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| 2025/03/27 05:39:54瀏覽207｜回應0｜推薦4 | |
| Selected poems：簡·赫斯菲爾德（Jane Hirshfield）的《美，無法言說》 書名：美，無法言說 作者：簡·赫斯菲爾德（Jane Hirshfield） 譯者：陶立夏 出版社：人民文學出版社 出版日期：2024/08 簡·赫斯菲爾德（Jane Hirshfield, 1953- ），美國當代女詩人。1953年出生於紐約，畢業於普林斯頓大學。已出版包括《美，無法言說》之內的九部詩集，並著有詩論文集《詩的九重門：如何進入詩歌的心靈世界》《十扇窗：偉大的詩歌如何改變世界》，她還編選並翻譯了兩部日文詩集。《美，無法言說》出版於2015年，收錄了六十八首詩。簡·赫斯菲爾德使用有時熟悉、有時出乎意料的材料，來探索我們共同的存在。她用一支忠實於現實的筆，有時浸入超現實的墨水中，一如既往地直擊人類經驗的核心。 〈法朵〉 男人伸出手來 自女孩耳中， 掏出硬幣 從她手中取出鴿子 她並不知曉其存在。 你或許會想， 哪一樣更使人驚詫： 是硬幣抵著拇指， 那鋸齒邊的呢喃 抑或鴿子順從的靜默？ 是他找尋到它們， 抑或她未曾擁有過， 又或者是在葡萄牙， 這半靜止的時刻， 天色將曉， 坐輪椅的女人 唱著一曲法朵 將房間裡所有的生靈 置於天平的一端， 它自己在另一端， 銅秤盤平衡了。 Fado A man reaches close and lifts a quarter from inside a girl’s ear, from her hands takes a dove she didn’t know was there. Which amazes more, you may wonder: the quarter’s serrated murmur against the thumb or the dove’s knuckled silence? That he found them, or that she never had, or that in Portugal, this same half-stopped moment, it’s almost dawn, and a woman in a wheelchair is singing a fado that puts every life in the room on one pan of a scale, itself on the other, and the copper bowls balance. 〈玻璃紙：一則鑒定〉 有很多種透明。 你的那種被創造時 介於 鋼化玻璃和保鮮膜之間。 有時我想要成為你： 某種被看穿並透過的事物。 你出身高貴：一棵樹。 腐蝕劑和酸性物質將你變成 你如今面目， 有效防護，不易彎折，幾無重量。 禁錮又保護， 你的渴望是變得輕薄、自毀， 拆解並打開。 你鮮紅的項鍊宣告著： “由此處撕開。” 你的內部，煙草。 你的內部，薄荷糖、姜餅、口香糖。 你不會被拿來 包裹床墊和槍。 你被授意來到世上 只因一句“或許可以”的啓發 你超乎想像卻實用， 於是被保留。 你的技藝窸窣作響、自負魯莽： 保存以對抗時間。 在這事上，你如同一支金屬短笛 歌喉不知衰老 懂得來自二世紀的 隻字片語 曾被磕磕絆絆地譯為—— “夫君，我自河中來， 它灌木叢生的河岸留下了這些印痕。” 為著歡愉，生來要被看穿。 Cellophane: An Assay There are kinds of transparence. Yours was invented sometime between tempered glass and Saran Wrap. I have at times wanted to be you: something looked through and past. You were born noble: a tree. Caustics and acids changed you to what you now are, protective, stiff, almost weightless. Both captive and guard, your desire is to be frivolous, self-destructive, undone and opened. Your bright red necklace announces: "Tear here." Inside you, tobacco. Inside you, peppermints, gingersnaps, gum. You would not be found wrapping a mattress or gun. You were dictated into the world by the muse of "it could be." You were unlikely but useful, so kept. Your art is audible, immodest: to preserve against time. In this, you are like a small metal flute whose throat knows no aging or a few words from the second century, stumbled on once in translation— "I come from the river, husband, its brushy bank left these scratches." Made to be seen through, for pleasure. 〈日光中，我打開了燈〉 日光中，我打開了燈， 黑暗裡，我拉上窗簾。 過甚之神， 什麼都無法驚動的存在，溫柔地應允—— 每一日，年復一年， 逝去的事物每天都逝去得更為徹底。 在羊肚菌被發現的地方， 我尋找羊肚菌。 在愛被發現的房子裡， 我尋找愛。 如果她消失，一切又有何不同？ 如果他存在，此刻何事更改？ 壺讓最接近火的金屬燃燒。 水離去。 In Daylight, I Turned on the Lights In daylight, I turned on the lights, in darkness, I pulled closed the curtains. And the god of More, whom nothing surprises, softly agreed— each day, year after year, the dead were dead one day more completely. In the places where morels were found, I looked for morels. In the houses where love was found, I looked for love. If she is vanished, what then was different? If he is alive, what now is changed? The pot offers the metal closest to fire for burning. The water leaves. 〈如兩個負數與雨相乘〉 躺下，你是水平的。 站起，則不然。 我願我的宿命是人。 如一縷香氣 不選擇前往的方向， 它非曲非折，無法保存不能隔絕。 是，否，或者， ——一天，一生，從其間溜走， 褪下第三層皮膚， 褪下第四層。 鞋子的邏輯最終變得簡單， 動物的疑問，腳步試探。 舊鞋，老路—— 疑問總是新的。 如兩個負數與雨相乘， 得到橙與橄欖。 Like Two Negative Numbers Multiplied by Rain Lie down, you are horizontal. Stand up, you are not. I wanted my fate to be human. Like a perfume that does not choose the direction it travels, that cannot be straight or crooked, kept out or kept. Yes, No, Or —a day, a life, slips through them, taking off the third skin, taking off the fourth. And the logic of shoes becomes at last simple, an animal question, scuffing. Old shoes, old roads— the questions keep being new ones. Like two negative numbers multiplied by rain into oranges and olives. |
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| ( 知識學習｜隨堂筆記 ) |
