Dreamcatcher 2003 诗歌
捕梦

Just saw the movie Dream Catcher based on Stephen king’s novel. I love the title which is an Indian charm called dream catcher. In American Indian folklore, the dream catcher can catch all the nightmares.

我喜欢在你的掌上起舞
在你的肋间弹琴
再 
让手指漫步山坡
蜿蜒到你茂密的黑森林
你的气息呀，你神秘的芬芳
让我吸你的香入眠
倦怠的鸽子停歇在花瓣上

让无梦的夜短些吧
我要听我的爱人
在清晨时的梦呓
看她在甜睡中红红的唇
我喜欢在你的枕上 
建一座城堡
把你日夜守护 
不让食梦的兽
爬上无守卫的城墙
打开城门 让你披白衣逃遁

那不经意的 
一转身
梦里的妖精展开翅膀
在城洞里飞 
我张皇失措
大声喊叫 
你却已经踪影难寻
天旋地转的那一刻 
奋力捉梦里的妖精
终于抓了一条腿
放入滚锅清蒸
她却变成青鱼 
一跃而起
脑门滚烫 梦醒

诗和远方，都去过了，
比诗还远
只要你不在名利中苟且
诗与远方就在眼前

拜伦的诗歌中，这首我最喜欢。拜伦是纨绔，游戏爱情？还是孤独得寻不到那个懂得他的人。再或者，他太过自恋，他已经丧失了爱人的能力，再或者，一个把爱献给诗歌艺术的，所有的女人只能是缪斯，而无法成为soulmate？ 在爱情上，拜伦远没有王尔德勇敢。虽然王尔德看上去对爱情婚姻家庭更加玩世不恭。

我们先读前两段诗行：
I cannot talk of Love to thee,
Though thou art young and free and fair!
There is a spell thou dost not see,
That bids a genuine love despair.
II
And yet that spell invites each youth,
For thee to sigh, or seem to sigh;
Makes falsehood wear the garb of truth,
And Truth itself appear a lie.

These are the opening words of ‘Love and Gold’, a poem structured in nine four-line stanzas (quatrains), using iambic tetrameter rhythm, and alternate rhyme (abab). It was probably written in the summer of 1813, and its theme is the potential danger involved in courtship. The speaker warns that a rich woman might attract duplicitous, sycophantic suitors motivated merely by money (see the reference in l.20 to Plutus, the god of wealth in ancient Greece). She needs to be on her guard – even against him: ‘Admit not Love into thy breast,/Doubt others’ love, nor trust in mine’ (ll.11-12). The candid and seemingly concerned poet asks how a lady can be sure of ‘genuine love’ (l.4) when a man appears to revere her and worship at her ‘shrine’ (l.22). Using a chilling metaphor, in the closing stanzas the poet compares her to a sacrificial victim being led to the altar (ll.31-32).

In turns, Byron could be facetious and barbed or compassionate and sensitive. His personal contradictions reflect a fundamental tension in Romanticism: a sense of the limitless potential of mankind, but also an acute awareness that existence is transitory and ideals may not be attainable. Childe Harold described the wanderings of a young, disillusioned man and set a trend for a literary stereotype: the melancholy, dark, brooding, rebellious ‘Byronic hero’ who seemed to represent his generation.