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浪漫曲--莉赛尔.米勒

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发表于 2013-5-21 14:46:03 | 显示全部楼层 |阅读模式
约翰尼斯.勃拉姆斯和克拉拉.舒曼
现代传记作家担心
“相去甚远啊,”他们亲切的友谊。
他们思忖的正是它的意义所在
当他写道他不停地想她时,
他的守护天使,心爱的朋友。
我们这个时代,粗鲁无礼,不恰当的问题,
似乎这两个躯体啮合在一起的事情。

确立了爱的程度,
忘了伊洛斯如何轻轻地
走进19世纪,怎样的一只手啊
握得过长或者一个锚定的凝视
在某人的眼睛里不能逐出一颗心,
称呼的细微差别,在我们
平等主义的语言里不详

是否有因热度的可能性
有颤抖和闪光的馨香的气息。
每一次我听间奏曲,
他们柔情中的悲伤和慷慨
我想象他们两个
坐在花园里
在许多迟放的玫瑰花丛中
黑暗的叶子的瀑布,
让景色替他们讲话,,
偷听不到任何事情。
ohannes Brahms and Clara Schumann
The modern biographers worry
"how far it went," their tender friendship.
They wonder just what it means
when he writes he thinks of her constantly,
his guardian angel, beloved friend.
The modern biographers ask
the rude, irrelevant question
of our age, as if the event
of two bodies meshing together
establishes the degree of love,
forgetting how softly Eros walked
in the nineteenth century, how a hand
held overlong or a gaze anchored
in someone's eyes could unseat a heart,
and nuances of address, not known
in our egalitarian language
could make the redolent air
tremble and shimmer with the heat
of possibility. Each time I hear
the Intermezzi, sad
and lavish in their tenderness,
I imagine the two of them
sitting in a garden
among late-blooming roses
and dark cascades of leaves,
letting the landscape speak for them,
leaving nothing to overhear.

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