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批评论中英对照

An Essay on Criticism

Part I

’Tis hard to say,if greater want of skill

Appear in writing or in judging ill;

But,of the two,less dangerous is the offence

To tire our patience,than mislead our sense:

Some few in that,but numbers err in this,

Ten censure wrong for one who writes amiss;

A fool might once himself alone expose,

Now one in verse makes many more in prose.

’Tis with our judgements as our watches,none

Go just alike,yet each believes his own.10

In poets as true genius is but rare,

True taste as seldom is the critic’s share,

Both must alike from Heaven derive their light, These born to judge,as well as those to write.

Let such teach others who themselves excel,

And censure freely who have written well.

Authors are partial to their wit,’tis true,

But are not critics to their judgement too?

Yet,if we look more closely,we shall find

Most have the seeds of judgement in their mind:20 Nature affords at least a glimmering light;

The lines,though touched but faintly,are drawn right. But as the slightest sketch,if justly traced,

Is by ill colouring but the more disgraced,

So by false learning is good sense defaced;

Some are bewildered in the maze of schools,

And some made coxcombs Nature meant but fools. In search of wit these lose their common sense,

And then turn critics in their own defence:

Each burns alike,who can,or cannot write,30

Or with a rival’s,or an eunuch’s spite.

All fools have still an itching to deride,

And fain would be upon the laughing side.

If Maevius scribble in Apollo’s spite,

There are who judge still worse than he can write. Some have at first for wits,then poets passed, Turned critics next,and proved plain fools at last; Some neither can for wits nor critics pass,

As heavy mules are neither horse nor ass.

Those half-learned witlings,numerous in our isle,40 As half-formed insects on the banks of Nile; Unfinished things,one knows not what to call,

Their generation’s so equivocal:

To tell them would a hundred tongues require,批評論

第一部分

寫作會寫壞，批評也會評不好，

兩者很難說，那個比較沒技巧。

但說來，令人沒有耐心繼續唸，

總比去誤導人意，更為沒危險。

多數人錯在這，少數人錯在那，5

見十個誤評，只見一個創作差。

從前或許只有笨伯自己，暴露自己是痴呆，如今一傻子寫詩，卻使得眾多寫起散文來。我們作批評，猶如我們戴手錶：

無一走一樣，卻信自己才可靠。10

真有寫作才華的詩人並不多，

談真正鑑賞力，批評家也少有。

兩者都必須自天取得其靈光，

生以評判，或生以寫作，都一樣。

只有自己優越才可以教別人，15

自己要會寫，批評才可只憑心。

誠然作者的睿智統統有所偏，

那麼評者不也是個個有殊見？

可是，如果仔細看，我們便發現：

眾人都有批評的種子在心田。20

老天給人至少一點微微的亮光；

行行雖只輕輕畫，還是直直的一行。

但最輕淡的素描，如果仔細瞧，

常被不良的著色弄得更糟糕；

同樣地，假學也把良知來抵消。25

有些人迷惑在學派的迷宮裡，

有些則裝成學究，自當愚人比：

他們丟了常識，是為了找智慧，

結果變成批評家，完全為自衛：

能寫不能寫，個個都像一怒火，30

中燒的是，對手或閹人的怨仇。

蠢才始終都技癢，想要丟人臉，

都希望能夠站在笑人這一邊。

如果阿波羅恨透糜氏亂塗寫，

評得比他寫的更差的，還有些。35

有人先以天才，再以詩人，來混充，

接著變評家，最後證實純然是愚公。

有些人冒充不了文才或評家，

真如笨騾真個是非驢又非馬。

半調子文人，我們島上多的是，40

就像半成形蟲兒，尼羅河邊出。

未完成之物，不知稱它叫如何，

他們這一輩，也真模稜太兩可；

要數他們，一百個舌頭總得要，

Or one vain wit’s,that might a hundred tire.

But you who seek to give and merit fame,

And justly bear a critic’s noble name,

Be sure yourself and your own reach to know,

How far your genius,taste,and learning go; Launch not beyond your depth,but be discreet,50 And mark that point where sense and dullness meet. Nature to all things fixed the limits fit,

And wisely curbed proud man’s pretending wit. As on the land while here the ocean gains,

In other parts it leaves wide sandy plains;

Thus in the soul while memory prevails,

The solid power of understanding fails;

Where beams of warm imagination play,

The memory’s soft figures melt away.

One science only will one genius fit:60

So vast is art,so narrow human wit:

Not only bounded to peculiar arts,

But oft in those,confined to single parts.

Like kings we lose the conquests gained before,

By vain ambition still to make them more:

Each might his several province well command, Would all but stoop to what they understand.

First follow Nature,and your judgement frame

By her just standard,which is still the same: Unerring Nature,still divinely bright,70

One clear,unchanged,and universal light,

Life,force,and beauty,must to all impart,

At once the source,and end,and test of Art.

Art from that fund each just supply provides, Works without show,and without pomp presides:

In some fair body thus the informing soul

With spirits feeds,with vigour fills the whole,

Each motion guides,and every nerve sustains;

Itself unseen,but in the effects remains.

Some,to whom Heaven in wit has been profuse,80 Want as much more to turn it to its use;

For wit and judgement often are at strife,

Though meant each other’s aid,like man and wife.’Tis more to guide,than spur the Muse’s steed; Restrain his fury,than provoke his speed:

The winged courser,like a generous horse,

Shows most true mettle when you check his course. Those rules of old discovered,not devised,

Are Nature still,but Nature methodized:

Nature,like liberty,is but restrained90不然一笨ロ，會把百人都累倒。45但你們那些賞名給譽的墨客，

那些堂堂擁有評家之美名者，

切記要知道自己能力之所及，

要度量自己的才學和鑑賞力。

別投身進入太深處，而且要明辨，50

要看得出有理與無義的交會點。

天予萬物都設有妥當的限制，

明智地不讓驕者假弄其機智。

譬如：當海洋侵到陸上這個岸，

在別處，它必留下寬廣的沙灘。55

同理，心中如果記憶常健在，

則厚實的理解能力可能便要衰；

在熱情的想像演出光芒時，

熔化的可是記憶的軟身隻。

一個學問往往只合一天才，60

學藝真是廣，人類心智實在窄：

不僅常常受限於特殊的技藝，

也常侷促在若干個別的分際。

像國王，我們會喪失已有的征服，

可是，野心為了虛榮永遠不服輸：65每人大可分開各自統治其地區，

要委身的，但願是了解的界域。

追隨自然最首要，做你的評量

要依其準則，始終正確又一樣。

不出錯的自然啊！你神色光明，70放諸四海，是永恆不變的明燈，

你給予眾人生命、力量、以及美，

同時是藝術的源頭、終極與量杯。

藝術所需從此庫存各自取，

製出作品不用舖張與吹噓：75於是有知的心靈，在一美體中

餵以精神，灌入氣力，各部為用；

引導每一動作，支撐每條神經，

雖本身不可見，卻見諸其效應。

有些人天生才華，真可謂橫溢，80要將他派上用場，卻是沒能力；

文才與評斷，兩相失和極尋常，

雖然有點像夫妻，本應相幫忙。

謬司的駿馬，應多引導少策勵；

要制其狂勁，可別令牠奔馳疾：85帶翼的天馬，大方可是不失態，

控其行徑，反而能顯出勇氣來。

古人的法則，來自發現，非自編，

仍是自然，只是方法化的自然。

自然，就像自由，如果有時受約束，90

By the same laws which first herself ordained.

Hear how learned Greece her useful rules indites, When to repress,and when indulge our flights:

High on Parnassus’top her sons she showed,

And pointed out those arduous paths they trod;

Held from afar,aloft,the immortal prize,

And urged the rest by equal steps to rise:

Just precepts thus from great examples given,

She drew from them what they derived from Heaven. The generous critic fanned the poet’s fire,100

And taught the world with reason to admire.

Then criticism the Muse’s handmaid proved,

To dress her charms,and make her more beloved:

But following wits from that intention strayed,

Who could not win the mistress,wooed the maid; Against the poets their own arms they turned,

Sure to hate most the men from whom they learned.

So modern’pothecaries,taught the art

By doctor’s bills to play the doctor’s part,

Bold in the practice of mistaken rules,110 Prescribe,apply,and call their masters fools.

Some on the leaves of ancient authors prey,

Nor time nor moths e’er spoiled so much as they: Some drily plain,without invention’s aid,

Write dull receipts how poems may be made:

These leave the sense,their learning to display,

And those explain the meaning quite away.

You then whose judgement the right course would steer, Know well each ancient’s proper character:

His fable,subject,scope in every page;120

Religion,country,genius of his age:

Without all these at once before your eyes,

Cavil you may,but never criticize.

Be Homer’s works your study and delight,

Read them by day,and meditate by night;

Thence form your judgement,thence your maxims bring, And trace the Muses upward to their spring;

Still with itself compared,his text peruse;

And let your comment be the Mantuan Muse.

When first young Maro in his boundless mind130

A work to outlast immortal Rome designed,

Perhaps he seemed above the critic’s law,

And but from Nature’s fountains scorned to draw:

But when to examine every part he came,

Nature and Homer were,he found,the same. Convinced,amazed,he checks the bold design;那些規範，其實早已命定在當初。

聽聽碩學的希臘如何寫良方，

教我們何時收歛，何時要奔放：

她在高高的詩山上教其子孫，

哪些路途可以踏上、該勤奮；95在遠方高處舉著不朽的獎品，

鼓勵後學以同等腳步試登臨。

故偉大樣品產生正確的箴言，

而她從中得言的，依然是老天；

該慷慨的批評家，既為詩人扇火，100還教世人用理智去稱讚其成果。

當時，批評證實只是繆司的女僕：

打扮主人讓她迷人，是任務。

可是，後來文人偏離了那本職：

猛追女僕，因為得不到那女士。105他們調過自己手來對抗詩人們：

教他們學問的，他們的確反最恨。

就像現在藥劑師，從醫師處方紙

學了一點處方術，竟然扮起大醫師；

弄錯原理，依然大膽在行醫，110處方、用藥，還罵老師是阿西。

有些人掠奪古代作家的書葉，

比時間和蠹魚蹧蹋的，還多一些。

有些人乾癟平板，沒有發明力，

竟寫無聊法則，教人為詩的道理。115這些人沒頭沒腦，只為逞學問；

那些人則把意義說得離本身。

因此，如果你要駛在批評的正途，

便須通曉每一古人適性所寫的人物；

他寫在每一頁的情節、主題、方針；120他所處時代的宗教、風土與精神：

若無這一切同時呈現在眼前，

你或許可以求疵，卻不能做評鑑。

讓荷馬詩篇成為你研賞的大作，

白天把它好好唸，晚上則多思索；125由此形成鑑賞力，帶給你格言，

而往上追尋眾繆司，直到其根源。

始終與其本身相比而細讀其本文；

讓你的評論造就出曼突阿的詩人。

當初馬若在其無邊的心靈裡，130為了不朽勝羅馬，拿個作品來設計，

或許當時並不遵循評家的定律，

而除了自然的泉源以外，一概不抽取。可是當他檢查每一部分的時候，

竟發現：自然與荷馬，相合而不謀。135吃驚信服之餘，他便約束大膽的設計，

And rules as strict his laboured work confine,

As if the Stagyrite o’erlooked each line.

Learn hence for ancient rules a just esteem;

To copy Nature is to copy them.140

Some beauties yet no precepts can declare,

For there’s a happiness as well as care.

Music resembles poetry,in each

Are nameless graces which no methods teach,

And which a master-hand alone can reach.

If,where the rules not far enough extend,

(Since rules were made but to promote their end) Some lucky licence answers to the full

The intent proposed,that licence is a rule.

Thus Pegasus,a nearer way to take,150

May boldly deviate from the common track.

Great wits sometimes may gloriously offend,

And rise to faults true critics dare not mend;

From vulgar bounds with brave disorder part,

And snatch a grace beyond the reach of art, Which,without passing through the judgement,gains The heart,and all its end at once attains.

In prospects thus,some objects please our eyes, Which out of Nature’s common order rise,

The shapeless rock,or hanging precipice.160

But though the ancients thus their rules invade, (As kings dispense with laws themselves have made) Moderns,beware!or if you must offend

Against the precept,ne’er transgress its end;

Let it be seldom,and compelled by need;

And have,at least,their precedent to plead.

The critic else proceeds without remorse,

Seizes your fame,and puts his laws in force.

I know there are,to whose presumptuous thoughts Those freer beauties,even in them,seem faults.170 Some figures monstrous and misshaped appear, Considered singly,or beheld too near,

Which,but proportioned to their light,or place,

Due distance reconciles to form and grace.

A prudent chief not always must display

His powers,in equal ranks,and fair array,

But with the occasion and the place comply, Conceal his force,nay seem sometimes to fly. Those oft are stratagems which errors seem,

Nor is it Homer nods,but we that dream.180

Still green with bays each ancient altar stands, Above the reach of sacrilegious hands;故用來限制其力作的規矩，嚴得好比

那史達吉拉人還在監視每行一樣哩。

所以說，對古人法則總要表敬尊，

抄襲自然，就等於抄襲了他們。140有些美體，迄今沒有法理可說明，

因為其中有用心成分，有僥倖。

音樂就像詩：在兩者裡頭，

無法教、無法說的優點，總會有，

而此等功夫，僅大師高手才練就。145如果規則會用得不夠深入、遠不及，(因為製造規則只為達成某目的，)

一點碰巧破格，也大可迎合

擬定的目標，而自己成規則。

同理，飛馬佩佳司，為了抄近路，150也可以大膽偏離正常的旅途。

大才華往往犯規犯得很漂亮，

要改其錯誤，評家想都不敢想。

爛規範與美紊亂，吾人要分開，

要能越過技藝的界限去取美來。155那種美，不需要經由裁判便能贏

人心，同時整個藝術目標也拿定。

同樣，在視野裡有些東西悅我目，

那是從自然的一般常態中顯突出：

沒形怪石，懸崖峭壁，例子在各處。160但是古人雖常侵犯自己的規範，

(就像國王訂了法律自己卻不管，)

現代人啊，當心哦！如果必得違犯

那規則，可也不能踰越那標竿。

違規應很少，而且出於不得已，165至少要想辯解時，也應有前例；

否則評家前來時，拿下你的名，

一定不懊悔，一切依法就執行。

有些人，他們思想狂妄又僭越，

總認為：美若灑脫一點也不對。170有些圖像顯得怪狀又奇形，

那是因為單獨考量或太近盯；

其實，只要配對了光線或位置，

適當的距離，總能調成美形式。

聰明的首領，不一定老是要表現175其本領於同樣美好的行伍陣式間；

有時如果能夠迎合時機與地點，

隱藏一下實力，反而似乎可飛天。

表面似錯誤，往往是刻意在經營；

不是荷馬在打盹，是我們在作夢。180每座古代祭壇，永遠桂樹常青在，

褻瀆神明的雙手，永遠莫想摘；

Secure from flames,from envy’s fiercer rage, Destructive war,and all-involving age.

See from each clime the learned their incense bring! Hear in all tongues consenting paeans ring!

In praise so just let every voice be joined,

And fill the general chorus of mankind!

Hail,bards triumphant!born in happier days; Immortal heirs of universal praise!190

Whose honours with increase of ages grow,

As streams roll down,enlarging as they flow! Nations unborn your mighty names shall sound, And worlds applaud that must not yet be found!

O may some spark of your celestial fire,

The last,the meanest of your sons inspire,

(That on weak wings,from far,pursues your flights; Glows while he reads,but trembles as he writes) To teach vain wits a science little known,

To admire superior sense,and doubt their own!200

Part II

Of all the causes which conspire to blind

Man’s erring judgement,and misguide the mind, What the weak head with strongest bias rules,

Is pride,the never-failing vice of fools.

Whatever Nature has in worth denied,

She gives in large recruits of needless pride;

For as in bodies,thus in souls,we find

What wants in blood and spirits,swelled with wind: Pride,where wit fails,steps in to our defence,

And fills up all the mighty void of sense!

If once right reason drives that cloud away,

Truth breaks upon us with resistless day.

Trust not yourself;but your defects to know,

Make use of every friend—and every foe.

A little learning is a dangerous thing;

Drink deep,or taste not the Pierian spring:

There shallow draughts intoxicate the brain,

And drinking largely sobers us again.

Fired at first sight with what the Muse imparts,

In fearless youth we tempt the heights of arts,220 While from the bounded level of our mind,

Short views we take,nor see the lengths behind; But more advanced,behold with strange surprise New distant scenes of endless science rise!

So pleased at first the towering Alps we try,

Mount o’er the vales,and seem to tread the sky;它能免遭火燒，不怕妒嫉更兇猛，

還能逃脫時代，不愁破壞以戰爭。

看吧！各方學著帶來祭拜的香火；185

聽吧！眾ロ合唱的讚頌在耳朵！

我們願讓每個聲音公正來讚賞，

而充滿人類共同形成的大合唱。

得意的詩人們！生在幸運的時候，

你們得到舉世的讚美，永不朽！190

你們的榮耀隨著時代在增長，

就像滾滾溪水往下越流越寬廣；

汝等大名將在未來國度廣傳開，

未來的世界都將為您大喝采！

啊，但願您們天才靈感的熱火花，195

給最後、最差的子孫，也能多啟發，

(他翅膀乏力也要追您們飛天空；

他唸時心發熱，但寫時身抖動。)

給那些不才，教導鮮為人知的那學科，

好稱讚你們的高才，而懷疑自己的！200

第二部分

有許多原因使得人類眼睛瞎，

使他判斷錯誤，還誤導其想法；

不過，使得小腦筋產生最大偏見

的是驕傲—傻瓜不會沒有的缺點。

任何東西，自然要是不給價值一絲毫，205便會應人所求，給予大量的驕傲。

因為在身在靈裡，我們都發覺：

脹風的，必是血液氣質兩相缺。

人在無才時，防衛的驕氣一定踏進來，

然後便把整個才識的大洞給充塞。210

要是一旦正確的理智趕走那烏雲，

真理便以難擋的強光破曉在我身。

別太相信自己，而自己的缺陷要曉得，

要善加利用朋友，以及敵人每一個。

學問一點點，是危險事情的一件；215

要嘛就深飲，不然就不要嚐靈泉：

光淺嚐幾ロ，只會使人頭暈暈，

想恢復清醒，反而必須大量飲。

當初第一眼，繆司使我們心熱以靈感，

我們年輕無畏，便想登上藝術的山巔；220可是從我們心靈的有限平原上，

我們常短視，而不知來路實方長；

等到往前進幾程，才會詫異又吃驚，

遠方新景接新景，學問真的無止境！

同時，當初嚮往阿爾卑斯的高聳，225

便爬過山谷，而似乎踩行在空中，

The eternal snows appear already passed,

And the first clouds and mountains seem the last: But,those attained,we tremble to survey

The growing labours of the lengthened way,230 The increasing prospect tires our wandering eyes, Hills peep o’er hills,and Alps on Alps arise!

A perfect judge will read each work of wit

With the same spirit that its author writ:

Survey the whole,nor seek slight faults to find Where Nature moves,and rapture warms the mind; Nor lose,for that malignant dull delight,

The generous pleasure to be charmed with wit.

But in such lays as neither ebb nor flow,

Correctly cold,and regularly low,240

That shunning faults,one quiet tenor keep;

We cannot blame indeed—but we may sleep.

In wit,as Nature,what affects our hearts

Is not the exactness of peculiar parts;

Tis not a lip,or eye,we beauty call,

But the joint force and full result of all.

Thus when we view some well-proportioned dome, (The world’s just wonder,and even thine,O Rome!) No single parts unequally surprise,

All comes united to the admiring eyes;250

No monstrous height,or breadth,or length appear; The whole at once is bold and regular.

Whoever thinks a faultless piece to see,

Thinks what ne’er was,nor is,nor e’er shall be. In every work regard the writer’s end,

Since none can compass more than they intend; And if the means be just,the conduct true, Applause,in spite of trivial faults,is due.

As men of breeding,sometimes men of wit,

To avoid great errors,must the less commit:260 Neglect the rules each verbal critic lays,

For not to know some trifles,is a praise.

Most critics,fond of some subservient art,

Still make the whole depend upon a part:

They talk of principles,but notions prize,

And all to one loved folly sacrifice.

Once on a time,La Mancha’s knight,they say

A certain bard encountering on the way, Discoursed in terms as just,with looks as sage,

As e’er could Dennis,of the Grecian stage;270 Concluding all were desperate sots and fools,

Who durst depart from Aristotle’s rules.然後亙長的白雪好像已經又走過，

最後好像只剩初見的白雲在山廓：

可是到達那些後，我們四顧會發抖，

眼前長路還更長，忍受辛勞要更久；230前景如此不斷長，眼睛流浪也不想，

孰知群山窺群山，阿山升在阿山上！

完美的批評家，閱讀的作品有才華，必能體會作者意，同心同情讀著它；

首先看整體，而不找眼來挑錯，235只求心靈能感動，文情有熱火；

不會為了一點傷人而乏味的小樂趣，

以致失去迷住才華的開心大歡愉。

不過，有些詩詞正如潮水不漲也不退，它們冷得很精確，也低得合常規，240它們避開了錯誤，保持穩靜的意味，

對那些，我們是不能罵，但總該可以睡。文情像自然，能感動我心的地方，

不是幾些特殊部位看來很端莊；

我們稱美的，不是一個唇或一隻眼，245而是總體力量，全部結果，整張臉。

所以當我們瞧見大小勻稱的圓屋頂，(羅馬啊！你那個是世上奇觀的見證！)

沒那些部分，不會叫人一樣感出奇，

可以說各部都聯合在贊嘆的眼光裡；250你見不到光怪陸離的長、寬、高，

整體看來就是既醒目又稱貌。

任誰只要想見作品完全沒缺點，

便是想見今昔來日皆無的物件。

論作品，應該端視作者之目標，255

蓋無人能達到企圖以外之成效；

而如果方法正確，行為也正當，

則儘管有些小缺失，也應鼓個掌。

談教養和文才，有時兩者頗一致：

為了避免大錯誤，便會犯下小缺失。260字句批評家所下的規則，不必管，

因為那種雞毛蒜皮，不知反可讚。

多數批評家喜歡卑下的伎倆，

常使一個片段成為整篇所仰仗：

他們經常談原則，而重視其觀念，265

結果犧牲一切只為喜愛的傻論點，從前聽說拉曼加的武士吉訶德，

在路上遇到一位吟詩寫劇者，

他們談論時，帶神聖面容，用精準詞語，好比德尼斯在大談希臘舞台劇。270

他們的結論是：任何人只要敢擺脫

亞里斯多德的規則，便是酒鬼或笨伯。

Our author,happy in a judge so nice,

Produced his play,and begged the knight’s advice; Made him observe the subject and the plot,

The manners,passions,unities,what not?

All which,exact to rule,were brought about,

Were but a combat in the lists left out.

‘What!leave the combat out?’exclaims the knight; Yes,or we must renounce the Stagyrite.280

‘Not so,by Heaven,’(he answers in a rage)

‘Knights,squires,and steeds,must enter on the stage.’So vast a throng the stage can ne’er contain.

‘Then build a new,or act it in a plain.’

Thus critics of less judgement than caprice,

Curious,not knowing,not exact,but nice,

Form short ideas;and offend in arts

(As most in manners)by a love to parts.

Some to conceit alone their taste confine,

And glittering thoughts struck out at every line;290 Pleased with a work where nothing’s just or fit;

One glaring chaos and wild heap of wit.

Poets,like painters,thus,unskilled to trace

The naked Nature and the living grace,

With gold and jewels cover every part,

And hide with ornaments their want of art.

True wit is Nature to advantage dressed;

What oft was thought,but ne’er so well expressed; Something,whose truth convinced at sight we find,

That gives us back the image of our mind:300

As shades more sweetly recommend the light,

So modest plainness sets off sprightly wit:

For works may have more wit than does them good,

As bodies perish through excess of blood.

Others for language all their care express,

And value books,as women men,for dress:

Their praise is still,—The style is excellent;

The sense,they humbly take upon content.

Words are like leaves;and where they most abound, Much fruit of sense beneath is rarely found.310

False eloquence,like the prismatic glass,

Its gaudy colours spreads on every place;

The face of Nature we no more survey,

All glares alike,without distinction gay:

But true expression,like the unchanging sun,

Clears and improves whate’er it shines upon,

It gilds all objects,but it alters none.

Expression is the dress of thought,and still 我們這位作者，樂於接受如此好評家，

便拿出自己劇本，請求那武士給評價；

令他評看那題材，以及那佈局，275

還有表現的方式、情感、三一律，

還有呢？反正按規照則一切都論到，

只是整個系列中，漏談了戰鬥這一條。

「怎麼！把戰鬥給漏掉？」武士大聲喊。「是的，否則便得棄絕這位大裁判。」280「非也，我對天發誓！」(他生氣答出來)「武士、士僕、和駿馬，統統都得上舞臺。」「那麼大的一群，舞臺如何能消受？」

「蓋個新的，或乾脆原野上面演個夠。」同樣的，評家若是奇想特多評斷少，285只會苛求不懂事，不健全而又拘小道，

則必形成短見識，結果戕害了藝術，

(有如戕害禮儀)由於對細節太關注。

有些人的嗜好僅限於奇巧的比喻，

於是每行跟著打出閃亮的思緒，290

結果喜歡的作品沒有一點妥當能算好，

只是光亮的一團糟，狂亂的一堆俏。

詩人像畫家，如果沒有技巧去尋拾

赤裸的自然，以及活生生的麗質，

便會把各個部分蓋上金銀與珠寶，295

利用掩飾來使人不知自己缺技巧。

真正的才華是天資打扮得很出色，

是常常想到，卻從未表達那麼適合；

它的真實，我們一看便信服，

而讓我們心中影像一見真如故。300

就像陰影常能更漂亮地引介光，

同樣，謙樸也能突顯活潑的器量：

作品中太用機智往往反不好，

就像體中血液太多，也會死蹺蹺。

也有一些人，只對語言表現其喜歡，305他們看書就像女人看男人，只重其裝扮：

他們的讚美永遠是：風格極佳；

對於見解，他們則謙遜不評價。

話語像樹葉，長得最多的地方，

底下很難找到許多果實像個樣。310

多言無真意，就像擺個三稜鏡，

但見各方現出俗麗色彩的光影：

我們等於不再觀看自然的面目，

於是一切同樣亮，華而不特出；

真正的言語，應像陽光永不變，315

所到之處，照得更清晰更美艷，

它給物件鍍金光，卻無一加改變。

用語就是思想的衣裳，它經常

Appears more decent,as more suitable;

A vile conceit in pompous words expressed320

Is like a clown in regal purple dressed:

For different styles with different subjects sort,

As several garbs,with country,town,and court.

Some by old words to fame have made pretence, Ancients in phrase,mere moderns in their sense!

Such laboured nothings,in so strange a style,

Amaze the unlearned,and make the learnèd smile. Unlucky as Fungoso in the play,

These sparks with awkward vanity display

What the fine gentleman wore yesterday330

And but so mimic ancient wits at best,

As apes our grandsires,in their doublets dressed.

In words,as fashions,the same rule will hold;

Alike fantastic,if too new,or old:

Be not the first by whom the new are tried,

Nor yet the last to lay the old aside.

But most by numbers judge a poet’s song:

And smooth or rough,with them,is right or wrong:

In the bright muse,though thousand charms conspire,

Her voice is all these tuneful fools admire,340

Who haunt Parnassus but to please their ear,

Not mend their minds;as some to church repair,

Not for the doctrine,but the music there.

These equal syllables alone require,

Tho’oft the ear the open vowels tire;

While expletives their feeble aid do join;

And ten low words oft creep in one dull line:

While they ring round the same unvaried chimes,

With sure returns of still expected rhymes;

Where’er you find‘the cooling western breeze,’350 In the next line,it‘whispers through the trees’:

If‘crystal streams with pleasing murmurs creep’:

The reader’s threatened(not in vain)with‘sleep’. Then,at the last and only couplet fraught

With some unmeaning thing they call a thought,

A needless Alexandrine ends the song,

That,like a wounded snake,drags its slow length along. Leave such to tune their own dull rhymes,and know What’s roundly smooth,or languishingly slow;

And praise the easy vigour of a line,360

Where Denham’s strength,and Waller’s sweetness join. True ease in writing comes from art,not chance,

As those move easiest who have learned to dance.

’Tis not enough no harshness gives offence,顯得更迷人，如果用得更恰當：

一個壞比喻，如用誇大的文辭來代表，320

就像一個村夫，穿上了帝王的紫袍：

因為不同的題材適合不同的風格，

就像各類服飾配合鄉、城、宮裡的住客。

有些人為了文名，用字經常學古代，

他們自稱是今人，實為十足好古派；325

如此苦心無所得，只有風格太古怪，

令無知者吃驚，而飽學者笑起來。

不幸的，有如劇中看到的范國叟，

那種火花只會彆扭徒勞地揭露

那位美公子昨日所穿的衣著；330

如此模仿古風，再好也是沒出息，

就像孫子學祖父，穿上爺爺緊身衣。

同一規則可以用在文字與風尚，

太新或太舊，兩者的怪誕都一樣：

別當第一個，去把新的試著用，335

也別當最後者，去把舊的給丟空。

但大部分人，以韻律評判詩人的大作，

他們認為平順或粗糙，便是對或錯：

輝煌的詩人，固然身擁成千的魅力，

但傻子卻只挑他的聲音當美體；340

這種人到達詩山只為求悅耳，

不為補性靈；就像有些信教者，

到教堂不為教義，而是為聖歌。

這些人要求的只是長短相等的音節，

雖然開放的母音，聽來往往耳朵累；345

有些添詞的確給他們幫上一點忙，

但十個俗字卻常乏味地爬進同一行；

他們不斷敲著沒有變化的鐘響，

每回押韻，我們總可確定先期望：

每當你看見「那涼冷的西風」，350

下一行必定是「吹過了樹林中」；

如果晶瑩的溪流「流得愜意聲潺潺」，

讀者一定會(非無用地)被弄得「好睡眠」；然後到了最後也是惟一的對句，才裝

進一個無意義的東西，他們叫思想；355

最後用一個不必要的亞歷山大詩行來結束，就像受傷的一條蛇，又長又慢地往前在匍匐。那種人要押無聊韻，我們大可不必管，

我們該知道的是：什麼是圓滑、是弛緩，

而要讚美：泰然有力的那一行，360

竟能聯合瓦勒的柔和與戴南的力量。

寫作得以真輕鬆，是來自學藝非天機，

就像學會舞蹈者，才能夠舉步最容易。

光是沒有粗糙不刺耳，依然不夠棒，

The sound must seem an echo to the sense.

Soft is the strain when Zephyr gently blows,

And the smooth stream in smoother numbers flows;

But when loud surges lash the sounding shore,

The hoarse,rough verse should like the torrent roar. When Ajax strives some rock’s vast weight to throw,370 The line too labours,and the words move slow:

Not so,when swift Camilla scours the plain,

Flies o’er the unbending corn,and skims along the main. Hear how Timotheus’varied lays surprise,

And bid alternate passions fall and rise!

While,at each change,the son of Libyan Jove

Now burns with glory,and then melts with love;

Now his fierce eyes with sparkling fury glow,

Now sighs steal out,and tears begin to flow:

Persians and Greeks like turns of Nature found,380

And the world’s victor stood subdued by sound!

The power of music all our hearts allow,

And what Timotheus was,is Dryden now.

Avoid extremes;and shun the fault of such,

Who still are pleased too little or too much.

At every trifle scorn to take offence,

That always shows great pride,or little sense;

Those heads,as stomachs,are not sure the best,

Which nauseate all,and nothing can digest.

Yet let not each gay turn thy rapture move,390

For fools admire,but men of sense approve;

As things seem large which we through mists descry, Dullness is ever apt to magnify.

Some foreign writers,some our own despise;

The ancients only,or the moderns prize:

Thus wit,like faith,by each man is applied

To one small sect,and all are damned beside.

Meanly they seek the blessing to confine,

And force that sun but on a part to shine,

Which not alone the southern wit sublimes,400

But ripens spirits in cold northern climes;

Which from the first has shone on ages past,

Enlights the present,and shall warm the last;

Though each may feel increases and decays,

And see now clearer and now darker days.

Regard not then if wit be old or new,

But blame the false,and value still the true.

Some ne’er advance a judgement of their own,

But catch the spreading notion of the town;

They reason and conclude by precedent,410聲音必須聽來好像就是意義的回響。365

當微風輕輕吹，語調便要細柔柔，

而平穩的溪水自然以平穩的韻律流；

但當大波大浪拍岸作響的時候，

又粗又糙的詩行便要隨著潮流吼；

當艾賈克斯奮力要擲重石時，370

詩行也要用力出，文字也要慢慢使；

當疾速的卡米拉掠過平原，則不然，

她飛過，穀物不低頭，她掠過，汪洋的表面。聽聽提摩休斯的詩歌變化多出奇，

能夠讓各種情感輪流交替落又起，375

能以每個變化，使得亞歷山大大帝

忽而燒著要榮華，忽而溶在愛情裡，

忽而眼睛凶巴巴，亮起忿怒的火花，

忽而偷偷在歎息，眼淚跟著便掉下：

波斯與希臘，大家情感變化沒差別，380

而征服世界者，竟被聲音弄得服貼貼！

大家心中都承認，音樂實在有力量，

過去提摩休斯，現在朱艾敦，都一樣。

要避免極端，而避開那種人的錯誤：

他們永遠不是太多便是太少表悅服。385

不要每樣小事，經常都要強受氣，

那樣只能表示太自傲，或沒見地：

人的頭腦就像胃，你不能說它是最佳，

如果它一切都倒吐，一切都是不消化。

不過也別讓每個好玩意，叫你狂吹噓，390

因為只有傻瓜易叫絕，智者通常只讚許。

就像東西經過霧，看來往往會增大，

愚蠢也是一個樣，尺寸永遠可增加。

有些鄙視外國作家，有些鄙視自己人；

有些只敬古人，有些則只對今人尊。395

於是文才如信仰，每人只去抓

一個小派別，其他統統要挨罵。

他們小氣地硬要限制那恩賜，

好像要逼使陽光只照在某一部。

其實，陽光不只崇高了南方的文才，400

也使心靈成熟到北方寒冷的地帶；

它始終都照耀著，照亮過去的時代，

光明了現代，也將溫暖終極的未來；

雖然每個人都能感到消長與興衰，

看到日子有時清明，有時較陰霾，405

可是，卻不可因而計較文才的新與舊，

而應把假的給貶責，對真的則讚不休。

有些人從來不會提出自己的評斷，

而只會抓住城裡流行的觀點；

他們完全按照前例來推理下結論，410

And own stale nonsense which they ne’er invent. Some judge of authors’names,not works,and then Nor praise nor blame the writings,but the men.

Of all this servile herd,the worst is he

That in proud dullness joins with quality,

A constant critic at the great man’s board,

To fetch and carry nonsense for my lord.

What woeful stuff this madrigal would be,

In some starved hackney sonneteer,or me?

But let a lord once own the happy lines,420

How the wit brightens!how the style refines! Before his sacred name flies every fault,

And each exalted stanza teems with thought!

The vulgar thus through imitation err;

As oft the learned by being singular;

So much they scorn the crowd,that if the throng

By chance go right,they purposely go wrong:

So schismatics the plain believers quit,

And are but damned for having too much wit.

Some praise at morning what they blame at night;430 But always think the last opinion right.

A Muse by these is like a mistress used,

This hour she’s idolized,the next abused;

While their weak heads,like towns unfortified,

’Twixt sense and nonsense daily change their side. Ask them the cause;they’re wiser still,they say; And still tomorrow’s wiser than today.

We think our fathers fools,so wise we grow;

Our wiser sons,no doubt,will think us so.

Once school-divines this zealous isle o’erspread;440 Who knew most sentences,was deepest read: Faith,Gospel,all seemed made to be disputed,

And none had sense enough to be confuted: Scotists and Thomists,now in peace remain,

Amidst their kindred cobwebs in Duck-lane.

If Faith itself has different dresses worn,

What wonder modes in wit should take their turn? Oft leaving what is natural and fit,

The current folly proves the ready wit;

And authors think their reputation safe,450

Which lives as long as fools are pleased to laugh. Some valuing those of their own side or mind,

Still make themselves the measure of mankind: Fondly we think we honour merit then,

When we but praise ourselves in other men.

Parties in wit attend on those of state,從不發明，只把陳腐的廢話給保存。

有些人光評作者的名字，非作品，

於是所褒貶的不是文章，是其人。

這種奴群婢黨中，最差的是那種

無聊卻高傲、專門結交權貴的僕從；415

那種批評家，經常與大人物吃同桌，

以便替主子把荒唐言論攜來又帶過。

一首情詩，若屬於某挨餓受僱的作家，

或者屬於我，將是多麼可悲的東西啊！

可是如果讓一位貴人擁有它，420

文意多明亮啊！文筆多精鍊啊！

每個錯誤在他的聖名前面，盡飛光，

而每個詩節，捧了起來，到處是思想！

若淺識的人常常由於模仿而弄錯誤，

則深學的人便常敗在表現太特殊；425

他們不屑與人同，因此假使群眾

碰巧弄對了，他們便故意把錯弄：

篤信某一教派者，同樣棄絕眾信徒，

而因為太自負，落得人誅天地誅。

有些人，早上褒揚的，晚上便貶責，430

而始終認為：最後的想法是對的。

這些人對待繆司，宛如對情婦，

此刻崇拜她，下一刻又把她辱；

他們的頭軟又弱，有如城鎮沒設防，

處於有道與無理間，每天都要變一方；435你問他緣由，他會說那樣總是更明智，

而比今天更為聰明的，永遠是明日。

咱們認為自己的祖先笨，故自己智慧長，

無疑的，咱們更聰明的兒孫也會一樣想。

從前，這虔誠島嶼是經院神學家在遍布，440那時，誰懂得最多經句，便被唸得最深入：信仰、福音、一切似乎為了爭論而創造，

而人們又無一見識深遠，願意被辯倒。

結果史派湯派現在統統和平地被遺留，

留在鴨子巷內同樣的蜘蛛網裡頭。445

如果信仰本身有不同的衣裳可以穿，

那麼何必錯怪文風也會經常輪流轉？

流行的文風常把妥當自然的給拋棄，

那種愚蠢證實了機敏文人的投機；

不過，作者卻認為自己的名聲沒災禍，450愚者高興笑多久，他的美名照樣活。

有些人重視的，必與自己同邊或同心，

他們總以自己當標準，去衡量所有人：

傻傻地，我們常自認為在崇德讚功績，

其實，我們只在別人身上褒揚著自己。455文人的黨派常常伴隨著政治的派別，

And public faction doubles private hate.

Pride,malice,folly,against Dryden rose,

In various shapes of parsons,critics,beaus;

But sense survived when merry jests were past;460 For rising merit will buoy up at last.

Might he return,and bless once more our eyes, New Blackmores and new Milbourns must arise: Nay,should great Homer lift his awful head,

Zoilus again would start up from the dead.

Envy will merit,as its shade,pursue;

But like a shadow,proves the substance true:

For envied wit,like Sol eclipsed,makes known

The opposing body’s grossness,not its own. When first that sun too powerful beams displays,470 It draws up vapours which obscure its rays;

But even those clouds at last adorn its way,

Reflect new glories,and augment the day.

Be thou the first true merit to befriend;

His praise is lost,who stays till all commend.

Short is the date,alas!of modern rhymes,

And’tis but just to let them live betimes.

No longer now that golden age appears,

When patriarch-wits survived a thousand years: Now length of fame(our second life)is lost,480 And bare threescore is all even that can boast;

Our sons their fathers’failing language see,

And such as Chaucer is,shall Dryden be.

So when the faithful pencil has designed

Some bright idea of the master’s mind,

Where a new world leaps out at his command,

And ready Nature waits upon his hand;

When the ripe colours soften and unite,

And sweetly melt into just shade and light;

When mellowing years their full perfection give,490 And each bold figure just begins to live,

The treacherous colours the fair art betray,

And all the bright creation fades away!

Unhappy wit,like most mistaken things,

Atones not for that envy which it brings.

In youth alone its empty praise we boast,

But soon the short-lived vanity is lost!

Like some fair flower the early spring supplies,

That gaily blooms,but even in blooming dies.

What is this wit,which must our cares employ?500 The owner’s wife,that other men enjoy;

Then most our trouble still when most admired,派系公開傾軋則使私人怨仇更加倍。

驕傲、惡意、愚蠢，群起而攻擊朱艾敦，

形成了牧師、評家、公子，各色的人等；

不過，譏笑嘲諷過去時，見識依舊在，460

因為優點像浮筒，終將自己升起來；

要是他能再回來，再度使我們開眼界，

新的黑摩爾，新的密爾邦，照樣來侮蔑：

再說，就算偉大的荷馬，舉頭叫人拜，

鄒依拉氏也會從陰間再度跳出來。465

妒嫉永遠逐美好，就像陰影緊隨身，

但是就因像影子，所以證明身才真：

遭嫉的文人像日蝕，正好宣佈

敵對團體的(不是自己的)粗魯。

當太陽展示太過強烈的光線時，470

它便會造成許多蒸氣來遮日；

但是就連那些雲，最後也為它裝飾路，

為它映出新光彩，而增加白天的長度。

對真才加以友好，你要當第一個；

等到人人稱頌時，你再讚美便失策。475

現代的詩文，可嘆啊！活期並不長，

因此，讓它們及時活起來，才應當。

現在那種黃金的時代不會再出現，

不會再有文壇的長老活過一千年；

現在，名譽(吾人第二生命)已經沒長度，480光是三個二十，已是能夠吹噓的全部；

我們子孫總會看到祖先語言的缺失，

現在喬叟是如此，未來朱艾敦也將是。

所以，當那支忠實的筆已經設計

出那名家心目中的某個好主意，485

使得一經使喚，一個新世界便要跳出現，

而敏捷的自然也立刻侍候在手邊；

當成熟的眾色彩，柔和以後又聯合，

然後漂亮地溶成明暗剛好的色澤；

當逐漸老成的歲月放出了十足的完美，490

而每個顯眼的圖形剛剛開始要活躍；

那時候，奸詐的顏色卻出賣了那美術，

使得整個生動的創作立刻消失變成無！

不幸的文才，就像眾多被人誤會的東西，

始終無法彌補自己帶來的妒嫉；495

只有年輕時候，我們才自詡有些空美言，

而很快的，那短命的虛榮便不見；

好比某種初春綻放的好花朵，

雖然開得美，卻是邊開邊凋落。

這是什麼才，竟使我們心憂憂？500

好比自己太太，卻叫他人來享受；

要知最受稱讚時，我們的麻煩也最多，

And still the more we give,the more required;

Whose fame with pains we guard,but lose with ease, Sure some to vex,but never all to please;

’Tis what the vicious fear,the virtuous shun,

By fools’tis hated,and by knaves undone!

If wit so much from ignorance undergo,

Ah,let not learning too commence its foe!

Of old,those met rewards who could excel,510

And such were praised who but endeavoured well: Though triumphs were to generals only due,

Crowns were reserved to grace the soldiers too.

Now,they who reach Parnassus’lofty crown,

Employ their pains to spurn some others down;

And while self-love each jealous writer rules, Contending wits become the sport of fools:

But still the worst with most regret commend,

For each ill author is as bad a friend.

To what base ends,and by what abject ways,520

Are mortals urged through sacred lust of praise!

Ah ne’er so dire a thirst of glory boast,

Nor in the critic let the man be lost.

Good nature and good sense must ever join;

To err is human,to forgive,divine.

But if in noble minds some dregs remain,

Not yet purged off,of spleen and sour disdain; Discharge that rage on more provoking crimes,

Nor fear a dearth in these flagitious times.

No pardon vile obscenity should find,530

Though wit and art conspire to move your mind;

But dullness with obscenity must prove

As shameful sure as impotence in love.

In the fat age of pleasure,wealth,and ease,

Sprung the rank weed,and thrived with large increase: When love was all an easy monarch’s care;

Seldom at council,never in a war:

Jilts ruled the stare,and statesmen farces writ;

Nay wits had pensions,and young lords had wit:

The fair sat panting at a courtier’s play,540

And not a mask went unimproved away:

The modest fan was lifted up no more,

And virgins smiled at what they blushed before.

The following licence of a foreign reign

Did all the dregs of bold Socinus drain;

Then unbelieving priests reformed the nation,

And taught more pleasant methods of salvation;

Where Heaven’s free subjects might their rights dispute,而我們給得越多時，別人反而越要求；

我們辛辛苦苦在護名，卻丟得好容易，

必定會惱火一些人，而無法討眾喜；505

它令壞蛋感害怕，好人想躲開，

它被傻瓜恨，卻被騙徒所毀壞！

如果無知會讓文才有如許的經歷，

啊，也別讓學識引發其仇敵！

從前，優越的人便會有報酬，510

而只要好好努力，讚美一定夠：

雖然凱旋只應屬於大將軍，

可是也得獎賞小兵表榮勳。

現在，任誰到達詩山冠頂的地區，

便會以自己的辛勞踢下別人去。515

每個妒嫉的作家都是受制於自愛，

因而愚人的興頭便是比文與鬥才；

但最差的人，總帶最大的悔意去稱讚，

因為每個爛作者，當起朋友都是一樣爛。

為了何等卑下目標，以何種卑鄙手法，520凡人被驅遣經過被咒罵的貪名關啊！

哎，渴求榮譽那麼可悲，別誇了！

也別在批評中喪失了做人的原則。

好性情與好見識，兩者永遠在一起，

犯錯是人之常情，原諒才是神的美意。525但如果心靈崇高也會讓殘渣留一些，

會仍舊清除不了脾氣與酸楚的輕蔑，

則那憤怒應放在比較惱人的罪過上，

而不用怕這種無恥的時代會缺那荒唐。

惡劣的穢文字，不應去原諒，530

雖然機智共技巧，會讓心癢癢；

不過，笨於表情慾，也只證明

文筆的確很丟臉，就像性無能。

在這快樂、富足、安逸的胖時代，

權貴的野草會大量冒出、旺起來：535

當淫佚的君王用心只在情愛裡，

(於是很少在議會，而從不到戰地)

那時情婦便是在治國，而政客寫笑劇，

而且，才子有恩俸，公子懷才無不遇；

那時坐看朝臣的戲劇，美女總是直喘氣，540結果每張面具無不有所改善地走離；

那時羞怯的小扇已經沒人舉，

以前臉紅現在微笑的，統統是處女。

接下來是外人來統治，那時的荒淫

簡直把索西納斯的大膽渣滓都飲盡；545

那時由不信神的教士來改革這國家，

他們教導較為愉快之得救的方法；

那時老天的自由民都可以爭論其權利，

Lest God Himself should seem too absolute.

Pulpits their sacred satire learned to spare,550

And vice admired to find a flatterer there! Encouraged thus,wit’s Titans braved the skies,

And the press groaned with licensed blasphemies. These monsters,critics!with your darts engage,

Here point your thunder,and exhaust your rage!

Yet shun their fault,who,scandalously nice,

Will needs mistake an author into vice;

All seems infected that the infected spy,

As all looks yellow to the jaundiced eye.

Part III

Learn then what morals critics ought to show,560 For’tis but half a judge’s task,to know.

’Tis not enough,taste,judgement,learning,join;

In all you speak,let truth and candour shine:

That not alone what to your sense is due

All may allow;but seek your friendship too.

Be silent always,when you doubt your sense;

And speak,though sure,with seeming diffidence: Some positive,persisting fops we know,

Who,if once wrong,will needs be always so;

But you,with pleasure own your errors past,570

And make each day a critique on the last.

’Tis not enough your counsel still be true;

Blunt truths more mischief than nice falsehoods do; Men must be taught as if you taught them not,

And things unknown proposed as things forgot. Without good-breeding,truth is disapproved;

That only makes superior sense beloved.

Be niggards of advice on no pretence;

For the worst avarice is that of sense.

With mean complaisance ne’er betray your trust,580 Nor be so civil as to prove unjust.

Fear not the anger of the wise to raise;

Those best can bear reproof who merit praise.

’Twere well might critics still this freedom take,

But Appius reddens at each word you speak,

And stares,tremendous,with a threatening eye,

Like some fierce tyrant in old tapestry.

Fear most to tax an Honourable fool,

Whose right it is,uncensured,to be dull;

Such,without wit,are poets when they please,590

As without learning they can take degrees.

Leave dangerous truths to unsuccessful satires,似乎惟恐上帝顯得太過專橫不合宜：

教壇學會省去神聖的諷刺文，550

邪惡驚奇地在此找到奉承人！

如此受鼓勵，文壇巨人便敢對抗天，

而出版界便為此放縱褻瀆而嗚怨。

批評家們！對這些妖魔要執鎗猛攻擊，

要把雷霹對準這裡，然後消掉你的氣！555但這些人狡黠無恥，你要避開其缺點，

否則他們定會誤導作者進入邪惡間：

看人被感染，人人似乎也被染，

猶如一切看來皆是黃，只因眼睛得黃疸。

第三部分

因此要曉得什麼德行批評家該表現，560

因為光知不行等於裁判工作做一半。

聯合鑑賞力、評斷力與學術三者並不足。凡是你所說，都應讓真實與坦率照耀出。有了那種德行，人人都會承認

你的見識好，而願意找你當友人。565

當你懷疑自己見解時，總要保持緘默，

而就算確定對，出ロ也要顯得沒把握：

我們認得一些斷然固執的紈袴子，

他們一旦是錯的，便永遠是如此；

不過，樂於承認自己過去的謬見，570

便使得每日都成為前日的批判。

給人勸告，千萬別老是實話便實說，

直直的真話往往比巧妙的假話傷害多；

教導別人必須彷彿沒有在教導，

人家未知的，要像他遺忘一般來提到。575沒有好教養，光講真話沒人會稱讚，

那樣只會讓人喜歡養成優越感。

要吝於給忠告，而那種吝嗇不用去遮掩，因為最壞的貪婪就是貪於給主見。

別用卑下的順從把你信賴的人給出賣，580也別太過於有禮，以致於變成不正派。

引起智者的忿怒，大可不用怕；

值得稱讚者，便是最能受氣挨人罵。

評家要是能永遠如此自由就很好，

只是對你所說的每句話，阿匹亞斯總要585紅起臉來，然後嚇人地瞪著一隻威脅

的眼睛，好比綴錦畫裡的暴君一樣野。

最該怕的是：斥罵到了居高位的昏者，

因為他們有權利保持駑鈍而不受責。

那種人沒有才華，卻高興自封為詩人，590正如有些人，拿了學位卻一點沒學問。

危險的真相，要留給不成功的諷刺文，

And flattery to fulsome dedicators,

Whom,when they praise,the world believes no more, Than when they promise to give scribbling o’er.

’Tis best sometimes your censure to restrain,

And charitably let the dull be vain:

Your silence there is better than your spite,

For who can rail so long as they can write?

Still humming on,their drowsy course they keep,600 And lashed so long,like tops,are lashed asleep.

False steps but help them to renew the race,

As,after stumbling,jades will mend their pace.

What crowds of these,impenitently bold,

In sounds and jingling syllables grown old,

Still run on poets in a raging vein,

Even to the dregs and squeezings of the brain,

Strain out the last dull dropping of their sense,

And rhyme with all the rage of impotence!

Such shameless bards we have;and yet’tis true610 There are as mad,abandoned critics too.

The bookful blockhead,ignorantly read,

With loads of learned lumber in his head,

With his own tongue still edifies his ears,

And always listening to himself appears.

All books he reads,and all he reads assails,

From Dryden’s Fables down to Durfey’s Tales:

With him,most authors steal their works,or buy;

Garth did not write his own Dispensary.

Name a new play,and he’s the poet’s friend,620

Nay showed his faults—but when would poets mend?

No place so sacred from such fops is barred,

Nor is Paul’s church more safe than Paul’s church-yard: Nay,fly to altars;there they’ll talk you dead;

For fools rush in where angels fear to tread,

Distrustful sense with modest caution speaks,

It still looks home,and short excursions makes;

But rattling nonsense in full volleys breaks,

And never shocked,and never turned aside,

Bursts out,resistless,with a thundering tide.630

But where’s the man who counsel can bestow,

Still pleased to teach,and yet not proud to know? Unbiased,or by favour,or by spite;

Not dully prepossessed,nor blindly right;

Though learned,well-bred;and though well-bred,sincere; Modestly bold,and humanly severe:

Who to a friend his faults can freely show,

And gladly praise the merit of a foe?而諂媚的話，則留給專懂獻詩的人們；

那種人，稱讚的時候，世人不再相信他，

就像他答應不再胡亂寫，別人也稱詐。595

最好時而把你的批評給收歛，

而慈善地讓那些愚人空自炫；

你此時緘默勝過你憤慨地怒吼，

因為誰能怒到像他們寫作那麼久？

他們低聲哼了一哼，一路昏昏似欲睡，600

再擺來動去像陀螺，終究躺下睡到尾。

錯誤的腳步只幫他們重新再競賽，

就像駑馬跌跤了，牠們步伐就會改。

這種人土實在多，他們又大膽無悔意，

結果便都老死在單調的聲音字句裡。605

此等詩人始終寫得熱絡發狂心，

甚至於把腦筋裡的殘渣也絞盡，

最後勉強弄出幾滴乏味的見解，

於是押了韻，配合無能的激烈。

如此丟臉的詩人，我們的確有；不過，610

說真的，也有批評家同樣瘋狂與墮落。

滿腦皆書的書蠹蟲，唸了不開竅，

頭裡只是裝著一大堆學問的木料，

他們總以自己舌頭教化自己之耳朵，

而看來永遠是自己在聽著自己說；615

什麼書他都唸，而唸什麼都要罵：

從朱艾敦的寓言直到德菲的童話。

對他而言，作者大都偷來或買來其大作，

因此，加斯自己也沒寫出那篇「施藥所」。

你說個新劇本，他便說他是詩人的朋友，620

而且，指出其錯誤---但詩人何時會檢修？

對那種紈袴子，沒有一個地方神聖不可侵，

保羅的教會也不比保羅的教堂院落有門禁：

再說，你飛到祭壇；他也要說到你嗚呼哀哉，

因為哪裡天使不敢踩，傻瓜便急著衝進來。625心智不敢相信時，說話便謙虛又謹慎，

就像出外只敢短程遊，心裡則始終望家門；

不過，噪雜的胡言亂語，卻排放連發破防陣，

而永遠不會受驚嚇，也永遠不會被調走，

只是爆出去，擋不了，帶著一股雷霆的潮流。630但那人哪裡找？他能夠給勸告，

總是樂於教導，又知而不驕傲；

他不因寵愛、不因怨恨而帶偏見，

既不預存傻看法，也不對得瞎了眼；

他有學有教養，有教養且是很真誠，635

大膽得很謙遜，又嚴厲得有人性；

誰對朋友能夠自由地指出其缺陷，

而對敵人又能高興地道出其優點？

Blessed with a taste exact,yet unconfined;

A knowledge both of books and human kind; Generous converse;a soul exempt from pride; And love to praise,with reason on his side?

Such once were critics;such the happy few, Athens and Rome in better ages knew.

The mighty Stagyrite first left the shore,

Spread all his sails,and durst the deeps explore; He steered securely,and discovered far,

Led by the light of the Maeonian star.

Poets,a race long unconfined,and free,

Still fond and proud of savage liberty,650 Received his laws;and stood convinced’twas fit, Who conquered Nature,should preside o’er Wit. Horace still charms with graceful negligence,

And without method talks us into sense,

Will,like a friend,familiarly convey

The truest notions in the easiest way.

He,who supreme in judgement,as in wit,

Might boldly censure,as he boldly writ,

Yet judged with coolness,though he sung with fire; His precepts teach but what his works inspire.660 Our critics take a contrary extreme,

They judge with fury,but they write with phlegm: Nor suffers Horace more in wrong translations

By wits,than critics in as wrong quotations.

See Dionysius Homer’s thoughts refine,

And call new beauties forth from every line! Fancy and art in gay Petronius please,

The scholar’s learning with the courtier’s ease. In grave Quintilian’s copious work,we find

The justest rules and clearest method joined:670 Thus useful arms in magazines we place,

All ranged in order,and disposed with grace,

But less to please the eye,than arm the hand, Still fit for use,and ready at command.

Thee,bold Longinus!all the Nine inspire,

And bless their critic with a poet’s fire.

An ardent judge,who,zealous in his trust,

With warmth gives sentence,yet is always just: Whose own example strengthens all his laws:

And is himself that great sublime he draws.680 Thus long succeeding critics justly reigned, Licence repressed,and useful laws ordained. Learning and Rome alike in empire grew;

And arts still followed where her eagles flew;誰有幸精於鑑賞，眼光卻能不侷促，

有了書本的知識，又懂人情與世故；640

誰慷慨而談，心靈的高傲又能免，

喜歡讚揚，又有理性在他那一邊？

從前是有此批評家；如此幸運的幾些個，雅典以及羅馬在較好的時代都認得。

首先那偉大的史達吉拉人，離開了岸邊，645揚起了所有他的帆，而敢到深海去探險；

他穩穩地駕著船，遠遠地在揭發，

又有米歐尼亞的星光在引導他。

整族詩人們，原本無拘無束已長久，

始終喜歡也驕傲能夠粗野地自由，650

卻都接受其律法，而且確信此道理：

征服自然者，便適合當文英的主席。

霍雷斯能夠迷人，往往靠優美的疏忽，

而沒有方法卻說得我們能領悟；

心意像朋友，能夠隨便地去傳達655

最真實的觀念，而以最輕易的方法。

他的文才與判斷力，沒人能夠贏，

因此可以大膽地寫作，與大膽地批評；

還有，他雖火熱地唱，卻能冷靜地批，

而其箴言也只教導作品感召的東西。660

但我們的批評家們，卻走相反的極端，

他們評得生大氣，卻寫得一點不溫暖：

而霍雷斯既苦於被文人翻譯錯，

更是苦於被評家們誤引言語多。

且看戴奧尼夏精鍊了荷馬的思想，665

而把新見的美感呼出於每一行！

想像與技巧滙在開心的皮挫尼亞斯，

他悅人以學者的學問和廷臣的放恣。

在嚴肅的昆第林的眾多著作中，我們發現最精確的規則與最清楚的方法相串聯。670

因此我們好比放了有用的武器在庫房，

一切安排得有次序，也處置得很妥當；

但不是為了悅目，而是為了使手有裝備，

可以永遠很管用，而隨時聽指揮。

你，膽大的龍哉納斯啊！九繆司都感召675並福祐她們這位批評家以詩人的火燒：

使他成為熱誠的評判，而熱心於責任，

使他熱烈地做宣判，卻始終很公允。

他自己的例子，強化了其一切法則之效用，而自己變成了自己所刻畫的偉大與崇宏。680如此，長久以來代代有了公正的評家，

於是壓抑了放肆，規定了有用的律法。

學術與羅馬同樣地長成大帝國，

羅馬的鷹飛到那裡，藝術也始終跟在後；

From the same foes,at last,both felt their doom, And the same age saw Learning fall,and Rome.

With Tyranny,then Superstition joined,

As that the body,this enslaved the mind;

Much was believed,but little understood,

And to be dull was construed to be good;690

A second deluge learning thus o’errun,

And the monks finished what the Goths begun.

At length Erasmus,that great injured name,

(The glory of the priesthood,and the shame!) Stemmed the wild torrent of a barbarous age,

And drove those holy Vandals off the stage.

But see!each Muse,in Leo’s golden days,

Starts from her trance,and trims her withered bays; Rome’s ancient genius,o’er its ruins spread, Shakes off the dust,and rears his reverend head.700 Then sculpture and her sister-arts revive;

Stones leaped to form,and rocks began to live;

With sweeter notes each rising temple rung;

A Raphael painted,and a Vida sung!

Immortal Vida!on whose honoured brow

The poet’s bays and critic’s ivy grow:

Cremona now shall ever boast thy name,

As next in place to Mantua,next in fame!

But soon by impious arms from Latium chased,

Their ancient bounds the banished Muses passed;710 Thence Arts o’er all the northern world advance, But critic-learning flourished most in France;

The rules,a nation born to serve,obeys;

And Boileau still in right of Horace sways.

But we,brave Britons,foreign laws despised,

And kept unconquered,and uncivilized;

Fierce for the liberties of wit,and bold,

We still defied the Romans,as of old.

Yet some there were,among the sounder few

Of those who less presumed,and better knew,720 Who durst assert the juster ancient cause,

And here restored wit’s fundamental laws.

Such was the Muse,whose rules and practice tell,

‘Nature’s chief masterpiece is writing well,’Such was Roscommon,not more learned than good, With manners generous as his noble blood;

To him the wit of Greece and Rome was known,

And every author’s merit,but his own.

Such late was Walsh—the Muse’s judge and friend, Who justly knew to blame or to commend:730最後，遇上同樣敵人，兩者都覺沒希望，685而同一時代看到了學術與羅馬同覆亡。

接著迷信便結合了暴虐的行徑；

那個奴隸了肉體，這個則奴隸了心靈。

結果人們相信的太多，懂的又太少，

結果駑鈍愚蠢就被說成是最好；690

就這樣，二度的大洪水泛濫了學術界，

哥德人開始的，僧侶們便幫它來完結。

最終，伊拉斯馬斯，那個受害的大姓氏，(整個教士階級的榮耀，以及其羞恥！)

阻斷了那股野蠻時代的怪亂流，695

而把那些神聖的枉道者趕到舞台後。

可是你瞧！每個繆司在利奧的黃金日子裡，從恍惚中驚起，然後把枯萎的月桂給整理；於是古羅馬的才氣，從廢墟中蔓延到各處，搖落了塵土，也抬起了令人景仰的頭臚。700然後雕塑及其姊妹藝術便再度又復興：

石頭跳起來成了形，岩塊也開始有生命；

每個新起的殿堂，發出更甜美的音響，

一個拉斐爾在作畫，而一個維達在吟唱。

不朽的維達：在其榮譽的眉毛上，705

詩人的月桂與評家的春籐共生長：

此刻的克里莫納將永遠以您之名來自誇，

您的地位與名聲同樣僅次於曼突阿！

但不久惡軍來自拉提安便把繆司追，

把她們驅逐越過她們古代的疆界；710

從此藝術推展到了整個北方的世界裡，

只是批評之學，最發達的還是法蘭西。

該國對規則天生就是要服務與順從，

故布瓦樓永遠擺動在霍雷斯的權威中。

可是我們英國人鄙視外國的律法，715

故保持不被征服，也永遠沒教化；

為了自由表現才華，總是又兇又大膽，

像以前一樣，我們始終抗拒羅馬的進犯。

不過有些人算是比較開朗的幾些個，

他們較不僭越，因此懂得較透徹，720

他們敢於斷言古人的主張較正確，

因而恢復了才學基本律法之地位。

此等詩人的規則與行為在奉告：

「自然的主要傑作就是寫得好。」

羅斯孔門那種人，學問不比為人棒，725

出生高貴，舉止便顯得慷慨又大方；

希臘羅馬的才學，他全部都曉得，

而且通曉每位作者的優點，除了自己的。

已故王爾希也如此，他是繆司的朋友與裁判，他公正地懂得那個該貶那個該稱讚；730

To failings mild,but zealous for desert;

The clearest head,and the sincerest heart.

This humble praise,lamented shade!receive,

This praise at least a grateful Muse may give:

The Muse,whose early voice you taught to sing, Prescribed her heights,and pruned her tender wing, (Her guide now lost)no more attempts to rise,

But in low numbers short excursions tries: Content,if hence the unlearned their wants may view, The learned reflect on what before they knew;740 Careless of censure,nor too fond of fame;

Still pleased to praise,yet not afraid to blame; Averse alike to flatter,or offend;

Not free from faults,nor yet too vain to mend.他對別人缺失很溫和，對優點則熱忱；

他有最清楚的頭腦，最誠摯的一顆心。

因此，受哀悼的陰魂啊！請接謙卑的讚美，這種讚美，感恩的謬司至少能夠給：

你教導此謬司唱出早年的聲息，735

替她定高標，也把她幼翼給喙理。

但她的導師已逝去，所以她不再想飛起，只好以低級的詩行，試圖短程的遊歷；

滿足於：此後不學者會看見其所需，

而有學者則能反省他們所知的過去；740

不擔心別人苛責，也不會太好名，

永遠樂於讚美，卻也不怕下批評；

對人既不阿諛，也不去把人給冒犯，

自己難免有誤，但改過並不太枉然。

譯註

1.糜紙(Maevius)，係霍雷斯(Horace)同代詩人。

2.曼突阿的詩人(Mantuan Muse)，即味吉爾，又見行七○八。

3.馬若(Maro)，亦即味吉爾。

4.史達吉拉人(Stagyrite)，即亞里斯多德，因他生在史達吉拉(Stagyra)，又見行六四一。

5.佩佳司(Pegasus)，為繆司所騎之飛馬。

6.靈泉(the Pierian spring)，為繆司誕生地(Pieria)之泉水。

7.阿山(Alps)，此指如阿爾卑斯之山。

8.拉曼加(La Mancha)，吉訶德所住省份。

9.德尼斯(Dennis)，英國評論家(1657~1734)。

10.范國臾(Fungoso)，為Ben Jonson所寫一劇中之人物。

11.亞歷山大詩行(alexandrine)，為仰揚格六音步詩行。

12.瓦勒(Waller)、戴南(Denham)，皆十七世紀英國詩人。

13.艾賈克斯(Ajax)，荷馬史詩中的英雄。

14.卡米拉(Camila)，味吉爾Aeneid中的女戰士。

15.提摩休斯(Timotheus)，亞歷山大大帝的宮庭樂師。

16.朱艾敦(Dryden)，英國詩人及劇作家(1631~1700)。

17.史派(Scotists)、湯派(Thomists)，皆中古哲學派別。

18.鴨子巷(Duck Lane)，倫敦街名，舊書攤所在。

19.黑摩爾(Blackmore)、密爾邦(Milbourn)，攻擊過波普及朱艾敦。

20.鄒依拉氏(Zoilus)，一苛評荷馬者。

21.喬叟(Chaucer)，英國十四世紀大詩人。

22.索西納斯(Socinus)，十六世紀異端神學家。

23.阿匹亞斯(Appius)，即John Dennis。

24.德菲(Durfey)，十七、八世紀英國作家。

25.加斯(Garth)，英國醫生及詩人，以諷刺詩「施藥所」(“The Dispensary”)出名。

26.米歐尼亞的星光(Maeonian star)，指荷馬。27.戴奧尼夏(Dionysius)，古羅馬初期希臘學者。

28.皮挫尼亞斯(Petronius)，公元一世紀羅馬文人。

29.昆第林(Quintilian)，羅馬名修辭學家。

30.龍哉納斯(Longinus)，論崇宏文體的希臘文人。

31.哥德人(Goths)，一日耳曼氏族。

32.伊拉斯馬斯(Erasmus)，荷蘭文藝復興運動領導者之一。

33.拉斐爾(Raphael)、維達(Vida)，皆意大利文藝復興名人。

34.克里莫納(Cremona)，維達的出生地。

35.拉提安(Latium)，即意大利。

36.布瓦樓(Boileau)，十九世紀法國評論家及詩人。

37.羅斯孔門(Roscommon)，十七世紀英國文人。

38.王爾希(Walsh)，十七、八世紀英國文人。

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