。

- 10 -

Every Grain Of Sand

《每一粒微沙》

　　Equal parts Blakean mysticism and biblical resonance, the song abandons the self-righteousness that plagued Dylan's religious work to offer a desperate prayer for salvation.

　　这首歌兼具布莱克式的神秘主义与圣经的共鸣，它摒弃了迪伦之前宗教色彩作品中自以为是，放下一切，祈祷救赎。

　　"Every Grain of Sand" taps into a moving humility.

　　《每一粒微沙》歌唱了动人的人性。这也是乔布斯最喜欢的一首迪伦歌曲，波诺在乔布斯的葬礼上演唱了这首歌。

　　歌词中感伤地写道：

　　Sometimes i turn, there's someone there, other times it's only me.

　　有时我转身，空无一人；而那除此之外的时光，也只是我孤身一人

　　I am hanging in the balance of the reality of man

　　我悬在人类现实的天枰上

　　Like every sparrow falling, like every grain of sand.

　　像每一只坠落的麻雀，像每一粒微沙。

- 9 -

Visions of Johanna

《乔安娜的幻象》

　　"Visions of Johanna" is a tour de force, a breakthrough not only for the writer but for the very possibilities of songwriting.

　　《乔安娜的幻象》这首歌是绝妙的，它不仅仅是作者的一种突破，同时也是歌曲写作在可能性上的突破。

　　"It's extraordinary," Bono once said. "He writes this whole song seemingly about this one girl, with these remarkable deions of her, but this isn't the girl who's on his mind! It's somebody else!"

　　“这首歌太棒了”，Bono曾说，“他的这首歌，对Johanna这个姑娘做了非常美妙的描述，这让这首歌看起来像是在讲述她的故事，但实际上，Dylan心里想的根本不是她！他心里想的是别人！”

　　The five long verses zigzag between Dylan's acute dissection of one woman, the tangible and available Louise, and his longing for an absent ideal.

　　五段长的歌词中包括了迪伦对一个女人和Louise的敏锐分析，以及他对一个根本不存在的完美人物的渴望。

　　The fiddler, he now steps to the road

　　提琴手缓步走到路上

　　He writes ev'rything's been returned which was owed

　　在满载鱼的卡车车尾

　　On the back of the fish truck that loads

　　他写道：“欠下的一切俱已偿还。”

　　While my conscience explodes

　　此时，我的良知爆裂

　　The harmonicas play the skeleton keys and the rain

　　口琴吹奏骷髅和雨水之音阶

　　And these visions of Johanna are now all that remain

　　而乔安娜的幻像是仅剩的残存

- 8 -

Mr. Tambourine Man

《铃鼓先生》

　　"Mr. Tambourine Man" was the first time anyone put really good poetry on the radio. The Beatles hadn't gotten to "Eleanor Rigby" or "A Day in the Life" — they were still writing "Ooh, baby." But Bob's lyrics were exquisite.

　　《铃鼓先生》可以说是第一首将诗歌与音乐结合在一起的歌。当Beatle还在写“哦宝贝”这类词，离《Eleanor Rigby》和《生命中的一天》还有很长一段路，迪伦的歌词就已经很细腻了。

　　He was finding himself as a poet. He was learning to be beautiful.

　　他把自己当作诗人，他在学习如何优美地写作。《铃鼓先生》是迪伦作词生涯的第一座真正高峰，抽离音乐，它就是一首非常棒的诗。

　　And but for the sky there are no fences facin'.

　　若非为了蓝天，也不会有围墙阻挡

　　And if you hear vague traces of skippin' reels of rhyme

　　要是你还听见模糊的印迹，韵脚跳跃旋转

　　To your tambourine in time, it's just a ragged clown behind,

　　与你的铃鼓唱和的，那只是跟在身后，一个衣衫褴褛的小丑

　　…

　　Yes, to dance beneath the diamond sky with one hand waving free,

　　是的，在钻石的天空下起舞，一只手自由的挥舞

　　Silhouetted by the sea, circled by the circus sands,

　　侧影反衬著海水，四周是圆场的黄沙

　　With all memory and fate driven deep beneath the waves,

　　带著一切记忆与命运，一齐潜入翻涌的波涛之下

- 7 -

It's Alright, Ma (I'm Only Bleeding)

《没事儿，妈（我只是在流血）》

　　It's always been a tricky song for Dylan to sing — a snapshot of a particular moment in his artistic development, a jewel that he's lucky enough to own rather than a machine whose working he understands from having built it.

　　这首歌对Dylan来说，意味颇为微妙，它能反映出Dylan在艺术发展的一个特别阶段的状态，也是他能够有幸拥有的一份珍宝，而非仅仅是一台他才能理解的机器。

　　Instead of pointing fingers at a particular flaw of culture, the song tears down the entire decrepit thing, declaring that all is vanity and hypocrisy and phony propaganda.

　　这首歌并没有对当今文化上的某种特定瑕疵指指点点，而是整个撕碎了这些陈旧的东西，宣告着它们都是虚荣、虚伪和虚假的宣传。

　　As some warn victory, some downfall

　　有人通报胜利的消息，有人倒下

　　Private reasons great or small

　　一个人的愿望伟大或渺小

　　Can be seen in the eyes of those that call

　　都可以从那呼喊声中看得清楚

　　To make all that should be killed to crawl

　　让那些本该被杀死的人爬在地上

　　While others say don't hate nothing at all, except hatred

　　同时，人们却在说，不要怨恨任何东西，除了怨恨本身

- 6 -

I Shall Be Released

《终将放下》

　　"In '68 [Dylan told] . . . me how he was writing shorter lines, with every line meaning something," Allen Ginsberg once said. "And from that time came some of the stuff ... like 'I Shall Be Released'.... There was to be no wasted language, no wasted breath."

　　“大概在68年的时候，迪伦告诉我，他是如何创作一些短篇歌曲的，要每一行歌词都有具体的含义，”艾伦·金斯伯格曾说过，“就在那段时期他写了一些歌，比如《终将放下》，这首歌里没有一个无用的词，甚至每一次断句的呼吸都是有含义的。”

　　David Crosby sang that chorus to himself — "Any day now, any day now/I shall be released" — in his Texas prison cell. "I wrote it on the wall," he recalls. "It took me hours. But I did it. And I remember taking heart from it."

　　音乐人大卫-克罗斯比在德克萨斯监狱坐牢时经常会唱起这首歌副歌部分那句“Any day now, any day now/I shall be released”。“我把这首歌的词写在墙上，”他回忆说，“我花了很长时间，但我做了。我记得当时真正从心底被这首歌打动。”

　　迪伦在这首歌中谈如何放下，获得解脱：

　　They say every man needs protection

　　总有人告诉我他们要停留找寻归宿

　　They say every man must fall

　　总有人告诉我他们终日奔波

　　Yet I swear I see my reflection

　　此刻，我突然发现自己的身影

　　Some place so high above this wall

　　停留在围墙映衬下的苍穹

　　…

　　Standing next to me in this lonely crowd

　　最后，我独自停留在喧嚣的人群之中

　　Is a man who swears he's not to blame

　　我的心终于宽恕了我自己

　　All day long I hear him shout so loud

　　却有一个声音始终在我耳边呼喊

　　Crying out that he was framed

　　细语每一个痛楚

- 5 -

All Along the Watchtower

《沿着瞭望塔》

　　You could say that jokes and theft are the twin poles of Dylan's art, and this 12-line masterpiece about a joker (who believes he's being robbed) and a thief (who thinks everything's a joke) penetrates straight to the core of his work.

　　你可以说玩笑与偷窃是迪伦艺术的双生儿，而这首一共有12行歌词的杰作讲述的正是一个爱讲笑话的人(他相信自己正在被人抢夺)和一个小偷(他认为一切都是笑话)的故事，这恰好渗透到了迪伦作品的核心当中。

　　"Watchtower" is among Dylan's most haunting tunes. But as soon as the joker and the thief get their opening statements, the song ends with an ominous image — two riders approaching — leaving listeners to fill in the blanks.

　　这首“瞭望塔”是迪伦最令人难以忘怀的旋律，当讲笑话的人和小偷在交谈的时候，整首歌以一种不祥的场景结束，两个骑马的人在靠近。留给听众无限的遐想。

　　There are many here among us

　　我们中间有许多人

　　who feel that life is but a joke

　　觉得生活只是一个玩笑

　　But you and I, we've been through that,

　　但是你和我，我们是过来人

　　and this is not our fate

　　这不是我们的宿命

　　So let us not talk falsely now,

　　所有让我们别谬谈了

　　the hour is getting late

　　时间已然向晚

　　All along the watchtower,

　　沿着了望塔方向

　　princes kept the view

　　王子们望着远方

　　While all the women came and went,

　　女人们来来往往

　　barefoot servants, too

　　仆人们打着赤脚

　　Outside in the distance a wildcat did growl

　　向外更远之处 一只野猫在咆哮

　　Two riders were approaching, the wind began to howl

　　两个骑士正在逼近 而风开始呼啸

- 4 -

Just Like a Woman

《就像个女人》

　　Dylan's finest ballad is not a love song. "Just Like a Woman" is a complex portrait of adoration and disappointment, written as vengeance but sung as regret.

　　迪伦最优秀的抒情歌曲并不是一首情歌，《Just Like a Woman》描述了一种喜欢与失望相结合的复杂情感，创作时或许心存报复，但唱出来的时候却带有几分懊悔。

　　The song is more about his own turbulent lessons in romance — the giving, taking and leaving.

　　这首歌在另一方面更像是迪伦自己在感情方面上的一堂必修课——付出，索取，离开。

　　Is this pain in here

　　这儿的伤痛不会愈合

　　I can't stay in here

　　我也无法待在这里

　　Ain't it clear that?br><br>I just can't fit

　　这还不够明白吗？我只是无法适应

　　Yes, i believe it's time for us to quit

　　是的 我相信我们是时候放弃彼此了

　　When we meet again

　　当我们再次相遇

　　Introduced as friends

　　向朋友一样互做自我介绍

　　Please don't let on that you knew me when

　　请别装作你认识我

- 3 -

Tangled Up in Blue

《愁肠难解》

　　"[This song] took me 10 years to live, and two years to write," Dylan often said before playing "Tangled Up in Blue" in concert.

　　“我用了十年的生活经验和两年时间来创作这首歌，”迪伦在现场演唱这首《Tangled Up in Blue》之前经常这么说。

　　His marriage was crumbling in 1974 as he wrote what would become the opener on Blood on the Tracks and his most personal examination of hurt and nostalgia. Dylan's lyrical shifts in perspective, between confession and critique, and his acute references to the Sixties experience evoked a decade of both utopian and broken promise.

　　1974年，迪伦婚姻破裂，他将这段时间的个人经历写成了这首《Blood On The Tracks》的开场曲，这首歌是迪伦对伤害与怀旧最个人化的审视。迪伦的歌词非常透彻，态度介于认错与批评之间，而他非常尖锐的在其中提到了上世纪六十年代，那个时期唤起了他对乌托邦与一些破碎的承诺的记忆。

　　无论你是什么身份，感情之事是世界的基本原理，迪伦最后总结道。

　　All the people we used to know

　　我们过去认识的所有人啊

　　They''re an illusion to me now.

　　现在他们对我而言就像一场幻梦

　　Some are mathematicians

　　一部分是数学家

　　Some are carpenter''s wives.

　　一部分是木匠的妻子

　　Don''t know how it all got started,

　　并不知晓一切是如何开始的

　　I don''t know what they''re doin'' with their lives.

　　也不知道他们一生是如何过来的

　　But me, I''m still on the road

　　但是我 我仍然在路上

　　Headin'' for another joint

　　向下一个落脚点出发

　　We always did feel the same,

　　我们总是感到生活如此相似

　　We just saw it from a different point of view,

　　我们只是换了个角度看待生活

　　Tangled up in blue.

　　内心一阵忧郁纠结

- 2 -

A Hard Rain's A-Gonna Fall

《大雨将至》

　　The greatest protest song by the greatest protest songwriter of his time: a seven-minute epic that warns against a coming apocalypse while cataloging horrific visions — gun-toting children, a tree dripping blood — with the wide-eyed fervor of John the Revelator.

　　这是迪伦最伟大的抗议歌曲，一首七分钟长的史诗，描述了一幅幅可怕的画面——拿枪的儿童、滴血的树，启示者约翰睁大眼睛注视着这一切，告诫人们天启即将到来。

　　"Every line in it is actually the start of a whole song," Dylan said at that time. "But when I wrote it, I thought I wouldn't have enough time alive to write all those songs, so I put all I could into this one."

　　迪伦说，“这首歌的每句歌词都可以是另一首歌的开篇。写这首歌时，我觉得自己时日不多了，于是就把所有想写的内容都放到这首歌中。”

　　迪伦说，他的艺术使命是：

　　to sing out against darkness wherever he sees it — to tell it and think it and speak it and breathe it until his lungs burst.

　　唱出所有见到的黑暗——讲述它、思考它、说出它、呼吸它，直到他的肺撕裂为止。

　　Oh, what'll you do now, my blue-eyed son?

　　现在你将做什么，我蓝眼睛的孩子？

　　Oh, what'll you do now, my darling young one?

　　我亲爱的孩子，现在你将做什么？

　　I'm a-goin' back out 'fore the rain starts a-fallin',

　　在大雨之前我要走出去

　　I'll walk to the depths of the deepest black forest,

　　走到那黑森林的最深处

　　Where the people are many and their hands are all empty,

　　那里人民众多但两手空空

　　Where the pellets of poison are flooding their waters,

　　那里毒药污染了水源

　　Where the home in the valley meets the damp dirty prison,

　　那里山谷中的家园弥漫了潮湿的毒气

　　Where the executioner's face is always well hidden,

　　那里刽子手的脸永远被遮着

　　Where hunger is ugly, where souls are forgotten,

　　那里饥饿是丑陋的，那里灵魂被遗忘

　　Where black is the color, where none is the number,

　　那里黑是唯一的颜色，那里零是唯一的数字

　　And I'll tell it and speak it and think it and breathe it,

　　而我将要把它讲出来、大声地喊出来

　　And reflect it from the mountain so all souls can see it,

　　我要从高山上呼喊让所有的灵魂都能听到

- 1 -

Like a Rolling Stone

《像一块滚石》

　　"Like a Rolling Stone" is the birth of an iconoclast that will give the rock era its greatest voice and vandal. This is Bob Dylan as the Jeremiah of the heart, torching romantic verse and "the girl" with a firestorm of unforgiving words.

　　从《像一块滚石》开始，一个偶像破坏者诞生了，他将赋予摇滚时代最伟大的声音和破坏力。这才是真正的迪伦——一位先知，他用无情地拷问了浪漫的诗句和歌中的那名女孩。

　　Having railed against the hypocrisies of the body politic, he now starts to pick on enemies that are a little more familiar: the scene, high society, the "pretty people" who think they've "got it made."

　　他批判过政治体的虚伪，现在他开始批判人们更熟悉的东西：一个场景、上流社会、以为自己能成功的“漂亮人士”。

　　He bares his teeth at the hipsters, the vanity of that time, the idea that you had a better value system if you were wearing the right pair of boots.

　　他痛斥了时髦人群、时代的浮华和富人的优越感——穿了一双好靴子就以为自己的价值观比别人更正确。

　　迪伦在歌词中展现了他辛辣的讽刺：

　　Oh, you never turned around to see the frowns

　　你从来没有转过头去看看那些小丑们

　　On the jumpers and the clowns when they did their tricks for you

　　当他们来逗你玩儿的时候

　　You never understood that it ain't no good

　　你从没意识到，这背后有什么问题

　　You used to ride on your chrome horse with your diplomat

　　你曾跨在镀得锃亮的摩托上，和你的情圣一起

　　Who carried on his shoulder a siamese cat

　　那家伙，肩膀上还卧着一只暹罗猫

　　Ain't it hard when you discovered that

　　你还不明白吗？

　　He really wasn't where it's at

　　他已经心不在焉了

　　After he took from you everything he could steal

　　当他把你身上能偷的都偷光了的时候

　　How does it feel, how does it feel?

　　你觉得怎么样？你觉得怎么样？

　　To be on your own, without a home

　　孤身一人的滋味，没了家的方向

　　Like a complete unknown, like a rolling stone

　　也无人问津，像个流浪汉