诗意的

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从"五四"到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族"血性"的传承方面。

Advocate love is to illuminate play the part of the sunshine in wintry day to make the person of suffering from both poverty and sickness feels warm; advocate love is a night in one shines beautiful beacon makes stray regular boat finds harbour; advocate love is spring the person that the spit that confused of one gourd ladle asperses makes desolate lonely is enjoyed, warm my lifetime.

概要： 主的爱是照扮在冬日的阳光使贫病交迫的人感到暖和；主的爱是黑夜中一座亮丽的灯塔使迷途航船找到港湾；主的爱是春天一瓢纷洒的小雨使落寞孤寂的人享受心灵的滋润主的爱是夏夜一泪流淌的清泉严浦使躁动不寐的人领略到诗意鳃主的爱是永不泯灭的灯火，暖和我的一生。

It is wrong to suppose that the perfection of form of this prophecy indicates that it was not written in the first period of prophetical composition, because, in the face of the song of Deborah and of the elegies on Saul and Jonathan, the possibility of perfection of form in the period in which Joel wrote can not be denied; just as in other literatures also the first poetical writings have always been preceded by a longer stage of poetic development.

此外，演说的态度，有力的语言，有独创性的表达和插图，这些图片的传播，这样早上的山区被发现仅在乔尔（白介素2），所代表的旧的日期组成的第一部分。这是错误的假设完善这一预言的形式表明，它不是写在第一期预言成分，因为，面对这首歌的德博拉和哀歌对扫罗和乔纳森的可能性，形成完善的时期，乔尔写道不能否认，就像在其他文献也是第一诗著作一直之前再发展阶段的诗意。

And when the evening mist clothes the riverside with poetry, as with a veil, and the poor buildings lose themselves in the dim sky, and the tall chimneys become campanili, and the warehouses are palaces in the night, and the whole city hangs in the heavens, and fairy-land is before us——then the wayfarer hastens home; the working man and the cultured one, the wise man and the one of pleasure, cease to understand, as they have ceased to see, and Nature, who, for once, has sung in tune, sings her exquisite song to the artist alone, her son and her master——her son in that he loves her, her master in that he knows her.

当傍晚的迷雾用它薄纱般的诗意笼罩着河岸，古老的建筑迷失在朦胧的天空，高耸的烟囱幻化成一座座孤立的钟楼，林林总总的仓库就像夜里的宫殿整个城市都悬挂在了天空中，宛如仙境展现在我们眼前，在那时，路上的行人匆匆地赶回家；劳动者和文人，智者和浪子，他们视而不见，自然也就不能理解，而只在此时才开始歌唱的大自然便把自己美妙的歌曲献给了艺术家们——她的儿子和她的主人；说他是儿子是因为他爱她，说他是主人是因为他理解她。

And when the evening mist clothes the riverside with poetry, as with a veil, and the poor buildings lose themselves in the dim sky, and the tall chimneys become campanili, and the warehouses are palaces in the night, and the whole city hangs in the heavens, and fairy-land is before us——then the wayfarer hastens home; the working man and the cultured one, the wise man and the one of pleasure, cease to understand, as they have ceased to see, and Nature, who, for once, has sung in tune, sings her exquisite song to the artist alone, her son and her master——her son in that he loves her, her master in that he knows her.

当河岸诗意地披上了薄雾，仿佛蒙上了面纱，那古老的楼舍迷失在暗淡的天空之下，高耸的烟囱幻化成钟楼，就连仓房都变成了夜色中的宫殿，整个城市仿佛悬于天堂之下，童话般的世界便呈现了我们的面前——外出的人们行色匆匆，赶往家的方向，那些忙于工作的教养很好的人们，还有那些睿智快乐的人们，驻足思考，驻足观望。大自然，这次却是以她的曲调，独独为艺术家献上了自己优美的歌声，仿佛面对的是她的儿子亦或称为主人——作为儿子，他爱着她；作为主人，他了解她。

And when the evening mist clothes the riverside with poetry, as with a veil, and the poor buildings lose themselves in the dim sky, and the tall chimneys become campanili, and the warehouses are palaces in the night, and the whole city hangs in the heavens, and fairy-land is before us——then the wayfarer hastens home; the working man and the cultured one, the wise man and the one of pleasure, cease to understand, as they have ceased to see, and Nature, who, for once, has sung in tune, sings her exquisite song to the artist alone, her son and her master——her son in that he loves her, her master in that he knows her.

当傍晚的薄雾笼罩着河岸，一切都充满了诗意，就像蒙上了一层薄薄的面纱，灰暗的房子渐渐消失在暗淡的天空中，夜里，高耸的烟囱变成了钟楼，仓库变成了华丽的宫殿，整个城市似乎是悬浮于空中，仿佛置身于仙境一般—旅行者匆匆的回家了，行人，骚客，聪明人，快乐的人，开始不明白了，因为他们停止了观察，自然曾经用她的旋律唱着歌，优美动听的音乐唱给了孤独的艺术家--一个以为爱着自然的孩子，懂她的艺术大师。

From May 4th Movement of 1919 to the 1920s, sex love narrations in Chinese novels were rather an enlightenment and liberation in that particular era with four characteristics. Firstly, sexual desire was endowed with rationality with regard to liberation of human nature and mutual love. Secondly, with an epochal concern for a stronger and superior race, greater attention was paid to sexual parties concerned, mainly physically. Thirdly, new ethics on sex were promoted in that personal freedom on sex love was emphasized and sex love became an important way of self-fulfillment. Therefore, independence of sex love was advocated and the scope of sex love was also widened. Fourthly, the sex consciousness of this period had the mixed features of the past and the contemporary. Sex love narrations in the 1930s and 1940s showed a further exploration on the theme of human nature. First of all, sex was restored to a kind of desire. ShenCongwen probed the importance of harmonious sex love to a sound personality and Shi Zhecunrevealed that sexual inhibition could lead to the distortion, even frenzy of human nature. Bothexplored the influence and functions of sexual desire as human nature upon human personality,giving prominence to the irresistibleness of sexual desire and the significance of sexual desire asa motive. Then, human bodies driven by sexual desire were described and given greater attentionto. Next, ethics on sex were deconstructed either by Shen Congwen who opposed man-madeethics with law of nature and the School of New Sensation who replaced traditional ethics on sexwith exchange rules in consumption, or by Shi Zhecun who spared no efforts in representing thecomplete failure of social rules, including ethics on sex, due to the impact from sexual desire.The direct effect was a paleness of the ethical binding force on sex. Last, sex consciousness inthe works of female writers emerged. In the early works of Ding Ling, the sexual desire of thefemale is no longer a ramification of emotion but an independent one. In addition, in the sex lovenarrations of other female writers, such as Mei Niang, strong self-consciousness on the socialstatus of the female is also reflected. Sex love narrations in the late 1970s and early 1980s wereactually a re-enlightenment in the spirit of humanism, whose major features include humanisticlegitimation of sex love within the boundary of ethics, a blend of sex love narrations withnational concepts and national myths as well as the aesthetic, poetic descriptions of humanbodies etc. In the middle and late 1980s, sex love narrations entered a stage of exploration forpluralism. First, by restoration of sexual desire, writers of this era restored human nature, thevery original state of human being. Different emphasis and tendencies could be seen in differentwriters: looking at sex love dialectically and trying to describe its creative as well as destructivecharacteristics; connecting sex love with violence and trying to reveal the evil side of humannature through it; emphasizing the creativeness of sex love especially in the heritage of"wildness".

从&五四&到20世纪20年代，中国小说的性爱叙事是一种处在时代夹缝中的启蒙和解放，其所表现出来的特点，一是正面赋予性欲望以合理性，这种合理性是在人性解放和爱情前提下获得的；二是在强种育种的时代焦虑影响下小说性爱叙事表现出对物质身体的关注，其焦点主要在体格方面；三是树立起新的性伦理道德观念，表现为强调在性爱问题上的个人选择自由，性爱成为个人自我实现的重要方式，从而赋予人在性爱问题上的独立性，同时还扩大了性爱表现的领域；四，这个时期小说性爱叙事中所表现出的性意识还具有新旧杂糅的特点。30、40年代小说性爱叙事表现出对人性主题的深化与丌拓，首先是把性还原为欲望本身来探索，沈从文从和谐性爱对健全人性的决定作用、施蛰存从性压抑会导致人性扭曲甚至疯狂的角度探讨作为人类本质性欲望的性对人性产生的影响和作用，突出了性欲力量的不可抗拒和作为人类行为的重要动力等方面的内容；其次在叙事中表现出对欲望化了的身体的描绘与关注；第三是解构了性的伦理道德，无论是沈从文以自然法则来反对人为的道德设置还是新感觉派用消费交换原则替代传统性伦理道德，或是施蛰存极力表现包括性伦理规范在内的社会法则在性欲力量冲击下溃不成军，其直接的效果都是使性伦理道德对人的约束力量显得苍白虚弱；第四，出现了由女性作家表现的女性性意识，在丁玲的早期作品中女性的性欲望不再是作为感情的衍生物而是独立的欲望存在，而在梅娘等其他女作家的小说性爱叙事中则表现出对女性社会地位的强烈自觉意识。70年代末80年代初期小说的性爱叙事实际上是在人道主义语境下的再次启蒙，其主要特征一是性爱在人道主义前提下获得合法性，但要求性爱不超出伦理规定的范围；再就是将性爱叙事同国家观念和民族神话相融合；此外还有对身体的描写审美化诗意化等。80年代中后期，小说性爱叙事进入了多元化探索的阶段，作家通过还原性欲望来还原人性、还原人类的本真状态，不同作家笔下表现为不同的侧重和倾向——以辨证的方式看待性爱，写出其具有的创造性力量和毁灭性特征；将性爱与暴力相联系并通过其来表现人性的黑暗；强调性爱的创造性作用，尤其在民族&血性&的传承方面。

VERSE 1 I lie awake at night See things in black and white I've only got you inside my mind You know you have made me blind VERSE 2 I lie awake and pray That you will look my way I have all this longing in my heart I knew it right from the start CHORUS Oh my pretty pretty boy I love you Like I never ever loved no one before you Pretty pretty boy of mine Just tell me you love me too Oh my pretty pretty boy I need you Oh my pretty pretty boy I do Let me inside Make me stay right beside you VERSE 3 I used to write your name And put it in a frame And sometime I think I hear you call Right from my bedroom wall VERSE 4 You stay a little while And touch me with your smile And what can I say to make you mine To reach out for you in time CHORUS BRIDGE Oh pretty boy Say you love me too

我醒着躺了一整夜看东西都没有色彩我的脑海中只有你的影子你让我看不见一切我躺着，祈祷着希望你能看到我的方向一直以来我只有这个愿望我知道从一开始就是对的噢，漂亮男孩，我爱你从来没有像爱你那样爱过别人噢。我的漂亮男孩告诉我你也爱我我需要你噢。我的漂亮男孩我真的需要你让我进入你的世界让我陪伴在你的左右我常常写下你的名字把它放进框框里我常常可以听到你喊我的声音从卧室的墙壁传来你停留了一会儿用你的微笑感动了我(此处我把touch翻译成感动不知道对不对，我想翻成&触摸&也对)我该怎么对你说你是我的我该怎么才能及时的把你追到手噢，漂亮男孩说你也爱我吧注：本人纯属自己翻译。意思肯定对，但是可通没有诗意

As she looked at Warrington's manly face, and dark, melancholy eyes, she had settled in her mind that he must have been the victim of an unhappy attachment.

每逢看到沃林顿那刚毅的脸，那乌黑、忧郁的眼睛，她便会相信，他一定作过不幸的爱情的受害者。

Maybe they'll disappear into a pothole.

也许他们将在壶穴里消失