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Bernard of Cluny

On Contempt for the World 1

Latin original · 95 verses · some words can be tapped for a gloss

1:1

Domino et patri suo Petro dignissimo abbati clunacensium fratrum Bernardus eius filius eorum frater inaurem auream unam. Quod ad aures publicas sive ad multorum ora profertur sapientis est correctione accusandum iudicio absolvendum. Opus quippe suum etiam atque etiam retractare auctori gloriam conparat; temere et precipitanter exponere ignominiam. Quo fit ut in alterutram partem omnis scriptor se conferat, et si quidem aliorum prudentium examine stilum suum corrigit, prudentis sibi titulum et nominem et si non querit adquirit.

To his lord and father Peter, most worthy abbot of the brethren of Cluny, Bernard, his son and their brother, sends one golden earring. What is brought before the public ear or before the mouths of many is the part of a wise man to accuse with correction and to absolve with judgment. Indeed, to revise his own work again and again gains glory for an author; to set it forth rashly and headlong gains disgrace. Hence it comes about that every writer betakes himself to the one side or the other; and if indeed he corrects his pen by the examination of other prudent men, he acquires—even if he does not seek it—the title and name of a prudent man.

伯爾納，作為他的兒子、眾弟兄的弟兄，呈獻一只金耳環給他的主和父親，克呂尼弟兄們至為可敬的院長伯多祿。凡是擺在公眾耳前、或眾人口中所宣揚的，智慧人當以更正來責備，以判斷來開釋。實在，一位作者一再修訂自己的著作，能為他贏得榮耀；輕率倉促地發表，則招致羞辱。因此每一位作者都會投向這兩面之一；他若藉著其他明智者的審察來修正自己的筆墨，縱使他並不尋求，也必得著明智者的稱號與美名。

1:2

Si vero superbum spirans ferule manum submittere dedignatur non minus fatuitatis quam superbie arguitur, ac propterea nec a rudibus quidem nec ipse nec eius sermo accipitur. Mentior si non etiam Flaccus Oratius ad Pisones suos illos instruendos et ad nos reprimendos qui iuxta illud poetae scribimus indocti doctique poemata passim, mentior, inquam, si non et Flaccus in arte poetica idem quod ego consentit; quippe ibi precipit ut scriptum quod non multa dies et multa litura cohercuit atque perfectum decies non castigavit ad unguem, nonum prematur in annum.

But if, breathing pride, he disdains to submit his hand to the ferule, he is convicted no less of folly than of arrogance, and therefore neither he himself nor his discourse is accepted even by the unlearned. I lie if Flaccus Horace too, in instructing his Pisos and in restraining us who write poems everywhere—according to that saying of the poet, 'the untaught and the taught alike'—I lie, I say, if Flaccus in his Art of Poetry does not agree with the very thing I hold; for there he commands that a writing which many a day and many an erasure has not restrained, and which, though perfected, he has not chastised ten times to the fingernail, should be kept back until the ninth year.

但他若鼓著驕傲之氣，不屑將手伏於戒尺之下，他被定的罪愚昧不亞於傲慢，因此連未受教者也不接納他本人和他的言論。我若說假話——賀拉斯弗拉庫斯在教導他的皮索父子、並約束我們這些四處寫詩的人時（按那詩人所言：『無學者與有學者一概都寫詩』）——我說，我若說假話，弗拉庫斯在他《詩藝》中所主張的，豈非正與我所持的相同；因為他在那裏吩咐：凡未經許多時日、許多塗改加以節制，雖已完成卻未十次修到指甲尖那般精準的作品，當壓藏到第九年。

1:3

Ceterum imprudentes immo impudentes quique sua inventa, sua passim scripta et efferunt et inferunt, qui "semper discentes et nunquam ad scientiam pervenientes," dum alienum iudicium reprobant contenti suo aliquid scire putant. Et quoniam ipsi sibi magistri ipsi auditores sunt, et in ingeniolis suis gloriantes confidunt, aliena quidem dicta vel nullius vel parvi sua vero magni faciunt. At contra sapientis et docti sunt cum doctorum eloquiis sua conferre, in illis et cum illis et ab illis scribendi formam modumque addiscere, et tum sensuum tum verborum ipsorum positionem emulari sequi structuram.

But the imprudent—nay rather the impudent—who everywhere both bring forth and thrust upon us their own inventions and their own writings, who are 'ever learning and never coming to the knowledge of the truth,' while they reject the judgment of others, content with their own, suppose they know something. And since they are masters to themselves and hearers to themselves, and trusting in their own paltry talents take pride in them, they reckon the sayings of others as nothing or as little, but their own as great. But on the contrary, it is the part of the wise and the learned to compare their own work with the discourses of the learned, in them and with them and from them to learn the form and manner of writing, and to emulate and follow the arrangement and structure both of meanings and of the very words.

但那些不智者——不如說是無恥者——四處既誇耀又強加自己的發明、自己的著作，他們『常常學習，終究不能達到真理的知識』，他們拒絕別人的判斷，滿足於自己的，便以為自己懂得些甚麼。既然他們自為師、自為聽眾，又倚仗自己微薄的才智自誇，便視別人的話語為無有或微小，而視自己的為偉大。然而相反地，智慧人與有學問者的本分，乃是把自己的著作與有學問者的論述相較，在他們中間、與他們同在、從他們學習寫作的形式與方法，並效法、跟隨意義與詞句本身的安排與結構。

1:4

Moris nimirum est omni erudito sua maiorum iudicio studia si diligentiori egent lima, elimare, si ornatu, expolire, si emendatione, corrigere. Si nullo horum tum demum legenda absolvere. Haec ego considerans opus subiectum quod de mundi contemptu dactilico metro paravi et peroravi vestre auctoritati, pater doctissime, preostendere non neglexi. Non neglexi, inquam, preostendere. Neque enim libera fiducia aut fida libertate promulgandum iudicavi, nisi prius lingua Petri et vere Petri esset approbatum, favore munitum, iudicio correctum, testimonio roboratum. Quod nudo nomine tantam personam vocaverim rogo nemo mihi succenseat quod tantam laudem geminans inculcaverim nemo adulationi appingat.

It is assuredly the custom of every learned man, by the judgment of his elders, to file his studies if they need a more careful file, to polish them if they need ornament, to correct them if they need amendment; and if they need none of these, then at last to finish them off as fit to be read. Considering this, I have not neglected to set before your authority, most learned father, the work here subjoined, which on the contempt of the world I have prepared and delivered in dactylic meter. I have not neglected, I say, to set it before you. For I did not judge it ought to be published with free confidence or trustworthy freedom, unless first it had been approved by the tongue of Peter—and truly of Peter—fortified with favor, corrected by judgment, strengthened by testimony. That I have called so great a person by his bare name, I pray no one be angry with me; that, doubling so great a praise, I have impressed it, let no one set down to flattery.

凡有學問之人，按其前輩的判斷，必有此習慣：他的著述若需更仔細的磨銼，便加磨銼；若需修飾，便加修飾；若需修正，便加修正；若這些都不需要，那時才把它修完，使之適合誦讀。我思想這事，至博學的父啊，便沒有疏忽把這附呈的著作擺在您的權威之前，這是我以揚抑格詩體所預備並闡述、論到輕看世界的著作。我說，我沒有疏忽把它擺在您面前。因為我判斷它不該以自由的信心或可信的放任來發表，除非先經伯多祿的口——真正的伯多祿——核可，蒙恩眷護衛，經判斷更正，藉見證堅固。我以赤裸之名稱呼如此偉大的人物，求人不要向我發怒；我加倍重述如此的稱讚，求人不要算為諂媚。

1:5

Scio quia sicut apud male liberas mentes gloria sive laus excidium virtutis est, sic econtra apud egregias incitamentum. Nec falso a poeta dictum est, "Gloria calcar habet." Studet enim semper liberalis animus quotiens aliquid de se laudis dicitur, ut si non ita est sicut dicitur, sit ita quia dicitur. Nichil vero quisquam absurdum fecerit si virum bonum et timoratum laudet, quando ei ipsa laus virtutis materia est. Sed de his satis. Nunc ad omissum revertar. Vestrae igitur correctioni, doctissime pater et domine, committendum opusculum de contemptu mundi excogitavi. Scripsi, distinxi, nondum omnino absolutum edidi.

I know that, just as among ill-disposed minds glory or praise is the ruin of virtue, so on the contrary among noble minds it is a spur. Nor was it falsely said by the poet, 'Glory has a spur.' For a generous spirit ever strives, whenever anything of praise is spoken of itself, that—if it be not so as it is said—it may be so because it is said. But no one would do anything absurd if he should praise a good and God-fearing man, since to him that very praise is the material of virtue. But enough of these things. Now let me return to what I omitted. To your correction, therefore, most learned father and lord, I have determined to commit this little work on the contempt of the world. I have written it, divided it, but have not yet published it as wholly finished.

我知道，正如在心懷不善之人中，榮耀或稱讚是德行的敗壞，照樣相反地，在卓越之人中，它卻是策勵。那詩人所說的也非虛言：『榮耀帶有馬刺。』因為慷慨的心靈總是力求，每當有人論到自己有甚麼可稱讚的，縱然事實並非如所說的，也要因被人這樣說而成為如此。但人若稱讚一位良善敬畏神的人，並不至於行甚麼荒謬之事，因為那稱讚對他正是德行的材料。但這些已說得夠了。如今讓我回到所漏下的。至博學的父和主啊，所以我已決意把這論輕看世界的小著作交付您的更正。我已寫成、分篇，卻尚未把它作為全然完成的而發表。

1:6

Cur autem metri potius tenore quam producta oratione scribere placuerit, si vel alius quis vel etiam vosipse queritis, sic accipite. Nimirum ut poeticis verbis utar, "aut prodesse volunt aut delectare poetae aut utrumque, et honesta et idonea dicere vitae." Quippe quod metrico carmine digestum edicitur et libentius auditur et avidius legitur, eoque facilius altae memoriae conmendatur. Quo fit ut dum specie versuum dum sonoritate verborum lector allicitur, ad exhibitionem eorum quae vel legerit vel audierit accendatur et accingatur. Et dum verborum elegantiam considerat efficaciam exerceat.

But why it has pleased me to write rather in the tenor of meter than in extended prose—if either some other or even you yourself should ask—receive it thus. To use poetic words, 'Poets wish either to profit or to delight, or to say both things at once that are honorable and fitting for life.' Indeed, what is uttered set forth in metrical song is both heard more willingly and read more eagerly, and thereby is the more easily committed to deep memory. Hence it comes about that, while the reader is enticed by the form of the verses and by the sonority of the words, he is kindled and girded for the practice of those things which he has either read or heard; and while he considers the elegance of the words, he may exercise their efficacy.

但我為何寧願以詩體的格調來寫，而非以鋪展的散文——若有人、甚至您自己問起——請如此領會。借用詩人的話：『詩人或願益人，或願悅人，或同時兼說有益又合宜於生活的事。』實在，凡以韻律之歌闡述宣告的，既更甘心被聽，又更熱切被讀，因而更容易銘記於深處。因此就有此果效：讀者既被詩句的形式、詞句的鏗鏘所吸引，便被點燃、束腰，去實行他所讀或所聽的；他思想詞句的優雅之際，便操練其功效。

1:7

Quare sicut in metro plurimum decoris est, sic in decore plurima utilitas, alterutrumque horum duorum pendet ex altero. Quod videri perfacile est. Si enim lector in illo delectatur consequenter et in isto. Etenim qui sollicitus contemplatur verborum speciem, sepe sollicitior amplectitur ipsarum rerum frugem. Hinc est quod poete omnia, aut pene omnia, quae scripserunt metrice scripserunt; metrica ut ita dicam cantione scripta emiserunt, scilicet id vel maxime attendentes, ut quae minus poterant plano sermone digesta, metrico depicta grata redderent. Hinc quoque accedit quod et ipsum (sicut patres perhibent) psalterium lirici conposuere pedes.

Wherefore, just as in meter there is very much grace, so in grace there is very much usefulness, and either of these two depends upon the other. This is most easy to see. For if the reader is delighted in the one, consequently he is delighted in the other also. Indeed, he who solicitously contemplates the form of the words often the more solicitously embraces the fruit of the things themselves. Hence it is that poets wrote all things, or nearly all, which they wrote, in meter; they sent them forth written, so to speak, in metrical song, taking heed even especially to this, that things which could less well be set forth in plain speech, depicted in meter, they might render pleasing. Hence too it comes about that the very psalter (as the fathers attest) lyric feet composed.

故此，正如格律中有極多的優美，照樣優美中有極多的益處，這二者彼此相依。這是極易看出的。因為讀者若在這一面得喜悅，自然在那一面也得喜悅。實在，凡殷勤揣摩詞句形式的，往往更殷勤地把握事物本身的果實。因此詩人凡所寫的一切，或幾乎一切，都以格律寫成；可說他們是以韻律之歌寫成而發出的，他們尤其留意這事：凡用平直話語難以闡述的事，以格律描繪，便能使之悅人。也因此就有：連那詩篇本身（如眾教父所證）也是抒情格律所譜成。

1:8

Pretereo quod plurimae testamenti paginae quibus enumerandis supersedeo; ob superius datam rationem in metro emissae sunt, non in metrum transmissae. Nam in tempore revelatae gratiae, iam fide, iam evangelio, iam crucifixo nostro Iesu ubique gentium regnante, eo processit versificatoriae artis gratia ut quidam catholicorum non timuerunt maiestatem quoque evangelicae paginae in spondeum dactilumque transmittere. Sic igitur et ego horum quos emulor Dei emulatione stilum imitatus; et si non valui quantam illi vel in hoc vel in aliis exercitiis scientiam assequi, sequi tamen et volui et valui et secutus sum.

I pass over that very many pages of the Testament—which I refrain from enumerating—were, for the reason given above, issued in meter, not transmuted into meter. For in the time of revealed grace, when faith, when the Gospel, when our crucified Jesus was now reigning everywhere among the nations, the grace of the versifying art so advanced that certain of the catholics did not fear to transmute even the majesty of the evangelical page into the spondee and the dactyl. So therefore I too, imitating the style of these whom I emulate with the emulation of God; and if I was not able to attain so great a knowledge as they did either in this or in other exercises, yet to follow them I both wished and was able, and have followed.

我略過聖經中極多的篇章——這些我不一一列舉——因上述緣故乃是以格律發出的，而非被改編成格律。因為在恩典顯明的時候，當信德、當福音、當我們被釘的耶穌如今在萬國中各處掌權，作詩之藝的恩賜如此進步，以致某些大公信徒竟不懼怕把福音篇章的威嚴也改換成揚抑與抑揚的格律。所以我也照樣，以神的熱中所效法的這些人，模仿他們的筆法；縱然我無論在此或在別樣操練上，都不能達到他們那般大的知識，然而要跟隨他們，我既心願又能夠，並已跟隨了。

1:9

Nam quia inter contemporaneos meos fama bene versificandi mihi licet immerito circumvolabat, et vicia perditorum vix aliquis aut nullus viva voce nedum litterali reprehendebat, concaluit cor meum intra me; cumque in meditatione mea non paucos dies et noctes exardesceret ignis zeli, tandem accinxi me, et locutus sum in lingua mea quod animo conceptum diu celaveram apud me. Quippe ego sepe ab sponso audieram, sed non exaudieram, "Sonet vox tua in auribus meis." Et mihi iterum a dilecto clamabatur, "Aperi mihi soror mea." Quid igitur?

For because among my contemporaries a fame of versifying well—though undeservedly—flitted about me, and scarcely anyone, or no one, rebuked the vices of the lost by living voice, much less by writing, my heart grew hot within me; and when in my meditation the fire of zeal burned for not a few days and nights, at last I girded myself, and spoke with my tongue what, conceived in mind, I had long concealed within me. For I had often heard from the Bridegroom, but had not heeded, 'Let your voice sound in my ears.' And again it was cried to me by the Beloved, 'Open to me, my sister.' What then?

因為在我同輩中，有善於作詩的名聲——雖屬不配——環繞著我，而對於敗壞者的罪惡，幾乎無人、或竟無人以活口、更不用說以文字加以責備，我心在我裏面發熱；當我默想之際，熱心的火焚燒了好些晝夜，我終於束腰預備自己，用我的舌頭說出那久已存於心中、隱藏於我裏面所構想的。因為我屢次從那新郎聽見，卻未曾留意：『願你的聲音在我耳中響起。』那良人又向我呼喊：『我的妹子，求你向我開門。』那麼怎樣呢？