譯/愛(ài)藝

《圣阿格尼絲之夜》

譯/愛(ài)藝

The Eve of St Agnes

此畫(huà)（布面油畫(huà)，底板：71厘米×124.5厘米，畫(huà)框：101厘米×154.5厘米×10厘米，1856。圖見(jiàn)本期封底）的創(chuàng)作靈感來(lái)自約翰·濟(jì)慈出版于1820年的長(zhǎng)詩(shī)《圣阿格尼絲之夜》。阿瑟·休斯的這幅三聯(lián)畫(huà)選取的是詩(shī)中描繪的三個(gè)場(chǎng)景：波爾菲羅來(lái)到城堡，那里正在舉行盛大的宴會(huì)（左）；他把馬德琳從夢(mèng)中喚醒（中）；這對(duì)戀人從醉倒的守門(mén)人身邊偷偷逃走（右）。

[2]以下詩(shī)行就用油彩寫(xiě)在原配黃金畫(huà)框的底部：

乳媼說(shuō)，在圣亞尼節(jié)的前夕，

姑娘們都能看到戀人的影相，

只要她們遵守正確的儀式，

在甜蜜的午夜，她們的情郎

就會(huì)在夢(mèng)中對(duì)她們情話綿綿；

她們必須不吃晚餐就上床，

將百合似的玉體仰臥朝天，

不準(zhǔn)斜視或后顧，只面對(duì)天堂，

只對(duì)上天默念她們的一切愿望。1此段譯文選自穆旦譯《圣亞尼節(jié)前夕》第6節(jié)。圣亞尼節(jié)即圣阿格尼絲節(jié)，為1月21日。圣阿格尼絲，也作圣艾格尼絲，是基督教敬奉的童貞女和殉道者。Agnes一詞源自希臘語(yǔ)，意為“純潔”。

[3]雖然三幅場(chǎng)景畫(huà)在一張畫(huà)布上，但每一幅都有簽名和日期。此畫(huà)還有一版未標(biāo)日期的小幅油畫(huà)版本，單獨(dú)的三部分以三聯(lián)畫(huà)形式裝裱，藏于牛津大學(xué)阿什莫爾博物館。阿什莫爾版與泰特美術(shù)館收藏的這版畫(huà)作構(gòu)圖相似，唯一不同的是左邊那幅。與泰特版相比，阿什莫爾三聯(lián)畫(huà)版描繪的是稍后的一個(gè)場(chǎng)景——波爾菲羅在門(mén)口遇見(jiàn)年邁的安吉拉。

[4]此畫(huà)于1856年在皇家美術(shù)學(xué)院展出，休斯的另一幅畫(huà)《四月之戀》同年首展。評(píng)論家約翰·拉斯金將此畫(huà)描述為“一幅卓越的畫(huà)作……驚醒的馬德琳面容精致，顯得神思恍惚又震驚不已”。羅塞蒂認(rèn)為，這幅畫(huà)會(huì)“讓休斯功成名就”。 □

This work (oil on canvas, support:71cm×124.5cm, frame: 101cm×154.5cm×10cm, 1856) was inspired by John Keats’s poemThe Eve of St Agneswhich was published in 1820. Arthur Hughes’s triptych depicts three scenes from the poem: Porphyro’s approach to the castle, where a lavish banquet is in progress (left); his awakening of Madeline from her dreams (centre);and the lovers’ stealthy escape over the drunken porter (right).

[2] The following lines from the poem are written in paint at the bottom of the original gold frame:

They told her how, upon St Agnes’Eve,

Young virgins might have visions of delight,

And soft adorings from their loves receive

Upon the honey’d middle of the night.

If ceremonies due they did aright,

As, supperless to bed they must retire,

And couch supine their beauties lilywhite,

Nor look behind, nor sideways, but require

Of heaven with upward eyes for all that they desire.

[3] Although painted on one canvas,each of the three scenes has been signed and dated. A small, undated oil version of the composition exists in three sections, mounted as a triptych(Ashmolean Museum, Oxford). The Ashmolean version is similar in composition to the Tate’s painting, with the exception of the left scene. The Ashmolean triptych portrays a later incident, that of Porphyro’s meeting with the aged Angela2濟(jì)慈敘事長(zhǎng)詩(shī)中小姐馬德琳的奶娘。at the portal doors.

[4] The painting was exhibited at the Royal Academy in 1856, the same year as Hughes’sApril Love.The critic John Ruskin described it as“a noble picture... the half-entranced,half-startled, face of the awakening Madeline is exquisite”. Rossetti felt that the picture would “make [Hughes’s]fortune”. ■