All This I Did Without You

 📜 All This I Did Without You

中文通稱：《沒有你，萬般精彩皆枉然》

作者：Gerald Durrell（傑拉爾德·達雷爾，英國）

備註：這並非獨立詩篇，是達雷爾寫給妻子Lee McGeorge

I have seen a thousand sunsets and sunrises,

on land where it floods forest and mountains with honey-coloured light,

at sea where it rises and sets like a blood orange in a multi-coloured nest of cloud,

slipping in and out of the vast ocean.

I have seen a thousand moons;

harvest moons like gold coins,

winter moons as white as ice chips,

new moons like baby swans’ feathers.

I have seen seas as smooth as if painted,

coloured like shot silk or blue as a kingfisher

or transparent as glass or black and crumpled with foam,

moving ponderously and murderously.

I have felt winds straight from the South Pole,

bleak and wailing like a lost child;

winds as tender and warm as a lover's breath;

winds that carried the astringent smell of salt and the death of seaweeds;

winds that carried the moist rich smell of a forest floor, the smell of a million flowers.

Fierce winds that churned and moved the sea like yeast,

or winds that made the waters lap at the shore like a kitten.

I have known silence:

the cold, earthy silence at the bottom of a newly dug well;

the implacable stony silence of a deep cave;

the hot, drugged, midday silence when everything is hypnotised and stilled into silence by the eye of the sun;

the silence when great music ends.

I have heard summer cicadas cry so that the sound seems stitched into your bones.

I have heard tree frogs in an orchestration as complicated as Bach singing in a forest lit by a million emerald fireflies.

I have heard the Keas calling over grey glaciers that groaned to themselves like old people as they inched their way to the sea.

I have heard the hoarse street vendor cries of the mating fur seals as they sang to their sleek golden wives,

the crisp staccato admonishment of the rattlesnake,

the cobweb squeak of the bat

and the belling roar of the red deer knee-deep in purple heather.

I have heard wolves baying at a winter’s moon,

red howlers making the forest vibrate with their roaring cries.

I have heard the squeak, purr, and grunt of a hundred multi-coloured reef fishes.

I have seen hummingbirds flashing like opals round a tree of scarlet blooms, humming like a top.

I have seen flying fish, skittering like quicksilver across the blue waves,

drawing silver lines on the surface with their tail fins.

I have lain in water warm as milk, soft as silk, while around me played a host of Dolphins.

I have met a thousand animals and seen a thousand wonderful things.

All this I did without you. This was my loss.

All this I want to do with you. This will be my gain.

All this I would gladly have forgone for the sake of one minute of your company,

for your laugh, your voice, your eyes, hair, lips, body,

and above all for your sweet, ever surprising mind

which is an enchanting quarry in which it is my privilege to delve.

悟文

網上的悟文

原來離別太久，真的已經不適合重逢了，不是因為遺忘，也不是因為怨恨。

你回來了，我難受，因為我知道，回來的不是曾經的那個你。

你不回來我也難受，因為我還在等一個不會回來的你，所以我們再次見面先湧上心頭的不是心動，而是酸澀。

我不想和任何一個走散的人重逢，因為我們已經錯過了彼此太多的美好。

我們完成了對彼此的賞識，也將奔赴各自註定不相交的未來，既然已經離別，活在彼此的記憶裡，就是最好的重逢。

English

When separation has lasted too long, reunion is truly no longer fitting.

Not out of oblivion, nor out of rancour.

If you come back, I ache, for I know the one who returns is not the you of old.

If you do not come back, I also ache, for I am still waiting for a you who will never return.

Therefore, when we meet once more, what surges first into the heart is not the thrill of affection, but sour anguish.

I have no wish to meet again anyone from whom I have parted along life’s path.

For we have missed so much of one another’s grace and beauty.

We have attained full appreciation for one another, yet shall journey toward separate futures, fated never to intersect.

Now that we have parted, to dwell within one another’s memories is the finest reunion.

Português 

Quando a separação se prolonga por demasiado tempo, o reencontro já não é, de facto, adequado.

Não por esquecimento, nem por ressentimento.

Se regressares, sofro, pois sei que aquele que volta não és tu de outrora.

Se não regressares, também sofro, pois continuo à espera de um tu que nunca há-de regressar.

Por isso, quando nos encontramos novamente, o que surge primeiro no coração não é a comoção, mas uma acidez dolorosa.

Não desejo reencontrar ninguém com quem me tenha separado ao longo do caminho da vida.

Pois perdemos demasiada beleza um do outro.

Alcançámos a plena admiração mútua, mas seguiremos para futuros distintos, destinados a nunca se cruzarem.

Uma vez separados, viver na memória um do outro é o mais belo reencontro.

Line dance - Devil in the water

 https://youtu.be/dmXGYoRxLHI

2026.10.2. 假日晨拍

 

氹仔早茶

 

第一次的晨泳2026.10.2

First time early morning swimming in the beach

Met my cousin’s aunt accidentally

She told me she has been swimming for 50 years every morning

And she is 77 years old

Life is so beautiful

《我是個無名小卒！你呢？》I’m Nobody! Who are you?

 📜《我是個無名小卒！你呢？》I’m Nobody! Who are you?

作者：Emily Dickinson

英文原文

I’m Nobody! Who are you?

Are you – Nobody – too?

Then there’s a pair of us!

Don’t tell! they’d advertise – you know!

How dreary – to be – Somebody!

How public – like a Frog –

To tell one’s name – the livelong June –

To an admiring Bog!

中文書面文學譯稿

我是無名之輩！你又是誰？

你，是否同樣，亦是無名之輩？

那麼你我便可結為同類！

切莫聲張！世人必將大肆宣揚。

成為「顯赫人物」，何其沉鬱！

何等招搖，如同蛙類，

於整個漫長六月，反覆訴說自身名號，

向那滿是傾慕者的沼澤。

Português 

Eu sou Ninguém! Quem és tu?

És tu – Ninguém – também?

Então somos um par!

Não contes! Eles iriam divulgar – sabes!

Que tedioso – ser – Alguém!

Que público – como um Sapo –

Dizer o próprio nome – durante todo o Junho –

A um Pântano admirador!

📖 書面文學賞析

此詩以簡潔活潑的語調，道出詩人對於世俗聲名的深刻反思。詩人甘願自居為「無名之輩」，此種無名並非卑微，而是靈魂得以獨立自守的自由狀態。兩個無名者的相遇，構成一處不受外界窺探的精神秘境，一旦公諸於世，便會被世俗大眾包裝、傳播，失去原本的純粹。

詩的後半段，轉而批判世人追逐的「顯赫人物」。詩人將汲汲於自我展示的名人，喻為不停鳴叫的青蛙，終日在沼澤之中重複自我，以求取同質大眾的讚歎。沼澤，象徵淺薄、盲從的世俗群體。

狄金森一生隱居，生前極少發表作品，刻意避開文壇的掌聲與評論。這首詩正是她生命姿態的宣言：拒絕成為供大眾觀賞的公共形象，寧願守護內心的安靜與孤獨，保有靈魂不被俗世侵擾的空間。此種對虛名的摒棄，亦屬於古典精神的一種，重內在本真，輕外在浮華。

《我居住在可能裡》I dwell in Possibility

 📜《我居住在可能裡》I dwell in Possibility

作者：Emily Dickinson

英文原文

I dwell in Possibility –

A fairer House than Prose –

More numerous of Windows –

Superior – for Doors –

Of Chambers as the Cedars –

Impregnable of eye –

And for an everlasting Roof

The Gambrels of the Sky –

Of Visitors – the fairest –

For Occupation – This –

The spreading wide my narrow Hands

To gather Paradise –

中文書面文學譯稿

我棲居於「可能性」之中，

一座較散文更為優美的屋宇，

擁有無數窗櫺，

門扉，更為高貴。

房室廣闊如雪松之林，

非肉眼所能窺探；

而作為永恆屋頂者，

乃是天穹的雙斜屋架。

來訪者，皆是至美之靈；

我在此處，唯一的事業——

張開我狹小的雙手，

採集天堂。

Português 

Habito na Possibilidade –

Uma Casa mais bela que a Prosa –

Mais numerosa em Janelas –

Superior – em Portas –

De Câmaras como os Cedros –

Impenetrável ao olho –

E para um Telhado eterno

As Cumeeiras do Céu –

De Visitantes – os mais belos –

Para Ocupação – Isto –

Abrindo amplamente as minhas mãos estreitas

Para colher o Paraíso –

📖 書面文學賞析

此篇可視為狄金森的詩歌宣言。詩人將詩歌定義為「可能性」，並以一座神聖屋宇作為核心意象，對比散文的確定性與局限。散文立足於現實，語言有所羈絆；而詩，則開啟無數視野與通道，如同無數窗櫺與門扉，引領心靈抵達常識無法觸及之境。

屋內廳室如雪松般遼闊，超越肉眼的觀測範圍，以蒼穹作為永恆屋頂，不受時空的約束。造訪此殿堂者，皆為純粹美好的靈魂。詩人此生的使命，便是舒展雙手，於詩的無限空間之中，蒐集世間一切屬於天堂的神聖瞬間。

這首詩，亦是解讀《我用古典的方式愛過你》這本選集的鑰匙。狄金森終生隱居，不追逐俗世的聲名，而將靈魂安頓於詩的國度。她對詩的執著，便是一種古典的熱愛：不求外在的回報，只在語言的無限可能性之中，尋覓永恆之境。

《我為美殉身》I Died for Beauty

📜《我為美殉身》I Died for Beauty

作者：Emily Dickinson

英文原文

I died for Beauty — but was scarce

Adjusted in the Tomb

When One who died for Truth, was lain

In an adjoining Room —

He questioned softly “Why I failed”?

“For Beauty,” I replied —

“And I — for Truth — Themself are One —

We Brethren, are,” He said —

And so, as Kinsmen, met a Night —

We talked between the Rooms —

Until the Moss had reached our lips —

And covered up — our names —

中文書面文學譯稿

我為美殉身，甫入墳塋，

尚未安頓於墓中，

便見一人，為真理而亡，

臥於隔壁墓室。

他輕聲問我：「你為何而殞？」

我答：「為美。」

「而我，為真理。二者本為一體，

你我，原是同袍。」

就這樣，如親人相逢於此夜，

我們隔墓相談，

直至青苔蔓延至唇際，

覆沒我們的名姓。

Português 

Morri pela Beleza — mas mal

Me havia acomodado na Tumba

Quando um outro, que morrera pela Verdade, foi deitado

Numa Sala contígua —

Ele perguntou suavemente: “Por que pereceste?”

“Pela Beleza”, respondi —

“E eu — pela Verdade — Elas são Uma —

Somos Irmãos”, disse Ele —

E assim, como Parentes, encontramo-nos numa Noite —

Conversámos entre as Salas —

Até que o Musgo chegou aos nossos lábios —

E cobriu — os nossos nomes —

📖 書面文學賞析

此詩為狄金森極具玄思的經典篇章，以墳塋作為靜謐的戲劇場景，鋪展一場亡者之間的對話。詩人將「美」與「真理」這兩個西方古典哲學的核心命題，置於生死的邊界加以審視，提出二者同源不二、同屬永恆的核心主張。

詩中並無哀嚎與恐懼，兩位殉道者如同久別的親友，從容對語。隨著時光緩緩流轉，青苔逐步覆蓋唇吻、消蝕名號，人世間一切身份、聲名皆歸消散，唯有美與真理本身，得以穿越朽壞，恆久長存。

全詩運用大量破折號，切斷語句的連貫性，模擬墓中幽微、斷續的語氣，以簡約的戲劇架構，把抽象的哲思轉化為可感的意象，正是本書標題所指，以古典的方式，向永恆之美與真理獻出生命的熱愛。

《我用古典的方式愛過你》

 📚《我用古典的方式愛過你》（長江文藝出版社，哈佛授權選集）

本書一共精選64首狄金森詩作，書入面最具代表性、風格各有側重嘅三首，分別係：

1. 《我為美殉身》（I Died for Beauty, J#449）——美與真、墳墓之中永恆對話（生死與藝術）

2. 《我居住在可能裡》（I dwell in Possibility, J#657）——詩本身就係一座永恆殿堂（詩論、心靈空間）

3. 《我是個無名小卒！你呢？》（I’m Nobody! Who are you?, J#288）——拒絕世俗名聲，偏愛靈魂嘅獨處（自我與世俗）

三首不同主題：生死永恆 / 詩與心靈 / 自我抉擇，選集公認最精彩三篇：

第一首｜《我為美殉身》 I Died for Beauty

原文

I died for Beauty — but was scarce

Adjusted in the Tomb

When One who died for Truth, was lain

In an adjoining Room —

He questioned softly “Why I failed”?

“For Beauty,” I replied —

“And I — for Truth — Themself are One —

We Brethren, are,” He said —

And so, as Kinsmen, met a Night —

We talked between the Rooms —

Until the Moss had reached our lips —

And covered up — our names —

中文書面譯文

我為美殉身，甫入墳塋，

尚未安頓於墓中，

便見一人，為真理而亡，

臥於隔壁墓室。

他輕聲問我：「你為何而殞？」

我答：「為美。」

「而我，為真理。二者本為一體，

你我，原是同袍。」

就這樣，如親人相逢於此夜，

我哋隔墓相談，

直至青苔蔓延至唇際，

覆沒我哋嘅名姓。

✦ 文學賞析

此詩係狄金森最富玄思嘅名篇，以墳墓作為舞台，構設一場死者之間嘅靜靜對話。「美」同「真理」，向來係西方古典文學哲學兩大核心追求，詩人透過兩位殉亡者，提出一個命題：美與真理，本質同源，同為永恆。

初讀會覺得淒清，兩個靈魂喺墳墓入面相遇，如同久別親友娓娓交談，冇哀嚎，冇恐懼。隨住時光流轉，青苔慢慢覆蓋雙方嘅嘴唇、抹去名字——人世間嘅身份、聲名全部消散，只剩下「美」同「真理」本身，永久存在。

詩嘅意境，正正契合本書書名「古典的方式愛過」：唔係塵世短暫嘅熱戀，而係對永恆價值，一種至死不渝、跨越生死嘅執著。

藝術特色：以極簡嘅戲劇場景，將抽象哲思具象化；大量破折號，營造斷續、幽靜，如同墳墓入面緩慢、輕微嘅語氣。

第二首｜《我居住在可能裡》 I dwell in Possibility

原文

I dwell in Possibility –

A fairer House than Prose –

More numerous of Windows –

Superior – for Doors –

Of Chambers as the Cedars –

Impregnable of eye –

And for an everlasting Roof

The Gambrels of the Sky –

Of Visitors – the fairest –

For Occupation – This –

The spreading wide my narrow Hands

To gather Paradise –

中文書面譯文

我棲居於「可能性」之中，

一座較散文更優美嘅屋宇，

有無數窗櫺，

門扉，更為高貴。

房室如雪松般廣闊，

非肉眼所能窺探；

而作為永恆屋頂嘅，

係天穹嘅雙斜屋頂。

來訪者，皆是至美之靈；

我在此，唯一的事業——

張開我狹小嘅雙手，

採集天堂。

✦ 文學賞析

呢首係狄金森嘅「詩論詩」，係佢對詩歌本身嘅定義。

「可能性（Possibility）」就係詩。散文係現實、確定嘅語言；而詩，係充滿無限潛在空間嘅殿堂，有無數窗，代表無數種觀看世界嘅視角；門，代表無數進入靈魂嘅通道。

呢座詩嘅殿堂，以雪松為廳，以天空作屋頂，肉眼無法窺盡。詩人嘅使命，就係張開雙手，喺呢個無限嘅空間入面，採集天堂——亦即，捕捉世間一切神聖、美麗嘅瞬間。

呢首可以話係成本選集嘅核心宣言：狄金森一生隱居，唔追求塵世嘅社交同名聲，而係將自己安置喺詩所帶來嘅無限可能性入面，以詩作為棲身之所。呢種對詩嘅熱愛，就係一種古典式嘅靈魂追尋。

第三首｜《我是個無名小卒！你呢？》 I’m Nobody! Who are you?

原文

I’m Nobody! Who are you?

Are you – Nobody – too?

Then there’s a pair of us!

Don’t tell! they’d advertise – you know!

How dreary – to be – Somebody!

How public – like a Frog –

To tell one’s name – the livelong June –

To an admiring Bog!

中文書面譯文

我是無名之輩！你又是誰？

你，亦同樣，是無名之輩嗎？

那我哋便成一對！

切莫向外訴說！否則世人，便會大肆宣揚。

成為「有名之士」，何等沉悶！

何等招搖，如同青蛙，

整個漫長六月，不停宣揚自己嘅名字，

向一灘傾慕佢嘅泥沼。

✦ 文學賞析

呢首係狄金森最為人熟識嘅短詩，語氣睇似輕巧俏皮，內裡卻係極為堅定嘅生命抉擇。

詩人樂於做「Nobody（無名小卒）」，呢種無名，唔係卑微，而係一種自由：唔需要迎合大眾、唔需要追求世俗聲名，可以保有靈魂嘅獨立同隱私。

反之，世人追尋嘅「Somebody（名人）」，就好似一隻青蛙，喺泥沼入面不斷鳴叫，不停展示自我，取悅平庸嘅大眾（泥沼）。泥沼，象徵淺薄、盲目追捧嘅世俗社會。

狄金森自己就係咁：一生隱居，生前只發表極少數詩作，唔追求世人嘅掌聲。呢首詩，係佢對自我生命姿態嘅宣言：寧願做兩個靈魂之間安靜嘅知己，而唔願意做被大眾觀賞、表演嘅名人。

✨ 三首整體總結

呢三首，分別對應三個層次嘅追尋：

1. 《我為美殉身》：向外，追尋美與真理嘅永恆，直至生死邊界；

2. 《我居住在可能裡》：向内，以詩作為靈魂永遠嘅居所，棲居於無限可能性；

3. 《我是個無名小卒》：抉擇，拒絕世俗虛榮，守護靈魂嘅安靜同自由。

呢三首都收錄喺《我用古典的方式愛過你》呢本選集，亦最能體會狄金森嗰種「古典式」嘅愛：唔係塵世男女情愛，而係對美、詩、靈魂本身，一種安靜、執著、跨越時光嘅熱愛。