一直就想进入艾略特的诗歌世界，但初读荒原，感觉很难进入。但没想到一拿起汤永宽译的《四个四重奏》便立刻被吸引了。艾略特将对现实的批评性、深刻的哲理、东方式的辩证融为一体，纳入一个宏大的抒情结构中，如洪钟大吕，给人无比的震撼。这样的触动我只有在莎士比亚的诗剧和但丁的《神曲》中感受曾感受到。那种恢弘、广阔和穿透力，让人叹为观止。
我感觉通过原文来进一步深入其中是非常必要的，于是在网上找到原文，我开始通过自己的方式进入——
另：翻译的过程中很多地方都参照了汤永宽的译文。
先发第一篇。
1.Burnt Norton
Ⅰ.
Time present and time past
Are both perhaps present in time future
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden. My words echo
Thus, in your mind.
But to what purpose
Disturbing the dust on a bowl of rose-leaves
I do not know.
Other echoes
Inhabit the garden. Shall we follow?
Quick, said the bird, find them, find them,
Round the corner. Through the first gate,
Into our first world, shall we follow
The deception of the thrush? Into our first world.
There they were, dignified, invisible,
Moving without pressure, over the dead leaves,
In the autumn heat, through the vibrant air,
And the bird called, in response to
The unheard music hidden in the shrubbery,
And the unseen eyebeam crossed, for the roses
Had the look of flowers that are looked at.
There they were as our guests, accepted and accepting.
So we moved, and they, in a formal pattern,
Along the empty alley, into the box circle,
To look down into the drained pool.
Dry the pool, dry concrete, brown edged,
And the pool was filled with water out of sunlight,
And the lotos rose, quietly, quietly,
The surface glittered out of heart of light,
And they were behind us, reflected in the pool.
Then a cloud passed, and the pool was empty.
Go, said the bird, for the leaves were full of children,
Hidden excitedly, containing laughter.
Go, go, go, said the bird: human kind
Cannot bear very much reality.
Time past and time future
What might have been and what has been
Point to one end, which is always present.
第一篇：焚毁的诺顿
一．
现在的与过去的时间
都可能存在于未来的时间中
未来的时间已包含着过去。
如果所有的时间都永不消失
那所有的时间也都无可挽留。
可能曾经存在的事物也许只是一抹抽象
在世界的影像中，
永远保存着一种真实的可能。
那曾经可能存在的与已经存在的
指向一个一直存在着的终点。
脚步声回响在记忆中
走向那条我们从未走过的路，
通往那道我们从未打开的
玫瑰园的门。于是，我的话
回响在你的脑海。
但出于什么缘由
要去惊扰起一碗玫瑰花瓣上的尘土？
我不知道
别的回声
也栖息于这花园。我们要跟上它吗？
快，鸟儿说，找到它们，找到它们，
在花园的角落里。穿过第一道门
进入我们的第一个世界，我们要追随
那画眉鸟的诡计？进入我们的第一个世界。
它们在那里，庄严而无形，
无痕地飘过枯死的叶子，
在秋热中，穿过振动的空气，
鸟儿鸣叫着，应和着
那隐藏在灌木丛中的无声的音乐。
不可见的一瞥闪过，因为玫瑰
露出被人看到过的神色。
那里，它们作为客人被我们接待，并接待我们。
我们继续前行，——它们严肃有礼
站在空空的小径两旁——进入黄杨木围栏，
俯视被抽干的水池。
干涸的水池，干燥的水泥，褐色的池沿，
水池慢慢地注满阳光下不可见的水，
睡莲升起来，静静地，
水面闪烁，在内心的光芒之外，
它们在我们身后，在水池中留下倒影。
一块云飘过，水池空了。
去吧，鸟儿说，因为树叶里装满了童年，
藏着兴奋，还有笑声。
去吧，去吧，去吧，鸟儿说，人们
承受不了太多的现实。
过去和未来
那可能存在过的和已经存在的
指向同一个一直存在着的终点。
Ⅱ.
Garlic and sapphires in the mud
Clot the bedded axle-tree.
The thrilling wire in the blood
Sings below inveterate scars
Appeasing long forgotten wars.
The dance along the artery
The circulation of the lymph
Are figured in the drift of stars
Ascend to summer in the tree
We move above the moving tree
In light upon the figured leaf
And hear upon the sodden floor
Below, the boarhound and the boar
Pursue their pattern as before
But reconciled among the stars.
At the still point of the turning world.
Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement.
And do not call it fixity,
Where past and future are gathered.
Neither movement from nor towards,
Neither ascent nor decline.
Except for the point, the still point,
There would be no dance, and there is only the dance.
I can only say, there we have been: but I cannot say where.
And I cannot say, how long, for that is to place it in time.
The inner freedom from the practical desire,
The release from action and suffering, release from the inner
And the outer compulsion, yet surrounded
By a grace of sense, a white light still and moving,
Erhebung without motion, concentration
Without elimination, both a new world
And the old made explicit, understood
In the completion of its partial ecstasy,
The resolution of its partial horror.
Yet the enchainment of past and future
Woven in the weakness of the changing body,
Protects mankind from heaven and damnation
Which flesh cannot endure.
Time past and time future
Allow but a little consciousness.
To be conscious is not to be in time
But only in time can the moment in the rose-garden,
The moment in the arbour where the rain beat,
The moment in the draughty church at smokefall
Be remembered; involved with past and future.
Only through time time is conquered.
二．
大蒜和蓝宝石陷入泥里
阻塞了马车的轮轴。
颤抖的血液中的琴弦
在顽固的伤疤下歌唱
平息着那久已忘却的战争。
动脉里的舞蹈
淋巴中的循环
被定格于星辰的漂流中
在树梢中攀向夏天
我们在移动的树的上空移动
在斑驳的树叶上的光芒里
我们在潮湿的地面上方倾听
下面，猎犬和野猪
延续古老的生存模式
却在星群中归于和解。
在旋转的世界的静止点上。
没有肉体，也没有精灵；
没有来处，也没有去向；在那静止点上，只有舞蹈，
没有追捕，也没有逃离。
也不要说是一成不变，
当过去与未来相聚
既无来处，也无去向，
既无上升，也无下降
这一点——静止的一点——之外，
世界上没有舞蹈；这里只有舞蹈。
我才可以说，我们存在着；但我说不出是哪里。
也说不出，有多久；因为它被置于时间之中。
从现世欲望中脱身而出的自由，
从奔波与苦难中获得解脱，内在的解脱，
虽然身外的逼迫，依然环绕，
在恩宠的笼罩下，一道白光在静止中挪移，
上升但无须运动，凝缩
但无须消减，
在它独特的狂喜中
当它特有的恐惧的消散时，新的世界
与旧世界直接达成谅解。
过去与未来的链条依然
在编织，在柔弱的不断变化的身体中，
保护人类远离天堂和诅咒，
肉体无法承受它们。
过往和未来的时间
都只接纳一点意识。
意识不等于处于时间之中
但只有在时间之中，玫瑰花园中的时刻，
被风吹打的凉亭中的时刻，
畅通的教堂笼罩在烟雾中的时刻
才被记住；过去与未来交汇。
只有通过时间，时间才被征服。
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