2023-12-08 Feast of the Immaculate Conception 
【The Idea of Order at Key West (1934)】
——Award of the Pulitzer Prize for Poetry in 1954 Wallace Stevens (1879—1955) She sang beyond the genius of the sea. The water never formed to mind or voice, Like a body wholly body, fluttering Its empty sleeves; and yet its mimic motion Made constant cry, caused constantly a cry, That was not ours although we understood, Inhuman, of the veritable ocean. The sea was not a mask. No more was she. The song and water were not medleyed sound Even if what she sang was what she heard, Since what she sang was uttered word by word. It may be that in all her phrases stirred The grinding water and the gasping wind; But it was she and not the sea we heard. For she was the maker of the song she sang. The ever-hooded, tragic-gestured sea Was merely a place by which she walked to sing. Whose spirit is this? we said, because we knew It was the spirit that we sought and knew That we should ask this often as she sang. If it was only the dark voice of the sea That rose, or even colored by many waves; If it was only the outer voice of sky And cloud, of the sunken coral water-walled, However clear, it would have been deep air, The heaving speech of air, a summer sound Repeated in a summer without end And sound alone. But it was more than that, More even than her voice, and ours, among The meaningless plungings of water and the wind, Theatrical distances, bronze shadows heaped On high horizons, mountainous atmospheres Of sky and sea. It was her voice that made The sky acutest at its vanishing. She measured to the hour its solitude. She was the single artificer of the world In which she sang. And when she sang, the sea, Whatever self it had, became the self That was her song, for she was the maker. Then we, As we beheld her striding there alone, Knew that there never was a world for her Except the one she sang and, singing, made. Ramon Fernandez, tell me, if you know, Why, when the singing ended and we turned Toward the town, tell why the glassy lights, The lights in the fishing boats at anchor there, As the night descended, tilting in the air, Mastered the night and portioned out the sea, Fixing emblazoned zones and fiery poles, Arranging, deepening, enchanting night. Oh! Blessed rage for order, pale Ramon, The maker's rage to order words of the sea, Words of the fragrant portals, dimly-starred, And of ourselves and of our origins, In ghostlier demarcations, keener sounds. —— • —— • —— • —— • —— • —— • —— • —— 【《骨岛的秩序观念》(1934)】 ——1954年普利策诗歌奖 华莱士·史蒂文斯“异乡人·花环”(1879生—1955卒) 【红霞译】 她的歌声比海神更有力量。 海水从未形成思想或表述， 就像一个完整的身躯，飘动着 空荡的袖子；然而它的模拟动作 造成无尽的呼喊，无尽地引发呼喊， 那不是我们的却能为我们理解， 非人类的，真实大海的呼喊。 大海不是面具。她不再是她。 并非掺了流水的歌声 即使她唱的就是她听到的， 毕竟她逐字逐句地唱。 也许她的全部言语唤起了 翻腾的海水与阵阵的海风； 但我们听到的是她的表述而不是大海的声音。 因为她是这歌声的创作者。 那片永远罩盖、摆出凄美姿态的大海 仅是她边走边唱的地方。 这是谁的精魂？诚如所言，因为我们知道 是我们找寻的精魂而且 随着她的歌唱我们常会提及的问题。 如果只是黑暗的声音来自大海 波起，甚至多彩的海浪； 如果只是外部的声音来自天空 还有云彩，或者环水的海底珊瑚， 无论多么清晰，将会酝酿深空的、 低沉的声音，夏季的声音 在无尽的夏季重复 而这只是声音。但事情还不止于此， 甚至超过她的和我们的表述，就在 海水和海风毫无意义的狂涌中， 虚幻的远方，青铜色调堆积在 耸立的地平线上，巨大的景致 尽在海天之间。 是她的表述 让天空随着黄昏消逝变得无比锋芒。 她捕捉其孤独的时刻。 她似乎创造了世界 并能纵声其间。当她歌唱的时候，大海， 无论何等的性格，都变成了 她的音乐性格，因为她是创作者。于是我们， 一如看到她独自漫步， 意识到她从未拥有过世界 除了她歌唱并在歌中创造的那个。 顾问·冒险家之子，请告诉我，如果你知道， 为何歌声停止在我们转身 走向小镇的时候，为何镜面灯， 是那儿埠上渔船的航标， 一如夜幕降临，倾斜在空中， 掌控着黑夜并划分出大海， 定影醒目的区域和火红的桅杆， 谱写着、深沉着、魅惑着夜晚。 啊，对秩序的神圣热望！幽灵般顾问， 创作家的热望将秩序赋予大海的语言， 朦胧星空下芳香之门的语言， 并关乎人类和我们的起源， 在鬼魂的神域中更加锐利。 【注】圣巴塞洛缪“农夫之子”教堂建于1903年，坐落在公园大道与五十一街的交汇处——古罗马“力量”的庄严与拜占庭“东罗马”的华丽在此交融：厚重石墙、圆润拱券、镶嵌画般的光影，让人仿佛穿越到君士坦丁堡“坚定之城”的黄金时代。它占据着全纽约最富有的教区之一，2020年疫情首年教徒捐献近280美元，信仰与财富在这座建筑里达成了一种微妙的平衡。走进礼拜堂，目光立刻被白色大理石主祭坛吸引，祭坛正面刻着“耶稣是生命食粮”——信仰的核心，每一次弥撒的中心。祭坛两侧，高耸的大理石柱构筑起庄严的石拱门，拱门上方镌刻着拉丁文铭文：“当打开宝藏时，人们向他赠送了礼物。”那是《马太福音》里东方三博士朝见耶稣的场景。拱门之内的《三博士朝圣》壁画中，一位智者被描绘为黑色皮肤——来自非洲的巴尔撒泽“愿神保佑国王”(Balthazar)，象征着救恩从开始便属于万国万民，他们手捧黄金、乳香、没药跪拜在圣母玛丽亚“挚爱”怀中的婴孩面前。拱门周围墙上画满精致垂饰，勾勒出耶稣从幼儿到 站在祭坛前，阳光从穹顶天窗洒落，照亮大理石的纹理与壁画的金边。那些1,900多年前发生在伯利恒“面包房”和马槽旁的事，被画在这座100多年历史的纽约教堂的墙壁上，让朝圣者和游客在同一束光里与时间对视。那些黑色皮肤、白色皮肤、不同面孔、不同口袋厚度的人走进来，都站在同样的石拱门下，看同一幅画里的同一个婴孩——财富的差距在门口没有消失，但在这里，它暂时被搁置了，像外套挂在椅背上，等弥撒结束再穿回去。天窗的光是免费的，不分教徒和游客，落在祭坛上也落在地板上，落在跪垫上也落在路过的鞋尖上，公平得像一位从不查收奉献袋的天使。 我站在礼拜堂的角落，看着那些大理石柱上的光痕从高处缓缓向下移动，像时间以能看见的速度在走路。那个巴尔撒泽在壁画里跪着，手捧没药，面部被镀上一层薄薄的金箔，即便在阴影里依然微微发亮。我不知道900年前画下他的无名画师是否真的见过非洲人，可他把那份“异乡人也来朝拜”的信念留在了这里，让每一个肤色不同、语言不同、宗教不同的人走进来，都能在那幅画里找到一个自己的位置。圣巴塞洛缪靠教区捐款维持着它的大理石和彩绘玻璃，而那些捐款里或许有财富也有怜悯，有虔敬也有虚荣，但此刻天窗的光把所有动机都洗成了同一种颜色——只是照着，不评判。我转身离开时，一个穿灰色大衣的中年男人正跪在祭坛前，额头抵在交叠的手背上，一动不动，像一尊正在向时间求援的雕像。他身后公园大道的车流正缓缓驶过，带着这个城市日常的分量，像一种属于尘世的、持续的祷告。 1980年，圣巴塞洛缪圣公会教堂载入《国家史迹名录》。 Today in History(历史上的今天): 2023: The World Is A Commonwealth, NYC(纽约城中华公所·天下为公) 2023: Line of Phantasy in Chinatown, NYC(纽约城·唐人街虚拟线条) 2023: A Beacon for the Catholic Faithful, NYC(纽约城天主教的灯塔) 2023: Museum @ Eldridge Street, NYC(纽约埃尔德里奇街博物馆·犹太教堂) 2023: Biggest Chinese Catholic Church in US(全美最大的华人天主教堂) 2023: Mahayana Temple in the Great Vehicle, NYC(纽约大乘·佛教寺) 2023: Times Sq, the World Crossroads NYC(纽约时代广场·世界十字路口) 2023: Yuletide Merriment @ Mid-Town, NYC(纽约中城·圣诞喜乐) 2023: St. Patrick's Cathedral, Largest in US(纽约圣帕特里克大教堂) 2023: Christmas Tree @ Rockefeller Ctr NYC(纽约洛克菲勒中心·圣诞树)
2023: Dior's Carousel of Dreams, NYC(纽约圣诞转盘·迪奥金色梦想) 2023: Chinatown & Little Italy, NYC(纽约市·华埠与小意大利城) 2016: Argumentative─For the Flavor(议论文─利益) 2013: Top of the World, Dubai, UAE(阿联酋迪拜世界之巅) 2010: 自己的事自己做(DIY) 
St Bart's Episcopal Church in Romanesque Revival & Byzantine Revival (1903) (圣巴塞洛缪圣公会教堂·建于1903年，古罗马与拜占庭复兴式风格 12-08-2023)  Façade Featuring the Resurrected French Romanesque Revival w/ Triple Portal
(重生的法国罗马复兴式正面·拥有三重门) 
Narthex w/ Meière's Mosaics of Gold Leaf & Glass on the Foyer Ceiling Depicting the Days of Creation This central section features the front vault depicting the Third Day, the back vault depicting the Fourth Day, and the center vault depicting the Fifth and Sixth Days (教堂前厅天花板上饰有高级金箔和镶嵌玻璃·描绘创世之日 前面拱顶描绘了第三天，后面拱顶描绘了第四天，中间拱顶描绘了第五天和第六天。) 
Main Sanctuary Consisted of a Nave & a Transept Forming a Latin Cross (主圣殿由中殿和耳堂组成，形成拉丁十字) 
Meière's Mosaics of Transfiguration in the Semi-Dome of the High Apse w/ Christ, Elijah, Moses, Peter, James, & John (主显圣容高级镶嵌图案·位于高后殿半圆拱顶上，绘制有基督与以利亚“主神耶和华”、摩西“拔出”、彼得“磐石”、詹姆斯“后继者”和约翰“神慈”圣徒)  Celestial Organ above Dome (穹顶上方的天体风琴)
Lectern or Amb (讲台) 
Transept @ the Southern Side, Featuring the Sanctus Window & Sun Cross in the Middle & Representing the Heart of God, Encircled by All in Heaven (耳堂南侧·中间有圣窗和太阳十字架，代表上帝之心被天堂里的所有人包围)  Gallery Division of the Organ Featuring Trompette en Chamade Silhouetted against the Te Deum Stained Glass Window
(管风琴画廊·以和谈长号吹奏为特色、在感恩颂赞彩窗上映衬出剪影) 
Clerestory Window w/ Benedicite in Stained Glass (1956) (建于1956年的彩色赞美玻璃天窗)  Chapel w/ an altar inscribed on the retable as I am the bread of life & a mural of The Adoration of the Magi within the archway
(礼拜堂·祭坛上刻着“耶稣是生命的食粮”拱门内《三博士朝圣》壁画 12-08-2023)  Baptismal Chamber features an Angel Font w/ Angel Praying towards the Vaulted Dome & Midhigh-Relief of the Last Supper
(洗礼室·设有天使圣洗池，天使向拱形圆顶祈祷和《最后的晚餐》的中高浮雕) 
Baptistry w/ Angel Praying (洗礼室·《天使显灵》12-08-2023) Crosslinks(相关博文): USA·New York(美国·纽约州)
USA(出游美国) |
