自由与必然性—奥登的诗体实验
摘要
如何认识奥登的诗体实验关系到诗人整个的诗观乃至世界观。在奥登那轻松自如得以至于被人认为轻浮的形式实验背后隐藏着的是奥登对于他所处的世界和人生问题的极其严肃的思考。在奥登的诗歌里，纯熟精湛的技巧手段并非纯粹为了展现诗艺，而是诗歌意义的一个重要组成部分。奥登的诗体实验贯穿了他创作生涯的始终，从模仿近现代诗人的自度曲到艾略特式的自由诗，再到形形色色的传统诗体，最后是将音节诗体改造成得心应手的理想形式。他的每一个转折点都是自觉的。奥登诗体实验的整个历程反映了他思想的不断成熟和诗艺的不断进步，而且这两者是密切相关的。
我的论文首先力求全面、准确而清晰地论述奥登有关自由与必然性辩证关系的看法，这是奥登的意识形态和诗观中的核心思想。论述所选取的材料不少是前辈学者尚未运用过的，分析奥登的诗观与他对自由与必然性关系的看法的联系时所采用的视角也是比较新的。随后，我对奥登诗体实验的发展轨迹进行系统的论述，其中对奥登晚年音节诗实验的分析和论断就目前的相关研究看来，应该是比较合理的。此外，我还顺带纠正了别的学者著作中的一些错误。
我主要以奥登本人的相关言论作为论据，以现代诗歌理论中与奥登的诗观暗合的部分作为理论支持，以具体的诗歌细读作为例证，并辅以大量的传记材料和时代背景材料，通过条分缕析、有理有据的论述，得出如下结论：奥登的诗体实验显示了他对自由与必然性辩证关系的深切关注与考量，同时，一首诗的形式与内容的互动关系恰好有助于奥登充分表达他对于自由与必然性辨证关系这一核心思想的理解。
The way in which one sees Auden’s various experiments with verseforms betrays one’s understanding or misunderstanding of his poeticsand even his world view. Behind the light–to the extent of having beenregarded as trivial or frivolous by many critics–forms that Auden usedand experimented is his serious thinking about the problems of life andthe world of which he is a part. In Auden’s poetry, technical means arenot only a manifestation of his great virtuosity, but an essential part ofthe overall poetic meaning. Auden’s experiments with verse forms spanhis entire career, which began by imitating the personalized forms ofseveral modern poets, followed by Eliotic free verse and many andvarious traditional forms, and, lastly, syllabic verse, which Audenadapted well to his purposes. Always conscious of what he was doing,Auden made each major change in his formal experiments a signal ofhis ever maturing ideology as well as his ever reassuring craftsmanship.
My dissertation aims, first of all, at a comprehensive and clearpresentation of Auden’s views on the dialectical relationship betweenfreedom and necessity, which, in my opinion, is the core of Auden’sideology and poetics. Some of the material in my presentation has neverbeen used by critics, and the way I see Auden’s poetic theory inconnection with his ideas of freedom and necessity is new. Next, Iattempt to map the trajectory of Auden’s experiments with verse formsand relate it to his concerns about freedom and necessity. Myclassification of Auden’s syllabic verse and my analysis of its metricalproperties are, I hope, more satisfactory than what existent studieshave offered. Besides, I have corrected a few errors made by Audenscholars along the way.
Supported chiefly by Auden’s own writing and secondarily bycontemporary poetic theory, combining theoretical argumentation withclose reading of poems, and further enriched by plentiful biographical material, I arrive at the conclusion that Auden’s experiments with verseforms reveal the depth of his concerns about the relation betweenfreedom and necessity and that the interaction between form andcontent in his poems contributes significantly to conveying hisunderstanding of the complex relation between freedom and necessity.
我的论文首先力求全面、准确而清晰地论述奥登有关自由与必然性辩证关系的看法，这是奥登的意识形态和诗观中的核心思想。论述所选取的材料不少是前辈学者尚未运用过的，分析奥登的诗观与他对自由与必然性关系的看法的联系时所采用的视角也是比较新的。随后，我对奥登诗体实验的发展轨迹进行系统的论述，其中对奥登晚年音节诗实验的分析和论断就目前的相关研究看来，应该是比较合理的。此外，我还顺带纠正了别的学者著作中的一些错误。
我主要以奥登本人的相关言论作为论据，以现代诗歌理论中与奥登的诗观暗合的部分作为理论支持，以具体的诗歌细读作为例证，并辅以大量的传记材料和时代背景材料，通过条分缕析、有理有据的论述，得出如下结论：奥登的诗体实验显示了他对自由与必然性辩证关系的深切关注与考量，同时，一首诗的形式与内容的互动关系恰好有助于奥登充分表达他对于自由与必然性辨证关系这一核心思想的理解。
The way in which one sees Auden’s various experiments with verseforms betrays one’s understanding or misunderstanding of his poeticsand even his world view. Behind the light–to the extent of having beenregarded as trivial or frivolous by many critics–forms that Auden usedand experimented is his serious thinking about the problems of life andthe world of which he is a part. In Auden’s poetry, technical means arenot only a manifestation of his great virtuosity, but an essential part ofthe overall poetic meaning. Auden’s experiments with verse forms spanhis entire career, which began by imitating the personalized forms ofseveral modern poets, followed by Eliotic free verse and many andvarious traditional forms, and, lastly, syllabic verse, which Audenadapted well to his purposes. Always conscious of what he was doing,Auden made each major change in his formal experiments a signal ofhis ever maturing ideology as well as his ever reassuring craftsmanship.
My dissertation aims, first of all, at a comprehensive and clearpresentation of Auden’s views on the dialectical relationship betweenfreedom and necessity, which, in my opinion, is the core of Auden’sideology and poetics. Some of the material in my presentation has neverbeen used by critics, and the way I see Auden’s poetic theory inconnection with his ideas of freedom and necessity is new. Next, Iattempt to map the trajectory of Auden’s experiments with verse formsand relate it to his concerns about freedom and necessity. Myclassification of Auden’s syllabic verse and my analysis of its metricalproperties are, I hope, more satisfactory than what existent studieshave offered. Besides, I have corrected a few errors made by Audenscholars along the way.
Supported chiefly by Auden’s own writing and secondarily bycontemporary poetic theory, combining theoretical argumentation withclose reading of poems, and further enriched by plentiful biographical material, I arrive at the conclusion that Auden’s experiments with verseforms reveal the depth of his concerns about the relation betweenfreedom and necessity and that the interaction between form andcontent in his poems contributes significantly to conveying hisunderstanding of the complex relation between freedom and necessity.
引文
①奥登晚年喜欢向朋友们夸耀，每一种已知的格律他都写过，都留有至少一首诗。见Humphrey Carpenter,W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.419.
②Harvey Gross and Robert McDowell, Sound and Form in Modern Poetry. Second Edition. AnnArbor: The University of Michigan Press,1996, p.240.
③Christopher Isherwood,“Some Notes on Auden’s Early Poetry,” Auden: A Collection of CriticalEssays. Ed. Monroe K. Spears. Englewood Cliffs, NJ: Prentice-Hall,1964, pp.11-12.
④Stephen Spender, World within World. London: Hamish Hamilton,1964, p.51.
⑤Margaret Gardiner,“Auden: A Memoir.” New Review3.28(July1976):16.
⑥一种威尔士传统诗体，在音节数和韵式上有严格讲究。
⑦古斯堪的纳维亚诗歌中的一种复杂诗体，其格律要求包括头韵、音节数、步格、行中韵等。
⑧W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.47.
⑨George Saintsbury [1845-1933]，英国著名的文学史家和批评家，著有诗律学巨著《英语诗律史》（AHistory of English Prosody）三卷本。奥登很早就熟读了此书；到了晚年，此书更是成了他的“祈祷书”。见Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, pp.55,419.
①Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.137.
②G. S. Fraser,“W. H. Auden.” Little Reviews Anthology:1949. Ed. Denys Val Baker. London:Methuen,1949, pp.194-95.
③A. Alvarez, The Shaping Spirit: Studies in Modern English and American Poets. London: Chatto&Windus,1958, p.88.
④F. W. Bateson,“Auden’s Last Poems.” Essays in Criticism25.3(July1975):387.
⑤F. R. Leavis, New Bearings in English Poetry.2nd ed. London: Chatto&Windus,1950, pp.215-38.
⑥Malcolm Cowley,“Virtue and Virtuosity: Notes on W. H. Auden.” Poetry65.4(Jan.1945):202.
⑦Malcolm Cowley,“Virtue and Virtuosity: Notes on W. H. Auden.” Poetry65.4(Jan.1945):208.
⑧William Carlos Williams, Selected Essays of William Carlos Williams. New York: RandomHouse,1954, p.288.
⑨William Carlos Williams, Selected Essays of William Carlos Williams. New York: RandomHouse,1954, p.289.
⑩William Carlos Williams, Selected Essays of William Carlos Williams. New York: RandomHouse,1954, p.288.
①“Audenesque.” The Oxford English Dictionary.2nd ed.1989.
②Bernard Bergonzi,“Auden and the Audenesque.” Reading the Thirties: Texts and Contexts.London: Macmillan,1978, pp.38-59.
③Bernard Bergonzi,“Auden and the Audenesque.” Reading the Thirties: Texts and Contexts.London: Macmillan,1978, p.58.
④Randall Jarrell,“Changes of Attitude and Rhetoric in Auden’s Poetry.” The Third Book ofCriticism. New York: Farrar, Straus&Giroux,1969, pp.132-33.
⑤Bloomfield与Mendelson的W. H. Auden: A Bibliography,1924-1969未能收录这篇评论文章。
⑥与英美学者不同的是，杨周翰不仅注意到了奥登在诗中常常采取“老鹰或戴盔的飞行员”般的视角，还进一步指出，“他当然不是用这样的角度的第一人，莎士比亚在‘李尔王’一剧内就有如此一个场面：当爱德哥引他盲目的父亲到多佛海岸想象地描写给他听崖岸下的景物，就是一例，此外当然还有，而奥登却是经常屡次地用它的第一人。这在中国诗画之内已不足为奇，但在英国诗内却还不十分普遍”。见杨周翰著：《奥登——诗坛的顽童》，载《时与潮文艺》1944年第4卷第1期，第100页。
⑦杨周翰著：《奥登——诗坛的顽童》，载《时与潮文艺》1944年第4卷第1期，第100页。
⑧杨周翰著：《奥登——诗坛的顽童》，载《时与潮文艺》1944年第4卷第1期，第102页。
⑨杨周翰著：《奥登——诗坛的顽童》，载《时与潮文艺》1944年第4卷第1期，第102页。
⑩杨周翰著：《奥登——诗坛的顽童》，载《时与潮文艺》1944年第4卷第1期，第105页。
①John G. Blair, The Poetic Art of W. H. Auden. Princeton, NJ: Princeton University Press,1965,p.124.
②参见John Haffenden, W. H. Auden: The Critical Heritage. London: Routledge&Kegan Paul,1983, pp.1-75. Monroe K. Spears, ed. Auden: A Collection of Critical Essays. Englewood Cliffs,N.J.: Prentice-Hall,1964, pp.1-9.
③另一位早期奥登学者门罗·斯皮尔斯也是以奥登自己的诗歌理论来分析他的诗歌风格与创作手法。见Monroe K. Spears, The Poetry of W. H. Auden: The Disenchanted Island. New York: OxfordUniversity Press,1963.
④John G. Blair, The Poetic Art of W. H. Auden. Princeton, NJ: Princeton University Press,1965,p.125.
⑤R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, back cover.
①Malcolm Cowley,“Virtue and Virtuosity: Notes on W. H. Auden.” Poetry,65.4(Jan.1945):202.
②Malcolm Cowley,“Auden’s Versification.” Poetry,65.6(March1945):345.
③Harvey Gross and Robert McDowell, Sound and Form in Modern Poetry.2nd ed. Ann Arbor:The University of Michigan Press,1996.238-66.
④Allan Rodway, A Preface to Auden. London: Longman,1984.102-07.
⑤除了专业知识之外，富勒还有“一肚子有关其他方面的不寻常和冷僻的知识”（批评家弗兰克·克莫德语），这些“偏门”知识在给奥登诗歌作注这项工作上发挥了极大的作用。参见Frank Kermode,“The Power toEnchant.” New Republic220.17-18:108.
①此外有一篇论奥登十四行诗的硕士论文（Margery H. Johnson, The Sonnets of W. H. Auden. MAthesis.1972.）遍寻不着，不知其内容。问诸门德尔松教授，他说：“我向你打包票，没有必要找那篇硕士论文。”2011年4月28日谈话。
②英文原文为“limitary”。阿拉纳以这个词形容奥登晚期诗歌的个中原因见R. Victoria Arana, W. H.Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: Cambria Press,2009, p.5.
③John Adames,“The Frontiers of the Psyche and the Limits of Form in Auden’s ‘Quest’Sonnets.” The Modern Language Review,92.3(July1997):573-80.
④参见奥登写于1937年的《牛津轻松诗集》（The Oxford Book of Light Verse）的序言，载The CompleteWorks of W. H. Auden: Prose and Travel Books in Prose and Verse. Volume I:1926-1938. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,1996.430-37.
①W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p. xi.
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p. xi.
③以下论述伊格尔顿观点的部分均出自赵元：《文论家的诗歌细读——评伊格尔顿的〈如何解读一首诗〉》，载《外国文学》，2009年第5期，第118-124页。
④Terry Eagleton, How to Read a Poem. Malden, MA: Blackwell Publishing,2007, p.65.
①Terry Eagleton, How to Read a Poem. Malden, MA: Blackwell Publishing,2007, p.66.
②Réne Wellek and Austin Warren, Theory of Literature,3rd ed. Middlesex: Penguin,1963, pp.140-41.
③这一观念在英国最早可追溯到柯尔律治。他借用德国批评家奥·威·施莱格尔和哲学家谢林的观念和术语，对“形状”（shape）与“形式”（form），或者“机械形式”（mechanic form）与“有机形式”（organicform），作了区分。
④Terry Eagleton, How to Read a Poem. Malden, MA: Blackwell Publishing,2007, p.66.
⑤Terry Eagleton, How to Read a Poem. Malden, MA: Blackwell Publishing,2007, p.66.
①Terry Eagleton, How to Read a Poem. Malden, MA: Blackwell Publishing,2007, p.67.
②Terry Eagleton, How to Read a Poem. Malden, MA: Blackwell Publishing,2007, p.67.
③详见该书第四章第二节“形式对抗内容”和第三节“超越内容的形式”。
④Terry Eagleton, Literary Theory: An Introduction,2nd ed. Malden, MA: Blackwell Publishing,
①Frank Gaffikin and Mike Morrissey, The New Unemployed: Joblessness and Poverty in theMarket Economy. London: Zed Books,1992, p.222.
②Eric Hobsbawm, Age of Extremes: The Short Twentieth Century. London: Michael Joseph,1994, p.107.
①W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.514.
②据奥登本人晚年的回忆：一天早上，他开车送经济史学家理查德·亨利·托尼（Richard Henry Tawney）回到他位于梅克伦伯格广场的住所，碰巧奥登的一个嫁给股票经纪人的表姐住在附近，于是就顺道拜访。“我们三人刚坐下准备吃午饭，她的丈夫就问我来伦敦是不是当特别警察的。‘不是的，’我答道，‘我是给工会大会开车的。’完全出乎我意料之外的是，他立刻命令我离开他们家。我万没想到，居然有人把大罢工那么当回事儿。”（见W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.
514.）
③W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.511.
④Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.
148.
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.524.
①Edward Mendelson, Early Auden. New York: Viking Press,1981, p.195.
②奥登西班牙之行的始末参见Humphrey Carpenter, W. H. Auden: A Biography. London: GeorgeAllen&Unwin,1981, pp.206-22与Edward Mendelson, Early Auden. New York: Viking Press,1981, pp.195-98.
①奥登相信自然法则是一定的，科学家目前得出的定律要么正确，要么错误；测不准原则“仅仅意味着，比如说，中子的轨迹的种种变化不遵循任何规律发生，从科学家的角度来看，是不可理解的”，但是这并不能证明自然规律不存在，只要哪一天科学家发现了中子运行变化的规律，就可以理解了。（W. H. Auden,The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. by Edward Mendelson.Princeton, NJ: Princeton University Press,2008, p.638.）
①奥登对于生物学新发展的了解显著地反映在一首作于1933年的十四行诗中，诗的标题叫做《减数分裂》
（“Meiosis”），这是生物学名词，指的是一个细胞分裂成两个配子、染色体数目减半的过程。在此诗中，奥登巧妙地以遗传学现象来写爱情，具有17世纪玄学派诗歌的遗风。
②详见W. H. Auden, The Complete Works of W. H. Auden: Plays and Other Dramatic Writings byW. H. Auden:1928-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1988.
①[奥地利]路德维希·维特根斯坦著：《逻辑哲学论》，贺绍甲译，商务印书馆1996年版，第105页。
②奥登在散文中甚少提到维特根斯坦，但是从他的某些诗歌判断，奥登读过维特根斯坦的著作，后者对语言的关注对奥登也有一定的影响。例如，在与路易斯·麦克尼斯（Louis MacNeice）合写的《冰岛书简》
（Letters from Iceland,1936）中提到了维特根斯坦的那部风靡一时但是不大有人读得懂的大作：“Item,to Wittgenstein who write such hits/As the Tractatus Logico-Philosophicus/We leave allreaders who can spare the wits;”（W. H. Auden, The Complete Works of W. H. Auden: Prose andTravel Books in Prose and Verse. Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ:Princeton University Press,1996, p.362.）；《伊斯基亚岛》（“Ischia”，1948）与《平原》
（“Plains”，,1953）这两首诗用了维特根斯坦著作中的一个关键词；《词》（“Words”，约1956）一诗明显受到维特根斯坦语言观的影响。
③海德格尔的名著《存在与时间》（Being and Time）的一个核心思想。奥登在20世纪40年代末仔细读过此书。
④[法]萨特著：《存在与虚无》，陈宣良等译，生活·读书·新知三联书店2007年版，第532页。
①奥登在1942年的一篇书评中提到过海德格尔；《焦虑年代》（The Age of Anxiety,1947）中的“theNothing who nothings”一句（W. H. Auden, Collected Poems. Ed. by Edward Mendelson. NewYork: Random House,1976, p.392.）是对海德格尔1929年的《何为形而上学》（“Was istMetaphysik?”）一文中“das Nichts nichtet”的模仿；奥登写于1949年的诗《一种迂回说法》（“OneCircumlocution”）的内容和大量出现的海德格尔式的复合名词是对这位哲学家的影射，奥登采取“以其人之道还治其人之身”的策略，反驳海德格尔的世俗存在主义。1950年，奥登在女性杂志《小姐》
（Mademoiselle）上发表过一篇文章，描述近15年来该杂志典型的年轻女性读者在阅读兴趣方面的变化：“在她的聚会上，存在主义取代了马克思主义成为争议话题；对于克尔恺郭尔、海德格尔、萨特等人究竟写了些什么，她的观念是模糊的，但是她知道其内容与焦虑、内疚和作抉择有关。”（W. H. Auden, TheComplete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. by Edward Mendelson.Princeton, NJ: Princeton University Press,2008, p.168.）
②加缪相信人的处境是荒诞的，对此奥登是反对的，因事关自由与必然性的关系，此处暂且不论。
①Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.9.
②Edward Mendelson, Early Auden. New York: Viking Press,1981, p. xxii.
③Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.10.
①参见S ren Kierkegaard, The Concept of Anxiety. Edited by Reidar Thomte. Princeton:Princeton University Press,1980.
②从1940年开始，奥登成为了克尔恺郭尔的一个忠实拥护者；1952年，他选编了《克尔恺郭尔的传世思想》（The Living Thoughts of Kierkegaard）并撰写了导言。这篇导言后来被收录到奥登的文集《前言与后语》（Forewords and Afterwords,1973），标题改为《瑟伦·克尔恺郭尔》；这部文集另收有奥登写于1968年的有关克尔恺郭尔的一篇书评——《一位哭丧着脸的骑士》（“A Knight of DolefulCountenance”），代表他后来对克尔恺郭尔看法的改变。此外，奥登在文章和书评中经常提及和引用克尔恺郭尔，尤其是在文学评论集《惊涛骇浪》（The Enchafèd Flood）与长诗《新年书简》（New Year Letter）的“注释”中。
③奥登第一次听说巴特是在1933年。1934年，奥登注意到了巴特对上帝恩典的强调，而他自己前一年亲身体会到了这种恩典（参见《一个夏夜》（“A Summer Night”）一诗）。到美国后，奥登开始阅读巴特、克尔恺郭尔、莱因霍尔德·尼布尔、保罗·蒂利希等人的著作，从而帮助他形成了他自己独特的基督教信仰。奥登认为巴特对恩典的求索是富有意义的，但是巴特有关原罪的正统观点在奥登看来不是很有说服力。
①Reinhold Niebuhr, An Interpretation of Christian Ethics. New York: Meridian Books,1956, p.117.
②Reinhold Niebuhr, An Interpretation of Christian Ethics. New York: Meridian Books,1956, p.119.
③Stephen Spender, ed. W. H. Auden: A Tribute. New York: Macmillan,1975, p.112.
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.134.
⑤Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.173.
⑥1933年，在尼布尔的邀请之下，因反对纳粹政权而丢掉工作的蒂利希来到纽约，成为协和神学院的一名教员。
⑦Paul Tillich, The Interpretation of History. New York: C. Scribner’s Sons,1936, pp.57-58.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.172.
②作者为奥斯瓦尔德·斯宾格勒（Oswald Spengler,1880-1936）。
①北京大学哲学系外国哲学史教研室编译：《西方哲学原著选读》上卷，商务印书馆1981年版，第47页。
②[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第99页。
①北京大学哲学系外国哲学史教研室编译：《西方哲学原著选读》上卷，商务印书馆1981年版，第47页。
②[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第106页。
③北京大学哲学系外国哲学史教研室编译：《西方哲学原著选读》上卷，商务印书馆1981年版，第61页。
④出自柏拉图《美诺篇》。参见[古希腊]柏拉图著：《柏拉图全集》第1卷，王晓朝译，人民出版社2002年版，第522页。
⑤[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第153页。
⑥[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第225页。
①W. D. Ross, Aristotle. London: Methuen,1949, p.211.
②[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第232页。
③徐向东编：《自由意志与道德责任》，江苏人民出版社2006年版，第46页。
④[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第312页。
⑤北京大学哲学系外国哲学史教研室编译：《西方哲学原著选读》上卷，商务印书馆1981年版，第200页。
⑥[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第310页。
⑦[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第313页。
⑧[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第321页。
①[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第321页。
②[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第322页。
③[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第323页。
④[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第448页。
⑤[古罗马]奥古斯丁著：《论自由意志——奥古斯丁对话录二篇》，成官泯译，上海世纪出版集团2010年版，第100页。
①[古罗马]奥古斯丁著：《论自由意志——奥古斯丁对话录二篇》，成官泯译，上海世纪出版集团2010年版，第87页。
②[古罗马]奥古斯丁著：《论自由意志——奥古斯丁对话录二篇》，成官泯译，上海世纪出版集团2010年版，第142页。
③[古罗马]奥古斯丁著：《论自由意志——奥古斯丁对话录二篇》，成官泯译，上海世纪出版集团2010年版，第102页。
④详见[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第559页。
⑤[德]马丁·路德著：《路德文集》第2卷，路德文集中文版编辑委员会编，上海三联书店2002年版，第
597-598页。
①[美]威尔·杜兰著：《马丁·路德时代》，台北幼狮文化公司译，东方出版社2007年版，第189页。
②[美]威尔·杜兰著：《马丁·路德时代》，台北幼狮文化公司译，东方出版社2007年版，第189页。
③罗素语。见[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第449页。
①Francis Bacon, The Advancement of Learning. Edited by Joseph Devey. New York: Collier,1901, p.73.
②[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第74页。
③[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第74页。
④[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第74页。
⑤[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第83-84，91-92页。
⑥René Descartes, The Philosophical Writings of Descartes. Trans. by John Cottingham, RobertStoothoff, and Dugald Murdoch. Vol. I. Cambridge: Cambridge University Press,1985, p.343.
⑦[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第92页。
⑧[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第95页。
①[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第98页。
②[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第114页。
③[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第116页。
④[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第116-117页。
⑤[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第117页。
⑥[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第209页。
①[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第228页。
②[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第237页。
③[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第237页。
④[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第238页。措辞略作改动。
⑤[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第239页。
⑥[德]康德著：《纯粹理性批判》，蓝公武译，商务印书馆1997年版，第29页。
①[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第284页。
②[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第284页。
①[美]威尔·杜兰特著：《哲学的故事》，朱安、武国强、周兴亚等译，文化艺术出版社1991年版，第326页。
②[德]恩格斯著：《反杜林论》（《欧根·杜林先生在科学中实行的变革》），中共中央马克思、恩格斯、列宁、斯大林著作编译局译，人民出版社1970年版，第111-112页。英译本可参见Frederick Engels,Anti-Dühring (Herr Eugen Dühring’s Revolution in Science). Moscow: Foreign LanguagesPublishing House,1954, pp.158-59.
③Will Durant, The Story of Philosophy: The Lives and Opinions of the Greater Philosophers. NewYork: Simon and Schuster,1953, p.338.
①Will Durant, The Story of Philosophy: The Lives and Opinions of the Greater Philosophers. NewYork: Simon and Schuster,1953, p.339.
②[美]威尔·杜兰特著：《哲学的故事》，朱安、武国强、周兴亚等译，文化艺术出版社1991年版，第524页。
③徐向东编：《自由意志与道德责任》，江苏人民出版社2006年版，第47页。
④徐向东编：《自由意志与道德责任》，江苏人民出版社2006年版，“编选说明”第1页。
①徐向东编：《自由意志与道德责任》，江苏人民出版社2006年版，第47页。
②徐向东编：《自由意志与道德责任》，江苏人民出版社2006年版，“编选说明”第2页。
③傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第697-98页。原文：Follow, poet, follow right/To the bottom of the night,/…./In the prison of his days/Teachthe free man how to praise.（W. H. Auden, Selected Poems. Expanded edition. Ed. by EdwardMendelson. New York: Vintage,2007, pp.90-91.
④W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.685.
①[英]威廉·莎士比亚著：《莎士比亚悲剧四种》，卞之琳译，人民文学出版社1989年版，第63页。
②[英]威廉·莎士比亚著：《莎士比亚悲剧四种》，卞之琳译，人民文学出版社1989年版，第63页。
③傅浩：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第695页。
④傅浩：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第696页。
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.386.
⑥W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,
①Herbert Greenberg, Quest for the Necessary: W. H. Auden and the Dilemma of DividedConsciousness. Cambridge, Mass.: Harvard University Press,1968, pp.1-2.
②Herbert Greenberg, Quest for the Necessary: W. H. Auden and the Dilemma of DividedConsciousness. Cambridge, Mass.: Harvard University Press,1968, pp.12-13.
③Alan Jacobs, What Became of Wystan: Change and Continuity in Auden’s Poetry. Fayetteville:University of Arkansas Press,1998, p.118.
④Michael O’Neill and Gareth Reeves, Auden, MacNeice, Spender: The Thirties Poetry.Basingstoke: Macmillan,1992, pp.171-72.
⑤Douglas Brown, Wandering Lost: Searching for the End in Auden and Isherwood’s “Journey toa War.” Diss. Université de Montréal,2006. Ann Arbor: UMI,2006, p.5.
⑥Douglas Brown, Wandering Lost: Searching for the End in Auden and Isherwood’s “Journey toa War.” Diss. Université de Montréal,2006. Ann Arbor: UMI,2006, p.54.
⑦Douglas Brown, Wandering Lost: Searching for the End in Auden and Isherwood’s “Journey toa War.” Diss. Université de Montréal,2006. Ann Arbor: UMI,2006, pp.59-60.
⑧Michael O’Neill and Gareth Reeves, Auden, MacNeice, Spender: The Thirties Poetry.Basingstoke: Macmillan,1992, p.176.
⑨Frederick Buell, W. H. Auden as a Social Poet. Ithaca, N.Y.: Cornell UP,1973, p.176.
①Douglas Brown, Wandering Lost: Searching for the End in Auden and Isherwood’s “Journey toa War.” Diss. Université de Montréal,2006. Ann Arbor: UMI,2006, pp.63-64.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.63.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.63.
④但是这并不代表奥登是个“行动的矮子”。贪生怕死之徒是不会在西班牙内战与中日战争期间自愿前往战争第一线的。1942年8月，奥登收到美国军队的征兵通知，在9月1日的面试中，给奥登做检查的心理学家发现他是同性恋，于是以身体不合格为由禁止他服兵役。奥登此前在给友人的信中写到，他不会用宣布自己是同性恋的方法来逃避兵役，但是如果到时被问及，他也不会刻意隐瞒事实。（参见EdwardMendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.207; RichardDavenport-Hines, Auden. New York: Pantheon Books,1995, p.221.）
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.64.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.64.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p. xx.
③Edward Mendelson, Early Auden. New York: Viking Press,1981, pp.15-18.
④W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.13.
①关于这次经历发生的时间，参见Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.90.
②Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.282. Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.89.
③Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.89.
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.578.
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.578.
⑥W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.66.
⑦W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.67.
⑧W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.65.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.209.
②W. H. Auden, Forewords and Afterwords. New York: Random House,1973, pp.35-36.
③W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.318.对照本章第1节中论述苏格拉底的段落。
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.689.
①W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, pp.465-66.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.252.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.255.
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.255.
①W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.502.
②W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.508.
③W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.435.
④Edward Mendelson, Early Auden. New York: Viking Press,1981, p.17.
⑤Katherine Bucknell and Nicholas Jenkins, eds., W. H. Auden:‘The Map of All My Youth’–Early Works, Friends and Influences. Auden Studies1. Oxford, UK: Clarendon Press,1990, p.
①W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p. xxii.
②Monroe K. Spears, The Poetry of W. H. Auden: The Disenchanted Island. New York: OxfordUniversity Press,1963, p.308.
③Frank Kermode,“The Power to Enchant.” New Republic220.17-18:108-13.克莫德接着写道：“由于他不可避免地是一位诗人，他理解他的知识的终极方法是通过写诗。”
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.102.
⑤参见第一章中有关哲学与基督教的章节。
⑥W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.579.
⑦W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p. xviii.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.87.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.100.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, pp.100-01.
④奥登区分了两种法则：“laws-of”与“laws-for”。自然法则属于“laws-of”；历史世界中的道德法则属于“laws-for”，“为历史事件提供选择这样或那样发生的动机”，“一个公正的法则是指为选择提供好的动机的法则，而不是要求正确选择的法则”。（W. H. Auden, The Complete Works of W. H. Auden: Prose,
①W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.435.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.468.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.67.
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.35.
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.526.
⑥见W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, pp.
107-45.或W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed.by Edward Mendelson. Princeton, NJ: Princeton UP,2010, pp.528-55.
⑦W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.470.
⑧W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.115.
⑨W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.115.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.475.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.233.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.689.
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.689.
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.689.
⑥W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.233.
①W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.27.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.345.
③W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.27.
④W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.27.
⑤W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.351.
⑥W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.89.
⑦W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.91.中译文见傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第697页。
⑧此文是研究奥登思想转变的重要材料。相关背景参见W. H. Auden, The Complete Works of W. H.Auden: Prose, Volume II:1939-1948. Ed. by Edward Mendelson. Princeton, NJ: PrincetonUniversity Press,2002, p.409.
⑨W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.423.
①“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets, and Poetry.”Swarthmore College Bulletin Alumni Issue (May1972):3.另参见Stephen Spender, ed., W. H.Auden: A Tribute. New York: Macmillan,1975, p.89.
②W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.
162.
③John Pudney, Home and Away: An Autobiographical Gambit. London: Michael Joseph,1960,p.72.
④Stephen Spender, ed., W. H. Auden: A Tribute. New York: Macmillan,1975, p.89.
⑤W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.513.
⑥Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.13.
⑦W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.350.在《多产者与吞食者》中，奥登也说过：“如果艺术的标准是看它引起行动的力量，那么戈培尔将是有史以来最伟大的艺术家之一。”
（W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.423.）
⑧W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.341.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.341.关于游戏规则存在的必要性可参看陆建德《巴尔特·围棋·阅读》一文，载陆建德著：《麻雀啁啾》，生活·读书·新知三联书店1996年版，第177-187页。
②W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.289.
③W. H. Auden, A Certain World. New York: Random House,1970, p.424.
④W. H. Auden, A Certain World. New York: Random House,1970, p.424.
⑤W. H. Auden, A Certain World. New York: Random House,1970, p.424.
⑥W. H. Auden, A Certain World. New York: Random House,1970, p.424.
⑦W. H. Auden, A Certain World. New York: Random House,1970, p.424-25.
⑧W. H. Auden, A Certain World. New York: Random House,1970, p.425.
⑨W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.568.
⑩W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.568.
①Vladimir Nabokov, Speak, Memory: An Autobiography Revisited. New York: Putnam,1966, p.
125.
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.27.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.689.
④James Joyce, Ulysses. London: Penguin Books,2000, p.42.
⑤W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.270.
⑥《创世纪》4:1。
⑦关于动词“knew”在希伯来文中的意思，参见Robert Alter, Genesis: Translation and Commentary.New York: Norton,1996, p.16.
⑧W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.270.
⑨W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.102.
⑩奥登以这部克莱里休四行打油诗（clerihew）集纪念以写轻松诗见长的美国诗人奥格登·纳什（OgdenNash,1902-1971）。
①W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.431.
②牛津出版社后来委托金斯利·埃米斯（Kingsley Amis,1922-1995）选编《新牛津轻松诗选》（NewOxford Book of Light Verse,1978），其中收录的全是这一类诗。
③W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, pp.431-32.
④W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.431.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.114.
②W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.115.
③W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.115.
④W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.121.
⑤Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.29.
⑥见于《染匠之手》中的一篇文章的开头。（见W. H. Auden, The Dyer’s Hand and Other Essays. NewYork: Random House,1962, p.407.）
⑦Edward Mendelson, Preface. W. H. Auden’s Book of Light Verse. Chosen by W. H. Auden.(Rev.ed. of The Oxford Book of Light Verse.1938). New York: New York Review Books,2004, p. xvi.
⑧Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.418.
⑨Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, pp.418-19.
⑩Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.419.
①Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.419.
②Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.419.
③W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.36.
④W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.436.
⑤W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.231.波德莱尔《灯塔》一诗的中译文出自[法]波德莱尔著：《恶之花》，郭宏安译，广西师范大学出版社2002年版，第212页。
①奥登后来在《致拜伦勋爵的信》（“Letter to Lord Byron”）中写到这段经历：“他踢了一下小石子，转过身／对我说：‘告诉我，你写诗吗？’／我没写过，我如实答道，但在那一刻／我知道我想做的是什么了。”
（“Kicking a little stone, he turned to me/And said,‘Tell me, do you write poetry?’/I never had,and said so, but I knew/That very moment what I wished to do.”）（见W. H. Auden, The EnglishAuden: Poems, Essays, and Dramatic Writing,1927-1939. Ed. by Edward Mendelson. New York:Random House,1977, p.194.）
②W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p. xix.
③原名乔治·威廉·拉塞尔（George William Russell,1867-1935），爱尔兰诗人。
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.42.
⑤奥登把这一点归咎于他的近视。晚年时他有一次谈到，他的近视“或许是一种从现实中的退却，一种想把现实世界关在外面的愿望”。（Humphrey Carpenter, W. H. Auden: A Biography. London: GeorgeAllen&Unwin,1981, p.32.）
⑥诗题中的“加利福尼亚”是英国伯明翰一地名。
①W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p.3.
②W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, pp.15-16.
③W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, pp.17-18.在另外一首受德拉梅尔影响的诗里，奥登也提出了精灵是否真的存在的问题。（“Belief”, in W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperback edition. Princeton, NJ: PrincetonUniversity Press,2003, p.16.）
④Edward Mendelson, Early Auden. New York: Viking Press,1981, p.27.
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, pp.43-44.
⑥W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.45.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.48.
②W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p.121.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.48.
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.38.
③艾略特对奥登的影响当然并不仅限于1926-1927年，但是与其他一些诗人和批评家相比，艾略特的重要性对奥登而言是有限的。晚年的奥登列出了一份他最喜爱的诗人名单，其中没有艾略特的名字；此外，奥登还把20世纪“用英语写成的最伟大的长诗”的头衔送给了大卫·琼斯（David Jones,1895-1974）的《咒逐》（Anathemata），而没有给《荒原》。（见W. H. Auden, A Certain World. New York: RandomHouse,1970, pp.372-73.）
④出自《磨坊（亨普斯特德）》（“The Mill (Hempstead)”），作于1925年4月（见W. H. Auden, Juvenilia:Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperback edition. Princeton, NJ:Princeton University Press,2003, pp.87-88.）试比较爱德华·托马斯的《割晒干草》（“Haymaking”）
（见Edward Thomas, The Collected Poems and War Diary,1917. Ed. by R. George Thomas.London: Faber and Faber,2004, pp.81-82.）
①作于1925年（见W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell.Expanded paperback edition. Princeton, NJ: Princeton University Press,2003, p.83.）。试比较豪斯曼《最后的诗》中的第21首。（见A. E. Housman, Last Poems. London: Grant Richards,1922,p.44.）
②作于1926年5月（见W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell.Expanded paperback edition. Princeton, NJ: Princeton University Press,2003, p.139.）。
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.44.
①Edward Mendelson, Early Auden. New York: Viking Press,1981, p.28. Humphrey Carpenter,W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.57.
②Richard Davenport-Hines, Auden. New York: Pantheon Books,1995, p.62.与HumphreyCarpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.57.
③W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p.148.
①W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, pp.146-47.
②W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p.144.
③见T. S. Eliot, Collected Poems,1909-1962. New York: Harcourt, Brace&World,1963, p.60.
④见T. S. Eliot, Collected Poems,1909-1962. New York: Harcourt, Brace&World,1963, p.4.
①W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p.193.
②W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p.194.
③Christopher Isherwood, Lions and Shadows: An Education in the Twenties. London: HogarthPress,1938, p.191.伊舍伍德接着写道，他不断在奥登口中听到“严峻”一词，以至于后来听到这个词就想吐。
④[英]托·斯·艾略特著：《艾略特文学论文集》，李赋宁译注，百花洲文艺出版社1994年版，第11页。
①W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p. xx.
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, pp.79-80.在另一处，奥登谈及艾略特对于传统的看法与他的美国人身份的联系：“托·斯·艾略特先生在一篇著名的文章中写道，‘传统并不能继承，如果你需要它，必须通过艰苦劳动来获得它。’我认为没有一个欧洲的批评家说得出这样的话。当然，他不会否认每一个诗人都必须努力工作，但是这句话的前半句里所暗示的意思，即传统感只有通过有意识的努力才能获得，对他而言是陌生的。”（见W. H. Auden, The Dyer’s Handand Other Essays. New York: Random House,1962, p.366.）
③Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.58.
④在他的第一部正式出版的《诗集》（1930）中，奥登放进了两首创作时间早于《分水岭》的诗作，但是在1933年的第二版中删去了这两首诗。从此以后，奥登再也没有重印过《分水岭》之前的诗作。（参见Edward Mendelson, Early Auden. New York: Viking Press,1981, p.32.）
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.3.
①Edward Mendelson, Early Auden. New York: Viking Press,1981, p.33.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.47.
③W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.16.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.47.
②W. H. Auden, Forewords and Afterwords. New York: Random House,1973, pp.69-70.
③W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.69.
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, pp.30-31.
②John Fuller, W. H. Auden: A Commentary. London: Faber and Faber,1998, p.149.
③Edward Mendelson, Early Auden. New York: Viking Press,1981, p.167.
①Edward Mendelson, Early Auden. New York: Viking Press,1981, p.168.
②Edward Mendelson, Early Auden. New York: Viking Press,1981, p.172.
③Edward Mendelson, Early Auden. New York: Viking Press,1981, pp.172-74.
④Edward Mendelson, Early Auden. New York: Viking Press,1981, p.173.
⑤Edward Mendelson, Early Auden. New York: Viking Press,1981, p.173.
⑥Edward Mendelson, Early Auden. New York: Viking Press,1981, p.173.
⑦与“类比艺术”相对的是“逃避艺术”（“escape-art”）。“人需要逃避，正如他需要食物和深度睡眠”；“类比艺术”“教人放下仇恨，学会爱”。W. H. Auden, The Complete Works of W. H. Auden: Prose andTravel Books in Prose and Verse. Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ:Princeton University Press,1996, p.104.
⑧W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.103.
①W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.482.
②Chris Beyers, A History of Free Verse. Fayetteville: The University of Arkansas Press,2001, p.3.
③Chris Beyers, A History of Free Verse. Fayetteville: The University of Arkansas Press,2001, p.3.
④Chris Beyers, A History of Free Verse. Fayetteville: The University of Arkansas Press,2001, p.3.
⑤W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.49.
⑥Bengt Jangfeldt,“Form in Poetry”(Joseph Brodsky and Derek Walcott in a conversation withBengt Jangfeldt). The Kenyon Review, New Series,23.2(2001):191.
⑦Bengt Jangfeldt,“Form in Poetry”(Joseph Brodsky and Derek Walcott in a conversation withBengt Jangfeldt). The Kenyon Review, New Series,23.2(2001):191.
⑧Chris Beyers, A History of Free Verse. Fayetteville: The University of Arkansas Press,2001, p.11.
①Samuel Taylor Coleridge,“On Poesy or Art.” Biographia Literaria. Ed. by J. Shawcross. Vol.2.Oxford: Clarendon,1907, p.262.
②Samuel Taylor Coleridge, Shakespearean Criticism. Ed. by Thomas Middleton Rayson.2nd ed.London: Dent,1960.2vols. Vol.1, p.198.
③Samuel Taylor Coleridge, Shakespearean Criticism. Ed. by Thomas Middleton Rayson.2nd ed.London: Dent,1960.2vols. Vol.1, p.197.
④Samuel Taylor Coleridge, Shakespearean Criticism. Ed. by Thomas Middleton Rayson.2nd ed.London: Dent,1960.2vols. Vol.1, p.198.
⑤M. H. Abrams, The Mirror and the Lamp: Romantic Theory and the Critical Tradition. New York:Oxford University Press,1953, p.169.
⑥William Wordsworth, The Prelude,1799,1805,1850: Authoritative Texts, Context andReception, Recent Critical Essays. Ed. by Jonathan Wordsworth, M. H. Abrams, and StephenGill. New York: Norton,1979, Book I, ll.288,290.
⑦Edward Mendelson, Early Auden. New York: Viking Press,1981, p.204.
①关于英国19世纪后半叶以来宗教的衰落和诗歌或文学作为宗教替代品的情况，可参见陆建德著：《思想背后的利益：文化政治评论集》，广西师范大学出版社2005年版，第103-104页。
②T. S. Eliot, Selected Prose of T. S. Eliot. Ed. by Frank Kermode. New York: Harcourt BraceJovanovich,1975, p.177.
③T. S. Eliot, Selected Prose of T. S. Eliot. Ed. by Frank Kermode. New York: Harcourt BraceJovanovich,1975, p.177.
④T. S. Eliot, Selected Prose of T. S. Eliot. Ed. by Frank Kermode. New York: Harcourt BraceJovanovich,1975, pp.177-78.
⑤Edward Mendelson, Early Auden. New York: Viking Press,1981, p.205.
⑥Edward Mendelson, Early Auden. New York: Viking Press,1981, p.205.
⑦T. S. Eliot, To Criticize the Critic. New York: Farrar, Strauss,&Giroux,1965, p.185.
⑧T. S. Eliot, Selected Prose of T. S. Eliot. Ed. by Frank Kermode. New York: Harcourt BraceJovanovich,1975, p.36.
⑨自1926年夏天之后的近一年时间里，奥登也写了不少此类仿作。例如：“In Spring we waited. Princesfelt/Through darkness for unwoken queens;/The itching lover weighed himself/At stationson august machines;”（“In Due Season”；见W. H. Auden, Juvenilia: Poems,1922-1928. Ed. byKatherine Bucknell. Expanded paperback edition. Princeton, NJ: Princeton University Press,
①D. H. Lawrence, Birds, Beasts and Flowers. London: Martin Secker,1923, pp.113-15.
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.284.
③参见W. H. Auden, The English Auden: Poems, Essays, and Dramatic Writing,1927-1939. Ed.by Edward Mendelson. New York: Random House,1977, pp.297-99.
④Edward Mendelson, Early Auden. New York: Viking Press,1981, p.174.
⑤W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.68.
①W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.68.
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.68.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.397.
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.397.莫扎特歌剧《唐乔瓦尼》中的主人公以引诱女人为乐。根据奥登的理解，唐乔瓦尼的乐趣不是肉体上的，而是算数上的，“他的满足感来自在他的名单上再添一个名字”。（W. H. Auden, The Dyer’s Hand and Other Essays. NewYork: Random House,1962, p.119.）更多有关唐乔瓦尼和瓦格纳歌剧《特里斯坦与伊索尔德》（Tristanund Isolde）中的主人公的比较分析，见W. H. Auden, The Dyer’s Hand and Other Essays. New York:Random House,1962, pp.118-23.另参见《裸体的洞穴》（“The Cave of Nakedness”）一诗的开头：“Don Juan needs no bed, being far too impatient to undress,/nor do Tristan and Isolda, muchtoo in love to care/for so mundane a matter, but unmythical/mortals require one, and preferto take their clothes off,/if only to sleep.”（W. H. Auden, Selected Poems. Expanded edition. Ed.by Edward Mendelson. New York: Vintage,2007, p.283.）
⑤W. H. Auden, and Louis Kronenberger, eds. The Viking Book of Aphorisms. New York: Viking,1962, p.240.
①Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.
340.
②W. H. Auden,“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets,and Poetry.” Swarthmore College Bulletin Alumni Issue (May1972):2.
③George Plimpton, ed.,“W. H. Auden.” Writers at Work: The Paris Review Interviews,4th series.Harmondsworth: Penguin Books,1977, p.253.
④George Plimpton, ed.,“W. H. Auden.” Writers at Work: The Paris Review Interviews,4th series.Harmondsworth: Penguin Books,1977, p.253.
⑤W. H. Auden,“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets,and Poetry.” Swarthmore College Bulletin Alumni Issue (May1972):2.
⑥George Plimpton, ed.,“W. H. Auden.” Writers at Work: The Paris Review Interviews,4th series.Harmondsworth: Penguin Books,1977, p.253.
⑦W. H. Auden,“Auden on Poetry: A Conversation with Stanley Kunitz.” Atlantic218.2(August1966):102.
⑧W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.296.
⑨W. H. Auden,“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets,and Poetry.” Swarthmore College Bulletin Alumni Issue (May1972):2.
①W. H. Auden,“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets,and Poetry.” Swarthmore College Bulletin Alumni Issue (May1972):2.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.345.
③W. H. Auden,“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets,and Poetry.” Swarthmore College Bulletin Alumni Issue (May1972):2.
④W. H. Auden,“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets,and Poetry.” Swarthmore College Bulletin Alumni Issue (May1972):2. George Plimpton, ed.,“W.H. Auden.” Writers at Work: The Paris Review Interviews,4th series. Harmondsworth: PenguinBooks,1977, p.253.
⑤在《向克利俄致敬》（“Homage to Clio”）一诗中，奥登赞颂了这位掌管历史的女神，因为只有在历史的时间中，我们才有做决定的自由，才有可能改变自己的未来。离开历史，在一个必然性的世界中，“只有第一步才重要，／那一步将总是谋杀”。（W. H. Auden, Selected Poems. Expanded edition. Ed. byEdward Mendelson. New York: Vintage,2007, p.242.）除了写作格律诗以外，修改作品也是摆脱“自我的束缚”的途径之一，因为修改意味着第二步、第三步，亦即自由选择。（参见Edward Mendelson,“Revision and Power: The Example of W. H. Auden.” Yale French Studies, No.89, Drafts (1996):103-12.）
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.273.
②另外两组是《田园诗》（“Bucolics”，1952-1953）和《祈祷时刻》（“Horae Canonicae”，1949-1954）。
③Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.453.
④奥登与威廉姆斯的交往情况参见Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.453.
⑤参见傅浩先生2010年11月23日给作者的电子邮件：“……这个在诗学上叫‘半行’。即按照音律，一行未足，而按照意思，需另起一行时，则上下两半行错开，但尾首相连排印。在诗剧中常用于不同人物台词间的衔接转换。在计数行数时，两个半行合算一行。”
①参见J. B. Greenough, G. L. Kittredge, A. A. Howard, and Benj. L. D’ooge, eds., Allen andGreenough’s New Latin Grammar for Schools and Colleges. Boston: Ginn&Company,1903, p.410.
②W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.276.
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, pp.66-68.
②Arthur Quiller-Couch, ed., The Oxford Book of Ballads. Oxford: Clarendon,1910, p.867.
③Anthony Hecht,“Paralipomena to The Hidden Law.” Sewanee Writers on Writing. Ed. WyattPrunty. Baton Rouge: Louisiana State UP,2000, p.72.
④W. H. Auden, W. H. Auden’s Book of Light Verse.(Rev. ed. of The Oxford Book of Light Verse.1938). New York: New York Review Books,2004, p.378.
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.104.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.689.
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.71.
③实际上这两个词只是元音不同，元音前后的辅音完全相同。这种韵被威尔弗雷德·欧文（Wilfred Owen）称为“pararhyme”。（Alex Preminger and T. V. F. Brogan, eds., The New Princeton Encyclopediaof Poetry and Poetics. Princeton, NJ: Princeton University Press,1993, p.824.）
④Edward C. McAleer,“As Auden Walked Out.” College English18.5(Feb.,1957):272.
①Alexander Pope, Alexander Pope: Selected Poetry and Prose. Ed. by Robin Sowerby. London:Routledge,1988, p.45.
②Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p. xiv.
③详见第4章第2节“形式对抗内容”和第3节“超越内容的形式”。Terry Eagleton, How to Read a Poem.Malden, MA: Blackwell Publishing,2007, pp.70-88.
④参见赵元：《文论家的诗歌细读——评伊格尔顿的〈如何解读一首诗〉》，载《外国文学》，2009年第5期，第120页。
⑤这首诗创作于20年代初，写的是湖区（the Lake District）的一个叫做“Blea Tarn”的水潭。该诗的手稿已遗失，奥登只记得诗的结尾部分是“and in the quiet/Oblivion of thy water let them stay.”但是他已记不得其中的“他们”到底指的是谁或者什么。（见Humphrey Carpenter, W. H. Auden: ABiography. London: George Allen&Unwin,1981, p.29.）
①“Sonnet”（“This world is full of lovely things”），见W. H. Auden, Juvenilia: Poems,1922-1928.Ed. by Katherine Bucknell. Expanded paperback edition. Princeton, NJ: Princeton UniversityPress,2003, pp.16-17.
②“The Song”，见W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: RandomHouse,1976, p.474.
③十四行诗超越文化的一个显著的例子是它在现代中国的接受。尽管传统中国诗歌中并无十四行诗，但它在20世纪20年代早期传到中国后，很快便流传开来。有论者指出，十四行诗的谋篇之法颇类似古代中国诗文的写作原则，即“起承转合”。更有人进一步指出，十四行诗尤其类似七言律诗。（参见钱光培选编：《中国十四行诗选：1920—1987》，中国文联出版公司1988年版，第359、368-370页。）
④T. S. Eliot, Selected Prose of T. S. Eliot. Ed. by Frank Kermode. New York: Harcourt BraceJovanovich,1975, p.36.
⑤Ezra Pound, Literary Essays of Ezra Pound. Ed. by T. S. Eliot. New York: New Directions,1968, p.170.
①Robert M. Bender and Charles L. Squier, eds. The Sonnet: An Anthology: A ComprehensiveSelection of British and American Sonnets from the Renaissance to the Present. New York:Washington Square Press,1987, p. xxxiii.
②这一传统可追溯到菲利普·锡德尼（Sir Philip Sidney,1554-1586）的侄女玛丽·罗斯夫人（Lady MaryWroth）创作的《潘菲丽亚致安菲兰休斯》（Pamphilia to Amphilanthus,1621）。
③此段见赵元：《十四行诗》，载《外国文学》，2010年第5期，第121-122页。
④参见Bengt Jangfeldt,“Form in Poetry”(Joseph Brodsky and Derek Walcott in a conversationwith Bengt Jangfeldt). The Kenyon Review, New Series,23.2(2001):185-200.
⑤详见John Adames,“The Frontiers of the Psyche and the Limits of Form in Auden’s ‘Quest’Sonnets.” The Modern Language Review92.3(July1997):574.
⑥详见John Adames,“The Frontiers of the Psyche and the Limits of Form in Auden’s ‘Quest’Sonnets.” The Modern Language Review92.3(July1997):573-80.
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.80.中译文见查良铮译：《英国现代诗选》，湖南人民出版社1985年版，第119-120页。
②John Fuller, W. H. Auden: A Commentary. London: Faber and Faber,1998, p.239.另参见JohnFuller, The Sonnet. London: Methuen,1972, pp.34-35.
③2011年4月7日闻诸爱德华·门德尔松教授。
④W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.118.
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.72.
①查良铮译：《英国现代诗选》，湖南人民出版社1985年版，第107页。
②W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.95.
①奥登的这一手法可能学自哈代。2012年4月9日闻诸傅浩先生。
②John Milton, Paradise Lost. Ed. by Barbara K. Lewalski. Malden, MA: Blackwell,2007, p.11.
③参见Richard Davenport-Hines, Auden. New York: Pantheon Books,1995, pp.256,323.
④2010年9月9日闻诸爱德华·门德尔松教授。
①Chris Beyers, A History of Free Verse. Fayetteville: The University of Arkansas Press,2001, p.4.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.574.
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.87.
②傅浩著：《说诗解译——中外诗歌与翻译论集》，中国传媒大学出版社2005年版，第185-186页。
①Edward Mendelson, Early Auden. New York: Viking Press,1981, p.347.
②《兰波》、《阿·爱·豪斯曼》、《小说家》、《作曲家》、《爱德华·利尔》。其余三首为《澳门》、《香港》与《冬天的布鲁塞尔》，其中前两首属于游记《战地行》（Journey to a War,1939）的一部分。1939年2
月（奥登与伊舍伍德于1939年1月26日抵达纽约），奥登写了三首诗，都与作家、艺术家有关，分别是《伏尔泰在斐尔奈》、《马修·阿诺德》与《纪念威·巴·叶芝》。
③傅浩著：《说诗解译——中外诗歌与翻译论集》，中国传媒大学出版社2005年版，第187页。
④除第二节明确提到的《画着伊卡洛斯坠落的风景画》（Landscape with the Fall of Icarus）之外，在第一节中还影射了《伯利恒的人口调查》（The Numbering at Bethlehem）、《画着溜冰者与捕鸟器的冬日风景画》（Winter Landscape with Skaters and a Bird Trap）（第5-8行）与《屠杀无辜者》（The Massacreof the Innocents）（第12-13行）。
①傅浩先生在翻译完奥登的这首名诗之后感慨道：“奥登的《美术馆》一诗韵式虽无规律，但每个韵脚都有着落，其诗艺之精湛，实难在译文中描摹。”（傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第688页。）
②Edward Mendelson, Early Auden. New York: Viking Press,1981, p.363.
③例如贾雷尔的诗《过去的与现在的大师们》（“The Old and the New Masters”）就是对奥登《美术馆》一诗的回应。（见Randall Jarrell, The Complete Poems. New York: Farrar, Straus&Giroux,1969,pp.332-33.）
④傅浩著：《说诗解译——中外诗歌与翻译论集》，中国传媒大学出版社2005年版，第189-190页。
⑤W. H. Auden,“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets,and Poetry.” Swarthmore College Bulletin Alumni Issue (May1972):14.
⑥William Harmon,“W. H. Auden.” Unpublished essay,2010.
①奥登用过的诗体及例子参见附录。
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.649.
③W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.364.
④奥登在晚年提到布里奇斯的仿古六音步诗（Hexameters）时言简意赅地指出，“没有一只等着听重音的耳朵会把它们听作是[六音步诗]”。（W. H. Auden, A Certain World. New York: Random House,1970,p.375.）
⑤原文为：“I simply could not make head or tail of them.”W. H. Auden, The Dyer’s Hand andOther Essays. New York: Random House,1962, p.296.
⑥W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.297.
①W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.297.在瓦莱里的《杂文集》英文版的前言中，奥登用了另一句法文诗的例子：“Je suis belle,|o mortels!|comme un rev|e de pierre”。（W. H. Auden, Forewords and Afterwords. New York: RandomHouse,1973, p.359.）
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.297.
③Marianne Moore, The Poems of Marianne Moore. Ed. by Grace Schulman. New York: Viking,2003, pp.127-28.
①Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.86.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.235.
③Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.85.
④Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.86.
⑤W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.100.
①W. H. Auden, The English Auden: Poems, Essays, and Dramatic Writing,1927-1939. Ed. byEdward Mendelson. New York: Random House,1977, p.243.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.235.
③Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.86.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.320.
②W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.245.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.263.
②W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.189.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.585.
②W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.571.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.628.
②John Fuller, W. H. Auden: A Commentary. London: Faber and Faber,1998, p.541.
③奥登的最后一首诗是一首俳句：“He still loves life/But O O O O how he wishes/The good Lordwould take him.”关于此诗音节数的算法，门德尔松与卡彭特提供了两种不同的版本。见EdwardMendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, pp.515-16.与HumphreyCarpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.450.
④W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.641.
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, pp.279-80.
②Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.420.
①W. H. Auden,[Auden’s reply to a questionnaire on classics.] Arion3.4(Winter1964):9.
②W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.270.
③诗例见[古罗马]卡图卢斯著：《卡图卢斯〈歌集〉：拉中对照译注本》，李永毅译注，中国青年出版社2008年版，第2页。这是卡图卢斯最常用的格律。参见Gaius Valerius Catullus, The Poems of Caius ValeriusCatullus. London,1795. Vol.1, p. xxix.
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.269.
②该词源自古希腊文cholíambos，其中的chol(ós)即意为“瘸、蹒跚”。
③诗例见[古罗马]卡图卢斯著：《卡图卢斯〈歌集〉：拉中对照译注本》，李永毅译注，中国青年出版社2008年版，第86页。
④六音步格律参见[古罗马]卡图卢斯著：《卡图卢斯〈歌集〉：拉中对照译注本》，李永毅译注，中国青年出版社2008年版，第404页。
⑤阿瑟·休·克拉夫（Arthur Hugh Clough,1819-1861），英国诗人。
⑥W. H. Auden, A Certain World. New York: Random House,1970, p.375.
①贺拉斯的诗例见H. W. Garrod, ed., The Oxford Book of Latin Verse. Oxford: Clarendon,1912, p.108.
②W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.609.
③W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.416.
④阿拉纳误将这两首诗每节第1行的音节数算为13个。（R. Victoria Arana, W. H. Auden’s Poetry:Mythos, Theory, and Practice. Amherst, NY: Cambria Press,2009, p.187.）从她书中其他地方的一些论述也可看出，她似乎始终未注意到奥登模仿古典诗律的音节诗中以h相隔的两个元音省为一个元音的做法。富勒也误以为这两首诗每节第1行的音节数为13个。（John Fuller, W. H. Auden: ACommentary. London: Faber and Faber,1998, p.456.）
⑤萨福体的具体格律要求参见J. B. Greenough, G. L. Kittredge, A. A. Howard, and Benj. L. D’ooge,
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.361.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.649.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.649.
④1950年1月5日，霍利奥克山学院，题为“艺术与自由”；1950年2月15日，福特汉姆大学，题为“自然、历史与诗歌”；1950年3月9日，斯沃斯莫尔学院，题为“自然、历史与诗歌”。（W. H. Auden,The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. by Edward Mendelson.Princeton, NJ: Princeton University Press,2008, p.636.）
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.648.
⑥W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.648.
⑦W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.648.
⑧W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.649.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.645.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.650.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.646.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.650.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.650.
①参见Alex Preminger and T. V. F. Brogan, eds., The New Princeton Encyclopedia of Poetry andPoetics. Princeton, NJ: Princeton University Press,1993, pp.358-59.
②Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, pp.385-86.
③W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.
433-34.
①John Fuller, W. H. Auden: A Commentary. London: Faber and Faber,1998, p.448.
②W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.
435.
③这一点由傅浩先生指出。
①Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.85.
②W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.88.
③W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.89.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.345.
②R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, p.198.
③见绪论。
④R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, p.244.
⑤在斯皮尔斯1963年的专著中有对奥登创作《晨祷》过程的描述，其中包括该诗的音韵特征和省音原则。
（Monroe K. Spears, The Poetry of W. H. Auden: The Disenchanted Island. New York: OxfordUniversity Press,1963, p.318.）阿拉纳书后的参考文献里包括斯皮尔斯的这本专著。（R. VictoriaArana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: Cambria Press,2009,p.333.）
⑥阿拉纳在书里列举了一些她认为音节数不规则的诗行和诗作，详见R. Victoria Arana, W. H. Auden’sPoetry: Mythos, Theory, and Practice. Amherst, NY: Cambria Press,2009, pp.231,233,235,
236,243.经过仔细计数，阿拉纳所列举的这些“例外”无一例外都符合整首诗的音步数复现模式。
⑦傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第577页。
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976,pp.657-58.
①我参考了奥登本人朗诵此诗的录音。W. H. Auden,“Thank You, Fog.” The Spoken Word: W. H.Auden, CD2, British Library,2007.
②另参见阿拉纳对其余几首7音节诗的部分诗节的格律分析（。R. Victoria Arana, W. H. Auden’s Poetry:Mythos, Theory, and Practice. Amherst, NY: Cambria Press,2009, p.226.）
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976,pp.628-29.
②这首诗的重音划分也参考了奥登本人的朗诵录音。W. H. Auden,“A New Year Greeting.” The SpokenWord: W. H. Auden, CD1, British Library,2007.
①R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, p.229.
②阿拉纳书中误作第4节至第7节。（R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, andPractice. Amherst, NY: Cambria Press,2009, p.241.）
①R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, p.241.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.
645.该诗重音的划分参考了奥登的朗诵录音。W. H. Auden,“Old People’s Home.” The Spoken Word:W. H. Auden, CD1, British Library,2007.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.
641.
①R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, p.239.
②J. B. Greenough, G. L. Kittredge, A. A. Howard, and Benj. L. D’ooge, eds., Allen andGreenough’s New Latin Grammar for Schools and Colleges. Boston: Ginn&Company,1903, pp.
407-8.
①阿拉纳也提到这一划分法，尽管她认为这样比较“可疑”。（R. Victoria Arana, W. H. Auden’s Poetry:Mythos, Theory, and Practice. Amherst, NY: Cambria Press,2009, p.239.）
②R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, p.239.
③R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, pp.246-47.
①W. H. Auden,“The Art of Poetry XVII.” Interview with Michael Newman. Paris Review57
(Spring1974):44.
②W. H. Auden,“Auden on Poetry: A Conversation with Stanley Kunitz.” Atlantic218.2(August1966):102.
①W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.338.
①傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第298页。
②傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第298页。
③William Harmon, ed., Classic Writings on Poetry. New York: Columbia University Press,2003,p.516.
④傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第282页。
⑤见《一九一六年复活节》（“Easter,1916”）一诗。
⑥傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第290页。
⑦对于这两行诗，奥登有过以下评论：“这是不真实的；在这两者当中都不可能有完美。我们只能说，一个
（与所有人一样）有着个人弱点和局限性的作家应该意识到这些弱点和局限性，并且尽他所能不要让它们出现在他的作品里。对每一个作家来说，都有某些主题——由于他的性格和他的天赋中的缺陷——是他永远也不应该去接触的。”（W. H. Auden, The Dyer’s Hand and Other Essays. New York: RandomHouse,1962, p.19.）
⑧William Carlos Williams, Selected Essays of William Carlos Williams. New York: RandomHouse,1954, p.21.
①William Carlos Williams, Selected Essays of William Carlos Williams. New York: RandomHouse,1954, p.21.
②Jahan Ramazani, Richard Ellmann, and Robert O’Clair, eds., The Norton Anthology of Modernand Contemporary Poetry.3rd ed. New York: Norton,2003. Vol.1, p.286.
③傅浩著：《英国运动派诗学》，译林出版社1998年版，第71页。
④傅浩著：《英国运动派诗学》，译林出版社1998年版，第71页。
⑤Jahan Ramazani, Richard Ellmann, and Robert O’Clair, eds., The Norton Anthology of Modernand Contemporary Poetry.3rd ed. New York: Norton,2003. Vol.1, p.211.
⑥Jahan Ramazani, Richard Ellmann, and Robert O’Clair, eds., The Norton Anthology of Modernand Contemporary Poetry.3rd ed. New York: Norton,2003. Vol.1, p.210.
⑦谢冕：《回望百年——论中国新诗的历史经验》，载《北京大学学报》2005年第6期，第52页。
⑧谢冕：《回望百年——论中国新诗的历史经验》，载《北京大学学报》2005年第6期，第52页。
⑨见第二章。
⑩谢冕：《回望百年——论中国新诗的历史经验》，载《北京大学学报》2005年第6期，第56页。
③郑敏：《中国诗歌的古典与现代》，载《文学评论》1995年第6期，第90页。
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Mendelson, Edward.“Auden and God.” New York Review of Books54.19(2007):70-75.
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---. Preface. W. H. Auden’s Book of Light Verse. Chosen by W. H. Auden.(Rev. ed.of The Oxford Book of Light Verse.1938). New York: New York Review Books,2004. vii-xxi.
---.“Revision and Power: The Example of W. H. Auden.” Yale French Studies, No.89, Drafts (1996):103-12.
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Ostroff, Anthony, George P. Elliott, Karl Shapiro, Stephen Spender, and W. H.Auden.“A Symposium on W. H. Auden’s ‘A Change of Air.’” The KenyonReview26.1(Winter1964):190-208.
Partridge, A. C.“W. H. Auden (1): Poems1927-47,”“W. H. Auden (2): Poems1948-72.” The Language of Modern Poetry: Yeats, Eliot, Auden. London:Deutch,1976.260-86,287-310.
Plimpton, George, ed.“W. H. Auden.” Writers at Work: The Paris Review Interviews,4th series. Harmondsworth: Penguin Books,1977.245-69.
Pope, Alexander. Alexander Pope: Selected Poetry and Prose. Ed. by RobinSowerby. London: Routledge,1988.
Pound, Ezra. Literary Essays of Ezra Pound. Ed. T. S. Eliot. New York: NewDirections,1968.
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Pudney, John. Home and Away: An Autobiographical Gambit. London: MichaelJoseph,1960.
Quiller-Couch, Arthur, ed. The Oxford Book of Ballads. Oxford: Clarendon,1910.
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Replogle, Justin.“Auden’s Marxism.” PMLA,80.5(Dec.,1965):584-95.
---. Auden’s Poetry. Seattle: University of Washington Press,1969.
Rodway, Allan. A Preface to Auden. London: Longman,1984.
Ross, W. D. Aristotle. London: Methuen,1949.
Scarfe, Francis. W. H. Auden. New York: Haskell House,1973.
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Spears, Monroe K.“Auden Twenty Years After: A Question of Poetic Justice.” TheSewanee Review102.3(Summer1994):476-82.
---. The Poetry of W. H. Auden: The Disenchanted Island. New York: OxfordUniversity Press,1963.
Spears, Monroe K., ed. Auden: A Collection of Critical Essays. Englewood Cliffs,N.J.: Prentice-Hall,1964.
Spender, Stephen. World within World. London: Hamish Hamilton,1964.
Spender, Stephen, ed. W. H. Auden: A Tribute. New York: Macmillan,1975.
Tillich, Paul. The Interpretation of History. New York: C. Scribner’s Sons,1936.
Thomas, Edward. The Collected Poems and War Diary,1917. Ed. by R. GeorgeThomas. London: Faber and Faber,2004.
Wellek, Réne, and Austin Warren, Theory of Literature,3rd ed. Middlesex: Penguin,1963.
Williams, William Carlos. Selected Essays of William Carlos Williams. New York:Random House,1954.
Wordsworth, William. The Prelude,1799,1805,1850: Authoritative Texts, Contextand Reception, Recent Critical Essays. Ed. by Jonathan Wordsworth, M. H.Abrams, and Stephen Gill. New York: Norton,1979.
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[古罗马]奥古斯丁著：《论自由意志——奥古斯丁对话录二篇》，成官泯译，上海世纪出版集团2010年版。
[美]约翰·巴克勒，[美]贝内特·希尔，[美]约翰·麦凯著：《西方社会史》（第三卷），霍文利等译，广西师范大学出版社2005年版。
北京大学哲学系外国哲学史教研室编译：《西方哲学原著选读》上卷，商务印书馆1981年版。
[法]波德莱尔著：《恶之花巴黎的忧郁》，钱春绮译，人民文学出版社1991年版。
[古希腊]柏拉图著：《柏拉图全集》第1卷，王晓朝译，人民出版社2002年版。
[美]威尔·杜兰著：《马丁·路德时代》，台北幼狮文化公司译，东方出版社2007年版。
[美]威尔·杜兰特著：《哲学的故事》，朱安、武国强、周兴亚等译，文化艺术出版社1991年版。
[德]恩格斯著：《反杜林论》（《欧根·杜林先生在科学中实行的变革》），中共中央马克思、恩格斯、列宁、斯大林著作编译局译，人民出版社1970年版。
傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版。
傅浩著：《说诗解译——中外诗歌与翻译论集》，中国传媒大学出版社2005年版。
傅浩著：《英国运动派诗学》，译林出版社1998年版。
[古罗马]卡图卢斯著：《卡图卢斯〈歌集〉：拉中对照译注本》，李永毅译注，中国青年出版社2008年版。
[德]康德著：《纯粹理性批判》，蓝公武译，商务印书馆1997年版。
[德]马丁·路德著：《路德文集》第2卷，路德文集中文版编辑委员会编，上海三联书店2002年版。
陆建德著：《麻雀啁啾》，生活·读书·新知三联书店1996年版。
陆建德著：《思想背后的利益——文化政治评论集》，广西师范大学出版社2005年版。
[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版。
[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版。
钱光培选编：《中国十四行诗选：1920—1987》，中国文联出版公司1988年版。
乔纳森：《好诗人未必会写信》，载《东方早报》2011年5月8日第B11版。
[法]萨特著：《存在与虚无》，陈宣良等译，生活·读书·新知三联书店2007年版。
[英]威廉·莎士比亚著：《莎士比亚悲剧四种》，卞之琳译，人民文学出版社1989年版。
盛宁：《诗人W. H.奥登的宗教信仰》，载《外国文学评论》2008年第2期，第153-155页。
[奥地利]路德维希·维特根斯坦著：《逻辑哲学论》，贺绍甲译，商务印书馆1996年版。
谢冕：《回望百年——论中国新诗的历史经验》，载《北京大学学报》2005年第6期，第50-61页。
徐向东编：《自由意志与道德责任》，江苏人民出版社2006年版。
杨周翰：《奥登——诗坛的顽童》，载《时与潮文艺》1944年第4卷第1期，第100-105页。
查良铮译：《英国现代诗选》，湖南人民出版社1985年版。
赵元：《十四行诗》，载《外国文学》，2010年第5期，第116-123页。
赵元：《文论家的诗歌细读——评伊格尔顿的〈如何解读一首诗〉》，载《外国文学》，2009年第5期，第118-124页。
郑敏：《中国诗歌的古典与现代》，载《文学评论》1995年第6期，第79-90页。
②Harvey Gross and Robert McDowell, Sound and Form in Modern Poetry. Second Edition. AnnArbor: The University of Michigan Press,1996, p.240.
③Christopher Isherwood,“Some Notes on Auden’s Early Poetry,” Auden: A Collection of CriticalEssays. Ed. Monroe K. Spears. Englewood Cliffs, NJ: Prentice-Hall,1964, pp.11-12.
④Stephen Spender, World within World. London: Hamish Hamilton,1964, p.51.
⑤Margaret Gardiner,“Auden: A Memoir.” New Review3.28(July1976):16.
⑥一种威尔士传统诗体，在音节数和韵式上有严格讲究。
⑦古斯堪的纳维亚诗歌中的一种复杂诗体，其格律要求包括头韵、音节数、步格、行中韵等。
⑧W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.47.
⑨George Saintsbury [1845-1933]，英国著名的文学史家和批评家，著有诗律学巨著《英语诗律史》（AHistory of English Prosody）三卷本。奥登很早就熟读了此书；到了晚年，此书更是成了他的“祈祷书”。见Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, pp.55,419.
①Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.137.
②G. S. Fraser,“W. H. Auden.” Little Reviews Anthology:1949. Ed. Denys Val Baker. London:Methuen,1949, pp.194-95.
③A. Alvarez, The Shaping Spirit: Studies in Modern English and American Poets. London: Chatto&Windus,1958, p.88.
④F. W. Bateson,“Auden’s Last Poems.” Essays in Criticism25.3(July1975):387.
⑤F. R. Leavis, New Bearings in English Poetry.2nd ed. London: Chatto&Windus,1950, pp.215-38.
⑥Malcolm Cowley,“Virtue and Virtuosity: Notes on W. H. Auden.” Poetry65.4(Jan.1945):202.
⑦Malcolm Cowley,“Virtue and Virtuosity: Notes on W. H. Auden.” Poetry65.4(Jan.1945):208.
⑧William Carlos Williams, Selected Essays of William Carlos Williams. New York: RandomHouse,1954, p.288.
⑨William Carlos Williams, Selected Essays of William Carlos Williams. New York: RandomHouse,1954, p.289.
⑩William Carlos Williams, Selected Essays of William Carlos Williams. New York: RandomHouse,1954, p.288.
①“Audenesque.” The Oxford English Dictionary.2nd ed.1989.
②Bernard Bergonzi,“Auden and the Audenesque.” Reading the Thirties: Texts and Contexts.London: Macmillan,1978, pp.38-59.
③Bernard Bergonzi,“Auden and the Audenesque.” Reading the Thirties: Texts and Contexts.London: Macmillan,1978, p.58.
④Randall Jarrell,“Changes of Attitude and Rhetoric in Auden’s Poetry.” The Third Book ofCriticism. New York: Farrar, Straus&Giroux,1969, pp.132-33.
⑤Bloomfield与Mendelson的W. H. Auden: A Bibliography,1924-1969未能收录这篇评论文章。
⑥与英美学者不同的是，杨周翰不仅注意到了奥登在诗中常常采取“老鹰或戴盔的飞行员”般的视角，还进一步指出，“他当然不是用这样的角度的第一人，莎士比亚在‘李尔王’一剧内就有如此一个场面：当爱德哥引他盲目的父亲到多佛海岸想象地描写给他听崖岸下的景物，就是一例，此外当然还有，而奥登却是经常屡次地用它的第一人。这在中国诗画之内已不足为奇，但在英国诗内却还不十分普遍”。见杨周翰著：《奥登——诗坛的顽童》，载《时与潮文艺》1944年第4卷第1期，第100页。
⑦杨周翰著：《奥登——诗坛的顽童》，载《时与潮文艺》1944年第4卷第1期，第100页。
⑧杨周翰著：《奥登——诗坛的顽童》，载《时与潮文艺》1944年第4卷第1期，第102页。
⑨杨周翰著：《奥登——诗坛的顽童》，载《时与潮文艺》1944年第4卷第1期，第102页。
⑩杨周翰著：《奥登——诗坛的顽童》，载《时与潮文艺》1944年第4卷第1期，第105页。
①John G. Blair, The Poetic Art of W. H. Auden. Princeton, NJ: Princeton University Press,1965,p.124.
②参见John Haffenden, W. H. Auden: The Critical Heritage. London: Routledge&Kegan Paul,1983, pp.1-75. Monroe K. Spears, ed. Auden: A Collection of Critical Essays. Englewood Cliffs,N.J.: Prentice-Hall,1964, pp.1-9.
③另一位早期奥登学者门罗·斯皮尔斯也是以奥登自己的诗歌理论来分析他的诗歌风格与创作手法。见Monroe K. Spears, The Poetry of W. H. Auden: The Disenchanted Island. New York: OxfordUniversity Press,1963.
④John G. Blair, The Poetic Art of W. H. Auden. Princeton, NJ: Princeton University Press,1965,p.125.
⑤R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, back cover.
①Malcolm Cowley,“Virtue and Virtuosity: Notes on W. H. Auden.” Poetry,65.4(Jan.1945):202.
②Malcolm Cowley,“Auden’s Versification.” Poetry,65.6(March1945):345.
③Harvey Gross and Robert McDowell, Sound and Form in Modern Poetry.2nd ed. Ann Arbor:The University of Michigan Press,1996.238-66.
④Allan Rodway, A Preface to Auden. London: Longman,1984.102-07.
⑤除了专业知识之外，富勒还有“一肚子有关其他方面的不寻常和冷僻的知识”（批评家弗兰克·克莫德语），这些“偏门”知识在给奥登诗歌作注这项工作上发挥了极大的作用。参见Frank Kermode,“The Power toEnchant.” New Republic220.17-18:108.
①此外有一篇论奥登十四行诗的硕士论文（Margery H. Johnson, The Sonnets of W. H. Auden. MAthesis.1972.）遍寻不着，不知其内容。问诸门德尔松教授，他说：“我向你打包票，没有必要找那篇硕士论文。”2011年4月28日谈话。
②英文原文为“limitary”。阿拉纳以这个词形容奥登晚期诗歌的个中原因见R. Victoria Arana, W. H.Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: Cambria Press,2009, p.5.
③John Adames,“The Frontiers of the Psyche and the Limits of Form in Auden’s ‘Quest’Sonnets.” The Modern Language Review,92.3(July1997):573-80.
④参见奥登写于1937年的《牛津轻松诗集》（The Oxford Book of Light Verse）的序言，载The CompleteWorks of W. H. Auden: Prose and Travel Books in Prose and Verse. Volume I:1926-1938. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,1996.430-37.
①W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p. xi.
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p. xi.
③以下论述伊格尔顿观点的部分均出自赵元：《文论家的诗歌细读——评伊格尔顿的〈如何解读一首诗〉》，载《外国文学》，2009年第5期，第118-124页。
④Terry Eagleton, How to Read a Poem. Malden, MA: Blackwell Publishing,2007, p.65.
①Terry Eagleton, How to Read a Poem. Malden, MA: Blackwell Publishing,2007, p.66.
②Réne Wellek and Austin Warren, Theory of Literature,3rd ed. Middlesex: Penguin,1963, pp.140-41.
③这一观念在英国最早可追溯到柯尔律治。他借用德国批评家奥·威·施莱格尔和哲学家谢林的观念和术语，对“形状”（shape）与“形式”（form），或者“机械形式”（mechanic form）与“有机形式”（organicform），作了区分。
④Terry Eagleton, How to Read a Poem. Malden, MA: Blackwell Publishing,2007, p.66.
⑤Terry Eagleton, How to Read a Poem. Malden, MA: Blackwell Publishing,2007, p.66.
①Terry Eagleton, How to Read a Poem. Malden, MA: Blackwell Publishing,2007, p.67.
②Terry Eagleton, How to Read a Poem. Malden, MA: Blackwell Publishing,2007, p.67.
③详见该书第四章第二节“形式对抗内容”和第三节“超越内容的形式”。
④Terry Eagleton, Literary Theory: An Introduction,2nd ed. Malden, MA: Blackwell Publishing,
①Frank Gaffikin and Mike Morrissey, The New Unemployed: Joblessness and Poverty in theMarket Economy. London: Zed Books,1992, p.222.
②Eric Hobsbawm, Age of Extremes: The Short Twentieth Century. London: Michael Joseph,1994, p.107.
①W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.514.
②据奥登本人晚年的回忆：一天早上，他开车送经济史学家理查德·亨利·托尼（Richard Henry Tawney）回到他位于梅克伦伯格广场的住所，碰巧奥登的一个嫁给股票经纪人的表姐住在附近，于是就顺道拜访。“我们三人刚坐下准备吃午饭，她的丈夫就问我来伦敦是不是当特别警察的。‘不是的，’我答道，‘我是给工会大会开车的。’完全出乎我意料之外的是，他立刻命令我离开他们家。我万没想到，居然有人把大罢工那么当回事儿。”（见W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.
514.）
③W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.511.
④Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.
148.
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.524.
①Edward Mendelson, Early Auden. New York: Viking Press,1981, p.195.
②奥登西班牙之行的始末参见Humphrey Carpenter, W. H. Auden: A Biography. London: GeorgeAllen&Unwin,1981, pp.206-22与Edward Mendelson, Early Auden. New York: Viking Press,1981, pp.195-98.
①奥登相信自然法则是一定的，科学家目前得出的定律要么正确，要么错误；测不准原则“仅仅意味着，比如说，中子的轨迹的种种变化不遵循任何规律发生，从科学家的角度来看，是不可理解的”，但是这并不能证明自然规律不存在，只要哪一天科学家发现了中子运行变化的规律，就可以理解了。（W. H. Auden,The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. by Edward Mendelson.Princeton, NJ: Princeton University Press,2008, p.638.）
①奥登对于生物学新发展的了解显著地反映在一首作于1933年的十四行诗中，诗的标题叫做《减数分裂》
（“Meiosis”），这是生物学名词，指的是一个细胞分裂成两个配子、染色体数目减半的过程。在此诗中，奥登巧妙地以遗传学现象来写爱情，具有17世纪玄学派诗歌的遗风。
②详见W. H. Auden, The Complete Works of W. H. Auden: Plays and Other Dramatic Writings byW. H. Auden:1928-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1988.
①[奥地利]路德维希·维特根斯坦著：《逻辑哲学论》，贺绍甲译，商务印书馆1996年版，第105页。
②奥登在散文中甚少提到维特根斯坦，但是从他的某些诗歌判断，奥登读过维特根斯坦的著作，后者对语言的关注对奥登也有一定的影响。例如，在与路易斯·麦克尼斯（Louis MacNeice）合写的《冰岛书简》
（Letters from Iceland,1936）中提到了维特根斯坦的那部风靡一时但是不大有人读得懂的大作：“Item,to Wittgenstein who write such hits/As the Tractatus Logico-Philosophicus/We leave allreaders who can spare the wits;”（W. H. Auden, The Complete Works of W. H. Auden: Prose andTravel Books in Prose and Verse. Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ:Princeton University Press,1996, p.362.）；《伊斯基亚岛》（“Ischia”，1948）与《平原》
（“Plains”，,1953）这两首诗用了维特根斯坦著作中的一个关键词；《词》（“Words”，约1956）一诗明显受到维特根斯坦语言观的影响。
③海德格尔的名著《存在与时间》（Being and Time）的一个核心思想。奥登在20世纪40年代末仔细读过此书。
④[法]萨特著：《存在与虚无》，陈宣良等译，生活·读书·新知三联书店2007年版，第532页。
①奥登在1942年的一篇书评中提到过海德格尔；《焦虑年代》（The Age of Anxiety,1947）中的“theNothing who nothings”一句（W. H. Auden, Collected Poems. Ed. by Edward Mendelson. NewYork: Random House,1976, p.392.）是对海德格尔1929年的《何为形而上学》（“Was istMetaphysik?”）一文中“das Nichts nichtet”的模仿；奥登写于1949年的诗《一种迂回说法》（“OneCircumlocution”）的内容和大量出现的海德格尔式的复合名词是对这位哲学家的影射，奥登采取“以其人之道还治其人之身”的策略，反驳海德格尔的世俗存在主义。1950年，奥登在女性杂志《小姐》
（Mademoiselle）上发表过一篇文章，描述近15年来该杂志典型的年轻女性读者在阅读兴趣方面的变化：“在她的聚会上，存在主义取代了马克思主义成为争议话题；对于克尔恺郭尔、海德格尔、萨特等人究竟写了些什么，她的观念是模糊的，但是她知道其内容与焦虑、内疚和作抉择有关。”（W. H. Auden, TheComplete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. by Edward Mendelson.Princeton, NJ: Princeton University Press,2008, p.168.）
②加缪相信人的处境是荒诞的，对此奥登是反对的，因事关自由与必然性的关系，此处暂且不论。
①Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.9.
②Edward Mendelson, Early Auden. New York: Viking Press,1981, p. xxii.
③Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.10.
①参见S ren Kierkegaard, The Concept of Anxiety. Edited by Reidar Thomte. Princeton:Princeton University Press,1980.
②从1940年开始，奥登成为了克尔恺郭尔的一个忠实拥护者；1952年，他选编了《克尔恺郭尔的传世思想》（The Living Thoughts of Kierkegaard）并撰写了导言。这篇导言后来被收录到奥登的文集《前言与后语》（Forewords and Afterwords,1973），标题改为《瑟伦·克尔恺郭尔》；这部文集另收有奥登写于1968年的有关克尔恺郭尔的一篇书评——《一位哭丧着脸的骑士》（“A Knight of DolefulCountenance”），代表他后来对克尔恺郭尔看法的改变。此外，奥登在文章和书评中经常提及和引用克尔恺郭尔，尤其是在文学评论集《惊涛骇浪》（The Enchafèd Flood）与长诗《新年书简》（New Year Letter）的“注释”中。
③奥登第一次听说巴特是在1933年。1934年，奥登注意到了巴特对上帝恩典的强调，而他自己前一年亲身体会到了这种恩典（参见《一个夏夜》（“A Summer Night”）一诗）。到美国后，奥登开始阅读巴特、克尔恺郭尔、莱因霍尔德·尼布尔、保罗·蒂利希等人的著作，从而帮助他形成了他自己独特的基督教信仰。奥登认为巴特对恩典的求索是富有意义的，但是巴特有关原罪的正统观点在奥登看来不是很有说服力。
①Reinhold Niebuhr, An Interpretation of Christian Ethics. New York: Meridian Books,1956, p.117.
②Reinhold Niebuhr, An Interpretation of Christian Ethics. New York: Meridian Books,1956, p.119.
③Stephen Spender, ed. W. H. Auden: A Tribute. New York: Macmillan,1975, p.112.
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.134.
⑤Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.173.
⑥1933年，在尼布尔的邀请之下，因反对纳粹政权而丢掉工作的蒂利希来到纽约，成为协和神学院的一名教员。
⑦Paul Tillich, The Interpretation of History. New York: C. Scribner’s Sons,1936, pp.57-58.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.172.
②作者为奥斯瓦尔德·斯宾格勒（Oswald Spengler,1880-1936）。
①北京大学哲学系外国哲学史教研室编译：《西方哲学原著选读》上卷，商务印书馆1981年版，第47页。
②[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第99页。
①北京大学哲学系外国哲学史教研室编译：《西方哲学原著选读》上卷，商务印书馆1981年版，第47页。
②[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第106页。
③北京大学哲学系外国哲学史教研室编译：《西方哲学原著选读》上卷，商务印书馆1981年版，第61页。
④出自柏拉图《美诺篇》。参见[古希腊]柏拉图著：《柏拉图全集》第1卷，王晓朝译，人民出版社2002年版，第522页。
⑤[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第153页。
⑥[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第225页。
①W. D. Ross, Aristotle. London: Methuen,1949, p.211.
②[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第232页。
③徐向东编：《自由意志与道德责任》，江苏人民出版社2006年版，第46页。
④[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第312页。
⑤北京大学哲学系外国哲学史教研室编译：《西方哲学原著选读》上卷，商务印书馆1981年版，第200页。
⑥[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第310页。
⑦[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第313页。
⑧[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第321页。
①[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第321页。
②[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第322页。
③[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第323页。
④[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第448页。
⑤[古罗马]奥古斯丁著：《论自由意志——奥古斯丁对话录二篇》，成官泯译，上海世纪出版集团2010年版，第100页。
①[古罗马]奥古斯丁著：《论自由意志——奥古斯丁对话录二篇》，成官泯译，上海世纪出版集团2010年版，第87页。
②[古罗马]奥古斯丁著：《论自由意志——奥古斯丁对话录二篇》，成官泯译，上海世纪出版集团2010年版，第142页。
③[古罗马]奥古斯丁著：《论自由意志——奥古斯丁对话录二篇》，成官泯译，上海世纪出版集团2010年版，第102页。
④详见[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第559页。
⑤[德]马丁·路德著：《路德文集》第2卷，路德文集中文版编辑委员会编，上海三联书店2002年版，第
597-598页。
①[美]威尔·杜兰著：《马丁·路德时代》，台北幼狮文化公司译，东方出版社2007年版，第189页。
②[美]威尔·杜兰著：《马丁·路德时代》，台北幼狮文化公司译，东方出版社2007年版，第189页。
③罗素语。见[英]伯特兰·罗素著：《西方哲学史》上卷，何兆武与李约瑟译，商务印书馆2005年版，第449页。
①Francis Bacon, The Advancement of Learning. Edited by Joseph Devey. New York: Collier,1901, p.73.
②[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第74页。
③[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第74页。
④[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第74页。
⑤[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第83-84，91-92页。
⑥René Descartes, The Philosophical Writings of Descartes. Trans. by John Cottingham, RobertStoothoff, and Dugald Murdoch. Vol. I. Cambridge: Cambridge University Press,1985, p.343.
⑦[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第92页。
⑧[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第95页。
①[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第98页。
②[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第114页。
③[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第116页。
④[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第116-117页。
⑤[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第117页。
⑥[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第209页。
①[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第228页。
②[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第237页。
③[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第237页。
④[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第238页。措辞略作改动。
⑤[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第239页。
⑥[德]康德著：《纯粹理性批判》，蓝公武译，商务印书馆1997年版，第29页。
①[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第284页。
②[英]伯特兰·罗素著：《西方哲学史》下卷，马元德译，商务印书馆2005年版，第284页。
①[美]威尔·杜兰特著：《哲学的故事》，朱安、武国强、周兴亚等译，文化艺术出版社1991年版，第326页。
②[德]恩格斯著：《反杜林论》（《欧根·杜林先生在科学中实行的变革》），中共中央马克思、恩格斯、列宁、斯大林著作编译局译，人民出版社1970年版，第111-112页。英译本可参见Frederick Engels,Anti-Dühring (Herr Eugen Dühring’s Revolution in Science). Moscow: Foreign LanguagesPublishing House,1954, pp.158-59.
③Will Durant, The Story of Philosophy: The Lives and Opinions of the Greater Philosophers. NewYork: Simon and Schuster,1953, p.338.
①Will Durant, The Story of Philosophy: The Lives and Opinions of the Greater Philosophers. NewYork: Simon and Schuster,1953, p.339.
②[美]威尔·杜兰特著：《哲学的故事》，朱安、武国强、周兴亚等译，文化艺术出版社1991年版，第524页。
③徐向东编：《自由意志与道德责任》，江苏人民出版社2006年版，第47页。
④徐向东编：《自由意志与道德责任》，江苏人民出版社2006年版，“编选说明”第1页。
①徐向东编：《自由意志与道德责任》，江苏人民出版社2006年版，第47页。
②徐向东编：《自由意志与道德责任》，江苏人民出版社2006年版，“编选说明”第2页。
③傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第697-98页。原文：Follow, poet, follow right/To the bottom of the night,/…./In the prison of his days/Teachthe free man how to praise.（W. H. Auden, Selected Poems. Expanded edition. Ed. by EdwardMendelson. New York: Vintage,2007, pp.90-91.
④W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.685.
①[英]威廉·莎士比亚著：《莎士比亚悲剧四种》，卞之琳译，人民文学出版社1989年版，第63页。
②[英]威廉·莎士比亚著：《莎士比亚悲剧四种》，卞之琳译，人民文学出版社1989年版，第63页。
③傅浩：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第695页。
④傅浩：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第696页。
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.386.
⑥W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,
①Herbert Greenberg, Quest for the Necessary: W. H. Auden and the Dilemma of DividedConsciousness. Cambridge, Mass.: Harvard University Press,1968, pp.1-2.
②Herbert Greenberg, Quest for the Necessary: W. H. Auden and the Dilemma of DividedConsciousness. Cambridge, Mass.: Harvard University Press,1968, pp.12-13.
③Alan Jacobs, What Became of Wystan: Change and Continuity in Auden’s Poetry. Fayetteville:University of Arkansas Press,1998, p.118.
④Michael O’Neill and Gareth Reeves, Auden, MacNeice, Spender: The Thirties Poetry.Basingstoke: Macmillan,1992, pp.171-72.
⑤Douglas Brown, Wandering Lost: Searching for the End in Auden and Isherwood’s “Journey toa War.” Diss. Université de Montréal,2006. Ann Arbor: UMI,2006, p.5.
⑥Douglas Brown, Wandering Lost: Searching for the End in Auden and Isherwood’s “Journey toa War.” Diss. Université de Montréal,2006. Ann Arbor: UMI,2006, p.54.
⑦Douglas Brown, Wandering Lost: Searching for the End in Auden and Isherwood’s “Journey toa War.” Diss. Université de Montréal,2006. Ann Arbor: UMI,2006, pp.59-60.
⑧Michael O’Neill and Gareth Reeves, Auden, MacNeice, Spender: The Thirties Poetry.Basingstoke: Macmillan,1992, p.176.
⑨Frederick Buell, W. H. Auden as a Social Poet. Ithaca, N.Y.: Cornell UP,1973, p.176.
①Douglas Brown, Wandering Lost: Searching for the End in Auden and Isherwood’s “Journey toa War.” Diss. Université de Montréal,2006. Ann Arbor: UMI,2006, pp.63-64.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.63.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.63.
④但是这并不代表奥登是个“行动的矮子”。贪生怕死之徒是不会在西班牙内战与中日战争期间自愿前往战争第一线的。1942年8月，奥登收到美国军队的征兵通知，在9月1日的面试中，给奥登做检查的心理学家发现他是同性恋，于是以身体不合格为由禁止他服兵役。奥登此前在给友人的信中写到，他不会用宣布自己是同性恋的方法来逃避兵役，但是如果到时被问及，他也不会刻意隐瞒事实。（参见EdwardMendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.207; RichardDavenport-Hines, Auden. New York: Pantheon Books,1995, p.221.）
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.64.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.64.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p. xx.
③Edward Mendelson, Early Auden. New York: Viking Press,1981, pp.15-18.
④W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.13.
①关于这次经历发生的时间，参见Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.90.
②Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.282. Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.89.
③Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.89.
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.578.
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.578.
⑥W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.66.
⑦W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.67.
⑧W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.65.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.209.
②W. H. Auden, Forewords and Afterwords. New York: Random House,1973, pp.35-36.
③W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.318.对照本章第1节中论述苏格拉底的段落。
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.689.
①W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, pp.465-66.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.252.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.255.
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.255.
①W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.502.
②W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.508.
③W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.435.
④Edward Mendelson, Early Auden. New York: Viking Press,1981, p.17.
⑤Katherine Bucknell and Nicholas Jenkins, eds., W. H. Auden:‘The Map of All My Youth’–Early Works, Friends and Influences. Auden Studies1. Oxford, UK: Clarendon Press,1990, p.
①W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p. xxii.
②Monroe K. Spears, The Poetry of W. H. Auden: The Disenchanted Island. New York: OxfordUniversity Press,1963, p.308.
③Frank Kermode,“The Power to Enchant.” New Republic220.17-18:108-13.克莫德接着写道：“由于他不可避免地是一位诗人，他理解他的知识的终极方法是通过写诗。”
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.102.
⑤参见第一章中有关哲学与基督教的章节。
⑥W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.579.
⑦W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p. xviii.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.87.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.100.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, pp.100-01.
④奥登区分了两种法则：“laws-of”与“laws-for”。自然法则属于“laws-of”；历史世界中的道德法则属于“laws-for”，“为历史事件提供选择这样或那样发生的动机”，“一个公正的法则是指为选择提供好的动机的法则，而不是要求正确选择的法则”。（W. H. Auden, The Complete Works of W. H. Auden: Prose,
①W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.435.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.468.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.67.
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.35.
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.526.
⑥见W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, pp.
107-45.或W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed.by Edward Mendelson. Princeton, NJ: Princeton UP,2010, pp.528-55.
⑦W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.470.
⑧W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.115.
⑨W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.115.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.475.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.233.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.689.
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.689.
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.689.
⑥W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.233.
①W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.27.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.345.
③W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.27.
④W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.27.
⑤W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.351.
⑥W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.89.
⑦W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.91.中译文见傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第697页。
⑧此文是研究奥登思想转变的重要材料。相关背景参见W. H. Auden, The Complete Works of W. H.Auden: Prose, Volume II:1939-1948. Ed. by Edward Mendelson. Princeton, NJ: PrincetonUniversity Press,2002, p.409.
⑨W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.423.
①“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets, and Poetry.”Swarthmore College Bulletin Alumni Issue (May1972):3.另参见Stephen Spender, ed., W. H.Auden: A Tribute. New York: Macmillan,1975, p.89.
②W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.
162.
③John Pudney, Home and Away: An Autobiographical Gambit. London: Michael Joseph,1960,p.72.
④Stephen Spender, ed., W. H. Auden: A Tribute. New York: Macmillan,1975, p.89.
⑤W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.513.
⑥Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.13.
⑦W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.350.在《多产者与吞食者》中，奥登也说过：“如果艺术的标准是看它引起行动的力量，那么戈培尔将是有史以来最伟大的艺术家之一。”
（W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.423.）
⑧W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.341.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.341.关于游戏规则存在的必要性可参看陆建德《巴尔特·围棋·阅读》一文，载陆建德著：《麻雀啁啾》，生活·读书·新知三联书店1996年版，第177-187页。
②W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.289.
③W. H. Auden, A Certain World. New York: Random House,1970, p.424.
④W. H. Auden, A Certain World. New York: Random House,1970, p.424.
⑤W. H. Auden, A Certain World. New York: Random House,1970, p.424.
⑥W. H. Auden, A Certain World. New York: Random House,1970, p.424.
⑦W. H. Auden, A Certain World. New York: Random House,1970, p.424-25.
⑧W. H. Auden, A Certain World. New York: Random House,1970, p.425.
⑨W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.568.
⑩W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.568.
①Vladimir Nabokov, Speak, Memory: An Autobiography Revisited. New York: Putnam,1966, p.
125.
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.27.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.689.
④James Joyce, Ulysses. London: Penguin Books,2000, p.42.
⑤W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.270.
⑥《创世纪》4:1。
⑦关于动词“knew”在希伯来文中的意思，参见Robert Alter, Genesis: Translation and Commentary.New York: Norton,1996, p.16.
⑧W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.270.
⑨W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.102.
⑩奥登以这部克莱里休四行打油诗（clerihew）集纪念以写轻松诗见长的美国诗人奥格登·纳什（OgdenNash,1902-1971）。
①W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.431.
②牛津出版社后来委托金斯利·埃米斯（Kingsley Amis,1922-1995）选编《新牛津轻松诗选》（NewOxford Book of Light Verse,1978），其中收录的全是这一类诗。
③W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, pp.431-32.
④W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.431.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.114.
②W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.115.
③W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.115.
④W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.121.
⑤Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.29.
⑥见于《染匠之手》中的一篇文章的开头。（见W. H. Auden, The Dyer’s Hand and Other Essays. NewYork: Random House,1962, p.407.）
⑦Edward Mendelson, Preface. W. H. Auden’s Book of Light Verse. Chosen by W. H. Auden.(Rev.ed. of The Oxford Book of Light Verse.1938). New York: New York Review Books,2004, p. xvi.
⑧Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.418.
⑨Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, pp.418-19.
⑩Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.419.
①Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.419.
②Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.419.
③W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.36.
④W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.436.
⑤W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.231.波德莱尔《灯塔》一诗的中译文出自[法]波德莱尔著：《恶之花》，郭宏安译，广西师范大学出版社2002年版，第212页。
①奥登后来在《致拜伦勋爵的信》（“Letter to Lord Byron”）中写到这段经历：“他踢了一下小石子，转过身／对我说：‘告诉我，你写诗吗？’／我没写过，我如实答道，但在那一刻／我知道我想做的是什么了。”
（“Kicking a little stone, he turned to me/And said,‘Tell me, do you write poetry?’/I never had,and said so, but I knew/That very moment what I wished to do.”）（见W. H. Auden, The EnglishAuden: Poems, Essays, and Dramatic Writing,1927-1939. Ed. by Edward Mendelson. New York:Random House,1977, p.194.）
②W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p. xix.
③原名乔治·威廉·拉塞尔（George William Russell,1867-1935），爱尔兰诗人。
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.42.
⑤奥登把这一点归咎于他的近视。晚年时他有一次谈到，他的近视“或许是一种从现实中的退却，一种想把现实世界关在外面的愿望”。（Humphrey Carpenter, W. H. Auden: A Biography. London: GeorgeAllen&Unwin,1981, p.32.）
⑥诗题中的“加利福尼亚”是英国伯明翰一地名。
①W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p.3.
②W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, pp.15-16.
③W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, pp.17-18.在另外一首受德拉梅尔影响的诗里，奥登也提出了精灵是否真的存在的问题。（“Belief”, in W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperback edition. Princeton, NJ: PrincetonUniversity Press,2003, p.16.）
④Edward Mendelson, Early Auden. New York: Viking Press,1981, p.27.
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, pp.43-44.
⑥W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.45.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.48.
②W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p.121.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.48.
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.38.
③艾略特对奥登的影响当然并不仅限于1926-1927年，但是与其他一些诗人和批评家相比，艾略特的重要性对奥登而言是有限的。晚年的奥登列出了一份他最喜爱的诗人名单，其中没有艾略特的名字；此外，奥登还把20世纪“用英语写成的最伟大的长诗”的头衔送给了大卫·琼斯（David Jones,1895-1974）的《咒逐》（Anathemata），而没有给《荒原》。（见W. H. Auden, A Certain World. New York: RandomHouse,1970, pp.372-73.）
④出自《磨坊（亨普斯特德）》（“The Mill (Hempstead)”），作于1925年4月（见W. H. Auden, Juvenilia:Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperback edition. Princeton, NJ:Princeton University Press,2003, pp.87-88.）试比较爱德华·托马斯的《割晒干草》（“Haymaking”）
（见Edward Thomas, The Collected Poems and War Diary,1917. Ed. by R. George Thomas.London: Faber and Faber,2004, pp.81-82.）
①作于1925年（见W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell.Expanded paperback edition. Princeton, NJ: Princeton University Press,2003, p.83.）。试比较豪斯曼《最后的诗》中的第21首。（见A. E. Housman, Last Poems. London: Grant Richards,1922,p.44.）
②作于1926年5月（见W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell.Expanded paperback edition. Princeton, NJ: Princeton University Press,2003, p.139.）。
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.44.
①Edward Mendelson, Early Auden. New York: Viking Press,1981, p.28. Humphrey Carpenter,W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.57.
②Richard Davenport-Hines, Auden. New York: Pantheon Books,1995, p.62.与HumphreyCarpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.57.
③W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p.148.
①W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, pp.146-47.
②W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p.144.
③见T. S. Eliot, Collected Poems,1909-1962. New York: Harcourt, Brace&World,1963, p.60.
④见T. S. Eliot, Collected Poems,1909-1962. New York: Harcourt, Brace&World,1963, p.4.
①W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p.193.
②W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p.194.
③Christopher Isherwood, Lions and Shadows: An Education in the Twenties. London: HogarthPress,1938, p.191.伊舍伍德接着写道，他不断在奥登口中听到“严峻”一词，以至于后来听到这个词就想吐。
④[英]托·斯·艾略特著：《艾略特文学论文集》，李赋宁译注，百花洲文艺出版社1994年版，第11页。
①W. H. Auden, Juvenilia: Poems,1922-1928. Ed. by Katherine Bucknell. Expanded paperbackedition. Princeton, NJ: Princeton University Press,2003, p. xx.
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, pp.79-80.在另一处，奥登谈及艾略特对于传统的看法与他的美国人身份的联系：“托·斯·艾略特先生在一篇著名的文章中写道，‘传统并不能继承，如果你需要它，必须通过艰苦劳动来获得它。’我认为没有一个欧洲的批评家说得出这样的话。当然，他不会否认每一个诗人都必须努力工作，但是这句话的前半句里所暗示的意思，即传统感只有通过有意识的努力才能获得，对他而言是陌生的。”（见W. H. Auden, The Dyer’s Handand Other Essays. New York: Random House,1962, p.366.）
③Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.58.
④在他的第一部正式出版的《诗集》（1930）中，奥登放进了两首创作时间早于《分水岭》的诗作，但是在1933年的第二版中删去了这两首诗。从此以后，奥登再也没有重印过《分水岭》之前的诗作。（参见Edward Mendelson, Early Auden. New York: Viking Press,1981, p.32.）
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.3.
①Edward Mendelson, Early Auden. New York: Viking Press,1981, p.33.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.47.
③W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.16.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.47.
②W. H. Auden, Forewords and Afterwords. New York: Random House,1973, pp.69-70.
③W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.69.
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, pp.30-31.
②John Fuller, W. H. Auden: A Commentary. London: Faber and Faber,1998, p.149.
③Edward Mendelson, Early Auden. New York: Viking Press,1981, p.167.
①Edward Mendelson, Early Auden. New York: Viking Press,1981, p.168.
②Edward Mendelson, Early Auden. New York: Viking Press,1981, p.172.
③Edward Mendelson, Early Auden. New York: Viking Press,1981, pp.172-74.
④Edward Mendelson, Early Auden. New York: Viking Press,1981, p.173.
⑤Edward Mendelson, Early Auden. New York: Viking Press,1981, p.173.
⑥Edward Mendelson, Early Auden. New York: Viking Press,1981, p.173.
⑦与“类比艺术”相对的是“逃避艺术”（“escape-art”）。“人需要逃避，正如他需要食物和深度睡眠”；“类比艺术”“教人放下仇恨，学会爱”。W. H. Auden, The Complete Works of W. H. Auden: Prose andTravel Books in Prose and Verse. Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ:Princeton University Press,1996, p.104.
⑧W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.103.
①W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.482.
②Chris Beyers, A History of Free Verse. Fayetteville: The University of Arkansas Press,2001, p.3.
③Chris Beyers, A History of Free Verse. Fayetteville: The University of Arkansas Press,2001, p.3.
④Chris Beyers, A History of Free Verse. Fayetteville: The University of Arkansas Press,2001, p.3.
⑤W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.49.
⑥Bengt Jangfeldt,“Form in Poetry”(Joseph Brodsky and Derek Walcott in a conversation withBengt Jangfeldt). The Kenyon Review, New Series,23.2(2001):191.
⑦Bengt Jangfeldt,“Form in Poetry”(Joseph Brodsky and Derek Walcott in a conversation withBengt Jangfeldt). The Kenyon Review, New Series,23.2(2001):191.
⑧Chris Beyers, A History of Free Verse. Fayetteville: The University of Arkansas Press,2001, p.11.
①Samuel Taylor Coleridge,“On Poesy or Art.” Biographia Literaria. Ed. by J. Shawcross. Vol.2.Oxford: Clarendon,1907, p.262.
②Samuel Taylor Coleridge, Shakespearean Criticism. Ed. by Thomas Middleton Rayson.2nd ed.London: Dent,1960.2vols. Vol.1, p.198.
③Samuel Taylor Coleridge, Shakespearean Criticism. Ed. by Thomas Middleton Rayson.2nd ed.London: Dent,1960.2vols. Vol.1, p.197.
④Samuel Taylor Coleridge, Shakespearean Criticism. Ed. by Thomas Middleton Rayson.2nd ed.London: Dent,1960.2vols. Vol.1, p.198.
⑤M. H. Abrams, The Mirror and the Lamp: Romantic Theory and the Critical Tradition. New York:Oxford University Press,1953, p.169.
⑥William Wordsworth, The Prelude,1799,1805,1850: Authoritative Texts, Context andReception, Recent Critical Essays. Ed. by Jonathan Wordsworth, M. H. Abrams, and StephenGill. New York: Norton,1979, Book I, ll.288,290.
⑦Edward Mendelson, Early Auden. New York: Viking Press,1981, p.204.
①关于英国19世纪后半叶以来宗教的衰落和诗歌或文学作为宗教替代品的情况，可参见陆建德著：《思想背后的利益：文化政治评论集》，广西师范大学出版社2005年版，第103-104页。
②T. S. Eliot, Selected Prose of T. S. Eliot. Ed. by Frank Kermode. New York: Harcourt BraceJovanovich,1975, p.177.
③T. S. Eliot, Selected Prose of T. S. Eliot. Ed. by Frank Kermode. New York: Harcourt BraceJovanovich,1975, p.177.
④T. S. Eliot, Selected Prose of T. S. Eliot. Ed. by Frank Kermode. New York: Harcourt BraceJovanovich,1975, pp.177-78.
⑤Edward Mendelson, Early Auden. New York: Viking Press,1981, p.205.
⑥Edward Mendelson, Early Auden. New York: Viking Press,1981, p.205.
⑦T. S. Eliot, To Criticize the Critic. New York: Farrar, Strauss,&Giroux,1965, p.185.
⑧T. S. Eliot, Selected Prose of T. S. Eliot. Ed. by Frank Kermode. New York: Harcourt BraceJovanovich,1975, p.36.
⑨自1926年夏天之后的近一年时间里，奥登也写了不少此类仿作。例如：“In Spring we waited. Princesfelt/Through darkness for unwoken queens;/The itching lover weighed himself/At stationson august machines;”（“In Due Season”；见W. H. Auden, Juvenilia: Poems,1922-1928. Ed. byKatherine Bucknell. Expanded paperback edition. Princeton, NJ: Princeton University Press,
①D. H. Lawrence, Birds, Beasts and Flowers. London: Martin Secker,1923, pp.113-15.
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.284.
③参见W. H. Auden, The English Auden: Poems, Essays, and Dramatic Writing,1927-1939. Ed.by Edward Mendelson. New York: Random House,1977, pp.297-99.
④Edward Mendelson, Early Auden. New York: Viking Press,1981, p.174.
⑤W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.68.
①W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.68.
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.68.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.397.
④W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.397.莫扎特歌剧《唐乔瓦尼》中的主人公以引诱女人为乐。根据奥登的理解，唐乔瓦尼的乐趣不是肉体上的，而是算数上的，“他的满足感来自在他的名单上再添一个名字”。（W. H. Auden, The Dyer’s Hand and Other Essays. NewYork: Random House,1962, p.119.）更多有关唐乔瓦尼和瓦格纳歌剧《特里斯坦与伊索尔德》（Tristanund Isolde）中的主人公的比较分析，见W. H. Auden, The Dyer’s Hand and Other Essays. New York:Random House,1962, pp.118-23.另参见《裸体的洞穴》（“The Cave of Nakedness”）一诗的开头：“Don Juan needs no bed, being far too impatient to undress,/nor do Tristan and Isolda, muchtoo in love to care/for so mundane a matter, but unmythical/mortals require one, and preferto take their clothes off,/if only to sleep.”（W. H. Auden, Selected Poems. Expanded edition. Ed.by Edward Mendelson. New York: Vintage,2007, p.283.）
⑤W. H. Auden, and Louis Kronenberger, eds. The Viking Book of Aphorisms. New York: Viking,1962, p.240.
①Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.
340.
②W. H. Auden,“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets,and Poetry.” Swarthmore College Bulletin Alumni Issue (May1972):2.
③George Plimpton, ed.,“W. H. Auden.” Writers at Work: The Paris Review Interviews,4th series.Harmondsworth: Penguin Books,1977, p.253.
④George Plimpton, ed.,“W. H. Auden.” Writers at Work: The Paris Review Interviews,4th series.Harmondsworth: Penguin Books,1977, p.253.
⑤W. H. Auden,“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets,and Poetry.” Swarthmore College Bulletin Alumni Issue (May1972):2.
⑥George Plimpton, ed.,“W. H. Auden.” Writers at Work: The Paris Review Interviews,4th series.Harmondsworth: Penguin Books,1977, p.253.
⑦W. H. Auden,“Auden on Poetry: A Conversation with Stanley Kunitz.” Atlantic218.2(August1966):102.
⑧W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.296.
⑨W. H. Auden,“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets,and Poetry.” Swarthmore College Bulletin Alumni Issue (May1972):2.
①W. H. Auden,“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets,and Poetry.” Swarthmore College Bulletin Alumni Issue (May1972):2.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.345.
③W. H. Auden,“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets,and Poetry.” Swarthmore College Bulletin Alumni Issue (May1972):2.
④W. H. Auden,“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets,and Poetry.” Swarthmore College Bulletin Alumni Issue (May1972):2. George Plimpton, ed.,“W.H. Auden.” Writers at Work: The Paris Review Interviews,4th series. Harmondsworth: PenguinBooks,1977, p.253.
⑤在《向克利俄致敬》（“Homage to Clio”）一诗中，奥登赞颂了这位掌管历史的女神，因为只有在历史的时间中，我们才有做决定的自由，才有可能改变自己的未来。离开历史，在一个必然性的世界中，“只有第一步才重要，／那一步将总是谋杀”。（W. H. Auden, Selected Poems. Expanded edition. Ed. byEdward Mendelson. New York: Vintage,2007, p.242.）除了写作格律诗以外，修改作品也是摆脱“自我的束缚”的途径之一，因为修改意味着第二步、第三步，亦即自由选择。（参见Edward Mendelson,“Revision and Power: The Example of W. H. Auden.” Yale French Studies, No.89, Drafts (1996):103-12.）
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.273.
②另外两组是《田园诗》（“Bucolics”，1952-1953）和《祈祷时刻》（“Horae Canonicae”，1949-1954）。
③Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.453.
④奥登与威廉姆斯的交往情况参见Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.453.
⑤参见傅浩先生2010年11月23日给作者的电子邮件：“……这个在诗学上叫‘半行’。即按照音律，一行未足，而按照意思，需另起一行时，则上下两半行错开，但尾首相连排印。在诗剧中常用于不同人物台词间的衔接转换。在计数行数时，两个半行合算一行。”
①参见J. B. Greenough, G. L. Kittredge, A. A. Howard, and Benj. L. D’ooge, eds., Allen andGreenough’s New Latin Grammar for Schools and Colleges. Boston: Ginn&Company,1903, p.410.
②W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.276.
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, pp.66-68.
②Arthur Quiller-Couch, ed., The Oxford Book of Ballads. Oxford: Clarendon,1910, p.867.
③Anthony Hecht,“Paralipomena to The Hidden Law.” Sewanee Writers on Writing. Ed. WyattPrunty. Baton Rouge: Louisiana State UP,2000, p.72.
④W. H. Auden, W. H. Auden’s Book of Light Verse.(Rev. ed. of The Oxford Book of Light Verse.1938). New York: New York Review Books,2004, p.378.
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.104.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume IV:1956-1962. Ed. byEdward Mendelson. Princeton, NJ: Princeton UP,2010, p.689.
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.71.
③实际上这两个词只是元音不同，元音前后的辅音完全相同。这种韵被威尔弗雷德·欧文（Wilfred Owen）称为“pararhyme”。（Alex Preminger and T. V. F. Brogan, eds., The New Princeton Encyclopediaof Poetry and Poetics. Princeton, NJ: Princeton University Press,1993, p.824.）
④Edward C. McAleer,“As Auden Walked Out.” College English18.5(Feb.,1957):272.
①Alexander Pope, Alexander Pope: Selected Poetry and Prose. Ed. by Robin Sowerby. London:Routledge,1988, p.45.
②Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p. xiv.
③详见第4章第2节“形式对抗内容”和第3节“超越内容的形式”。Terry Eagleton, How to Read a Poem.Malden, MA: Blackwell Publishing,2007, pp.70-88.
④参见赵元：《文论家的诗歌细读——评伊格尔顿的〈如何解读一首诗〉》，载《外国文学》，2009年第5期，第120页。
⑤这首诗创作于20年代初，写的是湖区（the Lake District）的一个叫做“Blea Tarn”的水潭。该诗的手稿已遗失，奥登只记得诗的结尾部分是“and in the quiet/Oblivion of thy water let them stay.”但是他已记不得其中的“他们”到底指的是谁或者什么。（见Humphrey Carpenter, W. H. Auden: ABiography. London: George Allen&Unwin,1981, p.29.）
①“Sonnet”（“This world is full of lovely things”），见W. H. Auden, Juvenilia: Poems,1922-1928.Ed. by Katherine Bucknell. Expanded paperback edition. Princeton, NJ: Princeton UniversityPress,2003, pp.16-17.
②“The Song”，见W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: RandomHouse,1976, p.474.
③十四行诗超越文化的一个显著的例子是它在现代中国的接受。尽管传统中国诗歌中并无十四行诗，但它在20世纪20年代早期传到中国后，很快便流传开来。有论者指出，十四行诗的谋篇之法颇类似古代中国诗文的写作原则，即“起承转合”。更有人进一步指出，十四行诗尤其类似七言律诗。（参见钱光培选编：《中国十四行诗选：1920—1987》，中国文联出版公司1988年版，第359、368-370页。）
④T. S. Eliot, Selected Prose of T. S. Eliot. Ed. by Frank Kermode. New York: Harcourt BraceJovanovich,1975, p.36.
⑤Ezra Pound, Literary Essays of Ezra Pound. Ed. by T. S. Eliot. New York: New Directions,1968, p.170.
①Robert M. Bender and Charles L. Squier, eds. The Sonnet: An Anthology: A ComprehensiveSelection of British and American Sonnets from the Renaissance to the Present. New York:Washington Square Press,1987, p. xxxiii.
②这一传统可追溯到菲利普·锡德尼（Sir Philip Sidney,1554-1586）的侄女玛丽·罗斯夫人（Lady MaryWroth）创作的《潘菲丽亚致安菲兰休斯》（Pamphilia to Amphilanthus,1621）。
③此段见赵元：《十四行诗》，载《外国文学》，2010年第5期，第121-122页。
④参见Bengt Jangfeldt,“Form in Poetry”(Joseph Brodsky and Derek Walcott in a conversationwith Bengt Jangfeldt). The Kenyon Review, New Series,23.2(2001):185-200.
⑤详见John Adames,“The Frontiers of the Psyche and the Limits of Form in Auden’s ‘Quest’Sonnets.” The Modern Language Review92.3(July1997):574.
⑥详见John Adames,“The Frontiers of the Psyche and the Limits of Form in Auden’s ‘Quest’Sonnets.” The Modern Language Review92.3(July1997):573-80.
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.80.中译文见查良铮译：《英国现代诗选》，湖南人民出版社1985年版，第119-120页。
②John Fuller, W. H. Auden: A Commentary. London: Faber and Faber,1998, p.239.另参见JohnFuller, The Sonnet. London: Methuen,1972, pp.34-35.
③2011年4月7日闻诸爱德华·门德尔松教授。
④W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.118.
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.72.
①查良铮译：《英国现代诗选》，湖南人民出版社1985年版，第107页。
②W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.95.
①奥登的这一手法可能学自哈代。2012年4月9日闻诸傅浩先生。
②John Milton, Paradise Lost. Ed. by Barbara K. Lewalski. Malden, MA: Blackwell,2007, p.11.
③参见Richard Davenport-Hines, Auden. New York: Pantheon Books,1995, pp.256,323.
④2010年9月9日闻诸爱德华·门德尔松教授。
①Chris Beyers, A History of Free Verse. Fayetteville: The University of Arkansas Press,2001, p.4.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.574.
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.87.
②傅浩著：《说诗解译——中外诗歌与翻译论集》，中国传媒大学出版社2005年版，第185-186页。
①Edward Mendelson, Early Auden. New York: Viking Press,1981, p.347.
②《兰波》、《阿·爱·豪斯曼》、《小说家》、《作曲家》、《爱德华·利尔》。其余三首为《澳门》、《香港》与《冬天的布鲁塞尔》，其中前两首属于游记《战地行》（Journey to a War,1939）的一部分。1939年2
月（奥登与伊舍伍德于1939年1月26日抵达纽约），奥登写了三首诗，都与作家、艺术家有关，分别是《伏尔泰在斐尔奈》、《马修·阿诺德》与《纪念威·巴·叶芝》。
③傅浩著：《说诗解译——中外诗歌与翻译论集》，中国传媒大学出版社2005年版，第187页。
④除第二节明确提到的《画着伊卡洛斯坠落的风景画》（Landscape with the Fall of Icarus）之外，在第一节中还影射了《伯利恒的人口调查》（The Numbering at Bethlehem）、《画着溜冰者与捕鸟器的冬日风景画》（Winter Landscape with Skaters and a Bird Trap）（第5-8行）与《屠杀无辜者》（The Massacreof the Innocents）（第12-13行）。
①傅浩先生在翻译完奥登的这首名诗之后感慨道：“奥登的《美术馆》一诗韵式虽无规律，但每个韵脚都有着落，其诗艺之精湛，实难在译文中描摹。”（傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第688页。）
②Edward Mendelson, Early Auden. New York: Viking Press,1981, p.363.
③例如贾雷尔的诗《过去的与现在的大师们》（“The Old and the New Masters”）就是对奥登《美术馆》一诗的回应。（见Randall Jarrell, The Complete Poems. New York: Farrar, Straus&Giroux,1969,pp.332-33.）
④傅浩著：《说诗解译——中外诗歌与翻译论集》，中国传媒大学出版社2005年版，第189-190页。
⑤W. H. Auden,“Auden on Opera, Detective Writers, Wit, Politics, the Camera, Drugs, Poets,and Poetry.” Swarthmore College Bulletin Alumni Issue (May1972):14.
⑥William Harmon,“W. H. Auden.” Unpublished essay,2010.
①奥登用过的诗体及例子参见附录。
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.649.
③W. H. Auden, Forewords and Afterwords. New York: Random House,1973, p.364.
④奥登在晚年提到布里奇斯的仿古六音步诗（Hexameters）时言简意赅地指出，“没有一只等着听重音的耳朵会把它们听作是[六音步诗]”。（W. H. Auden, A Certain World. New York: Random House,1970,p.375.）
⑤原文为：“I simply could not make head or tail of them.”W. H. Auden, The Dyer’s Hand andOther Essays. New York: Random House,1962, p.296.
⑥W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.297.
①W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.297.在瓦莱里的《杂文集》英文版的前言中，奥登用了另一句法文诗的例子：“Je suis belle,|o mortels!|comme un rev|e de pierre”。（W. H. Auden, Forewords and Afterwords. New York: RandomHouse,1973, p.359.）
②W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.297.
③Marianne Moore, The Poems of Marianne Moore. Ed. by Grace Schulman. New York: Viking,2003, pp.127-28.
①Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.86.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.235.
③Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.85.
④Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.86.
⑤W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.100.
①W. H. Auden, The English Auden: Poems, Essays, and Dramatic Writing,1927-1939. Ed. byEdward Mendelson. New York: Random House,1977, p.243.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume II:1939-1948. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2002, p.235.
③Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.86.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.320.
②W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.245.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.263.
②W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.189.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.585.
②W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.571.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.628.
②John Fuller, W. H. Auden: A Commentary. London: Faber and Faber,1998, p.541.
③奥登的最后一首诗是一首俳句：“He still loves life/But O O O O how he wishes/The good Lordwould take him.”关于此诗音节数的算法，门德尔松与卡彭特提供了两种不同的版本。见EdwardMendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, pp.515-16.与HumphreyCarpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.450.
④W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.641.
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, pp.279-80.
②Humphrey Carpenter, W. H. Auden: A Biography. London: George Allen&Unwin,1981, p.420.
①W. H. Auden,[Auden’s reply to a questionnaire on classics.] Arion3.4(Winter1964):9.
②W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.270.
③诗例见[古罗马]卡图卢斯著：《卡图卢斯〈歌集〉：拉中对照译注本》，李永毅译注，中国青年出版社2008年版，第2页。这是卡图卢斯最常用的格律。参见Gaius Valerius Catullus, The Poems of Caius ValeriusCatullus. London,1795. Vol.1, p. xxix.
①W. H. Auden, Selected Poems. Expanded edition. Ed. by Edward Mendelson. New York:Vintage,2007, p.269.
②该词源自古希腊文cholíambos，其中的chol(ós)即意为“瘸、蹒跚”。
③诗例见[古罗马]卡图卢斯著：《卡图卢斯〈歌集〉：拉中对照译注本》，李永毅译注，中国青年出版社2008年版，第86页。
④六音步格律参见[古罗马]卡图卢斯著：《卡图卢斯〈歌集〉：拉中对照译注本》，李永毅译注，中国青年出版社2008年版，第404页。
⑤阿瑟·休·克拉夫（Arthur Hugh Clough,1819-1861），英国诗人。
⑥W. H. Auden, A Certain World. New York: Random House,1970, p.375.
①贺拉斯的诗例见H. W. Garrod, ed., The Oxford Book of Latin Verse. Oxford: Clarendon,1912, p.108.
②W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.609.
③W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.416.
④阿拉纳误将这两首诗每节第1行的音节数算为13个。（R. Victoria Arana, W. H. Auden’s Poetry:Mythos, Theory, and Practice. Amherst, NY: Cambria Press,2009, p.187.）从她书中其他地方的一些论述也可看出，她似乎始终未注意到奥登模仿古典诗律的音节诗中以h相隔的两个元音省为一个元音的做法。富勒也误以为这两首诗每节第1行的音节数为13个。（John Fuller, W. H. Auden: ACommentary. London: Faber and Faber,1998, p.456.）
⑤萨福体的具体格律要求参见J. B. Greenough, G. L. Kittredge, A. A. Howard, and Benj. L. D’ooge,
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.361.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.649.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.649.
④1950年1月5日，霍利奥克山学院，题为“艺术与自由”；1950年2月15日，福特汉姆大学，题为“自然、历史与诗歌”；1950年3月9日，斯沃斯莫尔学院，题为“自然、历史与诗歌”。（W. H. Auden,The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. by Edward Mendelson.Princeton, NJ: Princeton University Press,2008, p.636.）
⑤W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.648.
⑥W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.648.
⑦W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.648.
⑧W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.649.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.645.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.650.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.646.
②W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.650.
③W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.650.
①参见Alex Preminger and T. V. F. Brogan, eds., The New Princeton Encyclopedia of Poetry andPoetics. Princeton, NJ: Princeton University Press,1993, pp.358-59.
②Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, pp.385-86.
③W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.
433-34.
①John Fuller, W. H. Auden: A Commentary. London: Faber and Faber,1998, p.448.
②W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.
435.
③这一点由傅浩先生指出。
①Edward Mendelson, Later Auden. New York: Farrar, Straus&Giroux,1999, p.85.
②W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.88.
③W. H. Auden, The Complete Works of W. H. Auden: Prose and Travel Books in Prose and Verse.Volume I:1926-1938. Ed. by Edward Mendelson. Princeton, NJ: Princeton University Press,1996, p.89.
①W. H. Auden, The Complete Works of W. H. Auden: Prose, Volume III:1949-1955. Ed. byEdward Mendelson. Princeton, NJ: Princeton University Press,2008, p.345.
②R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, p.198.
③见绪论。
④R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, p.244.
⑤在斯皮尔斯1963年的专著中有对奥登创作《晨祷》过程的描述，其中包括该诗的音韵特征和省音原则。
（Monroe K. Spears, The Poetry of W. H. Auden: The Disenchanted Island. New York: OxfordUniversity Press,1963, p.318.）阿拉纳书后的参考文献里包括斯皮尔斯的这本专著。（R. VictoriaArana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: Cambria Press,2009,p.333.）
⑥阿拉纳在书里列举了一些她认为音节数不规则的诗行和诗作，详见R. Victoria Arana, W. H. Auden’sPoetry: Mythos, Theory, and Practice. Amherst, NY: Cambria Press,2009, pp.231,233,235,
236,243.经过仔细计数，阿拉纳所列举的这些“例外”无一例外都符合整首诗的音步数复现模式。
⑦傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第577页。
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976,pp.657-58.
①我参考了奥登本人朗诵此诗的录音。W. H. Auden,“Thank You, Fog.” The Spoken Word: W. H.Auden, CD2, British Library,2007.
②另参见阿拉纳对其余几首7音节诗的部分诗节的格律分析（。R. Victoria Arana, W. H. Auden’s Poetry:Mythos, Theory, and Practice. Amherst, NY: Cambria Press,2009, p.226.）
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976,pp.628-29.
②这首诗的重音划分也参考了奥登本人的朗诵录音。W. H. Auden,“A New Year Greeting.” The SpokenWord: W. H. Auden, CD1, British Library,2007.
①R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, p.229.
②阿拉纳书中误作第4节至第7节。（R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, andPractice. Amherst, NY: Cambria Press,2009, p.241.）
①R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, p.241.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.
645.该诗重音的划分参考了奥登的朗诵录音。W. H. Auden,“Old People’s Home.” The Spoken Word:W. H. Auden, CD1, British Library,2007.
①W. H. Auden, Collected Poems. Ed. by Edward Mendelson. New York: Random House,1976, p.
641.
①R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, p.239.
②J. B. Greenough, G. L. Kittredge, A. A. Howard, and Benj. L. D’ooge, eds., Allen andGreenough’s New Latin Grammar for Schools and Colleges. Boston: Ginn&Company,1903, pp.
407-8.
①阿拉纳也提到这一划分法，尽管她认为这样比较“可疑”。（R. Victoria Arana, W. H. Auden’s Poetry:Mythos, Theory, and Practice. Amherst, NY: Cambria Press,2009, p.239.）
②R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, p.239.
③R. Victoria Arana, W. H. Auden’s Poetry: Mythos, Theory, and Practice. Amherst, NY: CambriaPress,2009, pp.246-47.
①W. H. Auden,“The Art of Poetry XVII.” Interview with Michael Newman. Paris Review57
(Spring1974):44.
②W. H. Auden,“Auden on Poetry: A Conversation with Stanley Kunitz.” Atlantic218.2(August1966):102.
①W. H. Auden, The Dyer’s Hand and Other Essays. New York: Random House,1962, p.338.
①傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第298页。
②傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第298页。
③William Harmon, ed., Classic Writings on Poetry. New York: Columbia University Press,2003,p.516.
④傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第282页。
⑤见《一九一六年复活节》（“Easter,1916”）一诗。
⑥傅浩著：《窃火传薪：英语诗歌与翻译教学实录》，上海外语教育出版社2011年版，第290页。
⑦对于这两行诗，奥登有过以下评论：“这是不真实的；在这两者当中都不可能有完美。我们只能说，一个
（与所有人一样）有着个人弱点和局限性的作家应该意识到这些弱点和局限性，并且尽他所能不要让它们出现在他的作品里。对每一个作家来说，都有某些主题——由于他的性格和他的天赋中的缺陷——是他永远也不应该去接触的。”（W. H. Auden, The Dyer’s Hand and Other Essays. New York: RandomHouse,1962, p.19.）
⑧William Carlos Williams, Selected Essays of William Carlos Williams. New York: RandomHouse,1954, p.21.
①William Carlos Williams, Selected Essays of William Carlos Williams. New York: RandomHouse,1954, p.21.
②Jahan Ramazani, Richard Ellmann, and Robert O’Clair, eds., The Norton Anthology of Modernand Contemporary Poetry.3rd ed. New York: Norton,2003. Vol.1, p.286.
③傅浩著：《英国运动派诗学》，译林出版社1998年版，第71页。
④傅浩著：《英国运动派诗学》，译林出版社1998年版，第71页。
⑤Jahan Ramazani, Richard Ellmann, and Robert O’Clair, eds., The Norton Anthology of Modernand Contemporary Poetry.3rd ed. New York: Norton,2003. Vol.1, p.211.
⑥Jahan Ramazani, Richard Ellmann, and Robert O’Clair, eds., The Norton Anthology of Modernand Contemporary Poetry.3rd ed. New York: Norton,2003. Vol.1, p.210.
⑦谢冕：《回望百年——论中国新诗的历史经验》，载《北京大学学报》2005年第6期，第52页。
⑧谢冕：《回望百年——论中国新诗的历史经验》，载《北京大学学报》2005年第6期，第52页。
⑨见第二章。
⑩谢冕：《回望百年——论中国新诗的历史经验》，载《北京大学学报》2005年第6期，第56页。
③郑敏：《中国诗歌的古典与现代》，载《文学评论》1995年第6期，第90页。
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