旅行的藝術(shù):旅行中的特定場(chǎng)所-2

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查爾斯·波德萊爾 [1] 于1821年生于巴黎。很小的時(shí)候，他就不愿呆在家里。5歲時(shí)，父親死了。1年后，他母親再度結(jié)婚，對(duì)于繼父波德萊爾沒(méi)有好感。他被送到多所寄宿學(xué)校讀書。由于不守校規(guī)，他一再地被這些寄宿學(xué)校逐出校門。長(zhǎng)大后，他發(fā)現(xiàn)自己和中產(chǎn)階層的生活格格不入。他和母親、繼父爭(zhēng)吵，穿劇臺(tái)上才使用的黑色斗篷，在自己的臥室里掛滿德拉克洛瓦 [2] 的名畫《哈姆萊特》的平版復(fù)制品。在日記中，他抱怨自己深受折磨，其根源之一是“一種可怕的病魔——對(duì)家的恐懼”，其次則是“幼年便有的孤獨(dú)感。盡管有家人，特別是有學(xué)校里的朋友，一種注定終生孤獨(dú)的宿命感總也揮之不去”。

Charles Baudelaire was born in Paris in 1821. From an early age, he felt uncomfortable at home. His father died when he was five, and a year later his mother married a man her son disliked. He was sent to a succession of boarding schools from which he was repeatedly expelled for insubordination. In adulthood, he could find no place in bourgeois society. He quarrelled with his mother and stepfather, wore theatrical black capes and hung reproductions of Delacroix's Hamlet lithographs around his bedroom. In his diary, he complained of suffering from 'that appalling disease: the Horror of Home' and from a 'feeling of loneliness, from earliest childhood. Despite the family-and with school friends especially-a feeling of being destined to an eternally solitary life'.

他夢(mèng)想著能到法國(guó)以外的地方，一個(gè)很遠(yuǎn)很遠(yuǎn)的地方，在另一個(gè)大陸上，讓他徹底忘卻“平常的生活”——這是一個(gè)讓他發(fā)怵的字眼。他夢(mèng)想到一個(gè)更溫暖的地方去，到《旅行的邀約》中的對(duì)偶詩(shī)句描述的神奇之所去，那里一切充滿“秩序、美麗/華貴，靜謐和活色生香”。然而，他明白這不是一件容易的事情。他曾經(jīng)告別北部法國(guó)的陰沉的天空，結(jié)果是沮喪而歸。他動(dòng)身離開(kāi)法國(guó)，其目的地是印度。在海上航行了3個(gè)月后，他乘坐的船遭遇了海上風(fēng)暴的打擊，?？棵锴笏箼z修。毛里求斯島林木蔥翠，環(huán)島都是熱帶棕櫚樹，這正是波德萊爾曾經(jīng)夢(mèng)想一游的地方。但糟糕的是，他始終不能擺脫一種傷感和無(wú)精打采的狀態(tài)，因而對(duì)未竟之旅產(chǎn)生懷疑，認(rèn)為即便是到了印度，情形也不會(huì)更好。于是置船長(zhǎng)的一再勸說(shuō)于不顧，他堅(jiān)持返航回到法國(guó)。

He dreamt of leaving France for somewhere else, somewhere far away, on another continent, with no reminders of 'the everyday'-a term of horror for the poet; somewhere with warmer weather; a place, in the words of the legendary couplet from L'Invitation au voyage , where everything would be 'ordre et beauté/Luxe, calme et volupté'. But he was aware of the difficulties. He had once left the leaden skies of northern France and returned dejected. He had set off on a journey to India. Three months into the sea crossing, the ship had run into a storm and had stopped in Mauritius for repairs. It was the lush, palm-fringed island that Baudelaire had dreamt of. But he could not shake off a feeling of lethargy and sadness and suspected that India would be no better. Despite efforts by the captain to persuade him otherwise, he insisted on sailing back to France.

這段旅行使他終其一生對(duì)旅行又愛(ài)又恨。在《旅程》中，他充滿諷刺意味地想象從遠(yuǎn)方歸來(lái)的旅行者的敘述：

The result was a lifelong ambivalence towards travel. In Le Voyage , he sarcastically imagined the accounts of travellers returned from afar:

我們看見(jiàn)星星，

We saw stars

波濤；我們也看到了沙灘；

And waves; we saw sand too;

盡管有許多麻煩和突如其來(lái)的災(zāi)難，

And, despite many crises and unforeseen disasters

就像在這里，我們總覺(jué)厭煩。

We were often bored, just as we are here.

盡管如此，他還是盼著能出外旅行，也覺(jué)察到旅行對(duì)自己強(qiáng)烈而持久的吸引力。結(jié)束毛里求斯之旅回巴黎后不久，他便夢(mèng)想著再到另外一個(gè)地方旅行：“現(xiàn)實(shí)的生活就像是一家醫(yī)院，每個(gè)人都疲于更換自己的病床。有人喜歡靠近暖氣片的病床，有人喜歡靠窗。”好在他并不因?yàn)樽约菏沁@眾多病人中的一個(gè)而感羞愧：“對(duì)我而言，我總是希望自己在一個(gè)我目前所居地以外的地方，因而到另一地方去永遠(yuǎn)是我滿心歡喜的事情。”波德萊爾有時(shí)夢(mèng)想著旅行到里斯本，那里氣候溫暖，他會(huì)像蜥蜴一樣，躺在太陽(yáng)下便能獲得力量。里斯本是個(gè)水、大理石及光的都市，讓人自在從容，敏于思索。然而，對(duì)葡萄牙的幻想還未及完結(jié)，他又想，也許在荷蘭，他會(huì)更快樂(lè)。接下來(lái)，他馬上又想為什么不是去爪哇，波羅的海？甚至為什么不是北極，在那里，他可以在極夜的黑暗里觀察彗星是如何劃過(guò)北極的天空！目的地其實(shí)并不重要，他真正的愿望其實(shí)是想離開(kāi)現(xiàn)在的地方，正如他最后總結(jié)的那樣：“任何地方！任何地方！只要它在我現(xiàn)在的世界之外！”

And yet he remained sympathetic to the wish to travel and observed its tenacious hold on him. No sooner had he returned to Paris from his Mauritian trip than he began to dream once again of going somewhere else, noting: 'Life is a hospital in which every patient is obsessed with changing beds. This one wants to suffer in front of the radiator, and that one thinks he'd get better if he was by the window.' He was, nevertheless, unashamed to count himself among the patients: 'It always seems to me that I'll be well where I am not and this question of moving is one that I'm forever entertaining with my soul.' Sometimes Baudelaire dreamt of going to Lisbon. It would be warm there and he would, like a lizard, gain strength from stretching himself out in the sun. It was a city of water, marble and light, conducive to thought and calm. But almost from the moment he conceived of this Portuguese fantasy, he would start to wonder if he might not be happier in Holland. Then again, why not Java or else the Baltic or even the North Pole, where he could bathe in shadows and watch comets fly across the Arctic skies? The destination was not really the point. The true desire was to get away, to go, as he concluded, 'Anywhere! Anywhere! So long as it is out of the world!'

波德萊爾看重對(duì)旅行的幻想，認(rèn)為這是一種標(biāo)記，代表高貴的追索者的靈魂，對(duì)此類追索者，他稱之為“詩(shī)人”：他們從不滿足于故鄉(xiāng)的所見(jiàn)所聞，盡管他們清楚他鄉(xiāng)也并非盡善盡美；他們情緒多變，時(shí)而希望滿懷，看待世界如孩童般理想；時(shí)而絕望無(wú)從，憤世悲觀。像朝圣的基督徒，詩(shī)人注定生活在一個(gè)陷落了的世界里，但同時(shí)，他們又不肯認(rèn)同一種變通的、較少妥協(xié)的世界。

Baudelaire honoured reveries of travel as a mark of those noble questing souls whom he described as 'poets', who could not be satisfied with the horizons of home even as they appreciated the limits of other lands, whose temperaments oscillated between hope and despair, childlike idealism and cynicism. It was the fate of poets, like Christian pilgrims, to live in a fallen world while refusing to surrender their vision of an alternative, less compromised realm.

同這些觀點(diǎn)相反，在波德萊爾的傳記中，我們可以發(fā)現(xiàn)一個(gè)明顯的事實(shí)：終其一生，他都為港口、碼頭、火車站、火車、輪船以及酒店房間所吸引；那些旅程中不斷變換的場(chǎng)所讓他覺(jué)得比家里更自在。一旦感受到巴黎的壓抑，覺(jué)得巴黎的生活似乎“單調(diào)狹窄”，他就會(huì)離開(kāi)，“因?yàn)橄腚x開(kāi)而離開(kāi)”，旅行到一個(gè)港口或火車站，在那里，他能聽(tīng)到內(nèi)心的吶喊：

Against such ideas, one detail stands out in Baudelaire's biography: that he was, throughout his life, strongly drawn to harbours, docks, railway stations, trains, ships and hotel rooms; that he felt more at home in the transient places of travel than in his own dwelling. When he was oppressed by the atmosphere in Paris, when the world seemed 'monotonous and small', he would leave, 'leave for leaving's sake', and travel to a harbour or train station, where he would inwardly exclaim:

列車，讓我和你同行！輪船，帶我離開(kāi)這里！

Carriage, take me with you！ Ship, steal me away from here！

帶我走，到遠(yuǎn)方。此地，土俱是淚！

Take me far, far away. Here the mud is made of our tears!

在一篇關(guān)于波德萊爾的論文中，T·S·艾略特指出波德萊爾是19世紀(jì)展示現(xiàn)代旅游地和現(xiàn)代交通工具之美感的第一位藝術(shù)家。艾略特寫道：“波德萊爾……創(chuàng)造了一種新型的浪漫鄉(xiāng)愁。”這包括：“告別之詩(shī)和候車室之詩(shī)。”或許，我們還可以加上“加油站之詩(shī)”和“機(jī)場(chǎng)”之詩(shī)。

In an essay on the poet, T. S. Eliot proposed that Baudelaire had been the first nineteenth-century artist to give expression to the beauty of modern travelling places and machines. 'Baudelaire … invented a new kind of romantic nostalgia,' wrote Eliot, 'the poésie des départs ,the poésie des salles d'attente .'And,one might add, the poésie des stations-service and the poésie des aéroports.