多么震撼。当大众在期待着流行民谣的时候,一个年轻人手持吉他站在那儿,把街头俗语与圣经语言熔在一起,让世界末日看起来都像是多余的再现。
At the same time, he sang of love with a power of conviction everyone wants to own. All of a sudden, much of the bookish poetry in our world felt anaemic, and the routine song lyrics his colleagues continued to write were like old-fashioned gunpowder following the invention of dynamite. Soon, people stopped comparing him to Woody Guthrie and Hank Williams and turned instead to Blake, Rimbaud, Whitman, Shakespeare.
与此同时,他以一种人人想拥有的、令人信服的力量来歌颂爱。突然间,世间那些书面的诗词变得如此苍白无力,而他的同行们那些按部就班创作的词曲也仿佛成了随着炸药诞生而过时了的火器。很快,人们不再把他与伍迪•格思里和汉克•威廉姆斯这些音乐人相比,而是将他与威廉•布莱克(英国浪漫主义诗人)、阿蒂尔•兰波(法国象征主义诗人)、沃尔特•惠特曼(美国世人)和莎士比亚相提并论。
In the most unlikely setting of all - the commercial gramophone record - he gave back to the language of poetry its elevated style, lost since the Romantics. Not to sing of eternities, but to speak of what was happening around us. As if the oracle of Delphi were reading the evening news.
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