诗歌的声音

这是19世纪诗人ThéophileGautier的诗《 OdeletteAnacréontique》。我们应该在一开始注意到这是用简短的八音节编写的。通常，选择这种形式是为了较轻的诗歌，亚历山大的诗句被留给更严肃的作品。Gautier的大部分工作都是嬉戏和异想天开的，因此他对这种形式的选择也就不足为奇了。

我们听到谁的声音？

关于这首诗的问题是：“我们听到谁的声音？”在诗歌中，我们已经考虑到这一点，毫无疑问。“ DemainDèsL'Aube”和“BeautéFormol”均以第一人称声音写成，我们显然应该将其作为诗人的声音。另一方面，在“ L'Batros”和“ Le Dormeur du Val”中，没有个人声音。诗人采取了第三人称观察者的立场。We may recognize, of course, that in writing about poets in ‘L’Albatros’, Baudelaire is referring to himself and we may know that Rimbaud personally came across the scene described in ‘Le dormeur du val’, but there is no explicit first-person involvement.

然而，有了高迪尔，有一个第一人称。第一行有一个“ JE”，然后是第一人称所有格形容词“ Mon”和“ Ma”。然而，作者仍然处于第一行中，他说的是“蒙波特”，他本人是盖蒂尔本人，那么我们在这里听到谁的声音呢？We can only conclude, given that this is a love poem, that it is the voice of Gautier’s lover – or rather, it is the voice that Gautier is giving to his lover, saying the things that he imagines they might say in a piece of erotic wish-fulfilment. Effectively, Gautier puts into his lover’s mouth a message that in thoroughly modern terms goes something like this: “Don’t come on to me so strongly. Back off and calm down and I will come to you quite soon and give you everything you want.” This is just the message that Gautier wants to hear, and it is a clever and cheeky piece of writing. It is not without problem, however. If there really was a lover (or hoped-for lover) whom Gautier had in mind, they are left without agency and without voice. It is still actually Gautier’s voice – controlling and manipulative – that we hear.