Beautiful fisherman girl,
Please drive the boat to the shore;
Come and sit with me,
Hand in hand and fall in love.
Put your head on my heart,
Don't be so flustered;
Anyway, you are carefree every day,
Entrust yourself to the sea.
My heart is similar to the sea,
There are storms and tides,
But many beautiful pearls
It hides under the deep sea.
Secondly,
The moon rises on the sea,
The moonlight reflects the waves;
I hugged my lover,
Our hearts are at an orgasm.
There is no one else by the sea,
I lie in my lover's arms; ——
"What did you hear the wind?
Why do snow-white hands tremble? "
"This is not the call sign of the sea breeze.
This is the mermaid singing,
They are my sisters,
Was swallowed up by the sea. "
(translated by Bai Fei)
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These two poems are selected from Heine's group poem The Return of the Native. This group of poems was written by poets in Hamburg and Kukes Port from 1823 to 1824. Returning to China means seeing Hamburg again. In this city, the poet once experienced his own romantic history (see the explanation of the first two poems), and now he is moved by that scene and his heart is broken. What's more sad is that during the journey, the poet met the girl he once loved, Amalie's sister Teresa. She looks like her sister, with the same eyes and smile. So a new kind of * * * burns in the poet's mind, as irresistible as his first love in youth. But the ending of this love is as unfortunate as the first time. 1828, Teresa married a doctor of law. The poet was heartbroken. He wrote bitterly: "Whoever loves for the first time,/is still a god even if he is unfortunate,/but whoever loves for the second time,/is still unfortunate, then he is a fool." But this is another story.
The Return of the Native records Heine's memory of his old lover Amalie and his new love affair with Teresa, as well as the sudden death of this short-lived love affair. The Return of the Native, like a lyric episode, brings readers from real life to a dream world with simple and clear brushstrokes.
In The Beautiful Fisherwoman, the poet turns his lover into a fisherman at the seaside in an attempt to turn the pain of reality into the happiness of fantasy. In the first section, the poet just called the fisherman girl to come to him in his fantasy. In the second section, the poet couldn't wait to pour out his heart to the imaginary girl. In the third quarter, the poet opened his heart like the sea to the girl, and this heart wanted to embrace the fisherman girl who was surging out to sea like the sea.
The same is true of the moon rising on the sea. The poet first introduced the reader into the dreamland of the kingdom of love with beautiful moonlight. Then naturally, the second illusion was introduced from the first illusion, and the reader was quietly brought into the supernatural kingdom. Unconsciously, the call sign of the sea breeze became the mermaid's song, the lover became the mermaid's sister, the human world and the elf world were mixed together, and the natural kingdom and the supernatural kingdom, truth and imagination were integrated. The whole picture is as transparent as Connor's landscape painting, only covered with a thin layer of fog. This is Heine's lyrical style: "It suddenly shows an imaginary and dreamy modern world from real life in an unconscious transition way, and makes it disappear in the same way, and soon reaches such a level that when reality disappears in obscurity, the illusion is clearly left behind." (brandeis)
(Zhang Deming)