeless hope remains to cheer my breast:
A day will dawn in the Eternal East.

Catskill [28 March 1838] 




中年时期

科尔的解释:

 

暴风雨和流云遮盖了险峻和恐怖的大地。粗暴的风雨带来了苍白的光。洪水满溢的小溪愤怒地冲进了深黑的河谷,急速地奔向被雨和雾笼罩着的大海。小船被震荡的水流冲击着。“人生的旅者”现在是一位中年人了。小船的舵手不见了。他仰望天空乞求,似乎只有天空才能来拯救他脱离险境。守护天使却安详地坐在云间,看着这一切无同于衷。魔鬼的形象席卷在空中,使得“人生的旅者”惊恐万分。

 

困扰是中年人的特征。在童年时期,没有焦虑可言。在青年时期,没有失望的思想。只有当经验教会了我们这个世界上的“现实”,我们才从我们早年生活的眼睛上摘去了蒙在上面的金色纱巾。由此,我们才感到深刻和持久的忧伤。在这幅画中,那种幽暗,残缺的色调,相互抵触的元素,暴风雨中的大树,都有其寓意性。隐隐约约的大海,象征着生命的终结,而现在“人生的旅者”正在走向那个终结。魔鬼的形象代表了自杀,他杀和无节制。然而这些引诱正是导致人类误入岐途的恶梦。画中向上仰望的“人生的旅者”,寓意着他正在寻求上帝的力量,然而只有这个信仰才能拯救他逃离那个不可避免的毁灭。

 

Manhood

Storm and cloud enshroud a rugged and dreary landscape. Bare impending precipices rise in the lurid light. The swollen stream rushes furiously down a dark ravine, whirling and foaming in its wild career, and speeding toward the Ocean, which is dimly seen through the mist and falling rain. The boat is there plunging amid the turbulent waters. The Voyager is now a man of middle age: the helm of the boat is gone, and he looks imploringly toward heaven, as if heaven's aid alone could save him from the perils that surround him. The Guardian Spirit calmly sits in the clouds, watching, with an air of solicitude, the affrighted Voyager: Demon forms are hovering in the air.

 

Trouble is characteristic of the period of Manhood. In childhood, there is no carking care: in youth, no despairing thought. It is only when experience has taught us the realities of the world, that we lift from our eyes the golden veil of early life; that we feel deep and abiding sorrow: and in the Picture, the gloomy, eclipse-like tone, the conflicting elements, the trees riven by tempest, are the allegory; and the Ocean, dimly seen, figures the end of life, which the Voyager is now approaching. The demon forms are Suicide, Intemperance and Murder, which are the temptations that beset men in their direst trouble. The upward and imploring look of the Voyager shows his dependence on a Superior Power; and that faith saves him from the destruction that seems inevitable.

 

附录:

科尔更多的有关中年时期的话和诗文

 

年月最新的脚步,使人对位于永恒大海之边的沙滩海岸流连忘返。那是个狭窄的海岸,但可供人走过。当时间散布了它的雾和黑暗之前,以及之后,我们总可以听见有些人的跌落之声。但我们不用惧怕,这只是人的肉体部分在坠落。而人的灵魂早已飞越过无边的大海,找到了一个更合适的居所。

 

The latest footsteps of the year are now being impressed on the unstable, sandy beach of time—that shore which skirts the ocean of eternity. It is a narrow shore that man treads. Before him spread thick mists and darkness: and ever and anon, we hear the plunge of some one who has fallen into the deep. But let us not fear. It is the corporeal part of man that sinks. The soul soars over that vast sea, and finds a fitter dwelling place.

 

《日晷》

灰发,不受欢迎的守望者,开始守望。

它们竟和我紧锁的双眉互相辉映,

灰白夹扎着悲哀和动荡,提醒我人已到中年。

面对风口浪尖,我必须低头,

卷缩中,我看到汹涌怒浪的内在。

再没有生命与时间的搏斗,

下沉得越快,看得越清楚的是:

上帝深藏不露的机密。

我只是一个大信使,

动荡不定是我的宿命。

上帝的目光从时轮上移开,

当云朵升起,我的战竞,诚挚,

遮掩了忘却的阴影。

日晷告知我们上帝洞察一切,

雷声响起,暴雨压顶,

是为了惩罚我们虚度的年华,

然而他却踩着黑暗疾驰。

 

"The Dial"
Gray hairs, unwelcome monitors, begin

monitors, begin
To mingle with the locks that shade my brow
And sadly warn me that I stand within
That pale uncertain called the middle age.
Upon the billow's head which soon must bow
I reel; and gaze into the depths where rage
No more the wars 'twixt Time and Life as now,
And gazing swift, descend towards that great Deep
Whose secrets the Almighty one doth keep.

I am as one on mighty errand bound
Uncertain is the distance—fixed the hour;
He stops to gaze upon the Dial's round
Trembling and earnest; when a rising cloud
Casts its oblivious shadow and no more
The gnomon tells us what he would know and loud
Thunders are heard and gathering tempests lower.
Lamenting misspent time he hastes away
And treads again the dim and

dubious way.
1 February 1840 2



老年时期

科尔的解释:

 

带有凶兆的云朵聚结在半夜的大海上空。在微光里,峻峭的山石依稀可见。这已是世上的最后一段海岸了。小船从河的入海口漂流到此,经过风雨的摧残,它身上的时光雕塑已丧失殆尽,它似乎是浮流在深水上。守护天使为它导航,其实,守护天使一直陪伴着“人生的旅者”,只是没有人看到而已。如今,“人生的旅者”老了,他向天举头遥望,看见的是打开的云朵,灿烂的光束从天而降。天使们从云的台阶上下来,仿佛是来迎接他去拥有永生的天堂。

生命的小溪此刻已接近大海,百川归海,生命也是如此。对老人来说,这个世界已没有什么值得留恋的了。再也没有绿色的东西在它上面了,船上一切陈旧和破碎的东西,都意味着时间已走到了终点。一切肉体的存在都快要解体,思绪开始飞跃到永生。“人生的旅者”直到现在尚未清楚始终如一守护着他的天使,重新向他显现。以无尽的欢乐,天使向他展现了属世人的肉眼从未见过的神奇景色。

科尔更多关于老年的话和诗文

 

当他飞翔的时候,时间的翅膀越来越沉重。过去从未出现过的困难,现在频频出现。这告诉我们:凋零之期将临。当灵魂感到疲倦,歇息实再令人向往。哦,我有鸽子般的翅膀,我愿远走高飞去一个地方歇息。虽然痛苦和艰难会在我们的一生中积累重复,但希望就像天上的繁星,仍照亮着我们的路程。黑暗越深,光照越亮,正如我们所看见的,不是我们周围大地的黑暗,而是我们更期待的光明,荣耀和有着不可置信之欢乐的永恒。

The wings of Time are heavier and heavier laden as he flies; each hour brings its own trouble without dissipating  that of the past. This reconciles us to death; when the soul is fatigued rest is welcome. 'O that I had the wings of a dove, then would fly away and be at rest.' Although pain and trouble may accumulate as we pass through life, hope like a star lights our path and as the darkness deepens increases in brightness, for as through reason of the darkness we perceive not the earth around us but look towards eternity which we trust contains brightness  glory,  joy inconceivable.

 

《生命的異象》

横跨着一条无垠的空间,

我多年来在那里酣睡和做梦。

但有一天,神秘的幽灵将我惊醒,

他说:“站起来,朝四处看一下。”

“你看见什么呢?在你底下,在你以前,还是在你背后?”

我勉强站起,

朝“我的底下”一看:一片荒芜,

在我眼前的是:荒山野岭。

还有黑色水潭和长刺的荆棘。

城堡夹杂在废墟中,

就连花园也不能为大自然添美,

因为它们长满野草,陋褴而废。

苍白的植物,充满了病态的毒素。

难道一切的植物就被那土地诅咒?

这痛苦的一幕,使我视线移开。

 

再朝“我的以前”一看,浓雾笼罩。

黑夜正在吞噬大地。

但在黑暗中,一团磷火却疾走奔驰,

它的投影使光亮闪烁。

无论如何变形,总像是来自混沌世界。

即使是变化多端,但有时也会光辉灿烂,

宛若宫殿镶嵌了无数的金银宝石。

闪亮在艳阳和彩云里,

飘映在大喷泉之下,

在静谧的园道中发射出生灵的光。

远处有音乐悠扬,伴随着徐徐的清风。

然而,不知不觉地,却来了一股邪恶之力,

将这美景变成了黑暗,

又冷又湿的,龙蛇交舞之地。

在那深邃而又充满硫磺味的山洞里,

迸发出嚎叫魔鬼施酷刑的哀号。

“永远的酷刑!神灵啊!”我呼喊着:

“别让我的目光滞留在这病态的场景。”

 

就这样,把你的目光转向“你的后面”吧!

我急促地凝视着,多美的天堂之景啊!

越过山岗,崎岖的山坡,深黑的池塘,还有荆棘,

距离给它们蒙上一片柔美的薄纱。

我们已跨越了沉闷,荒芜的原野,

歇息之美甚于丧失。

“这即是我的宿命之所在?”我叹问:

“神灵啊,只有在消逝的过去,才能寻到快乐?”

“狂喜生悲,留下悔恨”神灵重申:

“但昏沉和破碎的已经逃离,

在我的耳后,只有另一种境界。“

永恒--善与恶,悲伤和狂喜。

是我们得到最多的。

 

 

"Visions of Life"
High on the swift and stayless wing of Time
Traversing free infinity's dim space
For years I slept and dreamed; but one day called
By some mysterious spirit I awoke—
Thus spoke the voice: "Rouse thee and look around
What dost thou see—below—before—behind ?"
I rose unwillingly from my place of rest
And looked below—it was a desolate scene

That met my eye—Bare rocks and rugged hills
And black pools and furious cataracts—
Castles there were tattering in ruin
Gardens laid out with the intent to beauty;
But left unfinished, and nought but weeds
And plants pale in the poisoned sickliness
Could vegetate in that accursed soil—
From the drear scene I turned in pain away
And looked before: there shadowy fogs were spreadAnd a black night was brooding o'er the land;
But through the gloom an ignus fatuus sped
And threw its light in fitful flickerings,
On any forms that sprung as if from Chaos,
Ever changeful; and at times they took bright forms
As palaces of clustered gems and gold
That shone in sunny splendor on the clouds
Vast rolling far beneath and fountains pure
Mid quiet groves gushed as with living light—
And e'en the music of their warbling cameSoft on the breeze—Anon some evil power
Those gorgeous scenes transformed, into the dark,
Dank, slimy haunt of serpents and of green dragons—
And then from deep and sulphury caverns burst
The dinful howl of demons ever torturing
And forever tortured—"Spirit," I cried:
"Let me not gaze on such soul sickening sights
As these"—"Turn then behind thy wearied eye."
Eager I gazed—What heavenly scenes were there!
Over the rocks, the rugged barren hills, The deep black pools, the furious cataracts,
Distance had spread a veil of tender beauty;
And the drear, desolate wild, that we had passed—
Retiring grew more lovely ere 'twas lost—
"Is this my destined lot," I sighing said, "thou spirit
Ne'er to find joy, but in the fading past?
Bliss sicklied with regret"—The spirit spoke again
But faint and brokenly: and much escaped
My lingering ear—"another state of being"
"Eternity"—"good, evil"—"woe and bliss"

Were all I gathered more.

[1825]


 

黄昏时分,从国家艺术博物馆出来,华府的广场上又飘起雨滴子来了。高大的华盛顿纪念碑在薄雾里时隐时现。走在路上,突然领悟到,人到中年,已没有再与时间和生活搏斗的勇气和力量了。有的也许就只是无限的盼望:有一天能像溪水那样流淌到河里,直到奔腾至大海,平静地消失在那里。

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