旅行的艺术:旅行中的特定场所-2

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查尔斯·波德莱尔 [1] 于1821年生于巴黎。很小的时候，他就不愿呆在家里。5岁时，父亲死了。1年后，他母亲再度结婚，对于继父波德莱尔没有好感。他被送到多所寄宿学校读书。由于不守校规，他一再地被这些寄宿学校逐出校门。长大后，他发现自己和中产阶层的生活格格不入。他和母亲、继父争吵，穿剧台上才使用的黑色斗篷，在自己的卧室里挂满德拉克洛瓦 [2] 的名画《哈姆莱特》的平版复制品。在日记中，他抱怨自己深受折磨，其根源之一是“一种可怕的病魔——对家的恐惧”，其次则是“幼年便有的孤独感。尽管有家人，特别是有学校里的朋友，一种注定终生孤独的宿命感总也挥之不去”。

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'.

他梦想着能到法国以外的地方，一个很远很远的地方，在另一个大陆上，让他彻底忘却“平常的生活”——这是一个让他发怵的字眼。他梦想到一个更温暖的地方去，到《旅行的邀约》中的对偶诗句描述的神奇之所去，那里一切充满“秩序、美丽/华贵，静谧和活色生香”。然而，他明白这不是一件容易的事情。他曾经告别北部法国的阴沉的天空，结果是沮丧而归。他动身离开法国，其目的地是印度。在海上航行了3个月后，他乘坐的船遭遇了海上风暴的打击，停靠毛里求斯检修。毛里求斯岛林木葱翠，环岛都是热带棕榈树，这正是波德莱尔曾经梦想一游的地方。但糟糕的是，他始终不能摆脱一种伤感和无精打采的状态，因而对未竟之旅产生怀疑，认为即便是到了印度，情形也不会更好。于是置船长的一再劝说于不顾，他坚持返航回到法国。

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.

这段旅行使他终其一生对旅行又爱又恨。在《旅程》中，他充满讽刺意味地想象从远方归来的旅行者的叙述：

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

我们看见星星，

We saw stars

波涛；我们也看到了沙滩；

And waves; we saw sand too;

尽管有许多麻烦和突如其来的灾难，

And, despite many crises and unforeseen disasters

就像在这里，我们总觉厌烦。

We were often bored, just as we are here.

尽管如此，他还是盼着能出外旅行，也觉察到旅行对自己强烈而持久的吸引力。结束毛里求斯之旅回巴黎后不久，他便梦想着再到另外一个地方旅行：“现实的生活就像是一家医院，每个人都疲于更换自己的病床。有人喜欢靠近暖气片的病床，有人喜欢靠窗。”好在他并不因为自己是这众多病人中的一个而感羞愧：“对我而言，我总是希望自己在一个我目前所居地以外的地方，因而到另一地方去永远是我满心欢喜的事情。”波德莱尔有时梦想着旅行到里斯本，那里气候温暖，他会像蜥蜴一样，躺在太阳下便能获得力量。里斯本是个水、大理石及光的都市，让人自在从容，敏于思索。然而，对葡萄牙的幻想还未及完结，他又想，也许在荷兰，他会更快乐。接下来，他马上又想为什么不是去爪哇，波罗的海？甚至为什么不是北极，在那里，他可以在极夜的黑暗里观察彗星是如何划过北极的天空！目的地其实并不重要，他真正的愿望其实是想离开现在的地方，正如他最后总结的那样：“任何地方！任何地方！只要它在我现在的世界之外！”

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!'

波德莱尔看重对旅行的幻想，认为这是一种标记，代表高贵的追索者的灵魂，对此类追索者，他称之为“诗人”：他们从不满足于故乡的所见所闻，尽管他们清楚他乡也并非尽善尽美；他们情绪多变，时而希望满怀，看待世界如孩童般理想；时而绝望无从，愤世悲观。像朝圣的基督徒，诗人注定生活在一个陷落了的世界里，但同时，他们又不肯认同一种变通的、较少妥协的世界。

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.

同这些观点相反，在波德莱尔的传记中，我们可以发现一个明显的事实：终其一生，他都为港口、码头、火车站、火车、轮船以及酒店房间所吸引；那些旅程中不断变换的场所让他觉得比家里更自在。一旦感受到巴黎的压抑，觉得巴黎的生活似乎“单调狭窄”，他就会离开，“因为想离开而离开”，旅行到一个港口或火车站，在那里，他能听到内心的呐喊：

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:

列车，让我和你同行！轮船，带我离开这里！

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

带我走，到远方。此地，土俱是泪！

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

在一篇关于波德莱尔的论文中，T·S·艾略特指出波德莱尔是19世纪展示现代旅游地和现代交通工具之美感的第一位艺术家。艾略特写道：“波德莱尔……创造了一种新型的浪漫乡愁。”这包括：“告别之诗和候车室之诗。”或许，我们还可以加上“加油站之诗”和“机场”之诗。

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.