Double Rings Unchained "Memories of the Alhambra"

何威廉

Tune: Double Rings Unchained

Memories of the Alhambra

By William He

In the hedgerow of cottage-hill,

On the wall of the forsaken castle,

Heaven hath her golden bough.

Sheer scale and grandeur,

Cursive and kufic writings engraved,

Sarcogyps calvus is curious,

Melted silver flows through the pearls.

Dazzling Myrtles, fuchsia and purple,

In Patio de los Arrayanes,

They all in low spirits many a time.

Moorish lattice of my dreams,

I excel through the generosity of,

The imam Muhammad for all.

Heroic bosom beats no more in the mirador.

Degenerating into Tarrega's hands,

The rhythm divine chords in those days.

Time and fantasies are fermenting,

Amusement dissipates the nostalgia,

Duero River no longer flowing backwards,

The magic sink deep within year by year.

Infidel might efface the moon,

In the sight of Khamsa,

Satan is creating bad blood.

Some Sigh for prophet's Paradise,

Wandering about in the vault of the sky.

解连环

阿尔罕布拉宫回忆

作者：何威廉

野林罗幔。

正楼台夕照，

掩荫丘甸。

七叠门，

雕柱镌铭，

黑鹫对、

狮庭曳泉流溅。

琼苑金娘，

怅红堡、

销沉凄惋。

昔回廊满月，

洞彻紫冥，

忏拔灵唤。

珠帘玉舆靖献。

念弹弦暖响，

霓袖鸾殿。

只景光、

封恨歌云，

似杜水西流，

曼吟无倦。

惊梦孤山，

法蒂玛，

清宵余怨。

又几声叹息，

深浅几分惑眩。

Note:

“Golden bough”: One of the most famous paintings by Joseph Mallord William Turner. The painting incident in the Aeneid Frazer attempted to define the shared elements of religious belief and scientific thought, discussing fertility rites, human sacrifice, the dying god, the scapegoat, and many other symbols and practices whose influences had extended into 20th-century culture.

“Tarrega”: Francisco Tarrega was a Spanish composer and classical guitarist of the Romantic period. He is known for such pieces as Recuerdos de la Alhambra. He is often called "the father of classical guitar" and is considered one of the greatest guitarists of all time.

"Rhythm Divine": A song by Spanish recording artist Enrique Iglesias, taken from his fourth studio album and debut English-language record Enrique. It was released on 9 October 1999 by Interscope Records as the second single from the project. The song was written by Paul Barry and Mark Taylor, while production was handled by Taylor and Brian Rawling. An accompanying music video was directed by Francis Lawrence. The single sold over 3 million copies in 2000.

“Khamsa”: The hamsa is a palm-shaped amulet popular throughout the Middle East and North Africa and commonly used in jewelry and wall hangings. Depicting the open right hand, an image recognized and used as a sign of protection in many times throughout history, the hamsa is believed by some, predominantly Muslims and Jews, to provide defense against the evil eye. It has been theorized that its origins lie in Ancient Egypt or Carthage and may have been associated with the Goddess Tanit.

"Some sigh": "The Moor's Last Sigh" is the fifth novel by Salman Rushdie, published in 1995. Moraes 'Moor' Zogoiby is a 'high-born crossbreed', the last surviving scion of a dynasty of Cochinise spice merchants and crime lords. He is also a compulsive storyteller and an exile. Moraes 'Moor' Zogoiby is a 'high-born crossbreed', the last surviving scion of a dynasty of Cochinise spice merchants and crime lords.

《中国诗歌网-风雅版》链接：http://bbs.yzs.com/thread-876328-1-4.html

AiHai-何海

野林罗幔。
正楼台夕照，
掩荫丘甸。
七叠门，
雕柱镌铭，
黑鹫对、
狮庭曳泉流溅。
琼苑金娘，
怅红堡、
销沉凄惋。
昔回廊满月，
洞彻紫冥，
忏拔灵唤。

欣赏大作，文功深厚，词韵高雅，华诗世咏，问好何老师！

何威廉

In the hedgerow of cottage-hill, on the wall of the forsaken castle, heaven hath her golden bough......

冉瑞峡

欣赏诗友佳作！问好！点赞！

何威廉

冉瑞峡 发表于 2019-11-7 21:37
欣赏诗友佳作！问好！点赞！

谢冉老师雅赞。恭祝文祺！

何威廉

AiHai-何海 发表于 2019-11-7 17:49
野林罗幔。
正楼台夕照，
掩荫丘甸。

感谢何大诗人的不断鼓励。

何威廉

再次应英国上议院终身贵族托斯科特勋爵的要求，将《解连环•阿尔罕布拉宫回忆》译成英文。感谢托斯科特勋爵精心点评并在英国圈内传阅拙作英文本。
（以下是中文翻译件）：

何先生：
伟大的诗篇。我虽然不曾亲临阿尔罕布拉宫，但看到很多图片并去过西班牙多次。自从伊莎贝拉女王和斐迪南国王结束摩尔人的统治以来，摩尔文化一直对西班牙有重大的影响，阿尔罕布拉宫是异国风情的杰作。伊斯兰在伊比利亚半岛曾经的统治，对西班牙的建筑、社会以及文化都产生了深远的影响。阿尔罕布拉宫 的著名庭院是世界奇迹之一。我认为，大作把阿尔罕布拉宫蕴涵的宗教力量、美轮美奂和神秘色彩展现得惟妙惟肖。我现在仿佛身临其境！
最诚挚的问候
托斯科特勋爵
2019年11月8日

托斯科特勋爵是牛津大学哲学博士，英国上议院终身贵族，英国政府前负责能源事务的国务部长，现任英国议会俄罗斯和独联体关系委员会主席。托斯科特勋爵同时也是英国著名作家。

何威廉

解连环
作者：吕碧城
绮霞弥漫。任盈盈小影。水天幽占。做几多。画本诗材。把岚翠闲收。湖漪轻剪。何处飞仙。指风送。东溟三万。尽相逢一笑。莫论主宾。休问胡汉。　　
归辽待寻鹤梦。料沧桑故国。几度催换。且蹉跎。老我浮生。有晚雾蛮花。夜霜羌管。酒醒今宵。怕明月。隔帘流眄。按清歌。寄愁未得。寸心自远。

何威廉

"我翻译中文诗歌的时候，非常注意原文的形式和节奏。可是无论多么熟练的翻译家也不会把传统的绝句或者律诗的诗律译成外文。翻译家面对的问题很多：四声在绝句和律诗所起的作用很重要。因为外文没有声调，中国近体诗的平仄的对比，当然没有办法译成外文。古代的汉语是一个单音节的语言。因此，每行的停顿有一定的位置。（五言绝句中，在每行第二个音节后；七言绝句，每行有两个停顿，在第二个音节之后，有一个比较短的停顿，在第四个音节之后，有一个比较长的停顿。）那种规律的格式当然也译不过来。律诗里头那非常精美的对偶句也不容易译成外文。---马悦然: “在复旦大学的讲座---我为什么翻译特翁的诗歌” 2012年10月24日（新闻频道-和讯网）

"......杨宪益早期的诗歌，追求以诗译诗，采取译诗的格律体。后来，他觉得这样吃力不讨好，就改用自由体译诗，以便最大限度地呈现原文的文化内涵和诗意内容。就当下国内的古诗英译而言，格律体译者占据压倒多数。他们的译诗，多国内学者的自我欣赏，甚至相互吹捧，却不顾及英语读者的阅读感受和阅读效果。杨宪益在诗歌翻译上从诗体译诗到散体译诗的转变，可为当下国内的汉诗英译，带来一些启示和反思"。---引自张智中：“中国文学英译怎么办?---《杨宪益翻译研究》的启示”---《外国语言文化》2019年第2期

马丁梦曲

杜水西流，曼吟无倦。惊梦孤山，清宵余怨。几声叹息，几分惑眩。
先生才情，无可比拟，赏学佳句，为君击节！