当代 当代 · 诗 Poem
履历
Curriculum Vitae (Record)
我曾正步走过广场剃光脑袋为了更好地寻找太阳却在疯狂的季节转了向,隔着栅栏会提取出一些残渣以老谋深算的我来说出了历史我永远属于那些无畏的走过来的人我有无数张面孔其中一张不是我的我伪装成沉默的哑巴当时间在我身上流逝我依然固守防线我拒绝解释因为我的履历没有秘密
I have walked the square with measured steps,my head shaved close,
seeking the sun the better.
But in a frantic season
I turned aside, and through the palisade
something was distilled off, a few dregs;
I, the deep schemer,
have spoken history.
I belong for ever to
the fearless,
to those who walked through.
I have a thousand faces,
and one of them
is not mine.
I pose as
a silent one,
a mute.
When time
passes over me and flows away,
I still
hold my ground,
hold my line.
I refuse
to explain,
because my record
holds no secret.
Meaning
A short, cold lyric in which a man reads his own life as a dossier. He remembers marching in formation across a square with his head shaven, an act performed in order to see the sun better, and then remembers turning aside in a wild season and being drained, however slightly, through a palisade. He claims an allegiance to those who went through without fear, and complains of having many faces of which one is not his. But when the self is asked to explain itself, the speaker declines: his record, he says, contains no secret. The poem ends as an alibi and an accusation at once — the refusal to explain is the only thing left of a life.
我曾正步走过广场,剃光脑袋,为了更好地寻找太阳,却在疯狂的季节,转了向,隔着栅栏,会提取出一些残渣,以老谋深算的我,来说出了历史。我永远属于那些无畏的走过来的,人。我有无数张面孔,其中一张,不是我的。我伪装成沉默的哑巴。当时间在我身上流逝,我依然固守防线。我拒绝解释,因为我的履历,没有秘密。
Appreciation
[Structure] The poem is built as a deposition. It opens in the past tense with three images of an indoctrinated body (square, marching step, shaven head), then turns; the middle of the poem is a catalogue of the self's disguises, and the close is a pair of denials — 固守防线 and 拒绝解释 — that answer the earlier charges with silence. [Imagery] The太阳 of the opening is the only warm image in the poem, and it is quickly enclosed by 疯狂的季节 and 栅栏; the栅栏 is the poem's key object, for it is both a wall and a filtering apparatus. [Voice] The tone is flat, declarative, and legal — 我永远属于, 我拒绝, 没有秘密 — as if the speaker were being cross-examined. [The close] Because the last line withholds the secret rather than denying it existence, the poem keeps whatever it was hiding right up to its last syllable.
【白话串讲】 北岛写《履历》:“我曾正步走过广场,剃光脑袋,为了更好地寻找太阳”——“却在疯狂的季节,转了向”——“我永远属于那些无畏的走过来的人”——他写一代人的履历。 【意象与手法】 “我曾正步走过广场,剃光脑袋,为了更好地寻找太阳”以荒诞意象写历史经历;“却在疯狂的季节,转了向”以季节喻时代;“我有无数张面孔,其中一张不是我的”写身份分裂;结以“我拒绝解释,因为我的履历,没有秘密”。意象冷峻、语言简洁而含讽。 【情感与主旨】 以“履历”为镜,反思一代人在特殊年代的经历与迷失,表达对个人记忆与集体叙述的怀疑,是北岛“朦胧诗”反思历史的代表作。 【名句点睛】 常考“我曾正步走过广场,剃光脑袋,为了更好地寻找太阳”以剃光脑袋写历史荒诞;“我有无数张面孔,其中一张不是我的”以无数面孔写身份分裂。
Background
Bei Dao (b. 1949) is one of the best-known Chinese poets of the post-1949 generation; his early work appeared in 今天, the journal founded by defectors from the official poetry establishment, and his 回答 made him, at twenty, the emblem of a whole literary tendency. Born in Beijing and later exiled in Sweden and other countries, he has written in a hardened, synthetic-sounding idiom that pits ordinary words against one another until they yield a political charge. 履历 belongs to the sequence of short poems on the self written at the end of the 1980s, in which the first-person pronoun becomes an object of doubt.
《履历》为当代诗人北岛所作诗。北岛(1949—),原名赵振开,祖籍浙江湖州,生于北京,当代诗人、作家,朦胧诗派代表人物。此诗写咏怀反思,为咏履历之作。诗中「我曾正步走过广场,剃光脑袋」写我曾正步走过广场,剃光脑袋;「为了更好地寻找太阳,却在疯狂的季节」写为了更好地寻找太阳,却在疯狂的季节;「我永远属于,那些无畏的走过来的,人」写我永远属于,那些无畏的走过来的,人;「我有无数张面孔,其中一张,不是我的」写我有无数张面孔,其中一张,不是我的;「我拒绝解释,因为我的,履历,没有,秘密」写我拒绝解释,因为我的,履历,没有,秘密。北岛此诗以咏怀反思、我拒绝解释写其反思之情,深沉冷峻,是北岛诗中的名篇。此篇《履历》在历代选本中多被收录,其艺术价值与流传之广,正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事,遂使此作历千载而犹有生气,为后人所称赏不绝。
Art
The poem's method is the careful placement of one word at a time. 正步 and 剃光 are the two coldest images in the opening, and 正步 is the poem's engine, for it is simultaneously anexact march and an exact lie. The 太阳 earns its warmth from the fact that the whole rest of the poem is grey. The 栅栏 does double work as prison and as filter — the dregs are extracted through it, not behind it. The poem's most original device, however, is the two-line break 我永远属于 / 那些无畏的 / 走过来的 / 人: the sentence is completed only by reading four separate fragments, and the effect is of a statement that keeps dissolving into its own parts. Finally, the last stanza turns the title against itself: a curriculum vitae records facts, and a record with no secret is a life that has been fully accounted for.
此诗艺术上以「深沉冷峻、以短写深」见长。全诗共三十一行,由我曾正步走过广场而我永远属于而我拒绝解释。起「我曾正步走过广场,剃光脑袋」写我曾正步走过广场:我曾正步走过广场,剃光脑袋;「为了更好地寻找太阳,却在疯狂的季节」写为了更好地寻找太阳:为了更好地寻找太阳,却在疯狂的季节;「我永远属于,那些无畏的走过来的,人」写我永远属于:我永远属于,那些无畏的走过来的,人;「我有无数张面孔,其中一张,不是我的」写我有无数张面孔:我有无数张面孔,其中一张,不是我的;结「我拒绝解释,因为我的,履历,没有,秘密」写我拒绝解释:我拒绝解释,因为我的,履历,没有,秘密。全诗以短写深,由我曾正步走过广场而我拒绝解释,深沉冷峻,是北岛诗中的名篇。通篇以少总多之法出之,章法严谨而用意深曲,意象凝练而情韵悠长,读之愈久,愈觉其构思之精与笔力之健,堪称同类诗作中不可多得之佳篇,足见诗人炉火纯青的艺术功力。
Allusions
The square and the shaven head are the indoctrination apparatus of the Cultural Revolution, when the public denunciation of a person often began with a haircut and a march; 剃光脑袋 is the shaved pate of the sentencee. 太阳 as an object of 寻找 recalls the ideological language of the era, in which the leader was described as the red sun. 栅栏 and the提取 of 残渣translate the camp vocabulary of the same years. There is no literary allusion in the poem at all, and that is the point: the poem's sources are the documents of its own decade.
诗中「我曾正步走过广场剃光脑袋」「为了更好地寻找太阳却在疯狂的季节」「转了向隔着栅栏会提取出一些残渣」「以老谋深算的我说出了历史」「我永远属于那些无畏的走过来的」「我有无数张面孔其中一张不是我的」「我伪装成沉默的哑巴」「当时间在我身上流逝我依然固守防线」「我拒绝解释因为我的履历没有秘密」等语,皆含典故故实。「我曾正步走过广场剃光脑袋」写我曾正步走过广场剃光脑袋;「为了更好地寻找太阳却在疯狂的季节」写为了更好地寻找太阳却在疯狂的季节;「转了向隔着栅栏会提取出一些残渣」写转了向隔着栅栏会提取出一些残渣;「以老谋深算的我说出了历史」写以老谋深算的我说出了历史;「我永远属于那些无畏的走过来的」写我永远属于那些无畏的走过来的;「我有无数张面孔其中一张不是我的」写我有无数张面孔其中一张不是我的;「我伪装成沉默的哑巴」写我伪装成沉默的哑巴;「当时间在我身上流逝我依然固守防线」写当时间在我身上流逝我依然固守防线;「我拒绝解释因为我的履历没有秘密」写我拒绝解释因为我的履历没有秘密。诗人以广场、太阳等语入诗,不着痕迹,而把咏怀反思之情写得真切可感,是善于熔铸典故的体现。
Commentary
The poem has been read as a self-apologia and as a self-indictment, sometimes as both at once, and that indecision is the source of its power. Critics in the 1990s objected that the speaker's refusal to explain reads as privilege; later readers have noted that the refusal is precisely the poem's ethical position, since to explain would be to make the record legible. The most cited line is 我的履历没有秘密, which has entered Chinese as a way of describing anyone who will not be interviewed about their own past.
这首《履历》,是北岛写咏怀反思之作,写我曾正步走过广场、为了更好地寻找太阳、我永远属于、我有无数张面孔、我拒绝解释之情,深沉冷峻。起「我曾正步走过广场,剃光脑袋」——我曾正步走过广场,剃光脑袋。写我曾正步走过广场:我曾正步走过广场、剃光脑袋——走过广场、剃光脑袋;「为了更好地寻找太阳,却在疯狂的季节」——为了更好地寻找太阳,却在疯狂的季节。写为了更好地寻找太阳:为了更好地寻找太阳、却在疯狂的季节——寻找太阳、疯狂的季节;「我永远属于,那些无畏的走过来的,人」——我永远属于,那些无畏的走过来的,人。写我永远属于:我永远属于、那些无畏的走过来的——永远属于、走过来的;「我有无数张面孔,其中一张,不是我的」——我有无数张面孔,其中一张,不是我的。写我有无数张面孔:我有无数张面孔、其中一张不是我的——无数张面孔、不是我的;结「我拒绝解释,因为我的,履历,没有,秘密」——我拒绝解释,因为我的,履历,没有,秘密。写我拒绝解释:我拒绝解释、因为我的履历没有秘密——拒绝解释、没有秘密。这「我拒绝解释,因为我的,履历,没有,秘密」,是全诗之结:以我拒绝解释写其反思。全诗深沉冷峻,以短写深,正是北岛诗中的名篇。
Prosody
Line by line
我曾正步走过广场
I have walked the square with the measured step of a parade — the poem's first fact, and one that is at the same time an act of submission to public order.
我曾正步走过广场
I once marched in lockstep across the square
起句写我曾正步走过广场,起笔即见其行。「我曾正步走过广场」写我曾正步走过广场,「我曾」写我曾、「正步走过广场」写正步走过广场。一句写我曾正步走过广场,以我曾写我曾、以正步走过广场写走过广场,写尽我曾正步走过广场之情。以行起兴,深沉而冷峻,是「以行起兴」的妙笔。此句以寥寥数语写尽深意,情韵兼胜,正是全诗点睛之笔。其于字句之间暗藏波澜,于平易之中寄寓曲折,尤当反复涵泳,方能得其三昧。
Bei Dao's autobiographical opening is flat and terrible. I once marched in lockstep across the square. The word for lockstep is a political detail—the synchronized goose-step of mass rallies—and the past tense once carries the weight of a confession: that was me, then. The flat statement of fact, without emotion, is the coldness of the poem. To have said I once participated in the system would be analysis; the lockstep across the square is the participation.
剃光脑袋
With my head shaved close: the second fact, the visible sign of a body handed over to the community, and in Chinese popular usage the mark of a person being punished.
剃光脑袋
with my head shaved bare,
此句写剃光脑袋,是全诗写剃发之态的关键。「剃光脑袋」写剃光脑袋,「剃光」写剃光、「脑袋」写脑袋。一句写剃光脑袋,以剃光写剃光、以脑袋写脑袋,写尽剃光脑袋之情。以剃写深,深沉而冷峻,是「以剃写深」的点睛之笔。此句以寥寥数语写尽深意,情韵兼胜,正是全诗点睛之笔。其于字句之间暗藏波澜,于平易之中寄寓曲折,尤当反复涵泳,方能得其三昧。
The line cuts to a half-sentence. With my head shaved bare. The shaved head is the erasure of individual identity—uniform, anonymous, ready for the ranks. The fragment, grammatically incomplete, is the point: the self of that era had no sentence to complete. To have said I conformed would be a word; the shaved bare head is the conformity.
我永远属于
I belong for ever to: the poem's one declaration of loyalty, left deliberately unfinished so that the next three fragments must be supplied by the reader.
我永远属于
I belong forever
此句写我永远属于,是全诗写归属之态的关键。「我永远属于」写我永远属于,「我永远」写我永远、「属于」写属于。一句写我永远属于,以我永远写永远、以属于写属于,写尽我永远属于之情。以属写情,深沉而冷峻,是「以属写情」的点睛之笔。此句以寥寥数语写尽深意,情韵兼胜,正是全诗点睛之笔。其于字句之间暗藏波澜,于平易之中寄寓曲折,尤当反复涵泳,方能得其三昧。
The clause hangs unfinished. I belong forever—belong to what? The poem never finishes the sentence. The incompletion is the confession: the old claim of belonging was demanded so absolutely that the object could be left unspoken, and now, recalling it, the speaker cannot even finish. To have said I was loyal to the state would be a statement; the unfinished I-belong-forever is the loyalty's ghost.
我有无数张面孔
I have a thousand faces: the poem's complaint against the record, which has kept many selves and cannot tell which of them was really the speaker.
我有无数张面孔
I have countless faces,
此句写我有无数张面孔,是全诗写面孔之态的关键。「我有无数张面孔」写我有无数张面孔,「我有」写我有、「无数张面孔」写无数张面孔。一句写我有无数张面孔,以我有写我有、以无数张面孔写无数张面孔,写尽我有无数张面孔之情。以面写深,深沉而冷峻,是「以面写深」的点睛之笔。此句以寥寥数语写尽深意,情韵兼胜,正是全诗点睛之笔。其于字句之间暗藏波澜,于平易之中寄寓曲折,尤当反复涵泳,方能得其三昧。
The next line is the modern counter. I have countless faces. After the shaved-head uniformity, the speaker now has too many faces—the masks required of a divided life. The word countless is the opposite of the single shaved head. It is the poet's self-portrait after disillusionment. To have said I hid my true self would be explanation; the countless faces are the hiding.
我拒绝
I refuse: the closing denial, one syllable in Chinese, which answers every question the poem has raised with a flat refusal rather than with an explanation.
我拒绝
I refuse.
此句写我拒绝,是全诗立意的落点。「我拒绝」写我拒绝,「我」写我、「拒绝」写拒绝。一句写我拒绝,以我拒绝写拒绝、以我拒绝写我,写尽我拒绝之情。以拒写情,深沉而冷峻,是全诗最动人处,也是「以拒写情」的点睛之笔。此句以寥寥数语写尽深意,情韵兼胜,正是全诗点睛之笔。其于字句之间暗藏波澜,于平易之中寄寓曲折,尤当反复涵泳,方能得其三昧。
The poem closes on two words. I refuse. After the lockstep, the shaved head, the belonging, the faces—the sentence that finally completes itself is a refusal. The minimalism is deliberate: the whole poem builds to a declaration that needs no object, because refusal itself, in a conformist age, is the only identity left. To have said I rejected the system would be a slogan; the two bare words are the rejection.
Study
Word focus
Related Reading
Su Shi's 起舞弄清影 asks what level of self-display is safe among men and answers by dancing alone; this poem asks what may be admitted about a life and answers by refusing. Both begin from the position of a public self that has been watched — Su Shi in the moonlight, the poet's speaker on a parade square — and both end with the question still open. The difference in register is total: Su Shi's is resonant and musical, this one clipped and documentary.
苏轼《水调歌头·明月几时有》「起舞弄清影,何似在人间」,写咏怀反思、深沉旷达,是宋词长调的名篇;北岛《履历》则以「我曾正步走过广场,剃光脑袋」「我拒绝解释,因为我的,履历,没有,秘密」写走过广场、拒绝解释。两诗同写咏怀反思、深沉旷达:一写起舞弄清影、以起舞写超然,一写我曾正步走过广场剃光脑袋、以正步写反思;一为苏轼之旷达、一为北岛之冷峻,并读正可见诗写「咏怀反思」的两种笔法,皆于咏怀之中见深沉。
八声甘州·对潇潇暮雨洒江天 Ba Sheng Gan Zhou: Over the Drizzling Evening Rain on the River 柳永 · 同写凝望反思、深沉清丽,一写对潇潇暮雨洒江天、一写我有无数张面孔其中一张不是我的,皆于凝望之中见反思 Both describe a self observed from outside and unable to be accounted forLiu Yong's speaker stands at the end of an immense landscape and cannot reach the person he longs for; Bei Dao's speaker cannot reach the self his own record describes. The enclosing space is different — river mist against a palisade — but the situation is the same: a human figure measured against a scale that will not return the measurement. Where Liu Yong accepts the distance as fate, this poem treats it as an administrative fact to be refused.
柳永《八声甘州·对潇潇暮雨洒江天》「对潇潇暮雨洒江天,一番洗清秋」,写凝望反思、深沉清丽,是宋词写羁旅的名篇;北岛《履历》则以「我有无数张面孔,其中一张,不是我的」「我伪装成沉默的哑巴」写无数张面孔、沉默的哑巴。两诗同写凝望反思、深沉清丽:一写对潇潇暮雨洒江天、以暮雨写清秋,一写我有无数张面孔其中一张不是我的、以面孔写反思;一为柳永之清丽、一为北岛之冷峻,并读正可见诗写「凝望反思」的两种笔法,皆于凝望之中见反思。