I'm going to tell you the story of a song. I was in Madrid one night in 2002 with my teacher and friend Joaquín Sabina, when he said he had something to give me. He said, "Jorge, I have some lines that you need to put into a song. Take these down, take these down." I looked on the table but all I found was a circular coaster, on which I wrote the lines my teacher dictated. They were four lines that went like this:
我要告訴各位一首歌的故事。 2002 年的某個晚上, 我在馬德里, 和我的老師兼朋友 瓦金沙賓納在一起, 他說他有東西要給我。 他說: 「荷黑,我有一些句子, 你得把它們放到歌曲中, 把這些寫下來,把這些寫下來。」 我看向桌面,只能 找到一個圓茶杯墊, 於是我把我老師 口述的句子寫在上面。 一共有四句,如下:
"I am a Jewish Moor living among Christians I don't know who my God is, nor who my brothers are."
「我是個猶太回教徒, 居住在基督徒當中, 我不知道我的神是誰, 也不知道我的兄弟是誰。」
Those lines really made an impression on me. I said, "What beautiful lyrics, Joaquín. Did you write them?" He said no, they were by another composer named Chicho Sánchez Ferlosio, who was less known than Joaquín, but also a great poet. These lines came to me at a time where I had been wanting to express something for a while, but didn't quite know how.
這些句子真的讓我印象深刻。 我說:「好美的歌詞, 瓦金,是你寫的嗎?」 他說不是,是另一位作曲家 奇裘山切斯佛羅西歐所寫。 他的名氣不如瓦金, 但也是個偉大的詩人。 我得到這些句子時, 我剛好一直想要表達某樣東西, 但不知道該怎麼表達。
I was getting up to leave and go home to write, when Joaquín stopped me and said, "Hang on, hang on," and presented me with this challenge: "Write the stanzas for this song in Décimas." Now, at this point in my life, I still wasn't completely sure what Décimas were, but I was too embarrassed to tell my teacher I didn't know. So I put on my best "Yeah, I totally understand" face, and went home to look up what Décimas were. I learned that a Décima is a type of verse that only exists in Spanish, and that it has 10 lines. It's very, very complex -- perhaps the most complex style of stanza that we have in Spanish. It also has a very concrete date of origin, which is very rare for a style of stanza.
我準備起身離開,回家去寫詞, 這時瓦金阻止了我, 說:「等等,等等。」 他給了我這個挑戰: 「用 Décimas (十行詩) 來為這首歌寫這些詩句。」 在我人生的這個時點, 我還不太確定 Décimas 是什麼, 但我無法拉下臉來 告訴老師我不知道。 所以我擺出了「是, 我完全了解」的表情, 然後回家去查 Décimas 是什麼。 我學到,Décimas 是一種詩, 只有西班牙語才有。 這種詩共有十行。 它非常非常複雜, 可能是西班牙文中最複雜的一種詩。 它也有非常明確的起源日, 對於詩的種類而言,這點很難得。
The Décima was invented in Spain in 1591, by a guy named Vicente Espinel, a musician and poet from Málaga. And listen to this coincidence: he was the same guy who added the sixth string to what would later be called the Spanish guitar. This string right here -- it's called the "bordona."
Décimas 是 1591 年 在西班牙發明的, 發明者叫文森提伊斯皮奈爾, 他是馬拉加的音樂家兼詩人。 聽聽這個巧合:他同時也是 將六條弦加到 後來我們稱為西班牙吉他上的人。 就是這裡的弦── 它叫做「bordona」 (註:即六弦的意思)
From Spain, the Décima, with its 10 lines, crosses over to America, just like the Spanish guitar, but in contrast to the Décima, the Spanish guitar continues to live today on both sides of the Atlantic. But the Décima, in Spain, its birthplace, disappeared; it died out. It died out about 200 years ago, and yet in Latin America, from Mexico to Chile, all our countries maintain some form of the Décima in our popular traditions.
十行的 Décima 從西班牙 傳到了美洲,就像西班牙吉他那樣, 但和 Décima 很不同的是, 西班牙吉他 至今仍然存在於大西洋的兩岸。 但 Décima 在它的出生地西班牙 卻消失了,絕跡了。 它大約是在兩百年前絕跡的。 但在南美,從墨西哥到智利, 我們所有的國家,都在大眾傳統中 保有某種形式的 Décima。
In each place, they've given it a different name, and set it to different music. It has a lot of different names -- more than 20 in total on the continent. In Mexico, for example, it's called the "Son Jarocho," "Canto de mejorana" in Panama; "Galerón" in Venezuela; "Payada" in Uruguay and Argentina; "Repentismo" in Cuba. In Peru, they call it the Peruvian Décima, because the Décima becomes so integrated into our traditions, that if someone asks, people from each place are completely convinced that the Décima was invented in their country.
在每個地方,它都有不同的名稱, 被用在不同的音樂上。 它有許多不同的名稱,在這塊 大陸上就有總共超過 20 種。 比如,在墨西哥,它叫做 「Son Jarocho」夏洛楚頌樂; 在巴拿馬,叫做 「Canto de mejorana」; 在委內瑞拉,叫做「Galerón」; 在烏拉圭及阿根廷, 叫做「Payada」; 在古巴,叫做「Repentismo」; 在秘魯,它被稱為 「秘魯 Décima」, 因為 Décima 與 我們的傳統深深結合, 如果被問起,每個地方的人都深信 Décima 是他們的國家發明的。
(Laughter)
(笑聲)
It's also got a really surprising feature, which is that despite the fact that it developed independently in each of the different countries, it maintains even today, 400 years after its creation, exactly the same rhyme, syllable and line structure -- the same structure Vicente Espinel gave it during the Spanish Baroque period. Here's the structure -- I'll give you the basic idea and then later you can look online and learn more about it.
它也有個非常讓人驚奇的特色, 就是 儘管各自獨立發展於不同的國家中, 是的, 即使創造於 400 年前, 它現今仍然維持著 完全相同的節奏音節以及詩句結構, 和西班牙巴洛克時期時 文森提伊斯皮奈爾賦予它的一樣。 它的結構是, 我會給各位基本概念, 之後你們可以上網找資料, 進一步了解它。
The Décima is ten lines long; each line has eight syllables. The first line rhymes with the fourth and the fifth; the second line, with the third; the sixth line, with the seventh and the tenth; and the eighth line rhymes with the ninth. It's a bit complicated, to be honest. And me -- imagine me, trying to write in Décimas. But it's not as complicated as it seems. Plus, it's amazing that it's survived with the same structure for more than four centuries. It's not that complicated, because it has an impressive musicality to it, a type of musicality that's very hard to describe technically. I prefer that you listen to it. So I'm going to recite a Décima, one of the Décimas that I wrote for this song. I'm going to ask that you concentrate just on the musicality of the rhymes. For those of you with headphones on -- I see that some of you are listening to the translation -- please take them off for a minute.
Décima 的長度是十行, 每行有八個音節。 第一、第四及第五行押韻; 第二行和第三行押韻; 第六、第七及第十行押韻; 第八行和第九行押韻。 坦白說,這有點複雜。 而我──想像一下 我試著寫 Décimas。 但它沒有看起來的那麼複雜。 此外,很驚人的是, 它帶著同樣的結構, 存活了超過四個世紀。 它沒有那麼複雜,是因為它有 讓人印象深刻的音樂性, 這種音樂性 在技術面是非常難描述的。 我比較希望你們能用聽的。 所以我要誦讀一首 Décima, 它是我為這首歌 所寫的 Décima 之一。 我想請各位專注在押韻的音樂性上。 各位戴著耳機的人── 我看見在座有些人在聽翻譯── 請把耳機拿下來一下子。
(English) Take your headphones off, it you have them.
(英文)有戴耳機的人, 請把耳機取下。
(English) Forget about the meaning of the words for a few seconds,
(英文)暫時把字詞的意義忘記,
(English) and then you'll put them back.
(英文)等一下再戴上耳機。
(English) Forget about the structure.
(英文)先忘掉結構。
(Spanish) Forget about the structure.
(西班牙文)先忘掉結構。
(English) And just ... it's all about the choreography of sound of the Décima.
(英文)重點是 Décima 中的聲音編排。
(Spanish) A choreography of sound.
(西班牙文)聲音的編排。
(Sings in Spanish) "There is not one death that does not cause me pain, there are no winners, here’s nothing but suffering and another life blown away. War is a terrible school no matter what the disguise, forgive me for not enlisting under any flag, any daydream is worth more than a sad piece of cloth."
(以西班牙文唱) 「沒有一個死亡不會造成我的痛苦, 沒有贏家, 這裡什麼都沒有,只有苦難 及另一個生命逝去。 戰爭是很差勁的學校, 不論它的偽裝是什麼, 原諒我沒有加入 任何一面旗幟的軍隊, 任何白日夢都比一片 悲傷的布要來得有價值。」
That's a Décima.
這就是 Décima。
(English) You can put your headphones back on.
(英文)你們可以把耳機戴上了。
(Applause)
(掌聲)
(English) Thank you.
(英文)謝謝。
(Applause)
(掌聲)
I also applaud Vicente Espinel, because here it is 426 years later, and the Décima lives on everywhere in its original state.
我也得向文森提伊斯皮奈爾致意, 因為 426 年後 Décima 無所不在, 且保有原始形態。
I wrote three like that one; you just heard the second. I wrote the first one having only recently learned how, and it has some errors in terms of meter, so it's not presentable in its current state. But the one I sang was good, more or less. So: What was it about? What was the meaning behind those lines?
我寫了三首類似的, 你們剛聽到的是第二首。 我最近才學會如何寫, 所以寫的第一首 有一些錯誤,韻律上的錯誤, 所以它目前的狀況不太適合呈現。 但我剛唱的那首大體上還不錯。 所以,它是關於什麼的? 那些句子背後的意思是什麼?
I had just returned from doing a concert in Israel, and I was very emotional over a problem that hits really close to home, which is the Israeli-Palestinian conflict. I'll explain: my dad's family is Jewish, and my mom's family are non-practicing Christians. I was raised in a home where the two traditions lived together more or less in harmony. It wasn't unusual to see my Jewish grandpa dressed as Santa Claus, for example, or to see my non-Jewish grandpa at the synagogue wearing his kippah, at family celebrations, wearing the same expression that I probably had when Sabina told me --
我才剛在以色列做了一場音樂會, 對於一個發生在離家鄉 非常近的問題,我十分情緒化, 就是以色列與巴基斯坦的衝突。 我會解釋:我父親的家庭是猶太人, 我母親的家庭是掛名基督徒。 (註:名義上為基督徒但沒去教堂) 我成長的家庭中有兩種傳統共存, 或多或少算是和平共存。 比如,可以看到 我的猶太爺爺扮成聖誕老人, 或是非猶太的外公 戴著猶太帽去猶太會堂, 參加家庭慶祝活動, 表情應該就像當沙賓納告訴我 他有 Décima 詩句
(Laughter)
(笑聲)
that he had some Décima lines for me. For someone raised in that kind of environment, it's especially painful to see the difficulty the opposing parties have in putting themselves in the other side's shoes even for a moment. So that's what I wrote about.
要給我那時我的表情。 對於在這種環境長大的人而言, 看到對立的兩方很艱難地試著 站在另一方的立場,是很痛苦的。 所以那就是我寫的。
I already had the lyrics, I had the form -- the Décima -- and the content. I needed to write the music. I'll give you some context. I had only recently moved from Uruguay, where I'm from, to Spain. And I was feeling very raw with nostalgia, like many of you here, who are away from home. And I wanted my song to be very, very Uruguayan, the most Uruguayan type of song there is -- the milonga. So now, I had been studying the Décima, and after finding out that everyone tried to claim the Décima as their own, that it was invented in their country, it made me wonder: What does it mean when we say the milonga is Uruguayan?
我已經有歌詞了, 我有形式了,即 Décima, 也有內容了, 我需要的是寫音樂。 讓我告訴大家來龍去脈。 我最近才從家鄉烏拉圭搬到西班牙。 我感受到鄉愁之苦, 跟許多這裡遠離家鄉的人一樣。 我希望我的歌曲 能夠非常有烏拉圭味, 世上最有烏拉圭味的 歌曲類型:米隆加。 所以,我一直在研究 Décima, 發現每個人都聲稱 Décima 是他們自己的, 是在他們的國家發明的。 那讓我忍不住想: 我們說米隆加很有 烏拉圭味,是什麼意思?
The milonga has a rhythmic pattern that we musicians call 3-3-2.
我們音樂家稱米隆加的 節奏模式為 3-3-2。
(Counts out the beats) One two three, one two three, one two.
(數拍子)一二三、一二三、一二。
And it has a characteristic emphasis.
它有個獨有的重音。
(Sings)
(唱)
But this characteristic rhythm pattern comes from Africa. In the ninth century you could find it in the brothels of Persia, and in the thirteenth, in Spain, from where, five centuries later, it would cross over to America with the African slaves. Meanwhile, in the Balkans, it encounters the Roma scale --
但這個獨有的節拍模式 來自非洲。 在第九世紀,可以在 波斯的妓院找到它; 在第十三世紀, 可在西班牙找到, 又過了五個世紀之後, 非洲奴隸將它從西班牙傳到美洲。 這期間,在巴爾幹半島, 它遇到了羅馬音階,
(Sings)
(唱)
which in part, gives birth to klezmer music, which Ukrainian Jewish immigrants bring to Brooklyn, New York. They sing it in their banquet halls.
羅馬音階某種程度上孕育了 猶太克列茲莫音樂, 克列茲莫音樂被烏克蘭猶太移民 帶到紐約布魯克林。 他們會在他們的宴會廳中演唱。
(Sings "Hava Nagila")
(唱「Hava Nagila」 《讓我們歡樂》)
And their neighbor, an Argentine kid of Italian origin named Astor Piazzolla, hears it, assimilates it and transforms the tango of the second half of the 20th century with his ...
他們的鄰居,一個 義大利血統的阿根廷孩子, 叫做阿斯托爾·皮亞佐拉, 聽見了這音樂, 吸收了它, 將二十世紀後半的探戈做轉化, 加上了他的
(Counts out the beats) One two three, one two three, one two.
(數拍子)一二三、一二三、一二。
(Sings "Adios Nonino")
(唱「Adios Nonino」 《永別了,親愛的父親》)
He also played it on his bandoneon, a 19th-century German instrument created for churches that couldn't afford to buy organs, and that ends up, incredibly, in Río de la Plata, forming the very essence of the tango and the milonga, in the very same way another instrument just as important as the bandoneon did: the Spanish guitar.
他也用他的班多鈕手風琴來演奏, 那是種十九世紀的德國樂器, 為了買不起管風琴的教堂發明的。 神奇的是,它最後傳到拉布拉他河, 形成了探戈和米隆加的精華, 其方式就如同另一個與班多鈕 手風琴一樣重要的樂器: 西班牙吉他。
(Applause)
(掌聲)
To which, by the way, Vicente Espinel, in the 16th century, added a sixth string. It's amazing how all these things are coming full circle.
順便一提,在十六世紀, 文森提伊斯皮奈爾 為它加上了六條弦。 這一切轉了一個圈, 又回到原點,很不可思議。
What have I learned in these 15 years since the song was born from going all over the world with four lines written on a coaster from a bar in Madrid? That Décimas, the milonga, songs, people -- the closer you get to them, the more complex their identity becomes, and the more nuances and details appear. I learned that identity is infinitely dense, like an infinite series of real numbers, and that even if you get very close and zoom in, it never ends.
從十五年前這首歌誕生之後, 我帶著馬德里酒吧杯墊上 寫的四行句子行遍世界, 學到了什麼? 我學到:Décimas、 米隆加、 歌曲、人; 你越接近他們, 他們的身份就變得越複雜, 更多的細微差別和細節會浮現。 我學到:身份是無盡密集的, 就像無盡的實數序列, 即使你靠得非常近, 並且放大看, 它也永遠沒盡頭。
Before I sing you a song and say goodbye, allow me to tell you one last story. Not long ago, we were in Mexico after a concert. And since the concert promoters know me, they knew I was a Décima freak and that everywhere I go I ask about it, insisting on hearing Décima artists. So they organized a son jarocho show for me at their house. If you recall, the son jarocho is one of the styles of music that uses Décimas in its verses.
在我為各位唱一首歌並說再會之前, 容我再說最後一個故事。 不久前,我們在墨西哥, 一場音樂會剛結束。 因為音樂會的籌辦人認識我, 他們知道我是個 Décima 怪胎, 且我去任何地方都會問相關的事, 堅持一定要聽到 Décima 藝術家表演, 所以他們為我在他們家中 安排了一個夏洛楚頌樂節目。 如果你們記得,夏洛楚頌樂 是在詩句中用到 Décimas 的 音樂類型之一。
When these amazing musicians finished playing what is for me, something amazing, which is the son jarocho, they finished playing and were ... I went up to greet them, really excited, getting ready to thank them for their gift of music, and this young kid says to me -- and he says it with the best of intentions -- he says, "We're very proud, sir, to be keeping alive the purest origins of our Mexican identity." And to tell you the truth, I didn't really know what to say.
當這些出色音樂家結束了 這場對我來說 很不可思議的 夏洛楚頌樂表演之後, 他們結束表演, 我上前去問候他們,非常興奮, 準備要感謝他們 有這麼棒的音樂天賦, 有個年輕孩子對我說, 是帶著最大的善意說的,他說: 「先生,我們非常驕傲,能夠讓 我們墨西哥身份最純正的源頭 繼續活下去。」 老實說,我真的不知道該說什麼。
(Laughter)
(笑聲)
I stood there looking at him. I gave him a hug and left, but ...
我站在那看著他,給他一個 擁抱,然後離開,但……
(Laughter)
(笑聲)
But he was right, too, though. Right? In reality, the Décima is its origin, but at the same time, just like in the milonga and in the Décima, are the roots of many more cultures from all over the place, like he said.
不過,他也是對的,是吧? 在現實中,Décima 是它的源頭,但同時, 就像在米隆加和 在 Décima 中一樣, 有著來自各地許多文化的根, 就像他說的那樣。
Later, when I got back to the hotel, I thought about it for a while. And I thought: things only look pure if you look at them from far away. It's very important to know about our roots, to know where we come from, to understand our history. But at the same time, as important as knowing where we're from, is understanding that deep down, we're not completely from one place, and a little from everywhere.
之後,我回到飯店,想了一下此事。 我心想: 只有當你從遠處看時, 事物才會顯得很純正。 了解我們的根,是很重要的, 了解我們從哪裡來, 了解我們的歷史。 但同時,與知道我們 從何而來同等重要的 是要了解,實際上, 我們都沒有完全來自哪裡, 每一小部份都來自不同地方。
Thank you very much.
非常謝謝各位。
(Applause)
(掌聲)
This is "The milonga of the Jewish Moor."
這是「猶太回教徒的米隆加」。
(Music)
(音樂)
(Sings)
(唱)
For every wall a lament in Jerusalem the golden
每一面牆,就是 金色耶路撒冷的一首輓歌,
and 1000 wasted lives for every commandment.
每一道命令,就是 100 條生命被浪費。
I am dust in your wind and although I bleed through your wound,
我是你風中的塵土, 雖然我透過你的傷口流血,
and every beloved stone has my deepest affection,
每一塊摯愛的石頭都有我最深的情,
there is not a stone in the world worth more than a human life.
世界上沒有一塊石頭, 比一條人命更值錢。
I am a Jewish Moor who lives among Christians
我是個猶太回教徒, 居住在基督徒當中,
I don't know who my God is, nor who my brothers are.
我不知道我的神是誰, 也不知道我的兄弟是誰。
I don't know who my God is, nor who my brothers are.
我不知道我的神是誰, 也不知道我的兄弟是誰。
There is not one death that does not cause me pain, there are no winners
沒有一個死亡不會造成 我的痛苦,沒有贏家,
there's nothing but suffering and another life blown away.
這裡什麼都沒有,只有苦難 及另一個生命逝去。
War is a terrible school no matter what the disguise,
戰爭是很差勁的學校, 不論它的偽裝是什麼,
forgive me for not enlisting under any flag,
原諒我沒有加入 任何一面旗幟的軍隊,
any daydream is worth more than a sad piece of cloth.
任何白日夢都比一片 悲傷的布要來得有價值。
I am a Jewish Moor who lives among Christians
我是個猶太回教徒, 居住在基督徒當中,
I don't know who my God is, nor who my brothers are.
我不知道我的神是誰, 也不知道我的兄弟是誰。
I don't know who my God is, nor who my brothers are.
我不知道我的神是誰, 也不知道我的兄弟是誰。
And nobody has my permission for killing in my name,
沒有人有我的允許 可以以我之名來殺戮,
a man is but a man and if there is a God, this was his wish,
人不過就是人,如果有神存在, 這會是他的願望,
the very ground I tread will live on, once I am gone
我踩踏過的地, 會繼續存在,一旦我走了,
on my way to oblivion, and all doctrines will suffer the same fate,
走上被遺忘之路, 所有信條會遭受同樣的命運,
and there is not one nation that has not proclaimed itself
沒有一個民族沒有聲明過它就是
the chosen people.
神的選民。
I am a Jewish Moor who lives among Christians
我是個猶太回教徒, 居住在基督徒當中,
I don't know who my God is, nor who my brothers are.
我不知道我的神是誰, 也不知道我的兄弟是誰。
I don't know who my God is, nor who my brothers are.
我不知道我的神是誰, 也不知道我的兄弟是誰。
I am a Jewish Moor who lives among Christians
我是個猶太回教徒, 居住在基督徒當中,
(Applause)
(掌聲)
Thank you.
謝謝各位。
(Applause)
(掌聲)