〈憂傷賦〉Ode on Melancholy by John Keats 

No, no, go not to Lethe, neither twist

忘川切莫去 切莫使勁擰

Wolfs-bane, tight-rooted, for its poisonous wine;

根深斷腸草 抽其毒酒飲

Nor suffer thy pale forehead to be kissd

蒼白你額首 不許龍葵親

By nightshade, ruby grape of Proserpine;

龍葵乃冥后 葡萄落紅殷

Make not your rosary of yew-berries,

難為你串珠 紫衫於誦經

Nor let the beetle, nor the death-moth be

勿使報死蟲 勿使葬天蛾

Your mournful Psyche, nor the downy owl

作你哀傷魂 勿喚鴞裊聚

A partner in your sorrows mysteries;

與你結伴侶 愁思神秘去

For shade to shade will come too drowsily,

只因暗影生 昏沉遂麻痺

And drown the wakeful anguish of the soul.

憔悴不能寐 魂夢也沈溺

But when the melancholy fit shall fall

忽然憂傷起 那時必降臨

Sudden from heaven like a weeping cloud,

剎那從天際 還如哭泣雲

That fosters the droop-headed flowers all,

花兒皆滋潤 雨落垂首低

And hides the green hill in an April shroud;

青山都隱沒 四月披壽衣

Then glut thy sorrow on a morning rose,

傾付你愁緒 清晨玫瑰立

Or on the rainbow of the salt sand-wave,

或化彩虹橋 沙灘浪潮起

Or on the wealth of globed peonies;

或開富貴花 錦簇牡丹裡

Or if thy mistress some rich anger shows,

愛人若流露 盛情在怒意

Emprison her soft hand, and let her rave,

撫握其纖手 宣洩任無遺

And feed deep, deep upon her peerless eyes.

深深絕世眸 盡收於眼底

She dwells with Beauty—Beauty that must die;

愁與美同棲 是美必亡佚

And Joy, whose hand is ever at his lips

如同喜悅是 摀嘴欲分離

Bidding adieu; and aching Pleasure nigh,

喜悅賦別時 痛楚是歡愉

Turning to poison while the bee-mouth sips:

異變為毒素 甘露蜜蜂吸

Ay, in the very temple of Delight

確實聖殿中 侍奉著歡喜

Veild Melancholy has her sovran shrine,

隱藏有憂傷 神龕卻主祭

Though seen of none save him whose strenuous tongue

唯獨他能見 味蕾費全力

Can burst Joys grape against his palate fine;

喜悅有葡萄 嚐破鮮美滴

His soul shalt taste the sadness of her might,

其魂將品味 憂傷所悲意

And be among her cloudy trophies hung.

高懸雲端上 幽幽戰利品

寫於憂傷賦之後

——消失的美

深河木橋上，時光緩緩流向大西洋，一縷一縷的千絲萬縷的斜陽。時光隨著波浪，落入天涯盡頭的遠方。唯獨此時，唯獨桌山灑落澄然明亮，山崖之間巨石縱橫臥躺，縫隙中的陰影逐漸擴張，明暗消長，金黃最後沒入天地隱藏。讀詩人深深凝望，不禁嘆息著消逝的時光。美在永恆中，如心在歡欣喜悅，永恆是永不消逝；美在消逝中，如心在憂傷感慨，消逝是未竟永恆。讀詩人望著夕陽晚霞，暫寄此身如江海舟筏，消逝與永恆如潮汐起落拍打。消逝或永恆啊，再望天涯，痴立了讀詩人，欣喜與憂傷或許有瞬間剎那，直擊當下。

直擊當下，直接了當，不可逃避的承受，頓悟者直了成佛。濟慈在直視憂傷的凝望中，概括承受所有衝擊。濟慈以敏銳的心，抱以犧牲自我的情懷，勇敢釘在悲欣交集的十字上，體驗了美的精神境界。憂傷不是情緒的苦難，而是將自我存在逐漸退後的當下，褪卻感官的悲喜之後，迎接永恆。欣喜的光，憂傷的暗，就如陰陽兩極互補而圓滿，斷不能取此捨彼。樂極生悲，悲盡欣來，美在兩者消長中忽隱忽現。明暗交錯，萬物脈絡分明；悲欣交集，深情復歸平靜。

柴可夫斯基在《悲愴》最後寫出了如歌如泣的慢板（adagio lamentoso），降B小調的主旋律在終章尾聲分解、抽離、遞減至消失，就如斜陽沉入大海，光明消融黑暗。這是柴氏的旋律遺言，不是用來結束，而是用來消失：主旋律剝離、僅餘骨幹低音，悲喜散去，剩下大提琴的撥弦（pizzicato）如微風輕拂，淡出舞台。不是英雄輝煌的勝利，不是梟雄不甘的失敗，而是接受了應來而來，應去則去。悲愴最後，音樂解構於沈默，宛如語言解放於沉思。其魂將品味，憂傷所悲意，將自己獻祭憂傷，化作天外雲彩。