腐 尸
爱人,想想我们曾经见过的东西,
在凉夏的美丽的早晨:
在小路拐弯处,一具丑恶的腐尸
在铺石子的床上横陈,
两腿翘得很高,像个淫荡的女子,
冒着热腾腾的毒气,
显出随随便便、恬不知耻的样子,
敞开充满恶臭的肚皮。
太阳照射着这具腐败的尸身,
好像要把它烧得熟烂,
要把自然结合在一起的养分
百倍归还伟大的自然。
天空对着这壮丽的尸体凝望,
好像一朵开放的花苞,
臭气是那样强烈,你在草地之上
好像被熏得快要昏倒。
苍蝇嗡嗡地聚在腐败的肚子上,
黑压压的一大群蛆虫
从肚子里钻出来,沿着臭皮囊,
像粘稠的脓一样流动。
这些像潮水般汹涌起伏的蛆子
哗啦哗啦地乱撞乱爬,
好像这个被微风吹得膨胀的身体
还在度着繁殖的生涯。
这个世界奏出一种奇怪的音乐,①
像水在流,像风在鸣响,
又像簸谷者作出有节奏的动作,
用他的簸箕簸谷一样。
形象已经消失,只留下梦影依稀,②
就像对着遗忘的画布,
一位画家单单凭着他的记忆,
慢慢描绘出一幅草图。③
躲在岩石后面、露出愤怒的眼光
望着我们的焦急的狗,
它在等待机会,要从尸骸的身上
再攫取一块剩下的肉。
——可是将来,你也要像这臭货一样,
像这令人恐怖的腐尸,
我的眼睛的明星,我的心性的太阳,
你、我的激情,我的天使!
是的!优美之女王,你也难以避免,
在领过临终圣事之后,
当你前去那野草繁花之下长眠,
在白骨之间归于腐朽。
那时,我的美人,请你告诉它们,
那些吻你吃你的蛆子,
旧爱虽已分解,可是,我已保存
爱的形姿和爱的神髓!
钱春绮译
据普拉隆所述,此诗约作于一八四三年以前。直接
发表于初版《恶之花》。诗中的爱人指让娜·迪瓦尔。
本诗对路旁的尸体作写实的描绘,诗人并常在酒店和画
室中朗诵,因而使他以“尸体文学的诗人”而闻名于世。
原题Une Charogoe,我国文献中多译作“死牲口”或
“死兽”,此处应为一“女尸”。
#1指苍蝇嗡嗡地飞,蛆虫窸窸窣窣地钻动。
#2以上所述均为过去所见,现在回想起来,只留下梦
影而已。
#3波德莱尔曾批评当时的风景画家不重视凭记忆作画,
见《现代生活的画家》中《记忆的艺术》。
====
昨天讨论现代诗,今天的转来波德莱尔的一首腐尸,分析分析。
这里还有不少:
http://www.lyrist.org/dashi/baudelaire/
这是法语原文:
Une Charogne
Rappelez-vous l'objet que nous vîmes, mon âme,
Ce beau matin d'été si doux:
Au détour d'un sentier une charogne infâme
Sur un lit semé de cailloux,
Le ventre en l'air, comme une femme lubrique,
Brûlante et suant les poisons,
Ouvrait d'une façon nonchalante et cynique
Son ventre plein d'exhalaisons.
Le soleil rayonnait sur cette pourriture,
Comme afin de la cuire à point,
Et de rendre au centuple à la grande Nature
Tout ce qu'ensemble elle avait joint;
Et le ciel regardait la carcasse superbe
Comme une fleur s'épanouir.
La puanteur était si forte, que sur l'herbe
Vous crûtes vous évanouir.
Les mouches bourdonnaient sur ce ventre putride,
D'où sortaient de noirs bataillons
De larves, qui coulaient comme un épais liquide
Le long de ces vivants haillons.
Tout cela descendait, montait comme une vague
Ou s'élançait en pétillant
On eût dit que le corps, enflé d'un souffle vague,
Vivait en se multipliant.
Et ce monde rendait une étrange musique,
Comme l'eau courante et le vent,
Ou le grain qu'un vanneur d'un mouvement rythmique
Agite et tourne dans son van.
Les formes s'effaçaient et n'étaient plus qu'un rêve,
Une ébauche lente à venir
Sur la toile oubliée, et que l'artiste achève
Seulement par le souvenir.
Derrière les rochers une chienne inquiète
Nous regardait d'un oeil fâché,
Epiant le moment de reprendre au squelette
Le morceau qu'elle avait lâché.
— Et pourtant vous serez semblable à cette ordure,
À cette horrible infection,
Etoile de mes yeux, soleil de ma nature,
Vous, mon ange et ma passion!
Oui! telle vous serez, ô la reine des grâces,
Apres les derniers sacrements,
Quand vous irez, sous l'herbe et les floraisons grasses,
Moisir parmi les ossements.
Alors, ô ma beauté! dites à la vermine
Qui vous mangera de baisers,
Que j'ai gardé la forme et l'essence divine
De mes amours décomposés!
— Charles Baudelaire
这里是其出处,还有三种英文翻译:
http://www.fleursdumal.org/poem/126
- Re: 腐 尸(波德莱尔)posted on 12/21/2004
No wonder we now got a beautiful world of modern poetry writing, if it all started from this direction ... - Re: 腐 尸(波德莱尔)posted on 12/21/2004
xw wrote:
腐 尸
XW君,谢谢帖子,快来分析,等着欣赏。
Baudelaire 绝对是一愤青鼻祖,俺幼时刚从乡下到城里,特喜欢街上汽车尾巴上的青烟,闻着那个汽油味道,顿时心旷神怡,那个舒服实在是太爽了。城里死个人,还用香蕉车(带拖斗的摩托车)嘟嘟嘟装走,太气派了。
顺问, 为什么 ventre en l'air, 中文英文都译成: 腿儿高翘?而不是肚皮朝天?
- posted on 12/22/2004
大耳朵 wrote:
xw wrote:XW君,谢谢帖子,快来分析,等着欣赏。
腐 尸
Baudelaire 绝对是一愤青鼻祖,俺幼时刚从乡下到城里,特喜欢街上汽车尾巴上的青烟,闻着那个汽油味道,顿时心旷神怡,那个舒服实在是太爽了。城里死个人,还用香蕉车(带拖斗的摩托车)嘟嘟嘟装走,太气派了。
顺问, 为什么 ventre en l'air, 中文英文都译成: 腿儿高翘?而不是肚皮朝天?
大耳朵好啊!
我对波德莱尔认识很浅,读了他不少诗,但能“感应”还真不多。比
如说这一首“腐尸”,我有些同意你的“愤青鼻祖”的指称。
不可否认这首诗有哗众取宠,猎奇的用意。但想想当年巴黎公社前后
的巴黎,街面上的东西又不尽是马思涅的音乐表现的那样净美。。。
再就是让我想到上回玛雅去看天藏,似乎是用一种更本征(激烈)的
手段表现一些实在的东西。这些或许是原初的,或许是现代人在浑浑
噩噩之间唯一能醒酒的方式,我不知道哪个更对。
想起了贝尔格(Alan Berg)那一部歌剧伍采克(Wozzeck),至今
我还不能接受,另一部叫Lulu的还行。
但我知道的波德莱尔身体不很好,生活放浪不拘,想写长诗不能,故
而弄了一个什么现代主义。当然这里有兰波以至后来马拉美一路的功
绩,就象谁说过的,文学也是一种前赴后继的事业!
但我还是很欣赏他的精细刻画之笔,诗意的视角和诗歌素材与形式的
尝试。(这里指整部《恶之花》)。
ventre en l'air确实是应该肚皮朝天,但在英语或汉语里恐怕一点
性感的联想都没有了,我这里是胡扯八道。
这首诗以新奇的素材,以白描的方式,最后镶入一点无法避免的哲理
警示,技巧上确实是很一般的诗。
- posted on 12/22/2004
为便于大家分析,承蒙XW指点,按图索骥,卑职不揣冒昧将三种英译贴如下:
A Carcass
My love, do you recall the object which we saw,
That fair, sweet, summer morn!
At a turn in the path a foul carcass
On a gravel strewn bed,
Its legs raised in the air, like a lustful woman,
Burning and dripping with poisons,
Displayed in a shameless, nonchalant way
Its belly, swollen with gases.
The sun shone down upon that putrescence,
As if to roast it to a turn,
And to give back a hundredfold to great Nature
The elements she had combined;
And the sky was watching that superb cadaver
Blossom like a flower.
So frightful was the stench that you believed
You'd faint away upon the grass.
The blow-flies were buzzing round that putrid belly,
From which came forth black battalions
Of maggots, which oozed out like a heavy liquid
All along those living tatters.
All this was descending and rising like a wave,
Or poured out with a crackling sound;
One would have said the body, swollen with a vague breath,
Lived by multiplication.
And this world gave forth singular music,
Like running water or the wind,
Or the grain that winnowers with a rhythmic motion
Shake in their winnowing baskets.
The forms disappeared and were no more than a dream,
A sketch that slowly falls
Upon the forgotten canvas, that the artist
Completes from memory alone.
Crouched behind the boulders, an anxious dog
Watched us with angry eye,
Waiting for the moment to take back from the carcass
The morsel he had left.
— And yet you will be like this corruption,
Like this horrible infection,
Star of my eyes, sunlight of my being,
You, my angel and my passion!
Yes! thus will you be, queen of the Graces,
After the last sacraments,
When you go beneath grass and luxuriant flowers,
To molder among the bones of the dead.
Then, O my beauty! say to the worms who will
Devour you with kisses,
That I have kept the form and the divine essence
Of my decomposed love!
— William Aggeler, The Flowers of Evil (Fresno, CA: Academy Library Guild, 1954)
Carrion
Darling, do you recall that thing we found
("A lovely summer day!" you said)
That noisome carcass where the path swung round
A sprawling pebble-covered bed.
Its legs raised like a whore's in lubric play,
It burned, oozing rank fetors there,
Shameless and nonchalant, it offered day
Its belly. Poisons filled the air.
The sun beat down on this putrescent mold
As if to fry it to a turn,
To give great Nature back one hundredfold
All she had gathered in her urn.
The skies watched that proud carcass, lax or taut,
Bloom like a flowery mass.
So pungent was the stench, my love, you thought
To swoon away upon the grass.
Horseflies buzzed loud over this putrid belly,
Whence sallied column and battalion
Of sable maggots, flowing like a mucose jelly,
Over this live tatterdemalion.
Waves seemed to rise and fall over this mass,
Spurting with crepitation,
As though this corpse, filled with breaths of gas,
Lived by multiplication.
This world uttered a curious melody,
Like waters, wind, or grains of wheat
That winnowers keep stirring rhythmically
In the broad baskets at their feet.
The forms, fading into a dream, grew fainter;
Here was a sketch of misty tone
On a forgotten canvas which the painter
Completes from memory alone.
Hiding behind the rocks, an anxious bitch
Stood, watching us with angry eye,
Poised to regain the olid morsel which,
Hearing us come, she had laid by.
— Yet shall you be like this ordurous blight,
You, too, shall rot in just such fashion,
Star of my eyes, sun of my soul's delight,
Aye, you, my angel and my passion.
Such you, O queen of graces, in the hours,
When the last sacrament is said,
That bear you under rich sods and Iush flower
To molder with the moldering dead.
Then, O my beauty! Tell such worms as will
Kiss you in ultimate coition
That I have kept the form and essence of
My love in its decomposition.
— Jacques LeClercq, Flowers of Evil (Mt Vernon, NY: Peter Pauper Press, 1958)
A Carrion
Do you remember the thing we saw, my soul,
That summer morning, so beautiful, so soft:
At a turning in the path, a filthy carrion,
On a bed sown with stones,
Legs in the air, like a lascivious woman,
Burning and sweating poisons,
Opened carelessly, cynically,
Its great fetid belly.
The sun shone on this fester,
As though to cook it to a turn,
And to return a hundredfold to great Nature
What she had joined in one;
And the sky saw the superb carcass
Open like a flower.
The stench was so strong, that you might think
To swoon away upon the grass.
The flies swarmed on that rotten belly,
Whence came out black battalions
Of spawn, flowing like a thick liquid
Along its living tatters.
All this rose and fell like a wave,
Or rustled in jerks;
One would have said that the body, fun of a loose breath,
Lived in this its procreation.
And this world gave out a strange music,
Like flowing water and wind,
Or a winnower's grain that he shakes and turns
With rhythmical grace in his basket.
The forms fade and are no more than a dream,
A sketch slow to come
On the forgotten canvas, and that the artist completes
Only by memory.
Behind the boulders an anxious bitch
Watched us with angry eyes,
Spying the moment to regain in the skeleton
The morsel she had dropped.
— And yet you will be like this excrement,
This horrible stench,
O star of my eyes, sun of my being,
You, my angel, my passion.
Yes, such you will be, queen of gracefulness,
After the last sacraments,
When you go beneath the grasses and fat flowers,
Moldering amongst the bones.
Then, my beauty, say to the vermin
Which will eat you with kisses,
That I have kept the shape and the divine substance
Of my decomposed loves!
— Geoffrey Wagner, Selected Poems of Charles Baudelaire (NY: Grove Press, 1974)
- Re: 腐 尸(波德莱尔)posted on 12/22/2004
- Re: 腐 尸(波德莱尔)posted on 12/22/2004
谢谢 埃克斯·瓦艾 君的回复和分析。很有启发。
我刚买回一块巨大的腌猪腿,先扔到锅里,然后,一边拆肉,一边慢慢看这个波德莱儿的腐尸。应该有点灵感。呵呵。
- posted on 12/22/2004
大耳朵好,这个月来咖啡店的客人比上个月又增加了好多。 生意是挺好的。
由腌猪脚而去体会腐尸,想这顿猪脚晚餐也挺难下咽啊。倒是想起一部片子。
我看的最倒胃的一部恐怖片是德文的,叫Nekromantik。有一二两集。
有志写腐尸写疯狂的,不妨先看看,如果神经坚强的话。自立送的谍片,呵呵,让我大受精神污染哦。看过的人可能一辈子都记得这片子。
这部片应该放入经典,不是因为美(尽管我喜欢其中的音乐和摄影),而是它对观众的冲击,把人性中本能的嗜血、逐臭、怪异基因表达到了极至。
这是故事梗概:
【片名】Nekromantik1,2
【译名】困惑的浪漫1,2
【年代】1987.1991
【国家】德国
【类别 恐怖恶心哦
【语言】英语
【字幕】简体中文
【版本】DVD
【大小】1.3G
【注意】是两个版本一起的
困惑的浪漫(Nekromantik)》 1987联邦德国
【导演】琼克布特格雷特(Jorg Buttgereit )
【简介】罗伯受雇于一家尸体处理公司,他和他的女友贝蒂住在柏林的一套公寓中,他们疯狂地沉迷于尸体,在他们的爱情似乎只有与尸体你好才能维系。后来罗伯失业了,贝蒂又拿走了他最爱的一具腐尸,罗伯忍受不了没有尸体的日子,只好自残以求快慰
【注】这是我看到的最恶心的先锋电影,建议家中有老人、孩子和妻子的不要看,以免引起呕吐。另这部片子的性器被打了马赛克,强力要求做无修正版
《困惑的浪漫II(Nekromantik 2)》1991联邦德国(续集)
【导演】琼克布特格雷特(Jorg Buttgereit )
【简介】
男友自杀后,贝蒂没有吸取教训,依旧迷恋尸体,并且将他的尸体偷挖回家,那暗绿的一团粘稠让人恶心、反胃。当她和死尸你好的时候,你必须有极好的心里承受力,不然会影响你将来的性质量。其后她将他的内脏从他腐败的尸体中拉出,并且将死尸的阳具,黑黢黢的放入冰箱。我写至此…呕、呕、呕!最后,贝蒂在你好时杀了她的现任男友,走上注定的结局
--------------------------------------------------------------------
在刚刚拿到此片前,本来想把自己的世俗眼光放得高瞻远瞩一点,亦或站得更高讳莫测一点去评写这部电影。但是,当我受过近乎地狱的折磨,把续集影片看过之后,我终于明白了一件事,那就是:你的精神境界再高,也无法推脱这部影片给你带来的绝对冲击!说到“冲击”二字,好像给人的感觉就是一种褒义的成份,但如果读者真的这样理解,那我只能再度解释为另外一词――“虐待”。虽然此二字有些泛滥俗套,但我却实在想不出另它的比喻之意了。
首先,我很同情各个国家审片局的工作人员,没有你们这多些分钟的煎熬,我们实不敢想象电影在未被禁止而公映后,会有多少观众全身曲扭而瘫软坐地;其次,我要感谢我生命中最为珍贵的肠胃,如果不是你们热洋溢的抽动,使饭菜一股脑的在我口中奔涌喷泄,我想现在的中餐还难以在我的体内正常的消化;再次,我要感谢本片的导演,没有你极限BT的诠释电影,我怎么也不会酣畅淋漓的脱口说出我最想对你讲的一句心里话:“Mother fu cker!!!”
有人说,此部电影是“尸恋”的鼻祖,之后诸多此类成功的影片,如《三更之回家》,都是效仿了其内容情节而扬名天下。但我说,对于这样一部向全人类精神挑衅的电影,比其一百场反动演说更是有过之而无不及。在片中,活人与死人,纯洁与肮脏,真善与美丑,已变得再无隔阂可言。一段男女主角与腐尸的作爱戏场,就足够让人如坐针毡,转头闭目了。剥皮的兔子,解剖的海豹,慢行的蜗牛,痉挛的壁虎,摔烂的黑猫,每一种动物的身体,都挥扬着亡灭的气息。而对尸体的迷恋,对器官的眷顾,对亡魂的向往,都对“死亡”两字有着无限的崇拜与敬仰。影片由两人与尸体的爱欲缠绵而开始,又由男主角罗伯特为爱自杀而终结,其间的情节都离不开腐臭恶呕的事物作为衬托,就连最浪漫的梦境,男女主人公在草地上奔跑起舞的景情,也都是由传递人头为间联的。
在时隔四年后所拍摄的第二集,虽然特技效果更加趋于真实,而情节的固化却终难超越第一集所带来的成就,一般续集都难有作为已成为了多数影片定律的事实,所以对于第二部的暗然也就不足为奇了。但中间段落用锈钝的钢锯碎尸,结尾的割头换尸
现在碟市中流行“封顶”的说法,而此片也绝对在电影中某些类型片的领域有封顶之寓,相信热血狂人的你观看过后,曾对《索多玛120天》的难以屈忍,曾对《感观世界》的嗤之以鼻,亦或对《群尸玩儿过界》骂爹骂娘的初原想法,显得有些小巫见大巫般的波澜不惊了。
这是一部挑战人类承受能力的BT影片.......不建议心理承受能力一般的人看....那些自以为心理能力强的,不畏惧恐怖片的也要有好心理准备...
大耳朵 wrote:
谢谢 埃克斯·瓦艾 君的回复和分析。很有启发。
我刚买回一块巨大的腌猪腿,先扔到锅里,然后,一边拆肉,一边慢慢看这个波德莱儿的腐尸。应该有点灵感。呵呵。
- posted on 12/22/2004
不用恶心也能处理得好 。。。
Ozymandias
By Percy Shelley
I met a traveller from an antique land,
Who said--"Two vast and trunkless legs of stone
Stand in the desert....Near them, on the sand,
Half sunk a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal, these words appear:
My name is Ozymandias, King of Kings,
Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away."
- posted on 12/23/2004
雪莱这首,我怎么读不出来一点腐臭的味道?
原诗汉译很不怎么样,英译的第二个版本有韵律,第三也还不错,第一个不好。
现在来看波德莱尔的诗,也觉得太古典了,太soft-core了。时代往前走,这一条腐败之路、恶心之旅有了更多的后继之人。
生命的另一半就是腐臭和恶心,躲也躲不开。
摘一段Jelinek写软情色与重色情的描述吧:
page 107:
Pain itself is merely a consequence of the desire for pleasure, the desire to destroy, to annihilate; in its supreme form, pain is a variety of pleasure. Erika would galdly cross the border to her own murder. Fucking in a slum contains mroe hope for shaping pain, decorating pain. These shabby, frazzled amateur actors work a lot harder, and they are a lot more grateful for the chance to appear in a real movie. They are defective. Their skin has spots, pimples, scars winkles, scabs, cellulite,fat. Poorly dyed hair. Sweat. Dirty feet. In aesthetically demanding films at luxuriously upholstered cinemas, you mostly see the surfaces of men and women. ...Furthermore, at a cheap porno house, the man smashes into the woman with more blatant lust. The woman doesn't talk , although she may squeal, "more, more!" That exhausts the dialogue, but not the man, not by any stretch of the imagination. For he greedily wants to concentrate his climaxes, adding as many as possible.
Here, in the soft-core porno, everything is reduced to outer appearances. They are not enough for Erika, who's such a picky, choosy woman. They are not enough, because, Erika, absorbed in these ensnarled people, whould like to get ant the bottom of this business, which is supposed to be so hard on the senses that everyone wants to do it or at least watch it. ......谈粗俗的三级电影: in a cheap flick , you can get a deeper look into the woman., But you can't advance as far into the man. However, no one sees the light at the end of the tunnel. Even if you cut the woman open, you'd see only boweks and innards. The man, standing actively in life, grows outward physically. Eventually , he prodeces the awaited result, or else he doesn't.
而就在书前面,女主人公却是这样一个洁癖狂:
Page 21:
HER instinct for cleanliness is astonishingly sensitive. Dirty bodies form a resinous forest all around her. Not only the dire of bodies, but th egrossest kinds of filth struggling out of armpits and groins, the subtle urine stench of the old woman, the nicotine gushing from the network of hte old man's veins and pores, those innumuerable piles of lowest-quality food stewing in the stomachs. Not only the faint was stench of scurf and scab, not only the stink of shit mocrotones under the fingernails-a very,very faint odor, but the expert can sniff them so eaily, those residues left from burning colorless food, gray, leathery delights( if they can be called delights). They torment HER
sense of smell, HER tastebuds. What upsets HER most of all is the way these people dwell in one another, the way they shamelyessly take possession of one another. Each pushes his way into other minds, into their innermost attention.
这本书,我喜欢极了,就是喜欢这样spicy的语言。另开一线讨论她的语言吧。大傻,不知你有没有看这部电影和德文原文,你如何看呢?
看中文对Jelinek的评介,特别反感这样一类故意拔高作者的奉承,比如有人说这部书讽刺了腐化堕落的奥地利上流社会种种变态等等,好像只有现代社会、或者奥地利上等人才变态似的。
喜欢她的语言的另一个方面就是无拘无束,自由流淌,无斧凿的痕迹,仿佛通篇是一挥而就写成的。而每一段都如此暴烈,让人想看看作者写作时的状态。 她的另一本书叫women as lovers, 全篇都是小写开头,分不清对话和独白。她似乎很不喜欢引号,四本书里没有一本用引号。 她这样的语言也让我想起文友Red River的写作,情绪来的时候,他一晚上可以码上一万字,灵感来得太快,诗歌好像就如同水一样汩汩涌出,根基却是厚实的。
不服不行,天才还是跟我等凡俗不同。
听说Jelinek书的中文版早有人翻译出,没有得到发表。 这次回国一定要买到。
- posted on 12/23/2004
玛雅 wrote:
雪莱这首,我怎么读不出来一点腐臭的味道?
我想波德莱尔和雪莱都有个共同的主题,即时间催毁一切和物质世界的虚幻。波诗力求刺激感官,描绘腐尸的各个细节,以凸显今天娇艳的美人明日恶臭的腐尸这种触目惊心的转变;雪诗则力在开拓读者的精神想象空间,由旅人转述广袤的沙漠,巨大石像的残骸,石像上的铭文,等等,以表达同样的时间和虚无的主题(shattered visage,Nothing beside remains,decay,colossal Wreck,boundless and bare,lone and level sands stretch far away ...)那么,两下比较,哪种处理更好,更富诗意,更能永存呢?喜欢和记住这首波诗的人我相信有,但大多读者大概还是会尽量避免腐臭的记忆吧。
喜欢她的语言的另一个方面就是无拘无束,自由流淌,无斧凿的痕迹,仿佛通篇是一挥而就写成的。而每一段都如此暴烈,让人想看看作者写作时的状态。 她的另一本书叫women as lovers, 全篇都是小写开头,分不清对话和独白。她似乎很不喜欢引号,四本书里没有一本用引号。 她这样的语言也让我想起文友Red River的写作,情绪来的时候,他一晚上可以码上一万字,灵感来得太快,诗歌好像就如同水一样汩汩涌出,根基却是厚实的。
Jelinek的文字,我想我不会去读的。玛雅喜欢,何不沿着她的脚印走下去?不过从王尔德到Jelinek可是一个大转弯哟,小心你崇尚的“唯美”变成“唯丑”了。哈哈。
不服不行,天才还是跟我等凡俗不同。
不泻则已,一泻千里,大概确是天才,不过最终还是要看泻出来东西的质量。
- posted on 01/13/2005
玛雅们好! 请帮忙顶贴!
Re: 请问,这是啥子语?(踢爱克斯)
http://my.cnd.org/modules/newbb/viewtopic.php?topic_id=33990&forum=6
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