《鍾》,1845 年
“the bell, 1845”
---
鐘的主題是德國和丹麥浪漫主義詩人喜愛的主題之一,透過其宗教聯想喚起崇敬,透過其聲學奇觀喚起敬畏。
the motif of the bell is a favorite one among German and danish Romantic poets, evoking reverence through its religious associations and awe through its acoustical wonders.
德國詩人弗里德里希?席勒著名的《鍾之歌》(1799 年)為安徒生所熟知,他寫了一個關於其創作的故事叫《老教堂的鐘》(1862 年),在這個故事中,他明顯與席勒產生共鳴,席勒在貧困中長大,但卻獲得了藝術上的卓越成就。
the renowned “Song of the bell” (1799) by the German poet Friedrich Schiller was familiar to Andersen, and he wrote a story about its position called “the old church bell” (1862), in which he clearly identifies with Schiller, who grew up in poverty but rose to artistic distinction.
席勒的詩轉向了政治、意識形態,而不是朝著美學、宗教的方向發展。
Schiller’s poem takes a political, ideological turn rather than moving in an aesthetic, religious direction.
在寫《鍾》的十二年後,安徒生髮表了《鍾淵》(1857 年),這個故事捕捉了關於歐登塞的一個河鬼和從河裡響起的一個神秘鐘聲的傳說的主要特徵。
twelve years after writing “the bell, “ Andersen published “the bell deep” (1857), a story capturing the main features of a legend about a river ghost in odense and about a mysterious bell that rings from the river.
《鍾》是安徒生詩歌更深刻、更廣泛的展現,演繹了一個將詩歌與自然結合起來的寓言,並傳播了一種民主理想,在這個理想中,王子與窮人攜手。
“the bell” is a deeper, broader staging of Andersen’s poetics, enacting an allegory that unites poetry with nature and broadcasting a democratic ideal in which a prince joins hands with a pauper.
這個故事在安徒生的文學作品中提供了一個至高無上的烏托邦時刻,而描述森林之美的場景提醒我們,視覺上的愉悅對安徒生來說和鍾那引人入勝的聲學魅力一樣