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《溪山琴況》美學內涵及英文意解
《溪山琴況》美學內涵及英文意解 內容摘要:明末著名琴家徐上瀛所著的《溪山琴況》是對古琴音樂美學的總結,他是在明代琴論家冷謙《琴聲十六法》的基礎上,提出了二十四況,并且用二十四個漢字進行高度概括。本文通過分析《溪山琴況》中對每一況的文字說明,總結出其所代表的有關古琴音樂美學觀點、審美意境及演奏技法的文化內涵,并用英文準確表達這些內涵。
關 鍵 詞:琴論 文化內涵 美學觀點 審美意境
一曰和(ethical;harmonious;plain;natural;controlled)
“和”在二十四況中處于首位,而且“和”的內涵幾乎涵蓋了所有二十四況,“其所首重者和也”。在對“和”況的說明中,作者首先講到:“稽首至圣心通造化,德協(xié)神人,理一身之性情,以理天下人之性情”,這說明“和”受到了儒家“中和”思想的影響�！吨杏埂分姓f“發(fā)而皆中節(jié),謂之和”,所以“和”首先指出古琴音樂應該是“合乎禮儀道德的”(ethical),是“禁止淫邪,正人心的”(forbidding people to have any lewd and vicious idea),而且是“樂以修德的”(Music is used to cultivate one’s virtue.)�！氨娨糁顣�,優(yōu)柔平中”則說明“和”應該是“中庸的”(according with the doctrine of mean)、“和諧的”(harmonious)。“論和以散和為上,按和為次”則強調“和”是“不加雕琢的”(plain)、“自然的”(natural)�！跋遗c指和、指與音和、音與意和”則說明“和”應是“有節(jié)制的”(controlled)�！耙魪囊廪D,意先乎音,音隨乎意”則強調“意念”(idea)與“彈奏”(plucking)應該緊密結合,而意念應“神閑氣靜”(carefree and peaceful)、“藹然醉心”(calm and intoxicated)。
“不以性情中和相遇,而以為是技也”,所以“和”強調演奏古琴不能僅僅注意演奏技巧,還應考慮演奏者的“道德修養(yǎng)”(morality)、“心理狀態(tài)”(psychological condition)、“審美情趣”(aesthetic taste)都能達到良好的狀況。
二曰靜(quietness;calm)
“靜”首先是指“聲音的安靜”(quietness),“聲厲則知指躁,聲粗則知指濁”;其次是指“心理的平靜”(calm),“淡泊寧靜,心無塵翳”。而求靜的方法則在于“調氣”“練指”。“調氣”就是“調整心理狀態(tài)”(to adjust the psychological condition),使其達到“淡泊寧靜”“心無塵翳”;“練指”就是“控制手指”(to control the fingers),避免彈出“粗厲之聲”(the rough and disagreeable sound)。所以“調氣則神自靜,練指則聲自靜”。
三曰清(clear and melodious;pure)
“指求其勁,按求其實,則清音始出”“不染纖毫濁氣,傍弦絕無客聲”,這兩句說明“清”是指一種“清脆”(clear and melodious)“純凈”(pure)的音色,與“暗淡柔和”(faint)的音色相反。“究夫曲調之清,則最忌連連彈去,亟亟求完”則說明“清”與“靜”一樣,也要求演奏者要“從容婉轉”(leisurely and agreeable),要“有控制”(controlled)。另一方面,文中還指出“清者,大雅之原本”(Qing is the origin of elegance),要求演奏者在演奏時,必須作到“地僻”(Music should be played in a secluded place.)“弦潔”(Music must be pure.)“心靜”(The player must be calm.)“氣肅”(The attitude of the player must be earnest.),使欣賞者能夠聯(lián)想到“澄然秋潭”(The music reminds the audiences of the deep pool in autumn)“皎然寒月”(and the moon in winter.),而且“令人心骨俱冷,體氣欲仙”(The audiences are drunk in music so much that they want to transcend the worldly and become the celestial beings.)。
四曰遠(remote;imaginative)
“時為岑靜也,若游峨眉之雪,時為流逝也,若在洞庭之波”,所以“遠”的含義應是“悠遠”(remote)“具有幻想性”(imaginative)的境界�！斑h以神行”“至于神游氣化,而意之所之玄而又玄”,這兩句說明求“遠”的主要方法是利用“想象”(imagination),即讓思想進入“神游”(mind’s travel)狀態(tài),使演奏與想象相結合,“在想象中演奏”(to play in one’s imagination),或“在演奏中想象”(to imagine in one’s playing)。同時,想象的范圍應限制在“自然的山水中”(mountains and rivers in nature),“若游峨眉之雪,若在洞庭之波”,這樣就能使音樂達到一種“悠遠”的境界。所以“求之弦中如不足,得之弦外則有余”。
五曰古(primitive and plain;primitive and elegant)
“然粗率疑于古樸”“而古雅自見”,這兩句說明“古”的含義是“古樸”(primitive and plain)“古雅”(primitive and elegant)的音樂風格,與“時調”(the fashionable tune)相對�！皶r調”的特點是“聲爭而媚耳”(The tune seduces people with its noisiness),“疾速”(rapid);“古”的特點是“音澹而會心”(a plain music but it can move people)“延緩”(slow)。同時作者還強調“粗率”(being rough and careless)“疏慵”(to play the music slowly and without emotion)“似疑于古,而實病于古”,所以“必融其粗率,振其疏慵”。最后,作者還進一步說明“古”的意境就是“宛在深山空邃谷,老木寒泉,風聲簌簌,令人有遺世獨立之思”(The music makes people feel as ifin the high mountain and deep valley and see the old woods, touch the icy spring, hear the blowing of the wind and feel like flying away from the worldly.)。
六曰澹(plain;elegant;unsophistic-
ated)
“澹”是一種“淡泊”(not to seek fame and wealth)“平淡”(plain)“孤高岑寂”(to have a too high taste to be understood by others)的審美情趣。這種審美情趣有三種含義:一是“不入歌舞場中”“不雜絲竹伴內”,即不能用來作為“娛樂工具”(a means for entertainment);二是“祛邪而存正,黜俗而歸雅,舍媚而還淳”,即它應是“正統(tǒng)的”(decent)“高雅的”(elegant)“淳樸的”(unsophisticated);三是“山居深靜”“絕去炎囂”“焚香靜對”,即它應是“清高孤傲”(aloof from political and material pursuits)“不媚俗”(not vulgar)的。
七曰恬(pleasing)
“恬”也是一種審美情趣,這種審美情趣是以“恬”這種氣味來形容的�！安僦撩顏韯t可澹,澹至妙來則生恬”,所以“恬”應是彈琴達到一種境界后自然產生的“愉悅感”(pleasing)。但是這種境界應是“興到而不自縱,氣到而不自豪。情到而不自擾,意到而不自濃”,它讓人產生的感覺是“不味而味”(The music has no taste but feels like tasty.)“不馥而馥”( The music has no fragrance but feels like fragrant.)。就像“水中之乳泉”(the sweetest water)“蕊中之蘭”(the most fragrant flower)。
八曰逸(free from vulgarity;elegant;moral)
“逸”在這里指的是演奏者的品德與修養(yǎng)。“有一種安閑自如之景象,盡顯瀟灑不群之天趣”,所以“逸”有“脫俗的”(free from vulgarity)“高雅的”(elegant)“有德行的”(moral)等含義;“其人必具超逸之品,故自發(fā)超逸之音”(The man who can play the music transcending the worldly must have the morality free from the material pursuit. ),演奏者的品德與修養(yǎng)對其演奏音樂的好壞具有重要作用,所以必須“先養(yǎng)其度,而次養(yǎng)其指”(to cultivate the player’s morality before practicing his skills in playing)。
九曰雅(elegant)
“雅”指的是一種“高雅的”(elegant)風格,當演奏者的個人修養(yǎng)、儀態(tài)、心理都達到理想狀態(tài),能夠體會到“靜”“遠”“淡”“逸”四字時,就能達到高雅的境界。這種高雅并不僅僅是指音樂,它還應該包括演奏者的個人修養(yǎng)、品德、心理、儀態(tài)以及自然環(huán)境所產生的綜合效果,所以“雅”是古琴音樂文化的總體概括。
一十曰麗(beautiful; sweet and elegant; impressing)
“麗者,美也”,麗在這里指的是一種“美麗的”(beautiful)音樂風格,這種“美麗”風格是由“清靜”(quiet)“古淡”(primitive and plain)的音樂中產生的,不是從“妖冶”(seductive)“媚俗”(obsequious)的音樂中產生的。而且,這種音樂必須“音韻高雅”(sweet and elegant music)“指法雋秀”(beautiful fingering),要能“感人之心”(impressing),而不能是“繁聲促調”(a quick and confused music)。
一十一曰亮(bright;clear and melodious;transparent;penetrating)
“亮”指的是“明亮”(bright)“清脆”(clear and melodious)“透明”(transparent)“有穿透力”(penetrating)的一種音色,就像“金石之聲”(the sound made by metal and stone)。這種音色“唯在沉細之際而更能發(fā)其光明”,它能讓聽者產生“弦聲斷而意不斷”(The music stops while its echoes linger.)的感覺。
一十二曰采(splendid)
“采”也是指音色,“清以生亮,亮以生采”,當古琴達到“清”和“亮”的要求后,就會產生“有光彩的”(splendid)音色。但這種光彩不是指“絢麗多彩”(dazzling),而是像“商彝”“周鼎”所特有的那種“暗然之光”,是古琴獨有的“古雅的”(unique and elegant splendor)音色。演奏者要想得到這種音色,不但要“指下有神氣”(to have inspiration when playing),要“經歲鍛煉”(to have a long time of practice),而且要“究心音義”(to explore and understand the music’s deep meaning)。
一十三曰潔(pure;without embellish-ment;simple)
“潔”包含兩方面的內容,首先“修指嚴凈,邪滓不留”,即彈琴時下指要“干凈”(pure)“不加修飾”(without embellishment);其次“取音欲希,音趣欲永”,即取音要“簡潔”(simple)�！扒逄摓轶w,素質為用”則更進一步說明“潔”的境界應是“清靜”(peaceful and quiet)“空靈”(void and inspired)“簡潔”(simple)“樸素”(plain)。
一十四曰潤(gentle and moist;pure;shining)
“蓋潤者,純也,所以發(fā)純粹光澤之氣也”,這一句說明“潤”指的是一種“溫潤”(gentle and moist)“單純”(pure)“有光澤”(shining)的音色。“若手指任其浮躁,則繁響必雜,上下往來音節(jié)則俱不成其美矣”“左芟其荊棘,右熔其暴甲”,這兩句則說明要想追求“潤”的音色,就必須下指“不能浮躁”(impetuous),聲音不能“繁雜”(involved),右手彈琴要“溫和”(gentle),左手上下按弦要“順暢”(smooth)。
一十五曰圓(perfect)
“不多不少,以至恰好,謂之圓”,所以圓的含義應是“圓滿”(perfect)。這種圓滿首先指的是“音準”(pitch),“不足則音虧缺,太過則音支離”;其次指“力度”(dynamics),“欲輕而得其所以輕,欲重而得其所以重”。另外“一彈一按一轉一折之間亦自有圓音在焉”,所以圓的含義還體現(xiàn)在一彈一按一轉一折都要“恰到好處”(just right)。
一十六曰堅(strong, clear and melo-
dious)
“按弦如入木,形其堅而實也”,“堅”指的是彈琴時下指要“堅實”(strong),彈出的聲音要“清脆”(clear and melodious),“清響如擊金石”(a clear sound as if produced by striking the metal and stone)。但是下指的堅實并不是指用力地彈琴,而是要“堅以勁和”(to use proper dynamics),“用力不覺”(to use the strength unintentionally)。
一十七曰宏(grandness)
“猱、綽之用必極其宏大”,所以“宏”的含義是“宏大”(grandness)“大氣魄”(a grand breadth of spirit)的一種境界。而要達到這種境界,不但需要具有“沖和閑雅之度”(a leisurely and elegant bearing),而且要“縱指自如”(to move the fingers freely and smoothly);同時宏大和細小“不可偏廢”(not to emphasize one at the expense of another),必須“互相對比”(to compare properly),“合理利用”(to use properly)。
一十八曰細(meticulous)
演奏古琴時,節(jié)奏一般是自由的,沒有從一而終的節(jié)奏型�！耙粲屑毭焯�,乃在節(jié)奏間”,所以“細”(meticulous)首先指的是“節(jié)奏變化的細微”(the delicacy of the change of rhythm),也就是“節(jié)奏變化”“章句轉折”需要經過“細致的處理”(to play the music meticulously),“始而起調先應和緩,轉而游衍漸欲入微”,“到章句轉折時,尤不可草草放過”�！耙獯嬗腻渲小�,“定將一段情緒緩緩掂出”則說明,“細”還指的是樂曲所表達“情感的細膩”(the exquisiteness of feeling)。而昌黎詩的引用則說明“宏細互用之意”(the grandness and the delicacy can agree),指出“宏”“細”的對比就像是“昵昵兒女語”(the sweet talk between the lovers)和“軒昂赴戰(zhàn)場”(the dignified feeling of going to the battlefield)的不同情感體驗的對比。
一十九曰溜(smooth;without slugg-
ishness)
“溜者,滑也,左手洽澀之法也”,所以“溜”指的是左手的演奏技巧,即當左手“吟、猱、綽、注”時手指應“潤滑”(smooth)“無滯”(without sluggishness),而要想達到潤滑、無滯,則不能“按弦虛浮”(to press the strings too gently)“或著重滯”(or too heavily),而只有指節(jié)煉至“堅實”(strong)“極其靈活”(extremely dexterous)“動必神速”(to move with a great speed),才能“吟、猱、綽、注之間當若泉之滾滾,而往來上下之際更如風之發(fā)發(fā)”。
二十曰鍵(energetic;strong)
“從容閑雅中剛健其指”“運鍵于堅”說明,“健”的含義是“剛健”(energetic)“堅實”(strong),用剛健、堅實的手指彈出“清冽之響”(clear sound)“活潑之音”(lively sound),這樣就不會使“沖和之調”(a leisurely and harmonious melody)之中包含有“疏慵之病”(faults of carelessness and without emotion)。
二十一曰輕(gentle)
“輕”和“重”指的是彈琴的力度和樂曲的音量,意思是“輕柔的”(gentle)。這種“輕”和“重”的變化可以使“中和之音”(a mild sound)變得更有“趣味”(interesting),而“輕”的力度和音量則可以“體曲之意”(to feel and understand the artistic conception in the music)“悉曲之情”(to feel and understand the emotion in the music)。但是“輕”和“重”也要“合”(to agree),即“輕”要“不浮”(not superficial)“不晦”(not gloomy),“重”則“不煞”(not excessive),必須“清實中得之”,這樣的輕重才能符合“中和之音”的要求。
二十二曰重(powerful)
“輕屬于幽情,重者乃由乎氣”“氣至而重”;所以較重的力度和音量,可以表達較強烈的情感和意志,但是和“輕”一樣,“重”(strong)也不能太過分,應該“重抵輕出”(to use powerful strength to produce gentle and lively tune)“用力不覺”(to use the strength unintentionally),使音樂變得“高朗純粹”(clear, bright and pure)“宣揚和暢”(melodious and smooth),而不能使音樂產生“殺伐之響”(to produce the sound just like the sound produced in fighting in a battle)“剛暴之聲”(to use the strength too heavily and produce some excessive strong sound)。
二十三曰遲(slow)
“遲”在這里指的是“緩慢的”(slow),它包含兩層含義,首先是要求彈琴時不能“忙忙連下”(too fast),而應先“肅其氣”(to make the player be serious)“澄其心”(to purify the player’s mind)“緩其度”(to play the music leisurely)“遠其神”(to make the player lofty)“從萬籟俱寂中,泠然音生”;其次是彈琴要“章句舒徐”(The melody should be produced leisurely.)“緩急相間”(to alternate with slowness and quickness)“斷而復續(xù)”(intermittently)。
文中還闡述了“遲趣”和“希聲之寓境”的關系�！斑t趣”指的是關于“遲”的審美情趣和意境,它和道教所主張的“希聲之寓境”是一樣的,就好像“山靜秋鳴”(birds singing in the quiet mountain in autumn)“月高林表”(the dense forest in the moonlight)“松風遠拂”(the sound of wind blowing the pines from a distance)“石澗流寒”(the cold water flowing from the gully)。
二十四曰速(quickness;rapidness; swiftness)
“速”指的是“快速的”(quickness)“急速的”(rapidness),文中將“速”分為“小速”和“大速”兩種�！靶∷傥⒖臁�(swiftness),要求“指不傷速中之雅度”(to play the music quickly and elegantly),就像“行云流水”(natural and smooth just like floating cloud and flowing water);“大速貴急”(rapidness),要求“依然安閑之氣象”(to use a fast speed to play the music which brings people the feeling of relaxation),就像“崩崖飛瀑之聲”(the sound produced by the crack of the mountain and the falling of the falls)。
文中還闡述了“遲”和“速”的關系:首先“遲”和“速”是緊密相連的,“有遲則有速”(without the leisureliness, the rapidness will be meaningless.),其次是“遲”所得到的音樂“是為正音”( conventional sound),“速”所得到的音樂“是為奇音”( marvelous sound),而彈琴要求的是“正音備而奇音不可偏廢”(Neither of conventional sound and marvelous sound should be overemphasized at the expense of another.)。
參考文獻:
[1]奚永吉《文學翻譯比較美學》武漢:湖北教育出版社2001
[2]金惠康《跨文化交際翻譯》北京:中國對外翻譯出版公司2003
[3]馮慶華《實用翻譯教程》上海:上海外語教育出版社1997
[4]理雅各《四書英譯本》長沙:湖南出版社1992
[5]理雅各《周易英譯本》長沙:湖南出版社1992
[6]敏杰《博雅經典琴》呼和浩特:內蒙古人民出版社2003
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