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.

—— • —— • —— • —— • —— • —— • —— • ——

【《骨島的秩序觀念》(1934)】

——1954年普利策詩歌獎

華萊士·史蒂文斯“異鄉人·花環”(1879生—1955卒)

【紅霞譯】

            她的歌聲比海神更有力量。

            海水從未形成思想或表述，

            就像一個完整的身軀，飄動着

            空蕩的袖子；然而它的模擬動作

            造成無盡的呼喊，無盡地引發呼喊，

            那不是我們的卻能為我們理解，

            非人類的，真實大海的呼喊。

            大海不是面具。她不再是她。

            並非摻了流水的歌聲

            即使她唱的就是她聽到的，

            畢竟她逐字逐句地唱。

            也許她的全部言語喚起了

            翻騰的海水與陣陣的海風；

            但我們聽到的是她的表述而不是大海的聲音。

            因為她是這歌聲的創作者。

            那片永遠罩蓋、擺出悽美姿態的大海

            僅是她邊走邊唱的地方。

            這是誰的精魂？誠如所言，因為我們知道

            是我們找尋的精魂而且

            隨着她的歌唱我們常會提及的問題。

            如果只是黑暗的聲音來自大海

            波起，甚至多彩的海浪；

            如果只是外部的聲音來自天空

            還有雲彩，或者環水的海底珊瑚，

            無論多麼清晰，將會醞釀深空的、

            低沉的聲音，夏季的聲音

            在無盡的夏季重複

            而這只是聲音。但事情還不止於此，

            甚至超過她的和我們的表述，就在

            海水和海風毫無意義的狂涌中，

            虛幻的遠方，青銅色調堆積在

            聳立的地平線上，巨大的景致

            盡在海天之間。

            是她的表述

            讓天空隨着黃昏消逝變得無比鋒芒。

            她捕捉其孤獨的時刻。

            她似乎創造了世界

            並能縱聲其間。當她歌唱的時候，大海，

            無論何等的性格，都變成了

            她的音樂性格，因為她是創作者。於是我們，

            一如看到她獨自漫步，

            意識到她從未擁有過世界

            除了她歌唱並在歌中創造的那個。

            顧問·冒險家之子，請告訴我，如果你知道，

            為何歌聲停止在我們轉身

            走向小鎮的時候，為何鏡面燈，

            是那兒埠上漁船的航標，

            一如夜幕降臨，傾斜在空中，

            掌控着黑夜並劃分出大海，

            定影醒目的區域和火紅的桅杆，

            譜寫着、深沉着、魅惑着夜晚。

            啊，對秩序的神聖熱望！幽靈般顧問，

            創作家的熱望將秩序賦予大海的語言，

            朦朧星空下芳香之門的語言，

            並關乎人類和我們的起源，

            在鬼魂的神域中更加銳利。

【注】聖巴塞洛繆“農夫之子”教堂建於1903年，建築本身深受古羅馬“力量”與拜占庭“東羅馬”復興式風格影響，而地理位置則占居全紐約最富有的教區之一，據報道，在2020年新冠疫情頭一年裡，教徒捐獻了高達近280萬美元。

禮拜堂內白色大理石的祭壇上刻着“耶穌是生命的食糧”，祭壇兩側的大理石柱構築石拱門，拱門周圍銘文：“當打開寶藏時，人們向他贈送了禮物”；拱門內有一幅《三博士朝聖》壁畫，正如某些中世紀繪畫中展示同一場景那樣，智者被描繪為黑色；拱門周圍的牆上畫有垂飾，勾勒了耶穌從幼兒期到少年時代的場景。

1980年，農夫之子使徒聖公會被納入《美國國家史跡名錄》。

Today in History(歷史上的今天):

2023: The World Is A Commonwealth, NYC(紐約城中華公所·天下為公)

2023: Line of Phantasy in Chinatown, NYC(紐約城·唐人街虛擬線條)

2023: A Beacon for the Catholic Faithful, NYC(紐約城天主教的燈塔)

2023: Museum @ Eldridge Street, NYC(紐約埃爾德里奇街博物館·猶太教堂)

2023: Biggest Chinese Catholic Church in US(全美最大的華人天主教堂)

2023: Mahayana Temple in the Great Vehicle, NYC(紐約大乘·佛教寺)

2023: Times Sq, the World Crossroads NYC(紐約時代廣場·世界十字路口)

2023: Yuletide Merriment @ Mid-Town, NYC(紐約中城·聖誕喜樂)

2023: St. Patrick's Cathedral, Largest in US(紐約聖帕特里克大教堂)

2023: Christmas Tree @ Rockefeller Ctr NYC(紐約洛克菲勒中心·聖誕樹)

2023: Dior's Carousel of Dreams, NYC(紐約聖誕轉盤·迪奧金色夢想)

2023: Chinatown & Little Italy, NYC(紐約市·華埠與小意大利城)

2016: Argumentative─For the Flavor(議論文─利益)

2013: Top of the World, Dubai, UAE(阿聯酋迪拜世界之巔)

2010: 自己的事自己做(DIY)

St Bart's Episcopal Church in Romanesque Revival & Byzantine Revival (1903) 

(聖巴塞洛繆聖公會教堂·建於1903年，古羅馬與拜占庭復興式風格 12-08-2023)

Façade Featuring the Resurrected French Romanesque Revival w/ Triple Portal

(重生的法國羅馬復興式正面·擁有三重門)

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

(教堂前廳天花板上飾有高級金箔和鑲嵌玻璃·描繪創世之日

前面拱頂描繪了第三天，後面拱頂描繪了第四天，中間拱頂描繪了第五天和第六天。)

Main Sanctuary Consisted of a Nave & a Transept Forming a Latin Cross

(主聖殿由中殿和耳堂組成，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

(主顯聖容高級鑲嵌圖案·位於高后殿半圓拱頂上，繪製有基督與以利亞“主神耶和華”、摩西“拔出”、彼得“磐石”、詹姆斯“後繼者”和約翰“神慈”聖徒)

Celestial Organ above Dome (穹頂上方的天體風琴)

Lectern or Amb (講台)

Transept @ the Southern Side, Featuring the Sanctus Window & Sun Cross in the Middle & Representing the Heart of God, Encircled by All in Heaven

(耳堂南側·中間有聖窗和太陽十字架，代表上帝之心被天堂里的所有人包圍)

Gallery Division of the Organ Featuring Trompette en Chamade Silhouetted against the Te Deum Stained Glass Window

(管風琴畫廊·以和談長號吹奏為特色、在感恩頌讚彩窗上映襯出剪影)

Clerestory Window w/ Benedicite in Stained Glass (1956)

(建於1956年的彩色讚美玻璃天窗)

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

(禮拜堂·祭壇上刻着“耶穌是生命的食糧”拱門內《三博士朝聖》壁畫 12-08-2023)

Baptismal Chamber features an Angel Font w/ Angel Praying towards the Vaulted Dome & Midhigh-Relief of the Last Supper

(洗禮室·設有天使聖洗池，天使向拱形圓頂祈禱和《最後的晚餐》的中高浮雕)

Baptistry w/ Angel Praying (洗禮室·《天使顯靈》12-08-2023)

Crosslinks(相關博文):

USA·New York(美國·紐約州)

USA(出遊美國)