豐子愷《秋》英譯

豐子愷《秋》

我的年歲上冠用了“三十”二字，至今已兩年了。不解達觀的我，從這兩個字上受到了不少的暗示與影響。雖然明明覺得自己的體格與精力比二十九歲時全然沒有什麼差異，但“三十”這一個觀念籠在頭上，猶之張了一頂陽傘，使我的全身蒙了一個暗淡色的陰影，又彷彿在日曆上撕過了立秋的一頁以後，雖然太陽的炎威依然沒有減卻，寒暑表上的熱度依然沒有降低，然而只當得餘威與殘暑，或霜降木落的先驅，大地的節候已從今移交於秋了。

實際，我兩年來的心情與秋最容易調和而融合。這情形與從前不同。在往年，我只慕春天。我最歡喜楊柳與燕子。尤其歡喜初染鵝黃的嫩柳。我曾經名自己的寓居為“小楊柳屋”，曾經畫了許多楊柳燕子的畫，又曾經摘取秀長的柳葉，在厚紙上裱成各種風調的眉，想象這等眉的所有者的顏貌，而在其下面添描出眼鼻與口。那時候我每逢早春時節，正月二月之交，看見楊柳枝的線條上掛了細珠，帶了隱隱的青色而“遙看近卻無”的時候，我心中便充滿了一種狂喜，這狂喜又立刻變成焦慮，似乎常常在說：“春來了！不要放過！趕快設法招待它，享樂它，永遠留住它。”我讀了”良辰美景奈何天”等句，曾經真心地感動。以為古人都太息一春的虛度。前車可鑑！到我手裡決不放它空過了。最是逢到了古人惋惜最深的寒食清明，我心中的焦灼便更甚。那一天我總想有一種足以充分酬償這佳節的舉行。我準擬作詩，作畫，或痛飲，漫遊。雖然大多不被實行；或實行而全無效果，反而中了酒，鬧了事，換得了不快的回憶；但我總不灰心，總覺得春的可戀。我心中似乎只有知道春，別的三季在我都當作春的預備，或待春的休息時間，全然不曾注意到它們的存在與意義。而對於秋，尤無感覺：因為夏連續在春的後面，在我可當作春的過剩；冬先行春的前面，在我可當作春的準備；獨有與春全無關聯的秋，在我心中一向沒有它的位置。

自從我的年齡告了立秋以後，兩年來的心境完全轉了一個方向，也變成秋天了。然而情形與前不同：並不是在秋日感到像昔日的狂喜與焦灼。我只覺得一到秋天，自己的心境便十分調和。非但沒有那種狂喜與焦灼，直常常被秋風秋雨秋色秋光所吸引而融化在秋中，暫時失卻了自己的所在。而對於春，又並非像昔日對於秋的無感覺。我現在對於春非常厭惡。每當永珍回春的時候，看到群花的鬥豔，蜂蝶的擾攘，以及草木昆蟲等到處爭先恐後地滋生繁殖的狀態，我覺得天地間的凡庸，貪婪，無恥，與愚痴，無過於此了！尤其是在青春的時候，看到柳條上掛了隱隱的綠珠，桃枝上著了點點的紅斑，最使我覺得可笑又可憐。我想喚醒一個花蕊來對它說：“啊！你也來反覆這老調了！我眼看見你的無數的祖先，個個同你一樣地出世，個個努力發展，爭榮競秀；不久沒有一個不憔悴而化泥塵。你何苦也來反覆這老調呢？如今你已長了這孽根，將來看你弄嬌弄豔，裝笑裝顰，招致了蹂躪，摧殘，攀折之苦，而步你的祖先們的後塵！”

實際，迎送了三十幾次的春來春去的人，對於花事早已看得厭倦，感覺已經麻木，熱情已經冷卻，決不會再像初見世面的青年少女地為花的幻姿所誘惑而贊之，嘆之，憐之，惜之了。況且天地萬物，沒有一件逃得出榮枯，盛衰，生滅，有無之理。過去的歷史昭然地證明著這一點，無須我們再說。古來無數的詩人千遍一律地為傷春惜花費詞，這種效顰也覺得可厭。假如要我對於世間的生榮死滅費一點詞，我覺得生榮不足道，而寧願歡喜讚歎一切的死滅。對於死者的貪婪，愚昧，與怯弱，後者的態度何等謙遜，悟達，而偉大！我對於春與秋的舍取，也是為了這一點。

夏目漱石三十歲的時候，曾經這樣說：“人生二十而知有生的利益；二十五而知有明之處必有暗；至於三十的今日，更知明多之處暗亦多，歡濃之時愁亦重。”我現在對於這話也深抱同感；有時又覺得三十的特徵不止這一端，其更特殊的是對於死的體感。青年們戀愛不遂的時候慣說生生死死，然而這不過是知有“死”的一回事而已，不是體感。猶之在飲冰揮扇的夏日，不能體感到圍爐擁衾的冬夜的滋味。就是我們閱歷了三十幾度寒暑的人，在前幾天的炎陽之下也無論如何感不到浴日的滋味。圍爐，擁衾，浴日等事，在夏天的人的心中只是一種空虛的知識，不過曉得將來須有這些事而已，但是不能體感它們的滋味。須得入了秋天，炎陽逞盡了威勢而漸漸退卻，汗水浸胖了的肌膚漸漸收縮，身穿單衣似乎要打寒噤，而手觸法郎絨覺得快適的時候，於是圍爐、擁衾，浴日等知識方能漸漸融入體驗界中而化為體感。我的年齡告了立秋以後，心境中所起的最特殊的狀態便是這對於“死”的體感。以前我的思慮真疏淺！以為春可以常在人間，人可以永在青年，竟完全沒有想到死。又以為人生的意義只在於生，我的一生最有意義，似乎我是不會死的。直到現在，仗了秋的慈光的鑑照，死的靈氣鍾育，才知道生的甘苦悲歡，是天地間反覆過億萬次的老調，又何足珍惜？我但求此生的平安的度送與脫出而已。猶之罹了瘋狂的人，病中的顛倒迷離何足計較？但求其去病而已。

我正要擱筆，忽然西窗外黑雲瀰漫，天際閃出一道電光，發出隱隱的雷聲，驟然灑下一陣夾著冰雹的秋雨。啊！原來立秋過得不多天，秋心稚嫩而未曾老練，不免還有這種不調和的現象，可怕哉！

Autumn

It is now two years since my year of age carried the prefix “thirty”。 Never one to take things

philosophically

， I have felt the influence and intimations of this world in several ways。 Though I am fully aware that in health and spirits I am in no way different from what I was at the age of twenty-nine， this notion of “thirty” hangs over my head。 It is like the opening of a parasol that casts one in dark

shade

， or like the tearing off of the page that marks the first day of autumn from the

calendar

： although the sun‘s power has not

diminished

， and the thermometer’s reading has not dropped， one thinks of it only as

fading

strength or swan song， or as the

prelude

to frost and leaf-fall； from now on the natural world has shifted to the autumn season。

In truth my mood over the last two years has been of a kind to

harmonize

or

blend

with autumn。 This is a change。 In years gone by I only hankered after spring。 I loved willows and swallows。 Especially the young willow wands newly tinged with gosling yellow。 I named my lodging “Little Willow Hut”， and did lots of paintings of willows and swallows， and also cut

slender

willow shoots and mounted them on cartridge paper as different styles of

eyebrow

， imagined the faces that would go with those eyebrows， and sketched in eyes， nose and mouth below them。 At the first signs of spring in those days， around the end of the first month by the lunar

calendar

， when I saw tiny knobs breaking the

smooth

lines of the willow branches， with a suggestion of green that seemed to

vanish

close up， my heart was filled with delirious joy。 But this joy immediately turned to

anxiety

， as if I was always telling myself： “Spring has come！ Don‘t let it go by！ Quick， think how to

entertain

it， enjoy it， keep it with you for ever。” I had been genuinely moved by such lines as “The golden hour， the beautiful

scene

， alas the ravages of time”； I took to heart the lesson of our forebears when they sighed over spring passing neglected。 Now it was in my hands， I vowed it should not go by in

vain

！ When the Qingming Festival， that time of deepest sorrowing for our forefathers， came around， my

anxiety

was intensified。 I always wanted to make that day an occasion， so as to

render

fitting

tribute

to the season。 I planned to write poems， do paintings， or go on a binge or an excursion。 Although most of those plans were not carried out， or if carried out proved entirely fruitless， resulting adversely in drunken

stupor

， disturbances， and

unhappy

memories， yet I was never discouraged， and always felt spring was lovable。

To my mind spring was the only season。 The other three were either the preparation for spring， or the

interval

when spring was awaited。 I completely ignored their existence and meaning。 I was especially

indifferent

to autumn， because summer succeeded spring， and I could see it as spring taken to

excess

； winter preceded spring， and so could be seen as making ready for spring； but autumn had no connection at all with spring， and so had no place in my mind。

In the two years since my year of age reached the start of autumn on life’s

calendar

my mindset has had an entirely different

orientation

： it has become autumn too。 But my state is different

orientation

： it has become autumn too。 But my state is different from what it was， I do not feel in autumn the

extravagant

joy and

anxiety

of former days。 I just feel when autumn comes round that my state of mind is perfectly attuned to it。 Not only has that joy and

anxiety

left me， I am often drawn by autumn wind， autumn rain， autumn colors and shades， into melting into the season， and losing for a time my own

identity

。 What‘s more， my attitude to spring is not the

indifference

that I formerly felt for autumn。 I now detest spring。 Whenever the myriad signs of spring appear， and I see the beauty

pageant

of flowers， the bustle of bees and butterflies， and everywhere the mad rush of plants， insects and other things to

multiply

and procreate， it seems to me that nothing could better

illustrate

the

vulgarity

，

greed

， shamelessness and senselessness of this world。 Particularly when in the first

flush

of spring I see the

hint

of green knobs on the willow branches， and the speckling of red petals on the

peach

trees， I find it both

ridiculous

and pathetic。 I want to wake up a flower

bud

and tell it， “So， you’ve come too to replay that old

refrain

！ I‘ve seen with my own eyes countless ancestors of your being born like you， and

striving

each and every one to outdo the others in

splendor

； not one of them hasn’t withered and turned to dust。 What is the point of you too repeating that old

refrain

？ Born into

sin

， what does the future hold？ You‘ll drink and

posture

and play the

flirt

， and what you’ll get for your trouble is being trampled and crushed and broken off， the same fate as all your ancestors suffered！”

To face facts， someone who has welcomed and seen off thirty-odd springs gets thoroughly fed up with the business of flowers： his senses are numbed， his

passion

is cooked。 He will not be bewitched like a young virgin seeing the world for the first time by the magic of flowers， and praise them， sigh over them， take

pity

on them，

mourn

them。 For of all things under the sun there is not one that escapes the law of flowering and

fading

， growing and decaying， living and dying， being and not being。 Past history amply proves this point； we need not say more。 Countless poets down the ages have written reams of verses， all like， to express their sorrow at the passing of spring and their regret over the

fading

of flowers。 This aping of each other is detestable。 If I were to waste words myself on the subject of birth and ripening， death and

extinction

， it would be to say that birth and ripening are not worth mentioning； my praise goes to death and

extinction

。 Compared with the

greed

，

stupidity

and spinelessness of the former， how

modest

，

enlightened

and dignified is the attitude of the latter！ My

preference

for autumn over spring is based on that。

Natsume Suseki said this when he was thirty： “Twenty years into life I learned the value of being alive； at twenty-five I learned that where there is light there must be darkness； now at thirty I know even better that where there is much light there is also much darkness， and when joy is

abundant

sorrow is also heavy。” I now deeply

sympathize

with this view。 At the same time I feel that this is not the only facet of being thirty； a more

particular

one is the sense of death。 When young people are thwarted in love they like to talk about death and dying， but that is only knowledge of the thing called death， no the sense of it。 It is similar to not being able to sense what it is like to sit round a winter fire huddled in blankets when one is drinking iced drinks and fanning oneself on a summer‘s day。 Even we who have known thirty-odd changes of seasons could not in the recent keatwave get the sense of a nice crisp dawn。 Things like crisp dawns， winter fires and huddling in blankets are just

abstract

data in the mind of people in the middle of summer： they

merely

know that such things lie in the future， but cannot experience the

sensation

of them。 One has to wait for autumn， when the broiling sun has displayed its might and is gradually receding and flesh which has been swelled with

sweat

gradually draws in， when the wearing of unlined clothes inclines one to

shiver

and flannel is pleasant to the touch， for the knowledge of crisp dawns， winter fires and huddling in blankets to gradually enter the

realm

of experience and become

sensation

。

After my year of age reached the start of autumn， the most special state of mind it gave me was indeed this

sensation

of “death”。 How

shallow

were my thoughts

prior

to that！ I believed that spring could be our

constant

companion

， that man could stay forever young， and actually never thought of death。 And I believed that the meaning of human life was only in living， and my own life was most meaningful； it seemed I couldn’t die。 Only now， with the

benefit

of the

illumination

of autumn rays， and under the

benign

influence of the spirit of death， have I

comprehended

that life‘s sweetness and

bitterness

， joys and sorrows are an old

refrain

that has been played billions of times under our skies， and are nothing to treasure。 I seek only

peaceful

passage through and

release

from this life。 To make a

comparison

， if a person suffers from madness， it is

pointless

to try to make anything of his

confusion

and delusions： one hopes only to rid him of his sickness。

As I lay down my pen， I see from my western window black clouds filling the sky， a flash of

lightning

on the horizon， and hear a

faint

rumble of thunder。 A sudden shower of autumn rain mixed with hail pours down。 Oh！ So few days after the start of autumn， while the autumn mind is still young and green， it turns out that such discordance occurs： it scares me！

豐子愷-《初冬浴日漫感》

On

Winter

Sunshine

初冬浴日漫感

Feng

Zikai

豐子愷

After being away for a couple of months， I returned to my old home and took my place by the south window， but was surprised to find that most of my desk was now in the

shade

。 Summer was long gone， and autumn was giving way to winter， so naturally enough the sun’s rays were now

tilted

from the south。

離開故居一兩個月，一旦歸來，坐到南窗下的書桌旁時，第一感到異樣的，是小半書桌的太陽光。原來夏已去，秋正盡，初冬方到。窗外的太陽已隨分南傾了。

I put a chair against the window and， with my back to the sunshine， sat down to read。 The sun‘s glow enveloped my upper body， and instead of roasting me as it did a couple of months ago， it made me feel warm and cozy。 The mother of all living things seemed to be pouring her life-prolonging， regenerating milk into my body through her golden rays。

把椅子靠在窗緣上，揹著窗坐了看書，太陽光籠罩了我的上半身。它非但不像一兩月前地使我討厭，反使我覺得暖烘烘地快適。這一切生命之母的太陽似乎正在把一種祛病延年，起死回生的乳汁，通過了她的光線而流注到我的體中來。

Closing my book， I began to

meditate

。 I wondered how my feelings could change so drastically。 What I loathed yesterday had now become my love， and what I threw away yesterday was now my goal。 What I hated yesterday had now become my favorite。 When I looked up and noticed the fan sitting on the

shelf

， I was once again shocked。 What I loved yesterday was now

loathsome

， and what I pursued yesterday was now

contemptible

， what I craved yesterday was now despised。

我掩卷瞑想：我吃驚於自己的感覺，為什麼忽然這樣變了？前日之所惡變成了今日之所歡：前日之所棄變成了今日之所求；前日之仇變成了今日之恩。張眼望見了棄置在高閣上的扇子，又吃一驚。前日之所歡變成了今日之所惡；前日之所求變成了今日之所棄；前日之恩變成了今日之仇。

Suddenly I laughed to myself。 The summer sun is awesome； the winter sun is lovable， and in autumn moon-shaped fans are all shelved – such sayings are known even to housewives， so why should I make such a

fuss

about change？ My senses yielded， but my sensibilities refused to give in。 When summer gives way to autumn， I often feel surprised by the strange feeling that steals over me。 It is like nightfall – when the sun has already gone down， but the sky is not yet all dark， we can feel both day and night at once。 Or， it is like boarding a ship – when you have one foot on the ship and the other is still on the shore， we can feel both land and sea

simultaneously

。 We all know that there will be day after night and a new shore at the voyage’s end， but this knowledge is only an

intuition

， not a

sensation

。 After sitting in the sun‘s rays by the south window for a long while， I felt my shirt gradually

soaked

up by the ooze of my

sweat

。 At that moment， the

sensation

of sunbathing mingled nicely with that of fanning。 It was

extraordinary

！

忽又自笑：“夏日可畏，冬日可愛”，以及“團扇棄捐，”乃古之名言，夫人皆知，又何足吃驚？於是我的理智屈服了。但是我的感覺仍不屈服，覺得當此炎涼遞變的交代期上，自有一種異樣的感覺，足以使我吃驚。這彷彿是太陽已經落山而天還沒有全黑的傍晚時光：我們還可以感到晝，同時已可以感到夜。又好比一腳已跨上船而一腳尚在岸上的登舟時光：我們還可以感到陸，同時已可以感到水。我們在夜裡固皆知道有晝，在船上固皆知道有陸，但只是“知道”而已，不是“實感”。我久被初冬的日光籠罩在南窗下，身上發出汗來，漸漸潤溼了襯衣。當此之時，浴日的“實感”與揮扇的“實感”在我身中混成一氣，這不是可吃驚的經驗麼？

Immediately I put aside my book and， lying down on a rattan chair in the corner， studied the rooms with my ‘new’

sensation

。 I felt that a number of things had changed， some for the better。 In summer， this room seemed too

cramped

， even with all the doors and windows thrown wide open。 At one time I had even wanted to

tear

down its walls！ Now it seemed to have expanded considerably， and if this growth continued， it would soon have to be screened off into compartments。 The thermos， which was once pushed into a corner of the cupboard by the teapot， now stood on the table like a monument。 The cotton-padded

quilt

that once seemed so thick and

cumbersome

when aired in summer‘s scorching heat now appeared so thin and comfortable on the bed。 I once played with the idea of selling the couch。 Thank goodness， no one would buy it。 Also， I thought of

shaving

the

fur

coat off the black cat’s back， but now wish she would share it with me。 However， some things seem to have changed for the worse。 The wind， which was once most pleasant， is now

unwelcome

and will soon be barred at the door as we would

block

a thief。 The bamboo cot， once in everyone‘s good graces， is now out of favor。 It looks so withered and

listless

that no one takes any interest in it。 On the wall there is a

poster

， and in one of its corners there is a big bottle of soda water， a bubbling glass， and a beach

scene

adjacent

。 In summer the sight of the soda water would make my mouth drool and the beach

scene

made me dream of joining the swimmers。 Now the picture simply makes me

shiver

with cold。 The naked doll， which sits cross-legged on the bookshelf by the window and which once looked so

joyful

， now appears simply wretched。 The

plaster

statuette of the Greek Goddess Venus， her bath towel sliding to her thighs， still stands high on the Jardinière。 During summer days she seemed to all smiles， but now she looks so

sullen

and

miserable

。 It’s as if she were lamenting the loss of her arms and her

inability

to pull the towel up for warmth！

於是我索性拋書，躺在牆角的藤椅裡，用了這種混成的實感而環視室中，覺得有許多東西大變了相。有的東西變好了：像這個房子，在夏天常嫌其太小，洞開了一切窗門，還不夠，幾乎想拆去牆壁才好。但現在忽然大起來，大得很！不久將要用屏幃把它隔小來了。又如案上這把熱水壺，以前曾被茶缸驅逐到碗櫥的角里，現在又像紀念碑似地矗立在眼前了。棉被從前在伏日裡曬的時候，大家討嫌它既笨且厚；現在鋪在床裡，忽然使人悅目，樣子也薄起來了。沙發椅子曾經想賣掉，現在幸而沒有人買去。從前曾經想替黑貓脫下皮袍子，現在卻羨慕它了。反之，有的東西變壞了：像風，從前人遇到了它都稱“快哉！”歡迎它進來。現在漸漸拒絕它，不久要像防賊一樣嚴防它人室了。又如竹榻，以前曾為眾人所寶，極一時之榮。現在已無人問津，形容枯槁，毫無生氣了。壁上一張汽水廣告畫。角上畫著一大瓶汽水，和一隻泛溢著白泡沫的玻璃杯，下面畫著海水浴圖。以前望見汽水圖口角生津，看了海水浴圖恨不得自己做了畫中人，現在這幅畫幾乎使人打寒噤了。裸體的洋囝囝趺坐在視窗的小書架上，以前覺得它太寫意，現在看它可憐起來。希臘古代名雕的石膏模型Venus立像，把裙子褪在大腿邊，高高地獨立在凌空的花盆架上。我在夏天看見她的臉孔是帶笑的，這幾天望去忽覺其容有蹙，好像在悲嘆她自己失卻了兩隻手臂，無法拉起裙子來禦寒。

But it is not the things that have changed， but rather that I was betrayed by my feelings。 How could they have done this to me？ The answer can be found in Nature。 Her decrees are so

arbitrary

that in summer you cannot reject the company of the wind， and in winter you cannot deny your love for the sun。 And her decrees are so odd that she orders you to

extol

in summer what you cursed last winter and commands you to

curse

in winter what you loved last summer。

其實，物何嘗變相？是我自己的感覺變叛了。感覺何以能變叛？是自然教它的。自然的命令何其嚴重：夏天不由你不愛風，冬天不由你不愛日。自然的命令又何其滑稽：在夏天定要你讚頌冬天所詛咒的，在冬天定要你詛咒夏天所讚頌的！

Life has winters and summers as well。 Childhood is like summer； adulthood like winter。 Put another way， youth is like summer； old age like winter。 In the winter and summer of life， Nature also brings about a

reversal

of feelings。 As in all things， her decrees are so

arbitrary

– and so strange！

人生也有冬夏。童年如夏，成年如冬；或少壯如夏，老大如冬。在人生的冬夏，自然也常教人的感覺變叛，其命令也有這般嚴重，又這般滑稽。

豐子愷-《春》

Spring

春

What a lovely word “spring” is！ Men have praised it since ancient times， hoping for it to stay in the human world forever。 Poets， especially ci composers，

cherish

it with an especial deep love for spring。 Try to leaf through the

collection

of ci （poetry） and you can find the character “春” （spring） on nearly every page。 The descendants become used to listening to these and they naturally begin to love and chime in with those around them。 Even those who do not really

understand

the loveliness of spring， while talking about it， they would feel a pleasant

sensation

。 This is partly because the

likeness

is suggested by the word spring。 Listen “Chun！” （spring） How sonorous， sleepy and lovely the sound flows！ Notice how the

formation

of the character “春”is neatly arranged and symmetrically

aesthetic

！ Thus， the season attached by such a beautiful name must also be lovely to think of。 It seems the sound of a girl‘s name “Li Hua” must remind us of a beautiful woman。

春是多麼可愛的一個名詞！自古以來的人都讚美它，希望它長在人間。詩人，特別是詞客，對春愛慕尤深。試翻詞選，差不多每一頁上都可以找到一個春字。後人聽慣了這種話，自然地隨喜附和，即便實際上沒有理解春的可愛的人，一說起春也會覺得歡喜。這一半是春這個字的音容所暗示的。“春！”你聽，這個音讀起來何等鏗鏘而惺忪可愛！這個字的形狀何等齊整妥帖而具足對稱的美！這麼美的名字所隸屬的時節，想起來一定很可愛。好比聽見名叫“麗華”的女子，想來一定是個美人。

However， spring， in fact， is by no means such a pleasant season。 With my experience of thirty-six years， I feel deeply that life before late spring is rather

unpleasant

。

然而實際上春不是那麼可喜的一個時節。我積三十六年之經驗，深知暮春以前的春天，生活上是很不愉快的。

The plum

blossom

in snow is said to be the

harbinger

of spring。 But it is just a spring in the mind。 Actually， there is still rain and snow and the north wind is still chilly cold。 Is there any difference between spring and winter？ The so-called spring ushers can just

curl

up in the cold behind the window or stand trembling under the eaves to watch the plum

blossom

on the dry twigs！

梅花帶雪開了，說道是漏洩春的訊息。但這完全是精神上的春，實際上雨雪霏霏，北風烈烈，與嚴冬何異？所謂迎春的人，也只是瑟縮地躲在房櫳內，戰慄地站在屋簷下，望望枯枝一般的梅花罷了！

In another month， as in these days， the Waking of Insects （the third solar term） is over， known as half of the spring has passed。 My friends living the cities think that villages at this time are picturesque and beautiful。 They sent me a letter， urging me to write something about spring as if I were snuggling up to the spring and had provoked their jealous feelings。 Actually， those living in the countryside to not enjoy the pleasures of spring。 On the

contrary

， they suffer from the various discomforts； the

thermometer

shows a sharp change between thirty-six and sixty-two degrees。 These abrupt

temperature

changes are all within a day。 When it is hot， you may think of the ice-cream in the city； and when it is cold， you can see natural ice。 You can taste the so-called “chill of spring” to the fullest。 When you are away from home and the weather changes from sunny to rainy， your shoes often become

sloppy

when you return。 “How many fine days we have within a spring season！”is true； but “We can hear spring rain falling in a small

mansion

all night！”is really nothing special。 Actually， it is very

boring

and far

inferior

to the various wireless broadcasts in your city。 Now half of spring is over， but it gives us no

comfort

。 On the

contrary

， every day it makes us worry about the chill， warmth， wind and rain。 In fact， “within the three portions of spring two for sorrows and one for wind and rain！”

再遲個把月罷，就像現在：驚蟄已過，所謂春將半了。住在都會里的朋友想象此刻的鄉村，足有畫圖一般美麗，連忙寫信來催我寫春的隨筆。好像因為我偎傍著春，惹他們妒忌似的。其實我們住在鄉村間的人，並沒有感到快樂，卻生受了種種的不舒服：寒暑表激烈地升降於三十六度至六十二度之間。一日之內，乍暖乍寒。暖起來可以想起都會里的冰淇淋，寒起來幾乎可見天然冰，飽嘗了所謂“料峭”的滋味。天氣又忽晴忽雨，偶一出門，乾燥的鞋子往往拖泥帶水歸來。“一春能有幾番晴”是真的；“小樓一夜聽春雨”其實沒有什麼好聽，單調得很，遠不及你們都會里的無線電的花樣繁多呢。春將半了，但它並沒有給我們一點舒服，只教我們天天愁寒，愁暖，愁風，愁雨。正是“三分春色二分愁，更一分風雨！”

In a spring

scene

， only the abrupt changes from warmth to cold and the

unusual

clearness after the rain is

distinct

。 Although there are some beautiful spring sights， they are mostly

dim

。 Only by careful search will you find traces of spring。 Is this the so-called “seeking spring”？ Someone says “Spring lies in the calls of the flower girls”， while others say “Spring lies in the pear flowers” and still others say “Spring flourishes on top of the red apricot tree”。 However， this

scene

can hardly be found in our

dull

and lonely village。 Even if we could find spring， we may not easily

recognize

it。 In short， the beauty that spring brings to us is little and somewhat

concealed

。 The

uneasiness

that spring gives to us is plenty and

obvious

。 It seems as if poets and ci composers

reveal

this point as well。 Aren’t spring chills， spring sleepiness， spring sorrow and the complaints in spring time

frequent

topics of their poetry？ It is not the only case now， but even if a month later， when the Pure Brightness （the fifth solar term） arrives， it is not likely to be a

charming

and most pleasant time。 And if it rains again， the many street pedestrians will become “heartbroken”。

春的景象，只有乍寒、乍暖、忽晴、忽雨是實際而明確的。此外雖有春的美景，但都隱約模糊，要仔細探尋，才可依稀彷彿地見到，這就是所謂“尋春”罷？有的說“春在賣花聲裡”，有的說“春在梨花”，又有的說“紅杏枝頭春意鬧”，但這種景象在我們這枯寂的鄉村裡都不易見到。即使見到了，肉眼也不易認識。總之，春所帶來的美，少而隱；春所帶來的不快，多而確。詩人詞客似乎也承認這一點，春寒、春困、春愁、春怨，不是詩詞中的常談麼？不但現在如此，就是再過個把月，到了清明時節，也不見得一定春光明媚，令人極樂。倘又是落雨，路上的行人將要“斷魂”呢。

From this we know that spring is not worth such a beautiful name， for in practical life it is rather

unpleasant

。 Actually， the most pleasant season of the year begins in late spring。 So far as weather is

concerned

， although in general it becomes warmer and warmer， it varies frequently。 There is always the abrupt change from warmth to cold， we can find no time without weather change。 It is until late spring when the influences of winter have completely disappeared that it gradually becomes warmer and warmer。 When the mercury in the

thermometer

rises to

temperate

， it is just the

temperate

season。 So far as the

scenery

is

concerned

， there is no need to seek out a spring

scene

， for there is a

vast

expanse of green hills which are pleasant to the eyes。 An ancient poem goes： “The song of

cuckoo

symbolizes spring‘s

departure

and hills turn green above the treetops。” It turns out that only when spring has gone will the hills become green and

attractive

。 In my opinion， among the natural

scenery

， green grass and whitesnow are the greatest of phenomena。 When God depicts nature on a huge

scroll

， he paints the red spring and colourful autumn with only a dab of carmine upon his

brush

and a little touch upon the paper。 But when he paints white snow and green grass， he would

spare

no dye to

immense

his

brush

in the white lead

powder

，

gardenia

and cyanine and paint in big strokes， making all the houses white and all the hills green。 It seems like the “details adding method” of

landscape

painting at the Michelangelo School and also like the “colour chunk method” of Cezanne

landscape

painting。 What a

pungent

style it is！ The

vast

expanse of green grass is especially

affable

and

unselfish

。 Sometimes the flowers are secluded within the private yards， and having suffered from their private

penalty

by the gardeners， they

apologize

to the ladies and gentlemen， while grass can grow anywhere it likes with no

distinction

between

superior

and

inferior

classes。 Everyone thinks that flowers are the product of spring。 Actually， the work of spring lies not in flowers but in grass。 How many people can enjoy flowers？ But grass grows freely across the fields， and is generally accepted and

appreciated

。 This kind of beautiful

scenery

is seldom seen in early spring。 For then the fields are covered with dry grass， a desolate

scene

fills our eyes and gives us nothing but an

unpleasant

sensation

。 It is only in late spring when dry grass is replaced by

lush

fields and real blue mountain and green fields that the world would take on a new look。 The view at this time of the year is the finest。 And the

kindness

to man bestowed by Nature is the deepest。

可知春徒美其名，在實際生活上是很不愉快的。實際，一年中最愉快的時節，是從暮春開始的。就氣候上說，暮春以前雖然大體逐漸由寒向暖，但變化多端，始終是乍寒、乍暖，最難將息的時候。到了暮春，方才冬天的影響完全消滅，而一路向暖。寒暑表上的水銀爬到

temperate

上，正是氣候最

temperate

的時節。就景色上說，春色不須尋找，有廣大的綠野青山，慰人心目。古人詞雲：“杜宇一聲春去，樹頭無數青山。”原來山要到春去的時候方才全青，而惹人注目。我覺得自然景色中，青草與白雪是最偉大的現象。造物者描寫“自然”這幅大畫圖時，對於春紅、秋豔，都只是略蘸些胭脂、硃磦，輕描淡寫。到了描寫白雪與青草，他就毫不吝惜顏料，用刷子蘸了鉛粉、藤黃和花青而大塊地塗抹，使屋屋皆白，山山皆青。這彷彿是米派山水的點染法，又好像是Cezanne風景畫的“色的塊”，何等潑辣的畫風！而草色青青，連天遍野，尤為和平可親，大公無私的春色。花木有時被關閉在私人的庭園裡，吃了園丁的私刑而獻媚於紳士淑女之前。草則到處自生自長，不擇貴賤高下。人都以為花是春的作品，其實春工不在花枝，而在於草。看花的能有幾人？草則廣泛地生長在大地的表面，普遍地受大眾的欣賞。這種美景，是早春所見不到的。那時候山野中枯草遍地，滿目憔悴之色，看了令人不快。必須到了暮春，枯草盡去，才有真的青山綠野的出現，而天地為之一新。一年好景，無過於此時。自然對人的恩寵，也以此時為最深厚了。

The practical westerners have always paid attention to this season： they call it May。 May is the most pleasant time of the year。 There are various kinds of

festive

occasions in the human world， including the May-queen， the May-

pole

， May-games， etc。 Originally， the word May means “youth” and “vigour”。 From this we can see that westerners regard the month of May as the youth of a man， the most pleasant， happiest and the most excellent period of one’s life。 It is really worthy of the name。 However， easterners hold a different view： they call it late spring。 It is a time of asking spring to stay， sending spring off， cherishing spring， grieving for spring and a time of sighing， grieving and sobbing。 It‘s no time for pleasure at all。 The pleasure of easterners is in the new spring when half of the green willows begin turning yellow。 It is a time of sudden shine， sudden rain， now warmth and now cold。 One can never see time without change。 Actually， at this time of the year， life is by no means comfortable。 It is only through a careful examination of the budding of flowers and willows and a close examination of the arrival of spring in nature that we can have a pleasant

sensation

in our hearts。 Thus， May in the western world is actually equal to Spring in the east。 These words are both pleasant to the ears and good-looking to the eyes。 But while May implies material and profit， Spring is

spiritual

and

artistic

。 From this we can get a

hint

of cultural distinctions between the east and the west。

講求實利的西洋人，向來重視這季節，稱之為May（五月）。May是一年中最愉快的時節，人間有種種的娛樂，即所謂May-queen（五月美人）、May-

pole

（五月彩柱）、May-games（五月遊藝）等。May這一個字，原是“青春”、“盛年”的意思。可知西洋人視一年中的五月，猶如人生中的青年，為最快樂、最幸福、最精彩的時期。這確是名符其實的。但東洋人的看法就與他們不同：東洋人稱這時期為暮春，正是留春、送春、惜春、傷春，而感慨、悲嘆、流淚的時候，全然說不到樂。東洋人之樂，乃在“綠柳才黃半未勻”的新春，便是那忽晴、忽雨、乍暖、乍寒、最難將息的時候。這時候實際生活上雖然並不舒服，但默察花柳的萌動，靜觀天地的回春，在精神上是最愉快的。故西洋的“May”相當於東洋的“春”。這兩個字讀起來聲音都很好聽，看起來樣子都很美麗。不過May是物質的、實利的，而春是精神的、藝術的。東西洋文化的判別，在這裡也可窺見。