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戴珏 译 毕晓普 《旅行的问题》

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发表于 2015-3-21 12:36:14 | 显示全部楼层 |阅读模式
本帖最后由 得一忘二 于 2015-3-21 12:40 编辑

旅行的问题
    伊丽莎白·毕晓普  戴珏 译

这里瀑布太多了;拥挤的水流
过于迅疾地赶赴大海,
而山顶这么多云的压力
使它们以轻柔的慢动作溢出山边,
就在我们的眼底成为瀑布。
──因为,如果那些线条,那些长以哩计,发亮的,泪渍,
还不是瀑布,
一个快速的年代过后,按这里年代交替的速度,
它们多半将会是。
但如果水流和云继续旅行,旅行,
山看起来就像翻覆的船体,
挂着泥浆,粘着藤壶。

想想回家的长路。
我们是否应该呆在家里想像这里?
我们今天应该在哪里?
在这最陌生的剧院里
观看戏里的陌生人,这样对吗?
我们体内还有一息尚存,便决心要跑去
地球另一边反过来看太阳[1],
这是怎样的孩子气?
世界上最小的绿色蜂鸟?
去注视某座莫名其妙的石制品,
莫名其妙,无论怎么看
也看不透,
一眼就看到了,总是,总是让人快乐?
噢,难道非要在做梦的同时
还拥有它们?
我们还有空间
再容纳一片折好的,仍然相当温暖的落日余辉吗?

不过,要是没看到这路上的树,
它们的美丽实在有些夸张,
要是没看到它们像高贵的哑剧演员那样,
身穿粉色长袍,摆出姿势,
那肯定就可惜了。
──要是没停下来加油,而听到
那伤心的,两个音的,硬梆梆的调子,
发自截然不同的木屐,
冷漠地喀吧踩过
加油站满是油渍的一处地板。
(在另一个国家,木屐都会被测试过。
每一双都会有相同的音高。)
──会很可惜,要是没听到
不那么原始的,其他的音乐,由那只褐色的胖鸟
在坏了的汽油泵上方唱出,
在一个竹制的巴洛克风的耶稣会教堂里:
两个塔楼,三个银十字架。
──是的,会很可惜,要是没有思考过,
朦朦胧胧,没有结论,
在那最粗陋的木头鞋子
和,仔细又挑剔,
木头笼子那削制的幻想之间,
有什么样的联系能延续几个世纪。
──要是从未在燕雀笼那软弱的
书法中研究过历史。
──要是从未试过得要倾听
如此像政客演说的雨:
两小时持续不断的雄辩,
随后突然一阵金子般的沉默,
这时那旅客拿出了笔记本,写道:

“是不是缺乏想像力才让我们来到
想像的地方,而不只是呆在家里?
或许帕斯卡尔[2]可能并不完全对,
说只要安静地坐在自己房间里?”

“大陆,城市,国家,社会:
选择从来就不广阔,从来不自由。
而这里,或者那里...不。不管是哪里,
我们是否都应该呆在家里?”


注:
1)        此诗是作者旅居巴西时所作,因为巴西与北美分属南北半球,所以这样说。
2)        十七世纪法国数学家,作家兼哲学家。

Questions Of Travel
                     Elizabeth Bishop

There are too many waterfalls here; the crowded streams
hurry too rapidly down to the sea,
and the pressure of so many clouds on the mountaintops
makes them spill over the sides in soft slow-motion,
turning to waterfalls under our very eyes.
—For if those streaks, those mile-long, shiny, tearstains,
aren't waterfalls yet,
in a quick age or so, as ages go here,
they probably will be.
But if the streams and clouds keep travelling, travelling,
the mountains look like the hulls of capsized ships,
slime-hung and barnacled.

Think of the long trip home.
Should we have stayed at home and thought of here?
Where should we be today?
Is it right to be watching strangers in a play
in this strangest of theatres?
What childishness is it that while there's a breath of life
in our bodies, we are determined to rush
to see the sun the other way around?
The tiniest green hummingbird in the world?
To stare at some inexplicable old stonework,
inexplicable and impenetrable,
at any view,
instantly seen and always, always delightful?
Oh, must we dream our dreams
and have them, too?
And have we room
for one more folded sunset, still quite warm?

But surely it would have been a pity
not to have seen the trees along this road,
really exaggerated in their beauty,
not to have seen them gesturing
like noble pantomimists, robed in pink.
—Not to have had to stop for gas and heard
the sad, two-noted, wooden tune
of disparate wooden clogs
carelessly clacking over
a grease-stained filling-station floor.
(In another country the clogs would all be tested.
Each pair there would have identical pitch.)
—A pity not to have heard
the other, less primitive music of the fat brown bird
who sings above the broken gasoline pump
in a bamboo church of Jesuit baroque:
three towers, five silver crosses.
—Yes, a pity not to have pondered,
blurr'dly and inconclusively,
on what connection can exist for centuries
between the crudest wooden footwear
and, careful and finicky,
the whittled fantasies of wooden cages.
—Never to have studied history in
the weak calligraphy of songbirds' cages.
—And never to have had to listen to rain
so much like politicians' speeches:
two hours of unrelenting oratory
and then a sudden golden silence
in which the traveller takes a notebook, writes:

"Is it lack of imagination that makes us come
to imagined places, not just stay at home?
Or could Pascal have been not entirely right
about just sitting quietly in one's room?

Continent, city, country, society:
the choice is never wide and never free.
And here, or there . . . No. Should we have stayed at home,
wherever that may be?"

发表于 2015-3-21 14:02:52 | 显示全部楼层
拜读好诗,好译。谢谢分享!
发表于 2015-4-11 21:31:30 | 显示全部楼层
是不是缺乏想像力才让我们来到
想像的地方,而不只是呆在家里?

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