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露易丝.格丽克(2020年诺奖获得者)诗歌试译

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 楼主| 发表于 2020-10-27 14:46:19 | 显示全部楼层
进场歌
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   阿勒山(1990)
   
   “…人性本来是一体的,我们是一个整体,对整体的渴望和追求叫做爱。”
   ---柏拉图
   
   进场歌(1)
   
   很久以前,我受伤了。
   我学会了
   生存,作为感应,
   与世界
   失去了联系:我将告诉你
   我的本意是什么---
   一个倾听的设备。
   没有惰性:静止。
   一片木头。一块石头。
   
   我为什么要自我疲倦,辩论,争吵?
   那些在别的床上呼吸的人
   几乎无法跟随,无法
   控制
   像任何梦一样---
   透过百叶窗,我注视
   夜空中的月亮,收缩而肿胀---
   
   我生来就有一个使命:
   承担见证
   伟大的神秘。
   既然我看到了
   生与死二者,我知道
   黑暗的本性
   这些
   都是证据,而不是
   谜团---
   
   
   (1) Parodos:歌队登场时唱的歌,古典戏剧形式之一。我们熟悉的有索福克勒斯《安提戈涅》那个著名的进场歌,瓦格纳部分采用这一形式,如《漂泊的荷兰人》第二幕开篇玛丽妈妈歌队的合唱,《女武神》八姐妹充当布伦希尔德和沃旦的歌队等等。---译者注。







ARARAT (1990)
   
   “... human nature was originally one and we were a whole, and the desire and pursuit of the whole is called love. ”
   ---PLATO
   
   Parodos
   
   Long ago, I was wounded.
   I learned
   to exist, in reaction,
   out of touch
   with the world: I’ll tell you
   what I meant to be---
   a device that listened.
   Not inert: still.
   A piece of wood. A stone.
   
   Why should I tire myself, debating, arguing?
   Those people breathing in the other beds
   could hardly follow, being
   uncontrollable
   like any dream---
   Through the blinds, I watched
   the moon in the night sky, shrinking and swelling---
   
   I was born to a vocation:
   to bear witness
   to the great mysteries.
   Now that I’ve seen both
   birth and death, I know
   to the dark nature these
   are proofs, not
   mysteries---
幻想
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我告诉你一件事:每天
   人们都在死去。这只是开始。
   每天,在殡仪馆里,新的寡妇诞生,
   新的孤儿。他们坐着双手折叠,
   试图决定这新生活。
   
   然后他们在墓地,其中一些
   是第一次。他们害怕哭,
   有时害怕不哭。有人俯身,
   告诉他们下一步该做什么,这可能意味着
   说几句话,有时
   往敞开的坟墓扔泥土。
   
   在那之后,每个人都回到房子,
   那里突然挤满了访问者。
   寡妇坐在沙发上,非常庄严,
   所以人们排队走近她,
   有时牵着她的手,有时拥抱她。
   她找到话要对每个人说,
   谢谢他们,感谢他们的到来。
   
   在她心里,她希望他们离开。
   她想回到墓地,
   回到病房,医院。她知道
   这是不可能的。但这是她唯一的希望,
   希望后退。只是一点点,
   不至于结婚,初吻。
A Fantasy
   
   I’ll tell you something: every day
   people are dying. And that's just the beginning.
   Every day, in funeral homes, new widows are born,
   new orphans. They sit with their hands folded,
   trying to decide about this new life.
   
   Then they're in the cemetery, some of them
   for the first time. They're frightened of crying,
   sometimes of not crying. Someone leans over,
   tells them what to do next, which might mean
   saying a few words, sometimes
   throwing dirt in the open grave.
   
   And after that, everyone goes back to the house,
   which is suddenly full of visitors.
   The widow sits on the couch, very stately,
   so people line up to approach her,
   sometimes take her hand, sometimes embrace her.
   She finds something to say to everybody,
   thanks them, thanks them for coming.
   
   In her heart, she wants them to go away.
   She wants to be back in the cemetery,
   back in the sickroom, the hospital. She knows
   it isn’t possible. But it’s her only hope,
   the wish to move backward. And just a little,
   not so far as the marriage, the first kiss.
一部小说
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   没有人能写一本关于这个家庭的小说:
   太多相似的性格。再说,她们都是女人;
   只有一个英雄。
   
   现在英雄死了。就像回声,女人活得更长;
   为了其利益,她们都非常坚强。
   
   从这一点起,一切不变:
   没有英雄就没有阴谋。
   在这房子里,当你说出阴谋,你意味着爱情故事。
   
   女人不能动。
   哦,她们穿好衣服,吃饭,她们装着门面。
   但是没有行动,没有个性的发展。
   
   她们都决心压制
   对英雄的批评。问题是
   他很虚弱;他的场景说明了
   他的功能而不是他的本性。
   
   也许这就解释了为什么他的死没有动静。
   首先,他坐在桌子的头部,
   那里最需要的是有名无实的领袖。
   然后他就要死了,离开几英尺远,在他嘴下他妻子握着一面镜子。
   
   令人惊讶,她们多么忙,这些女人,妻子和两个女儿。
   摆好桌子,收拾盘子。
   每一颗心都被一把剑刺穿。
A Novel
   
   
   No one could write a novel about this family:
   too many similar characters. Besides, they're all women;
   there was only one hero.
   
   Now the hero's dead. Like echoes, the women last longer;
   they're all too tough for their own good.
   
   From this point on, nothing changes:
   there's no plot without a hero.
   In this house, when you say plot what you mean is love story.
   
   The women can't get moving.
   Oh, they get dressed, they eat, they keep up appearances.
   But there's no action, no development of character.
   
   They're all determined to suppress
   criticism of the hero. The problem is
   he's weak; his scenes specify
   his function but not his nature.
   
   Maybe that explains why his death wasn't moving.
   First he's sitting at the head of the table,
   where the figurehead is most needed.
   Then he's dying, a few feet away, his wife holding a mirror under his mouth.
   
   Amazing, how they keep busy, these women, the wife and two daughters.
   Setting the table, clearing the dishes away.
   Each heart pierced through with a sword.
劳动节
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我父亲去世恰好一年。
   去年很热。在葬礼上,人们谈论天气。
   九月份天气多热啊。多么不合季节。
   
   今年,天气很冷。
   现在只有我们,直系亲属。
   在花床里,
   铜片,铜。
   
   在前面,我姐姐的女儿骑着自行车
   像去年一样,
   在人行道上来来回回。她想要的
   是打发时间。
   
   而对我们其他人来说
   一辈子什么都不是。
   有一天,你是一个缺了一颗牙的金发男孩;
   接着,一个喘着气的老人。
   什么都没有来,真的,在地球上
   几乎一刻也没有。
   不是一句话,而是一种呼吸,一种音顿。
Labor Day
   
   It's a year exactly since my father died.
   Last year was hot. At the funeral, people talked about the weather.
   How hot it was for September. How unseasonable.
   
   This year, it’s cold.
   There's just us now, the immediate family.
   In the flower beds,
   shreds of bronze, of copper.
   
   Out front, my sister's daughter rides her bicycle
   the way she did last year,
   up and down the sidewalk. What she wants
   is to make time pass.
   
   While to the rest of us
   a whole lifetime is nothing.
   One day, you're a blond boy with a tooth missing;
   the next, an old man gasping for air.
   It comes to nothing, really, hardly
   a moment on earth.
   Not a sentence, but a breath, a caesura.
爱花的人
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   在我们家,每个人都爱花。
   这就是为什么这些坟墓如此奇怪:
   没有花,只有草的挂锁,
   在中心,花岗岩的瓷板,
   碑文简洁,浅浅的字母
   有时充满泥土。
   要把它们清理干净,你用你的手帕。
   
   和我妹妹一起,就不同了,
   这是一种痴迷。周末,她坐在我母亲的门廊上,
   阅读目录。每年秋天,她都会在砖砌的门廊旁种球茎;
   每年春天,等着开花。
   没有人讨论成本。知道
   我妈妈会付钱的;毕竟,
   这是她的花园,每一朵花
   都是为我父亲种的。他们两人都
   把这房子看作是他的坟墓。
   
   长岛并不是所有的东西都兴旺发达。
   有时夏天太热了;
   有时大雨把花打落。
   罂粟花就是这样死的,一天后,
   因为它们很脆弱。
   
   我母亲的紧张,扰乱了我妹妹:
   现在她永远不知道它们有多漂亮,
   纯粉色,没有黑点。那意味着
   她会再次感到被剥夺了。
   
   但对我妹妹来说,这是爱的条件。
   她是我父亲的女儿:
   爱的脸,对她,
   就是那张转过去的脸。
Lover of Flowers
   
   In our family, everyone loves flowers.
   That’s why the graves are so odd:
   no flowers, just padlocks of grass,
   and in the center, plaques of granite,
   the inscriptions terse, the shallow letters
   sometimes filling with dirt.
   To clean them out, you use your handkerchief.
   
   With my sister, it's different,
   it's an obsession. Weekends, she sits on my mother's porch,
   reading catalogues. Every autumn, she plants bulbs by the brick stoop;
   every spring, waits for flowers.
   No one discusses cost. It’s understood
   my mother pays; after all,
   it's her garden, every flower
   planted for my father. They both see
   the house as his true grave.
   
   Not everything thrives on Long Island.
   Sometimes the summer gets too hot;
   sometimes a heavy rain beats down the flowers.
   That's how the poppies died, after one day,
   because they're very fragile.
   
   My mother’s tense, upset about my sister:
   now she'll never know how beautiful they were,
   pure pink, with no dark spots. That means
   she's going to feel deprived again.
   
   But for my sister, that’s the condition of love.
   She was my father's daughter:
   the face of love, to her,
   is the face turning away.


 楼主| 发表于 2020-10-27 14:47:37 | 显示全部楼层


  寡妇
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我母亲和姨妈打牌,
   怨恨和恶意,家庭消遣,
   外祖母教她所有女儿。
   
   仲夏:太热了,不能出去。
   今天,我姨妈领先,她拿到了好牌。
   我妈妈拖拖拉拉,专心有问题。
   今年夏天她不能习惯自己的床。
   去年夏天她没问题,
   习惯了地板。她学会了睡在那里
   以便靠近我父亲。
   他快死了,他有一张特别的床。
   
   我姨妈寸步不让,不体谅
   我母亲的疲倦。
   她们是这样长大的:你们通过打架来表示尊重。
   停止侮辱对手。
   
   每个玩家在左边有一堆牌,手上有五张牌。
   像这样的日子呆在家里,
   呆在凉爽的地方真好。
   这比别的游戏好,比跳棋好。
   
   我外祖母未雨绸缪,为女儿们做好了准备。
   她们有牌;她们彼此拥有。
   她们不需要更多的友谊。
   
   整个下午比赛还在继续,但太阳不动。
   它不停地倾泻下来,把草变成黄色。
   对我妈妈来说似乎一定是这样。
   然后,突然,事情结束。
   
   我姨妈干这事更久,也许这就是她打得更好的原因。
   她的牌消失了:这就是你想要的,这就是目标:最终
   那一个没有赢任何东西。
Widows
   
   
   My mother's playing cards with my aunt,
   Spite and Malice, the family pastime, the game
   my grandmother taught all her daughters.
   
   Midsummer: too hot to go out.
   Today, my aunt’s ahead; she’s getting the good cards.
   My mother's dragging, having trouble with her concentration.
   She can't get used to her own bed this summer.
   She had no trouble last summer,
   getting used to the floor. She learned to sleep there
   to be near my father.
   He was dying; he got a special bed.
   
   My aunt doesn’t give an inch, doesn’t make
   allowance for my mother's weariness.
   It's how they were raised: you show respect by fighting.
   To let up insults the opponent.
   
   Each player has one pile to the left, five cards in the hand.
   It’s good to stay inside on days like this,
   to stay where it’s cool.
   And this is better than other games, better than solitaire.
   
   My grandmother thought ahead; she prepared her daughters.
   They have cards; they have each other.
   They don't need any more companionship.
   
   All afternoon the game goes on but the sun doesn't move.
   It just keeps beating down, turning the grass yellow.
   That's how it must seem to my mother.
   And then, suddenly, something is over.
   
   My aunt's been at it longer; maybe that's why she's playing better.
   Her cards evaporate: that's what you want, that's the object: in the end
   the one who has nothing wins.
告白
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   说我没有恐惧---
   那不是真的。
   我害怕生病,羞辱。
   像其他人一样,我有我的梦。
   但我学会了隐藏它们,
   保护自己
   不被满足:所有的幸福
   吸引命运女神的愤怒。
   她们是姐妹,野蛮人---
   最后,她们
   除了嫉妒没有感情。
Confession  
   
   To say I’m without fear---
   it wouldn't be true.
   I'm afraid of sickness, humiliation.
   Like anyone, I have my dreams.
   But I've learned to hide them,
   to protect myself
   from fulfillment: all happiness
   attracts the Fates’ anger.
   They are sisters, savages---
   in the end, they have
   no emotion but envy.
先例
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   就像她为其他孩子做准备一样,
   我母亲为死去的孩子做了计划。
   
   软衣机构。
   小夹克衫整齐地折叠。
   每一个几乎可以放在一只手掌里。
   
   同样,她想知道
   哪一天是它的生日。
   每个过去的,和她知道的一个日子一样平凡
   将成为快乐的象征。
   
   因为死亡没有触动我母亲的生命,
   她在想别的事情,
   做梦,你们的方式就像孩子到来一样。
A Precedent
   
   
   In the same way as she'd prepare for the others,
   my mother planned for the child that died.
   
   Bureaus of soft clothes.
   Little jackets neatly folded.
   Each one almost fit in the palm of a hand.
   
   In the same way, she wondered
   which day would be its birthday.
   And as each passed, she knew a day as common
   would become a symbol of joy.
   
   Because death hadn’t touched my mother’s life,
   she was thinking of something else,
   dreaming, the way you do when a child's coming.
失去的爱
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我妹妹在地球上度过了整个一生。
   她出生,她死。
   在这之间,
   没有一个警觉的眼神,没有一句话。
   
   她做了婴儿做的事,
   她哭着。但她不想被喂养。
   尽管如此,我母亲还是抱着她,试图先改变
   首先是命运,然后是历史。
   
   有些事情确实变了:当我妹妹去世
   我母亲的心变得
   非常冰冷,非常僵硬,
   就像一个小小的铁坠。
   
   在我看来,我妹妹的身体
   似乎是一块磁铁。我能感觉到它
   把我母亲的心拉进土里,
   所以它会生长。
Lost Love
   
   
   My sister spent a whole life in the earth.
   She was born, she died.
   In between,
   not one alert look, not one sentence.
   
   She did what babies do,
   she cried. But she didn't want to be fed.
   Still, my mother held her, trying to change
   first fate, then history.
   
   Something did change: when my sister died
   my mother’s heart became
   very cold, very rigid,
   like a tiny pendant of iron.
   
   Then it seemed to me my sister’s body
   was a magnet. I could feel it draw
   my mother's heart into the earth,
   so it would grow.
摇篮曲
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我母亲在一件事上是个专家:
   把她爱的人送到另一个世界。
   小家伙们,婴儿们——这些
   她摇摇晃晃的,低语或轻声
   歌唱。我不能说
   她为我父亲做了什么;
   不管是什么,我肯定它是对的。
   
   这是一回事,真的,为一个人的
   睡眠,死亡做准备。摇篮曲---它们都说
   “不要害怕”,这就是它们
   对母亲心跳的诠释。
   因此,活着的人慢慢变得平静;只有
   垂死的人不能,又拒绝。
   
   垂死的人就像盖子,像陀螺仪---
   它们旋转得如此之快,似乎静止不动。
   然后它们飞离:在我母亲的怀里,
   我妹妹是一团原子,粒子云团---这是不同的。
   当一个孩子睡着,它还是完整的。
   
   我母亲看到了死亡;她不谈论灵魂的完整性。
   她抱着一个婴儿,一个老人,相比之下,黑暗
   在他们周围变得坚实,最后变成了大地。
   
   灵魂就像所有的物质:
   当它可以自由的时候,为什么它会保持原样,
   忠实于它的一种形式?
Lullaby

   
   My mother’s an expert in one thing:
   sending people she loves into the other world.
   The little ones, the babies---these
   she rocks, whispering or singing quietly. I can’t say
   what she did for my father;
   whatever it was, I'm sure it was right.
   
   It's the same thing, really, preparing a person
   for sleep, for death. The lullabies---they all say
   don't be afraid, that's how they paraphrase
   the heartbeat of the mother.
   So the living slowly grow calm; it's only
   the dying who can't, who refuse.
   
   The dying are like tops, like gyroscopes---
   they spin so rapidly they seem to be still.
   Then they fly apart: in my mother's arms,
   my sister was a cloud of atoms, of particles---that’s the difference.
   When a child's asleep, it’s still whole.
   
   My mother’s seen death; she doesn’t talk about the soul’s integrity.
   She's held an infant, an old man, as by comparison the dark grew
   solid around them, finally changing to earth.
   
   The soul’s like all matter:
   why would it stay intact, stay faithful to its one form,
   when it could be free?
登阿勒山
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   没有什么比我妹妹的坟墓更悲伤
   除非是我表妹的坟墓,就在她旁边。
   直到今天,我还是不能带自己去看
   我姨妈和我母亲,
   虽然我越是想逃避
   看到他们的痛苦,它似乎就越是
   我们家的命运:
   每个分支向地球捐献一个女孩。
   
   在我们这一代,我们推迟结婚,推迟生孩子。
   当我们有了他们,我们每个人都有一个;
   大部分时候,我们有儿子,没有女儿。
   
   我们从不讨论这个。
   但埋葬一个成年人,
   一个遥远的人,像我父亲,总是一种解脱。
   这是一个信号,也许债务终于还清了。
   
   事实上,没有人相信这一点。
   就像地球本身一样,这里的每一块石头
   都献给犹太人的神
   他毫不犹豫地
   从母亲那里取走一个儿子。
Mount Ararat
   
   
   Nothing’s sadder than my sister’s grave
   unless it's the grave of my cousin, next to her.
   To this day, I can't bring myself to watch
   my aunt and my mother,
   though the more I try to escape
   seeing their suffering, the more it seems
   the fate of our family:
   each branch donates one girl child to the earth.
   
   In my generation, we put off marrying, put off having children.
   When we did have them, we each had one;
   for the most part, we had sons, not daughters.
   
   We don't discuss this ever.
   But it's always a relief to bury an adult,
   someone remote, like my father.
   It's a sign that maybe the debt's finally been paid.
   
   In fact, no one believes this.
   Like the earth itself, every stone here
   is dedicated to the Jewish god
   who doesn’t hesitate to take
   a son from a mother.


 楼主| 发表于 2020-10-28 16:23:46 | 显示全部楼层
  
外观
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   
   当我们还是孩子的时候,父母给我们画肖像,
   然后并排挂在壁炉架上,
   在那里我们不能打架。
   
   我是深色的那个,年长的那个。我妹妹的金发,
   看起来生气的那个,因为她不能说话。
   
   它从来没有打扰过我,不说话。
   这并没有太大改变。我妹妹还是金发,跟照片上
   没什么不同。除了我们现在是成年人,我们已经被分析过:
   我们理解我们的表情。
   
   我母亲试图平等地爱我们,
   给我们穿同样的衣服;她希望我们
   被看作姐妹。
   这就是她从肖像画里想要的:
   你需要看到它们挂在一起,面对着对方---
   分开,它们不会做出同样的陈述。
   你不知道眼睛盯着什么;
   他们好像在盯着太空。
   
   这是我们去巴黎的夏天,我七岁那年夏天。
   每天早上,我们去修道院。
   每天下午,我们静静地坐着,画肖像,
   穿着绿色棉质连衣裙,方领上的褶边是标记。
   达万佐先生又加上了肉色的色调:我妹妹红润的;我的,略带蓝色。
   为了逗我们开心,达万佐夫人把樱桃挂在我们的耳朵上。
   
   这是我擅长的:坐着不动,不动。
   我这样做很好,为了取悦我的母亲,为了分散她对死去孩子的注意力。
   我想成为足够的孩子。我还是一样,
   就像一个玩具,可以停或走,但不改变方向。
   
   任何人都可以爱一个死去的孩子,爱一个缺席。
   我妈妈很坚强,她不做容易的事。
   她就像她母亲:她相信家庭,秩序。
   她不换房子,只是偶尔使油漆清新。
   有时有些东西破了,被扔掉了,但这就是一切。
   她喜欢坐在那里,在蓝色的沙发上,抬头看着她的女儿们,
   看着那两个活着的人。她不记得实际上如何,
   任何时候她是如何照顾一个孩子,爱着那个孩子,
   她伤害了另一个。你可以说
   她就像一个有梦想,有远见的艺术家。
   如果没有这个,她早就被撕碎了。
   
   我们就像肖像画,总是在一起:你必须把
   一个孩子关在门外,才能看到另一个。
   
   这就是为什么只有画家注意到:一张已经如此克制、如此孤僻、
   太顺从的脸,清澈的眼睛在说
   “如果你想让我当修女,我就当修女。”
  
  
  
Appearances
   
   When we were children, my parents had our portraits painted,
   then hung them side by side, over the mantel,
   where we couldn't fight.
   I’m the dark one, the older one. My sister’s blond,
   the one who looks angry because she can't talk.
   
   It never bothered me, not talking.
   That hasn't changed much. My sister's still blond, not different
   from the portrait. Except we're adults now, we've been analyzed:
   we understand our expressions.
   
   My mother tried to love us equally,
   dressed us in the same dresses; she wanted us
   perceived as sisters.
   That's what she wanted from the portraits:
   you need to see them hanging together, facing one another---
   separated, they don't make the same statement.
   You wouldn't know what the eyes were fixed on;
   they’d seem to be staring into space.
   
   This was the summer we went to Paris, the summer I was seven.
   Every morning, we went to the convent.
   Every afternoon, we sat still, having the portraits painted,
   wearing green cotton dresses, the square neck marked with a ruffle.
   Monsieur Davanzo added the flesh tones: my sister’s ruddy; mine, faintly bluish.
   To amuse us, Madame Davanzo hung cherries over our ears.
   
   It was something I was good at: sitting still, not moving.
   I did it to be good, to please my mother, to distract her from the child that died.
   I wanted to be child enough. I'm still the same,
   like a toy that can stop and go, but not change direction.
   
   Anyone can love a dead child, love an absence.
   My mother’s strong; she doesn’t do what’s easy.
   She's like her mother: she believes in family, in order.
   She doesn't change her house, just freshens the paint occasionally.
   Sometimes something breaks, gets thrown away, but that’s all.
   She likes to sit there, on the blue couch, looking up at her daughters,
   at the two who lived. She can’t remember how it really was,
   how anytime she ministered to one child, loved that child,
   she damaged the other. You could say
   she's like an artist with a dream, a vision.
   Without that, she'd have been torn apart.
   
   We were like the portraits, always together: you had to shut out
   one child to see the other.
   That's why only the painter noticed: a face already so controlled, so withdrawn,
   and too obedient, the clear eyes saying
   If you want me to be a nun, I’11 be a nun.
  
  
  
  
不可信的演讲者
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   别听我的,我的心都碎了。
   我看不到任何客观的东西。
   
   我了解自己;我学会了像精神病医生一样倾听。
   当我充满激情地讲话,
   那是我最不值得信任的时候。
   
   真的很悲哀,真的:在我的一生中,我一直被称赞
   我的智慧,我的语言能力,洞察力。
   最后,他们都白费了---
   
   我从来没见过自己,
   站在前面的台阶上,牵着我妹妹的手。
   这就是为什么我不能解释
   她手臂上的瘀伤,在袖子的末端。
   
   在我自己内心,我是隐形的:这就是为什么我很危险。
   像我这样,看起来无私的人,
   我们是瘸子,骗子;
   我们是为了真理
   而被排除在外的人。
   
   当我安静下来,那就是真理浮现的时候。
   晴朗的天空,白云像白色的纤维。
   下面,一座灰色的小房子,杜鹃花
   红的和亮粉色的。
   
   如果你想知道真相,你就得靠近
   大女儿,把她挡在外面:
   当一个生物受到那样的伤害,
   在它最深层的运作中,
   所有的功能都会改变。
   
   这就是为什么我不值得信任。
   因为心的创伤
   也是思想的创伤。
  
  
  
The Untrustworthy Speaker
   
   
   
   Don’t listen to me; my heart’s been broken.
   I don't see anything objectively.
   
   I know myself; I’ve learned to hear like a psychiatrist.
   When I speak passionately,
   that’s when I’m least to be trusted.
   
   It's very sad, really: all my life, I've been praised
   for my intelligence, my powers of language, of insight.
   In the end, they're wasted---
   
   I never see myself,
   standing on the front steps, holding my sister’s hand.
   That’s why I can’t account
   for the bruises on her arm, where the sleeve ends.
   
   In my own mind, I’m invisible: that’s why I’m dangerous.
   People like me, who seem selfless,
   we're the cripples, the liars;
   we're the ones who should be factored out
   in the interest of truth.
   
   When I'm quiet, that's when the truth emerges.
   A clear sky, the clouds like white fibers.
   Underneath, a little gray house, the azaleas
   red and bright pink.
   
   If you want the truth, you have to close yourself
   to the older daughter, block her out:
   when a living thing is hurt like that,
   in its deepest workings,
   all function is altered.
   
   That's why I'm not to be trusted.
   Because a wound to the heart
   is also a wound to the mind.
  
  
  
  
寓言
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   两个有着
   同样要求的女人
   来到了这位
   聪明国王的脚下。两个女人,
   但只有一个孩子。
   国王知道
   有人在撒谎。
   他说的是
   把孩子
   切成两半,这样就
   不会有人
   空手而归。他
   拔出他的剑。
   然后,在这
   两个女人中,有一个
   宣布放弃她的份额:
   这是
   一个标志,一个教训。
   假如
   你们看见你们的母亲
   在两个女儿之间为难,
   你们能做的
   救她的事只是
   愿意毁灭
   你们自己---她会知道
   谁是合法的孩子,
   哪一个不忍心
   分割母亲。
  
  
A Fable
   
   
   Two women with
   the same claim
   came to the feet of
   the wise king. Two women,
   but only one baby.
   The king knew
   someone was lying.
   What he said was
   Let the child be
   cut in half; that way
   no one will go
   empty-handed. He
   drew his sword.
   Then, of the two
   women, one
   renounced her share:
   this was
   the sign, the lesson.
   Suppose
   you saw your mother
   torn between two daughters:
   what could you do
   to save her but be
   willing to destroy
   yourself---she would know
   who was the rightful child,
   the one who couldn't bear
   to divide the mother.
   
  
  
  
  
新世界
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   就像我看到的那样,
   我母亲的一生,我父亲
   把她压在下面,就像
   把铅绑在脚踝上一样。
   
   她
   生性活泼,
   她想去旅行,
   去剧院,去博物馆。
   他想要的
   是躺在沙发上
   泰晤士报
   蒙着脸,
   于是死亡,它来临时,
   似乎不会发生重大变化。
   
   在这样的夫妻中,
   协议
   是一起做事情,
   总是主动的一方
   让步,付出。
   你不能和一个
   睁不开眼睛的人
   去博物馆。
   
   我以为我父亲的死
   会让我母亲自由。
   在某种意义上,它有:
   她旅行,欣赏
   伟大的艺术。但她在漂浮。
   就像某个孩子的气球
   一旦拿不住
   就走失了。
   或者像一个宇航员
   不知何故失去了飞船
   不得不在太空中漂流
   知道,不管持续多久,
   这就是活着所剩下的:从这个意义上说,
   她是自由的。
   与地球无关。
  
  
  
New World
   
   
   As I saw it,
   all my mother's life, my father
   held her down, like
   lead strapped to her ankles.
   
   She was
   buoyant by nature;
   she wanted to travel,
   go to theater, go to museums.
   What he wanted
   was to lie on the couch
   with the Times
   over his face,
   so that death, when it came,
   wouldn't seem a significant change.
   
   In couples like this,
   where the agreement
   is to do things together,
   it’s always the active one
   who concedes, who gives.
   You can’t go to museums
   with someone who won’t
   open his eyes.
   
   I thought my father’s death
   would free my mother.
   In a sense, it has:
   she takes trips, looks at
   great art. But she's floating.
   Like some child's balloon
   that gets lost the minute
   it isn't held.
   Or like an astronaut
   who somehow loses the ship
   and has to drift in space
   knowing, however long it lasts,
   this is what's left of being alive: she's free
   in that sense.
   Without relation to earth.
  
  
  
  
生日
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   每年,在我母亲生日那天,她都会收到
   一位老崇拜者送的十二朵玫瑰。即使在他死后,玫瑰还是不断地送来:
   有些人离开绘画和家具的方式,
   这个男人留下了鲜花的公告,
   他说我母亲美丽的传说
   已经消失在地下的方式。
   
   起初,这似乎很离奇。
   后来我们就习惯了:每年十二月,房子里突然
   充满了鲜花。它们甚至制定了
   礼貌、慷慨的标准---
   
   十年后,玫瑰停止了。
   但我一直以为
   死人可以照顾活人;
   我没有意识到
   这是异常;大部分
   死者都像我父亲。
   
   我妈妈没注意,她不需要
   我父亲的展示。
   她的生日来来去去;她
   坐在坟墓旁度过。
   
   她向他表明她明白,
   她接受他的沉默。
   他讨厌欺骗:她不想让他
   在他感觉不到的时候流露爱意。
  
  
  
Birthday
   
   
   Every year, on her birthday, my mother got twelve roses
   from an old admirer. Even after he died, the roses kept coming:
   the way some people leave paintings and furniture,
   this man left bulletins of flowers,
   his way of saying that the legend of my mother’s beauty
   had simply gone underground.
   
   At first, it seemed bizarre.
   Then we got used to it: every December, the house suddenly
   filling with flowers. They even came to set
   a standard of courtesy, of generosity---
   
   After ten years, the roses stopped.
   But all that time I thought
   the dead could minister to the living;
   I didn’t realize
   this was the anomaly; that for the most part
   the dead were like my father.
   
   My mother doesn’t mind, she doesn’t need
   displays from my father.
   Her birthday comes and goes; she spends it
   sitting by a grave.
   
   She's showing him she understands,
   that she accepts his silence.
   He hates deception: she doesn't want him making
   signs of affection when he can't feel.
  
  
  
  
棕色圆圈
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我妈妈想知道
   为什么,如果我
   这么讨厌家庭,
   我继续
   也有了一个。我没有
   回答我妈妈。
   我讨厌的
   是当个孩子,
   不能选择
   我爱的人。
   
   我不爱我儿子
   其方式意味着我爱他。
   我以为我会是
   兰花的情人,它发现
   红三叶草生长
   在松荫下,不
   碰它,不需要
   拥有它。我是
   科学家,拿着放大镜
   来到那朵花前
   没有离开,虽然
   太阳在花周围
   烧成一个棕色的草的
   圆圈。这
   或多或少就是
   我妈妈爱我的方式。
   
   我必须学会
   原谅我的母亲,
   既然我无能
   宽恕我儿子。
  
  
  
Brown Circle
   
   
   My mother wants to know
   why, if I hate
   family so much,
   I went ahead and
   had one. I don't
   answer my mother.
   What I hated
   was being a child,
   having no choice about
   what people I loved.
   
   I don’t love my son
   the way I meant to love him.
   I thought I’d be
   the lover of orchids who finds
   red trillium growing
   in the pine shade, and doesn’t
   touch it, doesn't need
   to possess it. What I am
   is the scientist,
   who comes to that flower
   with a magnifying glass
   and doesn’t leave, though
   the sun burns a brown
   circle of grass around
   the flower. Which is
   more or less the way
   my mother loved me.
   
   I must learn
   to forgive my mother,
   now that I'm helpless
   to spare my son.
  
  
  
  
放学回家的孩子们
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   1.
   
   如果你住在城市,那就不同了:必须有人
   在公共汽车站接孩子。这是有原因的。一个孩子独自一人
   会消失,迷路,也许永远。
   
   我妹妹的女儿想一个人走回家,她认为她已经够大了。
   我妹妹认为现在做这么大的改变为时过早;
   她女儿得到的
   最好的选择就是不牵着手走路。
   
   这就是她们所做的;她们妥协,任何人
   都可以在几个街区内做到这一点。我外甥女的一只手
   完全自由;我妹妹说
   如果她大到可以走这条路的话,她就大到足够
   自己拿小提琴了。
   
   2
   
   我儿子指责我
   他不快乐,不是
   用语言,而是挡在
   他盯着的地面上,一寸寸
   慢慢地沿着车道上去:他知道
   我在看。这就是为什么
   他向猫打招呼,
   以表示他有能力
   敞开心扉。
   我父亲
   用同样的方法使用狗。
   我和儿子,我们是
   沉默的活专家。
   雪扫着天空;
   它改变了方向,先是
   平稳下降,然后侧向。
   
   3.
   
   在我妹妹的成长过程中,你学到了一件事:
   你知道规则没有任何意义。
   迟早,无论你在等着听什么,都会有人说出来。
   它是什么并不重要:“我爱你”或“我再也不和你说话”。
   一切都说了,经常在同一个晚上。
   
   然后你溜进去,你占了便宜。有很多方法
   可以让一个人遵守所说的话;例如,用“承诺”这个词。
   但是你必须有耐心,你必须能够等待,倾听。
   
   我外甥女知道,只要有智慧,她会及时得到她想要的一切。
   生活还不错。当然,她有那些天赋、
   时间和智慧。
  
  
  
Children Coming Home from School
   
   
   1.
   
   If you live in a city, it’s different: someone has to meet
   the child at the bus stop. There’s a reason. A child all alone
   can disappear, get lost, maybe forever.
   
   My sister's daughter wants to walk home alone; she thinks she's old enough.
   My sister thinks it’s too soon for such a big change;
   the best her daughter gets
   is the option to walk without holding hands.
   
   That's what they do; they compromise, which anyone
   can manage for a few blocks. My niece gets one hand
   totally free; my sister says
   if she's old enough to walk this way, she's old enough
   to hold her own violin.
   
   2.
   
   My son accuses me
   of his unhappiness, not
   in words, but in the way
   he stares at the ground, inching
   slowly up the driveway: he knows
   I’m watching. That’s why
   he greets the cat,
   to show he’s capable
   of open affection.
   My father used
   the dog in the same way.
   My son and I, we're the living
   experts in silence.
   Snows sweeping the sky;
   it shifts directions, going
   first steadily down, then sideways.
   
   3.
   
   One thing you learn, growing up with my sister:
   you learn that rules don't mean anything.
   Sooner or later, whatever you're waiting to hear will get itself said.
   It doesn’t matter what it is: I love you or I’ll never speak to you again .
   It all gets said, often in the same night.
   
   Then you slip in, you take advantage. There are ways
   to hold a person to what’s been said; for example, by using the word promise.
   But you have to have patience; you have to be able to wait, to listen.
   
   My niece knows that in time, with intelligence, she'll get everything she wants.
   It's not a bad life. Of course, she has those gifts,
   time and intelligence.
  
  
  
  
动物
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我和妹妹得出了
   同样的结论:
   爱我们
   最好的方式就是不要
   花时间和我们在一起。
   似乎
   我们主要是
   吸引陌生人。
   我们在公共场合
   穿着得体,举止得体。
   
   私下里,我们
   总是吵架。通常
   大个子
   坐在小个子身上
   掐她。
   小个子
   咬:四十年来
   她从来没有学会
   不留痕迹的
   好处。
   
   父母
   有一个信条:他们
   不相信愤怒。
   事实是,由于不同的原因,
   他们不能带给自己
   造成痛苦。你只应该伤害
   一些你能
   全身心投入的东西。他们更喜欢
   法庭:犯错
   最多的孩子可以选择
   她自己的惩罚。
   
   我妹妹和我
   从来没有成为盟友,
   从来没有背叛过我们的父母。
   我们还有
   其他的困扰:例如,
   我们都觉得我们
   太多了
   以至于无法生存。
   
   我们就像动物
   试图分享一个干燥的牧场。
   在我们之间,一棵树,几乎不能
   足够强壮支撑
   一个人的生命。
   
   我们从未
   从彼此的眼睛移开
   也没有碰过
   能喂养
   她姊妹的东西。
  
  
  
Animals
   
   
   My sister and I reached
   the same conclusion:
   the best way
   to love us was to not
   spend time with us.
   It seemed that
   we appealed
   chiefly to strangers.
   We had good clothes, good
   manners in public.
   
   In private, we were
   always fighting. Usually
   the big one finished
   sitting on the little one
   and pinching her.
   The little one
   bit: in forty years
   she never learned
   the advantage in not
   leaving a mark.
   
   The parents
   had a credo: they didn’t
   believe in anger.
   The truth was, for different reasons,
   they couldn’t bring themselves
   to inflict pain. You should only hurt
   something you can give
   your whole heart to. They preferred
   tribunals: the child
   most in the wrong could choose
   her own punishment.
   
   My sister and I
   never became allies,
   never turned on our parents.
   We had
   other obsessions: for example,
   we both felt there were
   too many of us
   to survive.
   
   We were like animals
   trying to share a dry pasture.
   Between us, one tree, barely
   strong enough to sustain
   a single life.
   
   We never moved
   our eyes from each other
   nor did either touch
   one thing that could
   feed her sister.
  
  

 楼主| 发表于 2020-10-29 15:13:48 | 显示全部楼层
本帖最后由 剑郭琴符 于 2020-10-29 15:17 编辑



  
圣徒

   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   在我们家,有两位圣徒,
   我的姨妈和我的外祖母。
   但她们的生活不同。

   我外祖母的生活很安静,即使是在最后。
   她就像一个在平静的水里行走的人,
   因为某些原因
   大海不会亲自伤害她。
   当我姨妈走上同样的路时,
   海浪冲向她,它们袭击她,
   这就是命运女神如何回应
   一种真正的精神本性。

   我的外祖母谨慎,保守:
   这就是她逃避痛苦的原因。
   我姨妈什么也没逃过;
   每当大海退去,她爱的人就会被带走。

   不过,她不会
   把大海当成邪恶来经历。对她来说,它就是它所是:
   在它接触陆地的地方,它必须转向暴力。
  
  

  
Saints


   In our family, there were two saints,
   my aunt and my grandmother.
   But their lives were different.

   My grandmother's was tranquil, even at the end.
   She was like a person walking in calm water;
   for some reason
   the sea couldn't bring itself to hurt her.
   When my aunt took the same path,
   the waves broke over her, they attacked her,
   which is how the Fates respond
   to a true spiritual nature.

   My grandmother was cautious, conservative:
   that's why she escaped suffering.
   My aunt’s escaped nothing;
   each time the sea retreats, someone she loves is taken away.

   Still, she won't experience
   the sea as evil. To her, it is what it is:
   where it touches land, it must turn to violence.
  
  



  
黄色大丽花

   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   我妹妹像太阳,像黄色的大丽花。
   金发的短剑环绕着脸。
   灰色的眼睛,充满精神。

   我把一朵花当敌人:
   现在,我感到羞耻。

   我们本应是对立面:
   一个公平的,像日光。
   一个不同的,否定的。

   如果有两个东西
   那么其中一个一定更好
   不是吗?我知道现在
   我们都认为,是否孩子们所做的
   真的可以称为思考。

   我看着我妹妹的女儿
   一个如此像她的孩子,
   我感到羞愧:没有什么能证明
   摧毁一个更小的、依赖性的生命的冲动
   是正当的。

   我想我一直都知道。
   这就是为什么我不得不
   反而去伤害自己:
   我相信正义。

   我们就像白天黑夜,
   一个创造的行为。
   我分不开
   两半,
   一个孩子从另一个。
  
  

  
Yellow Dahlia


   My sister's like a sun, like a yellow dahlia.
   Daggers of gold hair around the face.
   Gray eyes, full of spirit.

   I made an enemy of a flower:
   now, I’m ashamed.

   We were supposed to be opposites:
   one fair, like daylight.
   One different, negative.

   If there are two things
   then one must be better,
   isn’t that true? I know now
   we both thought that, if what children do
   can really be called thinking.

   I look at my sister's daughter,
   a child so like her,
   and I’m ashamed: nothing justifies
   the impulse to destroy
   a smaller, a dependent life.

   I guess I knew that always.
   That's why I had to hurt
   myself instead:
   I believed in justice.

   We were like day and night,
   one act of creation.
   I couldn’t separate
   the two halves,
   one child from the other.
  
  



  
表亲

   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   我儿子很优雅,他有完美的平衡。
   他不像我妹妹的女儿那样好斗。

   日日夜夜,她总是在练习。
   今天,把垒球打到铜山毛榉上,
   取回它们,再打一次。
   过了一段时间,甚至没人看她。
   如果她再强壮一点,那棵树就会秃顶。

   我儿子不会和她玩,他甚至不会和她一起骑自行车。
   她接受这一点;她习惯于一个人玩。
   在她看来,这不是个人的:
   不玩的任何人都不喜欢输。

   不是我儿子无能,不是他做不好。
   我看过他比赛:他很自然,不费吹灰之力---
   从一开始,他就领先。
   然后他停了下来。似乎他生来就拒绝
   胜利者的孤独。

   我姐姐的女儿没有这个问题。
   她最好是第一个,她已经孤独。
  
  

  
Cousins


   My son's very graceful; he has perfect balance.
   He’s not competitive,like my sister’s daughter.

   Day and night, she's always practicing.
   Today, it's hitting softballs into the copper beech,
   retrieving them, hitting them again.
   After a while, no one even watches her.
   If she were any stronger, the tree would be bald.

   My son won't play with her; he won't even ride bicycles with her.
   She accepts that; she’s used to playing by herself.
   The way she sees it, it isn't personal:
   whoever won't play doesn't like losing.

   It's not that my son's inept, that he doesn't do things well.
   I've watched him race: he's natural, effortless---
   right from the first, he takes the lead.
   And then he stops. It’s as though he was born rejecting
   the solitude of the victor.

   My sister's daughter doesn't have that problem.
   She may as well be first; she’s already alone.
  
  



  
天堂

   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   我在一个村子里长大,现在
   它几乎是一座城市。
   人们从城里来,想要
   简单的东西,给孩子们
   更好的东西。
   干净的空气;附近
   一个小马厩。
   所有的街道
   都以情人或女孩的名字命名。

   我们的房子是灰色的,是那种
   你们买来养家的地方。
   我妈妈一个人还在那儿。
   当她独自一人,她看电视。

   房子挤得越来越近,
   老树死了或者被弄走。

   在某些方面,我父亲
   也很近,我们称
   石头为他的名字。
   现在,他头顶上,草在闪烁,
   在春天,当雪融化。
   然后丁香花开了,拥挤,像一串串的葡萄。

   他们总是说
   我像我父亲,他表现出
   对情感的蔑视。
   她们是情绪的人,
   我妹妹和我妈妈。

   我妹妹越来越多地
   从城里来,
   除草,整理花园。我妈妈
   让她来接手:她是那个
   关心的人,是那个做工的人。
   对她来说,它看起来像国家---
   修剪过的草坪,色彩斑斓的花带。
   她不知道以前是什么。

   但我知道。和亚当一样,
   我是头生子。
   相信我,你永远不会痊愈,
   你永远也不会忘记你身边的痛苦,
   某些东西被拿走
   制造了另一个人的地方。
  
  

  
Paradise   

   I grew up in a village: now
   it's almost a city.
   People came from the city, wanting
   something simple, something
   better for the children.
   Clean air; nearby
   a little stable.
   All the streets
   named after sweethearts or girl children.

   Our house was gray, the sort of place
   you buy to raise a family.
   My mother's still there, all alone.
   When she's lonely, she watches television.

   The houses get closer together,
   the old trees die or get taken down.

   In some ways, my father's
   close, too; we call
   a stone by his name.
   Now, above his head, the grass blinks,
   in spring, when the snow has melted.
   Then the lilac blooms, heavy, like clusters of grapes.

   They always said
   I was like my father, the way he showed
   contempt for emotion.
   They’re the emotional ones,
   my sister and my mother.

   More and more
   my sister comes from the city,
   weeds, tidies the garden. My mother
   lets her take over: she’s the one
   who cares, the one who does the work.
   To her, it looks like country---
   the clipped lawns, strips of colored flowers.
   She doesn't know what it once was.

   But I know. Like Adam,
   I was the firstborn.
   Believe me, you never heal,
   you never forget the ache in your side,
   the place where something was taken away
   to make another person.
  
  



  
孩子大哭

   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   你现在睡着了,
   眼皮在颤抖。
   我的儿子
   还能指望什么
   安静地休息,哪怕
   活一刻
   也不提防?

   晚上很冷,
   你把被子推开了。
   至于你的思想,你的梦想---

   我永远不明白
   母亲对孩子
   灵魂的要求。

   这么多次
   我在爱情上
   犯了这样的错误,把
   一些狂野的声音当作
   灵魂暴露自己---

   但不是和你在一起,
   即使我一直抱着你。
   你出生了,你离得很远。

   不管这些哭声意味着什么,
   它们都来来去去
   无论我是否抱着你,
   无论我是否在场。

   灵魂是沉默的。
   如果它真的
   在梦中说话。
  
  

  
Child Crying Out


   You're asleep now,
   your eyelids quiver.
   What son of mine
   could be expected
   to rest quietly, to live
   even one moment
   free of wariness?

   The night’s cold;
   you've pushed the covers away.
   As for your thoughts, your dreams---

   I’ll never understand
   the claim of a mother
   on a child's soul.

   So many times
   I made that mistake
   in love, taking
   some wild sound to be
   the soul exposing itself---

   But not with you,
   even when I held you constantly.
   You were born, you were far away.

   Whatever those cries meant,
   they came and went
   whether I held you or not,
   whether I was there or not.

   The soul is silent.
   If it speaks at all
   it speaks in dreams.
  
  



  

   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   十二月下旬:我和我父亲
   要去纽约,看马戏。
   在凛冽的寒风中,
   他把我抱在肩上:
   零碎的白纸
   在铁轨上刮过。

   我父亲喜欢
   这样站着,抱着我
   这样就看不见我。
   我记得
   一直向前凝视着
   我父亲看到的世界;
   我在学习
   吸收它的空虚,
   大雪
   没有落下,在我们身边旋转。
  
  

  
Snow


   Late December: my father and I
   are going to New York, to the circus.
   He holds me
   on his shoulders in the bitter wind:
   scraps of white paper
   blow over the railroad ties.

   My father liked
   to stand like this, to hold me
   so he couldn't see me.
   I remember
   staring straight ahead
   into the world my father saw;
   I was learning
   to absorb its emptiness,
   the heavy snow
   not falling, whirling around us.
  
  



  
终极肖像

   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   当我最后一次见到我父亲时,我们都做了同样的事情。
   他站在起居室门口,
   等着我挂断电话。
   他也没有指着手表
   这是他想说话的信号。

   为我们说话意味着同样的事。
   他会说几个词。我跟着说几句。
   就是这样。

   那是八月底,很热,非常潮湿。
   隔壁,工人们把新沙石扔在车道上。

   我和父亲避免了孤独;
   我们不知道如何联系,如何聊天---
   似乎没有
   其他的可能性。
   所以这很特别:当一个人死的时候,
   他有一个主题。

   一定是一大早。街上到处都是
   洒水器开始到达。园丁的卡车
   出现在街区的尽头,
   然后停了下来,停了下来。

   我父亲想告诉我临终的感觉。
   他告诉我他没有受苦。
   他说他一直期待着痛苦,等待着,但一直没有到来。
   他感受到的一切是一种软弱。
   我说我为他高兴,我认为他很幸运。

   一些丈夫坐上车,去上班。
   不是我们认识的人。新家庭,
   有小孩的家庭。
   妻子们站在台阶上,打手势或打电话。

   我们用平常的方式道别,
   没有拥抱,没有戏剧性。

   当出租车来的时候,我的父母从前门看,
   手挽手,我妈妈像往常一样飞吻,
   因为她没用手的时候,这会让她很害怕
   但为了改变,我父亲并不是仅仅站在那里。
   这次,他挥了挥手。

   我就是这么做的,在出租车门口。
   像他一样,挥手掩饰我手的颤抖。
  
  

  
Terminal Resemblance


   When I saw my father for the last time, we both did the same thing.
   He was standing in the doorway to the living room,
   waiting for me to get off the telephone.
   That he wasn't also pointing to his watch
   was a signal he wanted to talk.

   Talk for us always meant the same thing.
   He’d say a few words. I’d say a few back.
   That was about it.

   It was the end of August, very hot, very humid.
   Next door, workmen dumped new gravel on the driveway.

   My father and I avoided being alone;
   we didn't know how to connect, to make small talk---
   there didn’t seem to be
   any other possibilities.
   So this was special: when a man's dying,
   he has a subject.

   It must have been early morning. Up and down the street
   sprinklers started coming on. The gardener's truck
   appeared at the end of the block,
   then stopped, parking.

   My father wanted to tell me what it was like to be dying.
   He told me he wasn't suffering.
   He said he kept expecting pain, waiting for it, but it never came.
   All he felt was a kind of weakness.
   I said I was glad for him, that I thought he was lucky.

   Some of the husbands were getting in their cars, going to work.
   Not people we knew anymore. New families,
   families with young children.
   The wives stood on the steps, gesturing or calling.

   We said goodbye in the usual way,
   no embrace, nothing dramatic.
   When the taxi came, my parents watched from the front door,
   arm in arm, my mother blowing kisses as she always does,
   because it frightens her when a hand isn’t being used
   But for a change, my father didn’t just stand there.
   This time, he waved.

   That's what I did, at the door to the taxi.
   Like him, waved to disguise my hand's trembling.
  
  


 楼主| 发表于 2020-10-29 15:15:31 | 显示全部楼层


  
挽歌
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   突然间,在你死后,那些
   对任何事情都不同意的朋友
   都同意你的性格。
   他们就像一屋子的歌手在排练
   同样的乐谱:
   你公正,你善良,你过着幸福的生活。
   没有和谐。没有对位。除了
   他们不是表演者;
   真正的眼泪流出。
   
   幸运的是,你死了,否则
   你会被厌恶所征服。
   但当这一切都过去,
   当客人们开始整理文件,擦着眼睛
   因为,在这样一天之后,
   笼罩在正统中,
   太阳惊人地明亮,
   尽管它是下午晚些时候,九月---
   当开始大批离去,
   就是你会感到
   嫉妒的痛苦的时候。
   
   你的朋友们活着的人互相拥抱,
   在人行道上闲聊
   太阳下山时,晚风吹拂
   弄皱女人们的披肩---
   这,这,就是“幸运人生”的
   意义:它意味着
   存在于当下。
Lament
   
   
   Suddenly, after you die, those friends
   who never agreed about anything
   agree about your character.
   They're like a houseful of singers rehearsing
   the same score:
   you were just, you were kind, you lived a fortunate life.
   No harmony. No counterpoint. Except
   they’re not performers;
   real tears are shed.
   
   Luckily, you're dead; otherwise
   you'd be overcome with revulsion.
   But when that's passed,
   when the guests begin filing out, wiping their eyes
   because, after a day like this,
   shut in with orthodoxy,
   the sun's amazingly bright,
   though it's late afternoon, September---
   when the exodus begins,
   that’s when you’d feel
   pangs of envy.
   
   Your friends the living embrace one another,
   gossip a little on the sidewalk
   as the sun sinks, and the evening breeze
   ruffles the women's shawls---
   this, this, is the meaning of
   “a fortunate life”: it means
   to exist in the present.
  
镜像

   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   今晚,我在黑暗的窗户里看到自己
   是我父亲的映象,他的一生
   就是这样度过的,
   想着死亡,排除了
   其他的感官问题,
   所以在最终生命
   很容易放弃,因为
   它什么也不包含:即使
   我母亲的声音也不能使他
   改变或转身
   因为他相信
   一旦你不能爱另一个人
   你就没有在世界上的位置。
Mirror Image
   
   
   Tonight I saw myself in the dark window as
   the image of my father, whose life
   was spent like this,
   thinking of death, to the exclusion
   of other sensual matters,
   so in the end that life
   was easy to give up, since
   it contained nothing: even
   my mother’s voice couldn’t make him
   change or turn back
   as he believed
   that once you can’t love another human being
   you have no place in the world.
  
放学回家的孩子们
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我上学那年,我妹妹不能走很远的路。
   每天,我妈妈都把她绑在婴儿车里;然后,
   她们就走到街角。
   这样,放学后,我就可以看到她们;我可以看到我母亲,
   先是一个模糊的,然后是一个有手臂的形状。
   我走得很慢,好像什么都不需要。
   这就是我妹妹嫉妒我的原因---她不知道
   你可以用你的脸,你的身体撒谎。
   
   她没看到我们俩都站在错误的立场上。
   她想要自由。然而,我继续,以可怜的方式,
   觊觎婴儿车。意味着
   我的一生。
   
   从这个意义上说,它在我身上消失:所有的等待,所有我母亲
   努力控制我妹妹的努力,所有的呼唤,挥手,
   因为,从这个意义上说,我不再有家了。
Children Coming Home from School
   
   The year I started school, my sister couldn't walk long distances.
   Every day, my mother strapped her in the stroller; then,
   they'd walk to the corner.
   That way, when school was over, I could see them; I could see my mother,
   first a blur, then a shape with arms.
   I walked very slowly, to appear to need nothing.
   That's why my sister envied me---she didn’t know
   you can lie with your face, your body.
   
   She didn't see we were both in false positions.
   She wanted freedom. Whereas I continued, in pathetic ways,
   to covet the stroller. Meaning
   all my life.
   
   And, in that sense, it was lost on me: all the waiting, all my mother's
   effort to restrain my sister, all the calling, the waving,
   since, in that sense, I had no home any longer.
  
亚马逊人
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   夏末:云杉长出了一些嫩芽。
   其他东西都是金子---这就是你知道生长季节结束的原因。
   一种在死亡和即将开花的生物之间的对称。
   
   在这个家庭里,这一直是个敏感的时期。
   我们也衰灭消失,整个部落。
   我妹妹和我,我们是某种东西的终结。
   
   现在窗户变暗了。
   雨来了,又大又稳。
   
   在餐厅里,孩子们画画。
   这就是我们做的:当我们看不见,
   我们就制作图片。
   
   我能看到结局:它就是离开的名字。
   当我们完成它,它就结束了,它是一个死的语言。
   语言就是这样消亡的,因为它不需要被说出来。
   
   我妹妹和我,就像亚马逊人,
   一个没有未来的部落。
   我看着孩子们画画;我的儿子,她的女儿。
   我们用软粉笔,消失的媒介。
Amazons
   
   
   End of summer: the spruces put out a few green shoots.
   Everything else is gold---that's how you know the end of the growing season.
   A kind of symmetry between what's dying, what’s just coming to bloom.
   
   It's always been a sensitive time in this family.
   We're dying out, too, the whole tribe.
   My sister and I,we’re the end of something.
   
   Now the windows darken.
   And the rain comes, steady and heavy.
   
   In the dining room, the children draw.
   That's what we did: when we couldn't see,
   we made pictures.
   
   I can see the end: it’s the name that’s going.
   When we're done with it, it's finished, it’s a dead language.
   That’s how language dies, because it doesn’t need to be spoken.
   
   My sister and I,we’re like amazons,
   a tribe without a future.
   I watch the children draw; my son, her daughter.
   We used soft chalk, the disappearing medium.
  
仙乐
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我有一个朋友仍然相信天堂。
   不是个蠢人,但她用知道的一切,她真的跟神说话,
   她认为有人在天堂倾听。
   到底,她异常能干。
   勇敢,也,能面对不愉快。
   
   我们发现一只毛毛虫死在泥土里,贪婪的蚂蚁爬到它上面。
   我总是被软弱、灾难所感动,总是渴望反对生命力。
   但胆小,也,很快闭上我的眼睛。
   而我的朋友却能观看,让事情
   按照自然进行。看在我份上,她插手,
   从被撕碎的东西上擦下几只蚂蚁,然后把它放在马路对面。
   
   我朋友说我对神闭上了眼睛,没有别的解释
   我对现实的厌恶。她说我就像把头埋在枕头里
   不看的孩子,那个告诉自己
   光线会引起悲伤的孩子---
   我的朋友就像母亲。耐心地,敦促我
   唤醒像她这样一个成年人,一个勇敢的人---
   
   在我的梦里,我的朋友责备我。我们走在
   同一条路上,除了现在是冬天;
   她告诉我,当你爱这个世界时,你会听到仙乐:
   抬头看,她说。当我抬头看的时候,什么都没有。
   只有云彩、雪、在树上的白色生意
   像新娘一样跃升到了一个很高的高度---
   然后我就为她担心,我看见她
   被一张故意扔在地上的网捕获---
   
   事实上,我们坐在路边,看着太阳落下;
   不时,被鸟叫刺穿的寂静。
   这一刻我们都在试图解释,事实上
   我们在与死亡轻松相处,带着孤独。
   我的朋友在泥土里画了一个圆圈,里面,毛毛虫不动。
   她总是试图使某物完整,一些美丽的东西,一个
   能与她分开的生命的形象。
   
   我们很安静。坐在这里很平静,不说话,构图
   确定,道路突然变黑,空气
   变凉,这里和那里的岩石闪闪发光---
   我们都爱的就是这种寂静。
   对形体的爱是对结局的爱。
Celestial Music
   
   
   I have a friend who still believes in heaven.
   Not a stupid person, yet with all she knows, she literally talks to god,
   she thinks someone listens in heaven.
   On earth, she's unusually competent.
   Brave, too, able to face unpleasantness.
   
   We found a caterpillar dying in the dirt, greedy ants crawling over it.
   I'm always moved by weakness, by disaster, always eager to oppose vitality.
   But timid, also, quick to shut my eyes.
   Whereas my friend was able to watch, to let events play out
   according to nature. For my sake, she intervened,
   brushing a few ants off the torn thing, and set it down across the road.
   
   My friend says I shut my eyes to god, that nothing else explains
   my aversion to reality. She says I'm like the child who buries her head in the pillow
   so as not to see, the child who tells herself
   that light causes sadness---
   My friend is like the mother. Patient, urging me
   to wake up an adult like herself, a courageous person---
   
   In my dreams, my friend reproaches me. We're walking
   on the same road, except it's winter now;
   she's telling me that when you love the world you hear celestial music:
   look up, she says. When I look up, nothing.
   Only clouds, snow, a white business in the trees
   like brides leaping to a great height---
   Then I'm afraid for her; I see her
   caught in a net deliberately cast over the earth---
   
   In reality, we sit by the side of the road, watching the sun set;
   from time to time, the silence pierced by a birdcall.
   It's this moment we're both trying to explain, the fact
   that we're at ease with death, with solitude.
   My friend draws a circle in the dirt; inside, the caterpillar doesn't move.
   She's always trying to make something whole, something beautiful, an image
   capable of life apart from her.
   We’re very quiet. It’s peaceful sitting here, not speaking, the composition
   fixed, the road turning suddenly dark, the air
   going cool, here and there the rocks shining and glittering---
   it's this stillness that we both love.
   The love of form is a love of endings.
  
第一记忆
   
   (选自 ARARAT (1990) )
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   很久以前,我受伤了。我活着
   为了报复我自己
   反对我父亲,不是
   为了他这个人---
   为了我这个人:从一开始,
   童年时代,我认为
   痛苦意味着
   我没有被爱。
   它意味着我爱。
First Memory
   
   
   Long ago, I was wounded. I lived
   to revenge myself
   against my father, not
   for what he was---
   for what I was: from the beginning of time,
   in childhood, I thought
   that pain meant
   I was not loved.
   It meant I loved.
   

 楼主| 发表于 2020-10-30 15:46:04 | 显示全部楼层
  
野鸢尾花
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
  
野鸢尾花(1992)
   
   献给
   凯瑟琳.戴维斯
   梅雷迪思.霍平
   德维德.兰斯顿
   
   献给
   约翰和诺亚
   
   野鸢尾花
   
   在我痛苦的尽头
   有一扇门。
   
   听我说完:你所说的死亡
   我记得。
   
   头顶上,嘈杂声,松树的树枝在移动。
   然后什么都没有。微弱的阳光
   在干燥的表面上闪烁。
   
   生存是可怕的
   就像意识
   埋在黑暗的地球上,。
   
   然后结束了:你所害怕的,作为
   一个灵魂而不能
   说,突然结束,坚硬的土地
   有点弯曲。我以为是
   鸟儿在低矮的灌木丛里飞奔。
   
   你们这些不记得
   从另一个世界来的通道的人,
   我告诉你们,我可以再说一遍:任何
   从遗忘中返回的东西都回来
   寻找一个声音:
   
   从我生命的中心出现
   一个巨大的喷泉,在蔚蓝的海水上
   有深蓝色的影子。
  
  








  
THE WILD IRIS (1992)
   
   FOR
   KATHRYN DAVIS
   MEREDITH HOPPIN
   DWID LANGSTON
   
   FOR
   JOHN AND NOAH
   

   THE WILD IRIS
   
   At the end of my suffering
   there was a door.
   
   Hear me out: that which you call death
   I remember.
   
   Overhead, noises, branches of the pine shifting.
   Then nothing. The weak sun
   flickered over the dry surface.
   
   It is terrible to survive
   as consciousness
   buried in the dark earth.
   
   Then it was over: that which you fear, being
   a soul and unable
   to speak, ending abruptly, the stiff earth
   bending a little. And what I took to be
   birds darting in low shrubs.
   
   You who do not remember
   passage from the other world
   I tell you I could speak again: whatever
   returns from oblivion returns
   to find a voice:
   
   from the center of my life came
   a great fountain, deep blue
   shadows on azure seawater.
  
  
  
  
晨祷
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   阳光普照,邮筒旁,被分开的
   白桦树叶折叠起来,像鳍一样打褶。
   下面,白色水仙花,冰翅,金雀花的空心茎;野紫罗兰的
   黑叶子。诺亚说
   抑郁者讨厌春天,内在世界
   和外在世界之间的不平衡。我是
   另一个例子---抑郁,是的,但从某种意义上说,我热情地
   依恋这棵活树,我的身体
   竟然蜷缩在裂开的树干里,几乎平静地,在傍晚的雨中
   几乎能感觉到
   树液起泡和上升:诺亚说,这是
   一个郁闷的错误,认同
   一棵树,而快乐的心
   像一片落叶在花园里游荡,一部分的
   形象,不是整体。
  
  
  
Matins
   
   
   The sun shines; by the mailbox, leaves
   of the divided birch tree folded, pleated like fins.
   Underneath, hollow stems of the white daffodils, Ice Wings, Cantatrice; dark
   leaves of the wild violet. Noah says
   depressives hate the spring, imbalance
   between the inner and the outer world. I make
   another case---being depressed, yes, but in a sense passionately
   attached to the living tree, my body
   actually curled in the split trunk, almost at peace, in the evening rain
   almost able to feel
   sap frothing and rising: Noah says this is
   an error of depressives, identifying
   with a tree, whereas the happy heart
   wanders the garden like a falling leaf, a figure for
   the part, not the whole.
  
  
  
  
晨祷
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   无法接近的父,当我们第一次
   被放逐出天堂,你做了
   一个复制品,一个在某种意义上
   与天堂不同的地方,旨在
   给一个教训:否则
   同样地---两边的美,没有
   选择的美---除了
   我们不知道教训是什么。独自留下,
   我们彼此精疲力竭。几年的
   黑暗接踵而至,我们轮流
   在花园里劳作,第一滴眼泪
   充满了我们的眼睛,就像大地上
   朦胧的花瓣,有些是
   深红色的,有些是肉色的---
   我们从来没有想到过
   我们要学习崇拜的你。
   我们只知道,只爱回报爱的东西
   不是人的本性。
  
  
  
Matins
   
   
   Unreachable father, when we were first
   exiled from heaven, you made
   a replica, a place in one sense
   different from heaven, being
   designed to teach a lesson: otherwise
   the same---beauty on either side, beauty
   without alternative --- Except
   we didn't know what was the lesson. Left alone,
   we exhausted each other. Years
   of darkness followed; we took turns
   working the garden, the first tears
   filling our eyes as earth
   misted with petals, some
   dark red, some flesh colored---
   We never thought of you
   whom we were learning to worship.
   We merely knew it wasn’t human nature to love
   only what returns love.
  
  
  
  
延龄草
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   当我醒来时,我在森林里。黑暗
   似乎很自然,天空穿过松树
   密布着许多灯光。
   
   我什么都不知道,除了看我什么也做不了。
   当我注视时,天堂里所有的光
   逐渐变弱,变成了一个单一的东西,一堆火
   在冷杉中燃烧。
   那么再也不可能
   凝视天堂而不被毁灭。
   
   有没有灵魂需要
   死亡的在场,就像我需要保护一样?
   我想如果我说的足够长
   我会回答这个问题,我会看到
   它们看到的任何东西,一个梯子
   穿过冷杉到达,无论什么
   召唤它们去交换生命---
   
   想想我已经明白的。
   我在森林里醒来时一无所知;
   就在刚才,我还不知道我的声音
   如果一个(声音)被给予我
   会是如此充满悲伤,我的句子
   就像是挂在一起的哭声。
   我甚至不知道我感到悲伤
   直到词语来临,直到我感觉到
   雨从我身上流动。
  
  
  
Trillium
   
   
   When I woke up I was in a forest. The dark
   seemed natural, the sky through the pine trees
   thick with many lights.
   
   I knew nothing; I could do nothing but see.
   And as I watched, all the lights of heaven
   faded to make a single thing, a fire
   burning through the cool firs.
   Then it wasn't possible any longer
   to stare at heaven and not be destroyed.
   
   Are there souls that need
   death’s presence, as I require protection?
   I think if I speak long enough
   I will answer that question, I will see
   whatever they see, a ladder
   reaching through the firs, whatever
   calls them to exchange their lives---
   
   Think what I understand already.
   I woke up ignorant in a forest;
   only a moment ago, I didn’t know my voice
   if one were given me
   would be so full of grief, my sentences
   like cries strung together.
   I didn't even know I felt grief
   until that word came, until I felt
   rain streaming from me.
  
  
  
  
野芝麻
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   当你有一颗冷酷的心时,你就是这样生活的。
   就像我一样:在阴影里,慢行在凉爽的岩石上
   在巨大的枫树下。
   
   太阳几乎触及不到我。
   有时我看到它在早春,在很远的地方升起。
   然后树叶长在上面,完全遮住了它。我感觉到它
   穿过树叶闪烁,飘忽不定,
   就像有人用金属勺子敲打玻璃的一面。
   
   生物并不都需要
   同样程度的光。我们中的一些人
   创造了自己的光明:一片银叶
   就像一条没有人可以使用的路,一个
   在黑暗中的大枫树下的银色浅湖。
   
   但你已经知道了这个。
   你和其他认为
   你活着,为了真理而且,引申来说,为了爱
   一切冰冷的东西。
  
  
  
Lamium
   
   
   This is how you live when you have a cold heart.
   As I do: in shadows, trailing over cool rock,
   under the great maple trees.
   
   The sun hardly touches me.
   Sometimes I see it in early spring, rising very far away.
   Then leaves grow over it, completely hiding it. I feel it
   glinting through the leaves, erratic,
   like someone hitting the side of a glass with a metal spoon.
   
   Living things don’t all require
   light in the same degree. Some of us
   make our own light: a silver leaf
   like a path no one can use, a shallow
   lake of silver in the darkness under the great maples.
   
   But you know this already.
   You and the others who think
   you live for truth and, by extension, love
   all that is cold.
  
  
  
  
雪莲花
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   你知道我是什么人吗,我是怎样生活的?你知道
   什么是绝望,那么
   冬天对你应该有意义。
   
   我不期望生存,
   大地压迫我。我不期望
   再次醒来,在
   潮湿的泥土中感觉到我的身体
   又能做出反应,记起
   如此久以后如何重新打开
   在早春的
   冷光中---
   
   害怕,是的,但是在你们中间再次
   喊“是”冒快乐的危险
   
   在新世界未开化的风中。
  
  
  
Snowdrops
   
   
   Do you know what I was, how I lived? You know
   what despair is; then
   winter should have meaning for you.
   
   I did not expect to survive,
   earth suppressing me. I didn't expect
   to waken again, to feel
   in damp earth my body
   able to respond again, remembering
   after so long how to open again
   in the cold light
   of earliest spring---
   
   afraid, yes, but among you again
   crying yes risk joy
   
   in the raw wind of the new world.
  
  
  
  
晴朗的早晨
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我观察你够久了,
   我可以用我喜欢的任何方式跟你说话——
   
   我服从了你的喜好,耐心地观察
   你喜欢的事物,只通过
   
   交通工具交谈,在
   地球的细节里,如你喜欢,
   
   蓝色
   铁线莲的卷须,傍晚的
   
   光---
   你永远不会接受
   
   像我这样的声音,对
   你忙着命名的物体漠不关心,
   
   你的嘴
   敬畏的小圆圈---
   
   一直以来
   我放纵了你的局限性,以为
   
   你自己迟早会把它抛在一边,
   想着物质永远无法吸引你的注视---
   
   铁线莲在门廊窗户上
   画蓝色花朵的障碍---
   
   我不能继续
   把自己局限于图象
   
   因为你认为你有权
   质疑我的意图:
   
   我现在准备把清晰
   强加给你。
  
  
  
Clear Morning
   
   
   I've watched you long enough,
   I can speak to you any way I like---
   
   I've submitted to your preferences, observing patiently
   the things you love, speaking
   
   through vehicles only, in
   details of earth, as you prefer,
   
   tendrils
   of blue clematis, light
   
   of early evening---
   you would never accept
   
   a voice like mine, indifferent
   to the objects you busily name,
   
   your mouths
   small circles of awe---
   
   And all this time
   I indulged your limitation, thinking
   
   you would cast it aside yourselves sooner or later,
   thinking matter could not absorb your gaze forever---
   
   obstacle of the clematis painting
   blue flowers on the porch window---
   
   I cannot go on
   restricting myself to images
   
   because you think it is your right
   to dispute my meaning:
   
   I am prepared now to force
   clarity upon you.
  
  
  
  
春雪
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   看看夜空:
   我有两个自我,两种力量。
   
   这儿我和你在一起,在窗前,
   看着你的反应。昨天,
   在更低的花园月亮升起在潮湿的大地上方。
   现在大地像月亮一样闪烁,
   就像被光包裹的死物质。
   
   你现在可以闭上眼睛。
   我听到了你的哭声,在你的,
   以及它们背后的要求之前。
   我已经告诉你你想要什么:
   不是信仰,而是屈服于
   权威,这取决于暴力。
  
  
  
Spring Snow
   
   
   Look at the night sky:
   I have two selves,two kinds of power.
   
   I am here with you, at the window,
   watching you react. Yesterday
   the moon rose over moist earth in the lower garden.
   Now the earth glitters like the moon,
   like dead matter crusted with light.
   
   You can close your eyes now.
   I have heard your cries, and cries before yours,
   and the demand behind them.
   I have shown you what you want:
   not belief, but capitulation
   to authority, which depends on violence.
  
  
  
  
冬天的结束
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   在静谧的世界上,一只鸟
   在黑树枝中叫醒孤独。
   
   你想要出生,我让你出生。
   什么时候我的悲伤曾经
   妨碍了你的快乐?
   
   同时向前
   冲入黑暗与光明
   渴望感觉
   
   仿佛你是某些新生事物,想要
   表达自己
   
   所有的才华,所有的活力
   
   从来没有想过
   这会让你付出任何代价,
   也从来没有想象过我的声音
   根本不是你的一部分---
   
   你不会在另一个世界听到它,
   不再清晰,
   不在鸟鸣或人的哭声中,
   
   不是清脆的声音,只有
   执着的回响
   在所有的声音中那意味着再见,再见---
   
   一条连续的线
   把我们互相联系在一起。
  
  
  
End of Winter
   
   
   Over the still world, a bird calls
   waking solitary among black boughs.
   
   You wanted to be born; I let you be born.
   When has my grief ever gotten
   in the way of your pleasure?
   
   Plunging ahead
   into the dark and light at the same time
   eager for sensation
   
   as though you were some new thing, wanting
   to express yourselves
   
   all brilliance, all vivacity
   
   never thinking
   this would cost you anything,
   never imagining the sound of my voice
   as anything but part of you---
   
   you won't hear it in the other world,
   not clearly again,
   not in birdcall or human cry,
   
   not the clear sound, only
   persistent echoing
   in all sound that means goodbye, goodbye---
   
   the one continuous line
   that binds us to each other.
  
  
  
  
晨祷
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   原谅我,如果我说我爱你:强者
   总是被欺骗,因为弱者总是
   被恐慌所驱使。我不能爱
   我无法想象的东西,而你
   几乎什么也不透露:你像山楂树,
   总是在同一个地方发生同样的事情,
   或者你更像毛地黄,前后矛盾,第一年跳出
   一个粉红色的穗,在雏菊后面的山坡上,
   第二年,玫瑰园里的紫色?你必须明白
   这对我们来说没用,这沉默促使相信
   你必须是一切,毛地黄和山楂树,
   脆弱的玫瑰和坚强的雏菊---我们留下认为
   你不可能存在。这就是
   你让我们思考的,这解释了
   早晨的寂静,
   蟋蟀还没有摩擦翅膀,猫
   没有在院子里打架?
  
  
  
Matins
   
   
   Forgive me if I say I love you: the powerful
   are always lied to since the weak are always
   driven by panic. I cannot love
   what I can't conceive, and you disclose
   virtually nothing: are you like the hawthorn tree,
   always the same thing in the same place,
   or are you more the foxglove, inconsistent, first springing up
   a pink spike on the slope behind the daisies,
   and the next year, purple in the rose garden? You must see
   it is useless to us, this silence that promotes belief
   you must be all things, the foxglove and the hawthorn tree,
   the vulnerable rose and tough daisy---we are left to think
   you couldn't possibly exist. Is this
   what you mean us to think, does this explain
   the silence of the morning,
   the crickets not yet rubbing their wings, the cats
   not fighting in the yard?
  
  
  

 楼主| 发表于 2020-10-31 18:29:44 | 显示全部楼层
  
晨祷
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我明白和你在一起就像和桦树在一起一样:
   我不能用私人的方式
   跟你说话。我们之间
   很多事过去了。或者
   一直只是
   一方面?我
   错了,错了,我要求你
   是人---我并不
   比别人更需要。但是,缺席的是
   所有感觉,对我
   最少的关心---我不妨继续
   对桦树说,
   像我以前的生活那样:让它们
   做最坏的事,让它们
   用浪漫派埋葬我,
   它们尖尖的黄叶
   落下,遮住我。
  
  
  
Matins
   
   
   I see it is with you as with the birches:
   I am not to speak to you
   in the personal way. Much
   has passed between us. Or
   was it always only
   on the one side? I am
   at fault, at fault, I asked you
   to be human---I am no needier
   than other people. But the absence
   of all feeling, of the least
   concern for me---I might as well go on
   addressing the birches,
   as in my former life: let them
   do their worst, let them
   bury me with the Romantics,
   their pointed yellow leaves
   falling and covering me.
  
  
  
  
绵枣
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   不是我,你这个白痴,不是自己,而是我们,我们——天空
   蔚蓝的波浪像是
   对天堂的批评:你们为什么
   珍惜你们的声音
   当是一个东西
   却几乎什么都不是?
   你们为什么抬头?听到
   一个回声就像
   上帝的声音?对我们来说你们都一样,
   孤独,站在我们的上方,计划着
   你们愚蠢的生活:你们去
   你们被派往的地方,就像一切事物一样,
   在风栽种你们的地方,
   你们中的另一个永远
   低头看着水的
   影子,听到了什么?波浪,
   越过波浪,鸟儿在歌唱。
  
  
  
Scilla
   
   Not I, you idiot, not self, but we, we---waves
   of sky blue like
   a critique of heaven: why
   do you treasure your voice
   when to be one thing
   is to be next to nothing?
   Why do you look up? To hear
   an echo like the voice
   of god? You are all the same to us,
   solitary, standing above us, planning
   your silly lives: you go
   where you are sent, like all things,
   where the wind plants you,
   one or another of you forever
   looking down and seeing some image
   of water, and hearing what? Waves,
   and over waves, birds singing.
  
  
  
  
撤退的风
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   当我创造你们的时候,我爱你们。
   现在我怜悯你们。
   
   我给了你们所需要的一切:
   大地之床,蓝色空气之毯---
   
   当我离你们越来越远
   我看得更清楚。
   你们的灵魂现在应该是巨大的,
   不是它们所是的,
   说话的小东西---
   
   我给你们每一份礼物,
   春天早晨的蓝色,
   你们不知道如何使用的时间——
   你们想要更多,这是
   留给另一个创造物的礼物。
   
   无论你们希望什么,
   你们都不会发现自己在花园里,
   在生长的植物中。
   你们的生活不像它们那样的循环:
   
   你们的生命是鸟的飞翔
   它在静止中开始和结束---
   它开始和结束,在形式上呼应
   这个,从白桦
   到苹果树。
  
  
  
Retreating Wind
   
   
   When I made you, I loved you.
   Now I pity you.
   
   I gave you all you needed:
   bed of earth, blanket of blue air---
   
   As I get further away from you
   I see you more clearly.
   Your souls should have been immense by now,
   not what they are,
   small talking things---
   
   I gave you every gift,
   blue of the spring morning,
   time you didn’t know how to use---
   you wanted more, the one gift
   reserved for another creation.
   
   Whatever you hoped,
   you will not find yourselves in the garden,
   among the growing plants.
   Your lives are not circular like theirs:
   
   your lives are the bird’s flight
   which begins and ends in stillness---
   which begins and ends, in form echoing
   this are from the white birch
   to the apple tree.
  
  
  
  
花园
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我不能再那么干,
   我几乎不忍心看它---
   
   在花园里,在小雨中
   小两口种了
   一排豌豆,好像
   以前从来没有人这样做过,
   巨大的困难至今还没有
   面对和解决---
   
   他们看不见自己,
   在新鲜的泥土里,开始
   没有透视,
   它们身后的小山是淡绿色的,云集着鲜花---
   
   她想停下来;
   他想走到最后,
   和这东西一起留下---
   
   看看她,摸着他的脸颊
   示意休战,她的手指
   随着春雨变凉;
   在细草中,爆出紫色的番红花---
   
   即使在这里,即使是在爱的开始,
   她的手离开他的脸,造成
   一个离开的形象
   
   他们认为
   他们有忽略
   这种悲伤的自由。
  
  
  
The Garden
   
   I couldn’t do it again,
   I can hardly bear to look at it---
   
   in the garden, in light rain
   the young couple planting
   a row of peas, as though
   no one has ever done this before,
   the great difficulties have never as yet
   been faced and solved---
   
   They cannot see themselves,
   in fresh dirt, starting up
   without perspective,
   the hills behind them pale green, clouded with flowers---
   
   She wants to stop;
   he wants to get to the end,
   to stay with the thing---
   
   Look at her, touching his cheek
   to make a truce, her fingers
   cool with spring rain;
   in thin grass, bursts of purple crocus---
   
   even here, even at the beginning of love,
   her hand leaving his face makes
   an image of departure
   
   and they think
   they are free to overlook
   this sadness.
   
  
  
  
  
山楂树
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   肩并肩,不是
   手牵手:我看着你
   在夏日花园里行走,那些
   不能移动的东西
   学会看;我不需要
   追着你穿过
   花园;人类到处
   留下感觉的
   痕迹,花
   散落在土路上,全是
   白色和金色,有些
   被晚风吹起;我不需要
   跟随你现在的位置,
   深藏在有毒的田野,去了解
   你逃跑的原因,人类的
   激情或愤怒:因为你还有什么
   可以让你放弃
   你收集的一切?
  
  
  
The Hawthorn Tree
   
   
   Side by side, not
   hand in hand: I watch you
   walking in the summer garden---things
   that can’t move
   learn to see; I do not need
   to chase you through
   the garden; human beings leave
   signs of feeling
   everywhere, flowers
   scattered on the dirt path, all
   white and gold, some
   lifted a little by
   the evening wind; I do not need
   to follow where you are now,
   deep in the poisonous field, to know
   the cause of your flight, human
   passion or rage: for what else
   would you let drop
   all you have gathered?
  
  
  
  
月光下的爱
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   有时,一个男人或女人把他的绝望强加在
   另一个人身上,被称为
   赤裸的心,或者说,赤裸的灵魂——
   意味着这会儿他们获得了灵魂——
   外面,一个夏天的夜晚,整个世界
   被扔在月亮上:一群群银色的形体
   可能是建筑物或树木,猫藏身的
   狭窄花园,在尘埃中滚动在它的背上,
   玫瑰,金丝雀花,以及,在黑暗中,国会大厦的金色穹顶
   变成了月光的合金,形状
   没有细节,神话,原型,灵魂
   充满火焰,那真的是月光,取材于
   另一个来源,短暂地
   像月光闪耀一样闪耀,不管是否石头,
   月球仍然称得上是一个有生命的东西。
  
  
  
Love in Moonlight
   
   Sometimes a man or woman forces his despair
   on another person, which is called
   baring the heart, alternatively, baring the soul---
   meaning for this moment they acquired souls---
   outside, a summer evening, a whole world
   thrown away on the moon: groups of silver forms
   which might be buildings or trees, the narrow garden
   where the cat hides, rolling on its back in the dust,
   the rose, the coreopsis, and, in the dark, the gold dome of the capitol
   converted to an alloy of moonlight, shape
   without detail, the myth, the archetype, the soul
   filled with fire that is moonlight really, taken
   from another source, and briefly
   shining as the moon shines: stone or not,
   the moon is still that much of a living thing.
  
  
  
  
四月
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   没有人的绝望像我的绝望——
   
   在这个花园里,你们没有地方
   思考这种事情,产生
   令人厌烦的外在迹象;那男人
   刻意在整个森林除草,
   那女人一瘸一拐,拒绝换衣服
   或洗头。
   
   如果你们彼此交谈
   你们以为我在乎吗?
   但我的意思是你们要知道
   两个被赋予思想的生物
   我期望更好的那一个:如果不是
   你们真的会互相关心
   至少你们会明白
   悲伤分布
   在你们之间,在你们所有的同类中,因为我
   了解你们,就像深蓝
   代表野蔷薇,白色
   代表木紫罗兰。
  
  
  
April
   
   No one’s despair is like my despair---
   
   You have no place in this garden
   thinking such things, producing
   the tiresome outward signs; the man
   pointedly weeding an entire forest,
   the woman limping, refusing to change clothes
   or wash her hair.
   
   Do you suppose I care
   if you speak to one another?
   But I mean you to know
   I expected better of two creatures
   who were given minds: if not
   that you would actually care for each other
   at least that you would understand
   grief is distributed
   between you, among all your kind, for me
   to know you, as deep blue
   marks the wild scilla, white
   the wood violet.
  
  
  
  
紫罗兰
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   因为在我们的世界里
   总是隐藏着一些东西,
   小而白,
   小而且是你所说的
   纯洁,我们不会
   像你一样悲伤,亲爱的
   痛苦的主人;你
   不比我们
   失去更多,在
   山楂树下,山楂树捧着
   平衡的珍珠托盘:带你
   到教你的
   我们中间的东西,虽然
   你跪着哭泣,
   紧握你伟大的双手,
   在你所有的伟大中,却不知道
   灵魂的本性,
   那就是永远不死:可怜的悲哀的上帝,
   你要么永远没一个
   要么永远不失去一个。
  
  
  
Violets
   
   Because in our world
   something is always hidden,
   small and white,
   small and what you call
   pure, we do not grieve
   as you grieve, dear
   suffering master; you
   are no more lost
   than we are, under
   the hawthorn tree, the hawthorn holding
   balanced trays of pearls: what
   has brought you among us
   who would teach you, though
   you kneel and weep,
   clasping your great hands,
   in all your greatness knowing
   nothing of the soul’s nature,
   which is never to die: poor sad god,
   either you never have one
   or you never lose one.
  
  
  
茅草
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   一些事情
   不受欢迎地来到世界上
   叫混乱、混乱---
   
   如果你这么恨我
   别费心给我
   一个名字:你是否需要
   在你的语言里
   再多一个诽谤,另一种
   方式把一切
   都归咎于一个部落---
   
   就像我们俩都知道的,
   如果你崇拜
   一个神,你只需要
   一个敌人---
   
   我不是敌人。
   只是一个诡计,无视
   你在这张床上
   看到的一切,
   一个小小的
   失败范例。你的一朵珍贵的花
   几乎每天都会在这里死去
   你不能休息,直到
   你非难原因,也就是说
   不管剩下什么,不管
   碰巧比你的
   个人热情更坚定的什么---
   
   并不意味着
   在现实世界中永远延续。
   但为什么要承认,当你可以继续
   做你一直做的事,
   哀悼和责备,
   二者总在一起。
   
   我不需要你的赞美
   来生存。我先到这里,
   在你来之前,在
   你曾修建花园之前。
   我将在这里,当只有太阳和月亮
   留下,大海,广袤的田野。
   
   我将构成这田野。
  
  
  
Witchgrass
   
   
   Something
   comes into the world unwelcome
   calling disorder, disorder---
   
   If you hate me so much
   don't bother to give me
   a name: do you need
   one more slur
   in your language, another
   way to blame
   one tribe for everything---
   
   as we both know,
   if you worship
   one god, you only need
   one enemy---
   
   I'm not the enemy.
   Only a ruse to ignore
   what you see happening
   right here in this bed,
   a little paradigm
   of failure. One of your precious flowers
   dies here almost every day
   and you can’t rest until
   you attack the cause, meaning
   whatever is left, whatever
   happens to be sturdier
   than your personal passion---
   
   It was not meant
   to last forever in the real world.
   But why admit that, when you can go on
   doing what you always do,
   mourning and laying blame,
   always the two together.
   
   I don’t need your praise
   to survive. I was here first,
   before you were here, before
   you ever planted a garden.
   And I'11 be here when only the sun and moon
   are left, and the sea, and the wide field.
   
   I will constitute the field.
  
  
  
  
雅各的梯子
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   被困在地里,
   难道你不想也去
   天堂?我住在
   一个女士花园里。原谅我,女士,
   渴望夺走了我的优雅。我
   不是你想要的。但
   就像男人和女人似乎
   彼此渴望,我也渴望
   天堂的知识---现在
   你的悲伤,一根赤裸的树干
   伸向门廊的窗户。
   最后,是什么?像星星一样的
   蓝色小花。永远不要
   离开这个世界!这
   不是你眼泪的意思吗?
  
  
  
The Jacob’s Ladder
   
   
   Trapped in the earth,
   wouldn't you too want to go
   to heaven? I live
   in a lady’s garden. Forgive me, lady;
   longing has taken my grace. I am
   not what you wanted. But
   as men and women seem
   to desire each other, I too desire
   knowledge of paradise---and now
   your grief, a naked stem
   reaching the porch window.
   And at the end, what? A small blue flower
   like a star. Never
   to leave the world! Is this
   not what your tears mean?
  
  

 楼主| 发表于 2020-11-1 16:09:46 | 显示全部楼层
  
   晨祷
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   你想知道我是怎么渡过我的时间吗?
   我走在前面的草坪上,假装在
   除草。你应该知道
   我从不除草,跪在地上,从花坛上
   拔出一丛丛三叶草:事实上
   我在寻找勇气,因为一些证据
   我的生活会改变,尽管
   它永远引领,检查
   每一丛有象征意义的
   叶子,很快夏天就要结束了,叶子
   已经转动,病树总是
   先离开,垂死的也在转动
   明亮的黄色,几只黑色的鸟儿在表演
   音乐的宵禁。你想看看我的手吗?
   现在和第一个音符一样空。
   或者说,关键是一直
   没有迹象地继续?
Matins
   
   You want to know how I spend my time?
   I walk the front lawn, pretending
   to be weeding. You ought to know
   I'm never weeding, on my knees, pulling
   clumps of clover from the flower beds: in fact
   I'm looking for courage, for some evidence
   my life will change, though
   it takes forever, checking
   each clump for the symbolic
   leaf, and soon the summer is ending, already
   the leaves turning, always the sick trees
   going first, the dying turning
   brilliant yellow, while a few dark birds perform
   their curfew of music. You want to see my hands?
   As empty now as at the first note.
   Or was the point always
   to continue without a sign?
  
晨祷
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我的心对你来说是什么
   你一定要一次又一次地打破它
   像一个种植园主试验
   他的新品种一样?练习
   其他的事情:我怎么能生活在
   殖民地,像你喜欢的那样,如果你
   把痛苦强行隔离,把我
   从我部落里
   健康的成员分开:你不在花园里
   这样做,隔离
   生病的玫瑰;你让它挥舞其群居的
   大批滋生的叶子
   在其他玫瑰的脸上,微小的蚜虫
   从一个植物跳到另一个植物,再次证明
   我是你们生物中最低等的,紧随着
   茁壮成长的蚜虫和蔓生的玫瑰---父,
   作为我孤独的代理人,至少
   减轻我的愧疚;移开
   孤独的耻辱感,除非
   它是你的计划,让我
   再一次永远健全,就像我
   在错误的童年里健全且完整一样,
   或者如果不是的话那么,在我母亲的
   轻重量下,或者如果不是的话那么,
   在梦中,首先
   是永远不死。
Matins
   
   
   What is my heart to you
   that you must break it over and over
   like a plantsman testing
   his new species? Practice
   on something else: how can I live
   in colonies, as you prefer, if you impose
   a quarantine of affliction, dividing me
   from healthy members of
   my own tribe: you do not do this
   in the garden, segregate
   the sick rose; you let it wave its sociable
   infested leaves in
   the faces of the other roses, and the tiny aphids
   leap from plant to plant, proving yet again
   I am the lowest of your creatures, following
   the thriving aphid and the trailing rose--- Father,
   as agent of my solitude, alleviate
   at least my guilt; lift
   the stigma of isolation, unless
   it is your plan to make me
   sound forever again, as I was
   sound and whole in my mistaken childhood,
   or if not then, under the light weight
   of my mother's heart, or if not then,
   in dream, first
   being that would never die.
  
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   像一颗被保护的心,
   血红色的
   野玫瑰花开始
   在最下面的树枝上开放,
   由一个大灌木的
   网状团块支撑着:
   它在黑暗中绽放
   黑暗是心脏永恒的
   背景,而较高的
   花朵已经枯萎或腐烂;
   为了生存
   逆境只会
   加深它的颜色。但是约翰
   反对,他认为
   如果这不是一首诗,而是
   一个真正的花园,那么
   红玫瑰就
   不需要类似
   其他任何东西,既不是
   另一朵花,也不是
   阴暗的心,在
   地平面上跳动着
   半栗色,半深红色。
Song
   
   
   Like a protected heart,
   the blood-red
   flower of the wild rose begins
   to open on the lowest branch,
   supported by the netted
   mass of a large shrub:
   it blooms against the dark
   which is the heart's constant
   backdrop, while flowers
   higher up have wilted or rotted;
   to survive
   adversity merely
   deepens its color. But John
   objects, he thinks
   if this were not a poem but
   an actual garden, then
   the red rose would be
   required to resemble
   nothing else, neither
   another flower nor
   the shadowy heart, at
   earth level pulsing
   half maroon, half crimson.
  
野花
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   你在说什么?你想要
   永生?你的想法真的
   像所有这些一样令人信服吗?当然
   你不看我们,不听我们,
   在你的皮肤上
   太阳的污点,黄色
   毛茛的灰尘:我在跟你
   说话,你凝视着
   高草的栅栏,摇动着
   你的小拨浪鼓——啊
   灵魂!灵魂!只往里看
   就够了吗?蔑视
   人性是一回事,但为什么
   鄙视广阔的
   田野,从野毛茛清澈的头顶上
   升起的你的凝视,变成什么?你对天堂的
   拙劣想法:没有
   改变。比地球好?你怎么
   知道,谁既不在
   这里也不在那里,站在我们中间?
Field Flowers
   
   
   
   What are you saying? That you want
   eternal life? Are your thoughts really
   as compelling as all that? Certainly
   you don’t look at us, don’t listen to us,
   on your skin
   stain of sun, dust
   of yellow buttercups: I’m talking
   to you, you staring through
   bars of high grass shaking
   your little rattle ---O
   the soul! the soul! Is it enough
   only to look inward? Contempt
   for humanity is one thing, but why
   disdain the expansive
   field, your gaze rising over the clear heads
   of the wild buttercups into what? Your poor
   idea of heaven: absence
   of change. Better than earth? How
   would you know, who are neither
   here nor there, standing in our midst?
  
红罂粟
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   最重要的
   不是有
   头脑。感觉:
   哦,我有这些,它们
   支配我。我有
   一个主在天上
   叫太阳,为他
   敞开,向他显明
   我心中的火,像他
   存在的火。
   如果不是一颗心
   这种荣耀会是什么?哦,我的兄弟姐妹们
   你们曾经像我一样,很久以前,
   在你们是人类之前?你们
   允许自己
   打开一次,谁再也不
   打开?因为事实上
   我现在是
   按你的方式说话。我说话
   是因为我被震碎。
The Red Poppy
   
   
   The great thing
   is not having
   a mind. Feelings:
   oh, I have those; they
   govern me. I have
   a lord in heaven
   called the sun, and open
   for him, showing him
   the fire of my own heart, fire
   like his presence.
   What could such glory be
   if not a heart? Oh my brothers and sisters
   were you like me once, long ago,
   before you were human? Did you
   permit yourselves
   to open once, who would never
   open again? Because in truth
   I am speaking now
   the way you do. I speak
   because I am shattered.
  
三叶草
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   那分散在
   我们中间的,你称之为
   幸福的记号
   虽然它,和我们一样,
   是一株野草,一种
   被根除的东西---
   
   你凭什么逻辑
   囤积
   一单卷
   你想死的
   东西?
   
   如果在我们中间有
   如此强大的存在,它不应该
   繁衍生息,为这个
   受人爱戴的花园服务吗?
   
   你应该自己问
   这些问题,
   而不是把它们留给
   你的受害者。你应该知道
   当你在我们中间大摇大摆,
   我听到两个声音在说话,
   一个是你的灵魂,一个是
   你双手的动作。
Clover
   
   
   What is dispersed
   among us, which you call
   the sign of blessedness
   although it is, like us,
   a weed, a thing
   to be rooted out---
   
   by what logic
   do you hoard
   a single tendril
   of something you want
   dead?
   
   If there is any presence among us
   so powerful, should it not
   multiply, in service
   of the adored garden?
   
   You should be asking
   these questions yourself,
   not leaving them
   to your victims. You should know
   that when you swagger among us
   I hear two voices speaking,
   one your spirit, one
   the acts of your hands.
  
晨祷
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   不仅仅是太阳,还有地球
   本身在闪耀,白色的火焰
   从美丽的山峦中跃起
   平坦的道路
   在清晨闪烁:这仅仅是
   为了我们,引起
   反应,还是你
   也被搅动,无助于
   在地球的存在中
   控制你自己---我感到羞耻
   为我以为你是何物,
   远离我们,把我们当作
   一个实验:做
   一次性动物是一件
   痛苦的事情。亲爱的朋友,
   亲爱的颤栗的伙伴,在
   你的感受中最让你惊讶的,
   地球的光辉还是你自己的快乐?
   对我来说,快乐
   总是惊奇。
Matins
   
   
   Not the sun merely but the earth
   itself shines, white fire
   leaping from the showy mountains
   and the flat road
   shimmering in early morning: is this
   for us only, to induce
   response, or are you
   stirred also, helpless
   to control yourself
   in earth’s presence---I am ashamed
   at what I thought you were,
   distant from us, regarding us
   as an experiment: it is
   a bitter thing to be
   the disposable animal,
   a bitter thing. Dear friend,
   dear trembling partner, what
   surprises you most in what you feel,
   earth's radiance or your own delight?
   For me, always
   the delight is the surprise.
  
天与地
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   一个结束的地方,另一个开始。
   上面,一条蓝色的带子;下面
   一条绿色和金色,绿色和深玫瑰色的带子。
   
   约翰站在地平线上:他
   两个都要,他立即
   要每个东西。
   
   极端很容易。只有
   中间是个谜。仲夏---
   一切皆有可能。
   
   意味着:生命永远不再结束。
   
   我怎么能让我丈夫
   站在花园里
   做这样的梦,拿着
   他的耙子,得意洋洋地
   准备宣布这一发现
   
   因为夏天的太阳之火
   确实
   被完全包含
   在花园边缘的
   燃烧的枫树所遏制。
Heaven and Earth
   
   Where one finishes, the other begins.
   On top, a band of blue; underneath,
   a band of green and gold, green and deep rose.
   
   John stands at the horizon: he wants
   both at once, he wants
   everything at once.
   
   The extremes are easy. Only
   the middle is a puzzle. Midsummer---
   everything is possible.
   
   Meaning: never again will life end.
   
   How can I leave my husband
   standing in the garden
   dreaming this sort of thing, holding
   his rake, triumphantly
   preparing to announce this discovery
   
   as the fire of the summer sun
   truly does stall
   being entirely contained by
   the burning maples
   at the garden’s border.
  
门口
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我想保持如我所是,
   静止就像世界永远不会静止,
   不是在仲夏,而是在
   第一朵花形成之前的那一刻,一切
   都还没有过去的那一刻---
   
   不是仲夏,醉人的,
   而是晚春,花园边的草
   还不高,早期的郁金香
   开始开放---
   
   就像一个孩子在门口徘徊,注视着别人,
   先走的人,
   紧张的四肢,警告
   别人的失败,公众犹豫
   
   带着孩子对迫在眉睫力量的强烈信心
   准备战胜
   这些弱点,不对任何事情
   屈服,直指
   
   开花前的时间,掌握的时代
   
   在天赋出现之前,
   拥有之前。
The Doorway   
   
   
   I wanted to stay as I was,
   still as the world is never still,
   not in midsummer but the moment before
   the first flower forms, the moment
   nothing is as yet past---
   
   not midsummer, the intoxicant,
   but late spring, the grass not yet
   high at the edge of the garden, the early tulips
   beginning to open---
   
   like a child hovering in a doorway, watching the others,
   the ones who go first,
   a tense cluster of limbs, alert to
   the failures of others, the public falterings
   
   with a child's fierce confidence of imminent power
   preparing to defeat
   these weaknesses, to succumb
   to nothing, the time directly
   
   prior to flowering, the epoch of mastery
   
   before the appearance of the gift,
   before possession.
  
仲夏
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我能怎么帮你们,当你们都想要
   不同的东西---阳光和阴影,
   潮湿的黑暗,干热---
   
   倾听你们自己,彼此竞争——
   
   你们想知道
   为什么我对你们绝望,
   你们认为有什么东西可以把你们融合成一个整体——
   
   盛夏的静谧空气
   夹杂着一千个声音
   
   每一个都呼唤着
   某种需要,一些绝对的
   
   并以此名义
   在开阔的田野
   不断地互相扼杀---
   
   为了什么?为了空间和空气?
   在天堂眼里
   仅有的特权?
   
   你们并不想
   独一无二。你们是
   我的化身,所有的多样性
   
   不是你们认为你们
   在田野上寻找明亮的天空所看到的,
   你们偶然的灵魂
   像望远镜一样固定在
   你们自己的某个放大部分上---
   
   我为什么要制造你们,如果我想
   把自己限制在
   上升的迹象,
   星星,火,愤怒?
Midsummer
   
   
   How can I help you when you all want
   different things—sunlight and shadow,
   moist darkness, dry heat---
   
   Listen to yourselves, vying with one another---
   
   And you wonder
   why I despair of you,
   you think something could fuse you into a whole---
   
   the still air of high summer
   tangled with a thousand voices
   
   each calling out
   some need, some absolute
   
   and in that name continually
   strangling each other
   in the open field---
   
   For what? For space and air?
   The privilege of being
   single in the eyes of heaven?
   
   You were not intended
   to be unique. You were
   my embodiment, all diversity
   
   not what you think you see
   searching the bright sky over the field,
   your incidental souls
   fixed like telescopes on some
   enlargement of yourselves---
   
   Why would I make you if I meant
   to limit myself
   to the ascendant sign,
   the star, the fire, the fury?

 楼主| 发表于 2020-11-2 18:04:59 | 显示全部楼层


晚祷

   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   我从前相信你,栽了一棵无花果树。
   这里,在佛蒙特州,没有
   夏天的农村。这是一个测试:如果这棵树还活着,
   那就意味着你的存在。

   按照这个逻辑,你不存在。或者你
   只存在于温暖的气候里,
   在炽热的西西里、墨西哥和加利福尼亚,
   那里种植着难以想象的
   杏子和易弱的桃子。也许
   他们在西西里看到了你的脸;在这里,我们几乎看不到
   你衣服的下摆。我得训练自己
   和约翰和诺亚分享西红柿的收成。

   如果在另一个世界里有正义,那些
   像我这样的人,自然强迫
   他们禁欲的生活,应该得到
   一切的最大份额,所有
   饥饿,贪婪的对象都是
   对你的赞美。没有人比我
   更强烈地赞美,带着
   更痛苦的抑制欲望,或者更值得
   坐在你的右手边,如果存在的话,分享
   那短暂的,那不朽的无花果,
   它没有移动。



Vespers

   Once I believed in you; I planted a fig tree.
   Here, in Vermont, country
   of no summer. It was a test: if the tree lived,
   it would mean you existed.

   By this logic, you do not exist. Or you exist
   exclusively in warmer climates,
   in fervent Sicily and Mexico and California,
   where are grown the unimaginable
   apricot and fragile peach. Perhaps
   they see your face in Sicily; here, we barely see
   the hem of your garment. I have to discipline myself
   to share with John and Noah the tomato crop.

   If there is justice in some other world, those
   like myself, whom nature forces
   into lives of abstinence, should get
   the lion's share of all things, all
   objects of hunger, greed being
   praise of you. And no one praises
   more intensely than I, with more
   painfully checked desire, or more deserves
   to sit at your right hand, if it exists, partaking
   of the perishable, the immortal fig,
   which does not travel.





晚祷

   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   在你的长期缺席中,你允许我
   使用土地,期待
   一些投资回报。我必须报告
   我的任务失败了,主要是
   在西红柿种植方面。

   我认为不应该被鼓励种
   西红柿。或者,如果我种了,你应该抑制
   大雨,这里经常出现
   寒冷的夜晚,而其他地区有
   十二个星期的夏天。这一切都
   属于你:另一方面,
   我种下了种子,我看着第一片嫩芽
   像翅膀一样撕碎了土壤,被枯萎打碎的
   是我的心,黑斑一排排
   繁殖得如此快。我怀疑
   你有一颗心,在我们对这个词的
   理解上。你们这些不区分
   死人和活人的人,他们,结果是,
   不受预示的感染,你们也许不知道
   我们承受了多大的恐惧,有斑点的叶子,
   枫树的红叶飘落
   即使在八月,在早期的黑暗中:我要为
   这些葡萄藤负责。



Vespers


   In your extended absence, you permit me
   use of earth, anticipating
   some return on investment. I must report
   failure in my assignment, principally
   regarding the tomato plants.
   I think I should not be encouraged to grow
   tomatoes. Or, if I am, you should withhold
   the heavy rains, the cold nights that come
   so often here, while other regions get
   twelve weeks of summer. All this
   belongs to you: on the other hand,
   I planted the seeds, I watched the first shoots
   like wings tearing the soil, and it was my heart
   broken by the blight, the black spot so quickly
   multiplying in the rows. I doubt
   you have a heart, in our understanding of
   that term. You who do not discriminate
   between the dead and the living, who are, in consequence,
   immune to foreshadowing, you may not know
   how much terror we bear, the spotted leaf,
   the red leaves of the maple falling
   even in August, in early darkness: I am responsible
   for these vines.






晚祷

   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   比你爱我更多,很可能
   你爱田野里的野兽,甚至,
   可能,田野本身,八月里点缀着
   野菊苣和紫菀:
   我知道。我把自己比作
   那些花,它们的感觉范围
   小得多而且没有问题;也把自己比作白羊,
   实际上是灰色的:我特别
   适合赞美你。那么为什么
   折磨我?我研究山茱萸,
   不受有毒的牧群
   伤害的毛茛:痛苦是
   你的礼物,让我
   意识到我需要你,仿佛
   我需要你崇拜你,
   还是你抛弃了我
   以田野取而代之,坚忍的羔羊
   在暮色中变成银色;野紫菀和菊苣的波浪闪耀着
   淡蓝色和深蓝色,因为你已经知道
   它多像你的衣服。



Vespers


   More than you love me, very possibly
   you love the beasts of the field, even,
   possibly, the field itself, in August dotted
   with wild chicory and aster:
   I know. I have compared myself
   to those flowers, their range of feeling
   so much smaller and without issue; also to white sheep,
   actually gray: I am uniquely
   suited to praise you. Then why
   torment me? I study the hawkweed,
   the buttercup protected from the grazing herd
   by being poisonous: is pain
   your gift to make me
   conscious in my need of you, as though
   I must need you to worship you,
   or have you abandoned me
   in favor of the field, the stoic lambs turning
   silver in twilight; waves of wild aster and chicory shining
   pale blue and deep blue, since you already know
   how like your raiment it is.




(选自  Chinese Whispers )
作者:(美)约翰.阿什贝利(John Ashberry)
译者:剑郭琴符



(选自  Chinese Whispers )
作者:(美)约翰.阿什贝利(John Ashberry)
译者:剑郭琴符





雏菊

   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   开始:你想什么就说什么。花园
   不是真实的世界。机器
   是真实的世界。坦率地说出任何一傻子
   能在你脸上读到的:它合情合理地
   避开我们,抵制
   怀旧情绪。它
   还不够现代,风吹起的声音
   搅动着雏菊的草地:心灵
   无法跟随它闪耀。心灵
   想要发光,坦率地,就像
   机器发光,而不
   深深地生长,像,例如,树根。仍然
   很感动的是,一大早看到你小心翼翼地
   靠近草地的边界,
   却没有人能
   看到你。你站在边缘的时间越长,
   你看起来就越紧张。没有人愿意听到
   自然界的印象:你将再次
   被嘲笑,轻蔑将堆积在你身上。
   至于你今天早上实际
   听到的:在告诉
   任何人在这个领域所说的话以及谁说的之前,
   要三思而后行。



Daisies


   Go ahead: say what you’re thinking. The garden
   is not the real world. Machines
   are the real world. Say frankly what any fool
   could read in your face: it makes sense
   to avoid us, to resist
   nostalgia. It is
   not modern enough, the sound the wind makes
   stirring a meadow of daisies: the mind
   cannot shine following it. And the mind
   wants to shine, plainly, as
   machines shine, and not
   grow deep, as, for example, roots. It is very touching
   all the same, to see you cautiously
   approaching the meadow’s border in early morning,
   when no one could possibly
   be watching you. The longer you stand at the edge,
   the more nervous you seem. No one wants to hear
   impressions of the natural world: you will be
   laughed at again; scorn will be piled on you.
   As for what you're actually
   hearing this morning: think twice
   before you tell anyone what was said in this field
   and by whom.






夏末

   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   所有的事情发生在我身上之后,
   空虚感出现在我身上。

   我在形式上的快乐
   是有限的---

   我在这方面不像你,
   我在另一个身体里没有解脱,

   我在自己之外
   不需要庇护---

   我可怜的灵感
   创造,你是
   干扰,最后,
   只是削减;你
   像我太少,最后,
   以至于不能取悦我。

   如此坚定---
   你想为你的消失
   得到补偿,
   所有的报酬在地球的某个地方,
   一些纪念品,当你曾经
   因为劳动而得到报酬,
   抄写员用银子
   支付,牧羊人用大麦(支付),

   尽管永恒的
   不是土地,不是
   这些小的物质碎片---

   如果你睁开你的眼睛
   你会看到我,你会看到
   天空的空旷
   映照在大地上,田野
   又空旷了,没有生命,覆盖着雪---

   然后白光
   不再伪装成物质。



End of Summer


   After all things occurred to me,
   the void occurred to me.

   There is a limit
   to the pleasure I had in form---

   I am not like you in this,
   I have no release in another body,

   I have no need
   of shelter outside myself---

   My poor inspired
   creation, you are
   distractions, finally,
   mere curtailment; you are
   too little like me in the end
   to please me.

   And so adamant---
   you want to be paid off
   for your disappearance,
   all paid in some part of the earth,
   some souvenir, as you were once
   rewarded for labor,
   the scribe being paid
   in silver, the shepherd in barley

   although it is not earth
   that is lasting, not
   these small chips of matter---

   If you would open your eyes
   you would see me, you would see
   the emptiness of heaven
   mirrored on earth, the fields
   vacant again, lifeless, covered with snow---

   then white light
   no longer disguised as matter.





晚祷

   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   我不想知道你在哪里。
   你在花园里;你在约翰在的地方,
   在泥土里,心不在焉,拿着他的绿色泥铲。
   这就是他的园艺方式:十五分钟的紧张努力,
   十五分钟的狂喜沉思。有时
   我在他旁边干活,做些少量的杂务,
   除草,减薄莴苣;有时我
   在上花园附近的门廊里看着,直到黄昏时分
   第一朵百合花制造了灯具。在这期间,
   和平从未离开过他。但它从我身上急速穿过,
   不像花拥有的食物,
   而是像光照在光秃秃的树上。



Vespers


   I don't wonder where you are anymore.
   You’re in the garden; you’re where John is,
   in the dirt, abstracted, holding his green trowel.
   This is how he gardens: fifteen minutes of intense effort,
   fifteen minutes of ecstatic contemplation. Sometimes
   I work beside him, doing the shade chores,
   weeding, thinning the lettuces; sometimes I watch
   from the porch near the upper garden until twilight makes
   lamps of the first lilies: all this time,
   peace never leaves him. But it rushes through me,
   not as sustenance the flower holds
   but like bright light through the bare tree.





晚祷

   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   正如你向摩西显现,因为
   我需要你,你常向我显现,不
   经常,然而。我基本上生活
   在黑暗中。你也许是在训练我
   对最轻微的光亮做出反应。或者,像诗人们一样,
   你是被绝望所刺激,悲伤
   让你显露你的本性?今天下午,
   在你通常贡献你沉默的
   物质世界里,我爬上
   野生蓝莓上面的小山,形而上地
   下降,就像我所有的散步一样:我走得够深,
   让你同情我,就像你有时同情
   那些受苦受难的其他人,偏袒那些
   有神学天赋的人?正如你所料,
   我没有改善。于是你来到我面前:
   在我脚下,不是野蓝莓的
   蜡叶,而是你炽热的自我,一整片
   火的牧场,远处,红日不落不升---
   我不是孩子,我可以利用幻想。



Vespers

   Even as you appeared to Moses, because
   I need you, you appear to me, not
   often, however. I live essentially
   in darkness. You are perhaps training me to be
   responsive to the slightest brightening. Or, like the poets,
   are you stimulated by despair, does grief
   move you to reveal your nature? This afternoon,
   in the physical world to which you commonly
   contribute your silence, I climbed
   the small hill above the wild blueberries, metaphysically
   descending, as on all my walks: did I go deep enough
   for you to pity me, as you have sometimes pitied
   others who suffer, favoring those
   with theological gifts? As you anticipated,
   I did not look up. So you came down to me:
   at my feet, not the wax
   leaves of the wild blueberry but your fiery self, a whole
   pasture of fire, and beyond, the red sun neither falling nor rising---
   I was not a child; I could take advantage of illusions.






 楼主| 发表于 2020-11-2 18:06:46 | 显示全部楼层

晚祷

   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   你以为我们不知道。但我们曾经知道,
   孩子们知道这些事。现在别转身---我们居住
   在谎言中来安抚你。我记得
   早春的阳光,堤坝
   捕获黑色的长春花。我记得
   我躺在地里,摸我兄弟的身体。
   现在不要走开,我们拒绝了
   记忆来安慰你。我们模仿你,背诵
   我们的惩罚条款。我记得
   其中一些,而不是全部:欺骗
   始于遗忘。我记得小东西,山楂树下
   生长的花朵,野生
   绵枣的铃铛。不是全部,但足以
   知道你存在:还有谁有理由
   在兄弟姐妹之间制造不信任,除了
   那个获利的人,而我们孤独地向他转身?还有谁
   会如此嫉妒我们当时的关系
   以至于告诉我们失去的
   不是地球而是天堂?



Vespers

   You thought we didn't know. But we knew once,
   children know these things. Don't turn away now---we inhabited
   a lie to appease you. I remember
   sunlight of early spring, embankments
   netted with dark vinca. I remember
   lying in a field, touching my brother's body.
   Don't turn away now; we denied
   memory to console you. We mimicked you, reciting
   the terms of our punishment. I remember
   some of it, not all of it: deceit
   begins as forgetting. I remember small things, flowers
   growing under the hawthorn tree, bells
   of the wild scilla. Not all, but enough
   to know you exist: who else had reason to create
   mistrust between a brother and sister but the one
   who profited, to whom we turned in solitude? Who else
   would so envy the bond we had then
   as to tell us it was not earth
   but heaven we were losing?





早期的黑暗

   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   你们怎么能说
   大地应该给我欢乐?生下来的
   每个东西都是我的负担,我不能
   和你们所有人一起成功。

   你们想对我发号施令,
   你们想告诉我
   你们当中谁最有价值,
   谁最像我。
   你们以纯洁的
   生活,你们努力实现的
   超然为榜样---

   当你们不能理解自己,
   你们怎么能理解我?
   你们的记忆
   不够强大,它不会
   回溯到足够远---

   别忘了你们是我的孩子。
   你们受苦不是因为你们彼此接触,
   而是因为你们出生,
   因为你们需要
   和我分开的生活。



Early Darkness


   How can you say
   earth should give me joy? Each thing
   born is my burden; I cannot succeed
   with all of you.

   And you would like to dictate to me,
   you would like to tell me
   who among you is most valuable,
   who most resembles me.
   And you hold up as an example
   the pure life, the detachment
   you struggle to achieve---

   How can you understand me
   when you cannot understand yourselves?
   Your memory is not
   powerful enough, it will not
   reach back far enough---

   Never forget you are my children.
   You are not suffering because you touched each other
   but because you were born,
   because you required life
   separate from me.





收获

   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   过去,想起你,我很伤心---

   看着你,盲目地紧贴在地上
   好像它是天上的葡萄园
   田野却在你四围熊熊燃烧---

   啊,小东西,你多么不敏锐:
   这同时是天赋又是折磨。

   如果你在死亡中害怕的
   是超越它的惩罚,你就不必
   惧怕死亡:

   我要多少次毁灭我自己的创造
   来教导你
   这是你的惩罚:

   我用一个手势
   在时间和天堂里创立了你。



Harvest

   It grieves me to think of you in the past---

   Look at you, blindly clinging to earth
   as though it were the vineyards of heaven
   while the fields go up in flames around you---

   Ah, little ones, how unsubtle you are:
   it is at once the gift and the torment.

   If what you fear in death
   is punishment beyond this, you need not
   fear death:

   how many times must I destroy my own creation
   to teach you
   this is your punishment:

   with one gesture I established you
   in time and in paradise.





白玫瑰
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   这就是大地?那么
   我不属于这里。

   你是谁,在灯光明媚的窗户里,
   现在被闪烁的
   行路树的树叶所遮蔽?
   你能在我无法撑过
   第一个夏天的地方幸存?

   整晚树的细枝
   在明亮的窗前摇曳、沙沙作响。
   向我说明我的生命,你不作记号,

   虽然我在夜间呼求你,
   我不像你,我只有
   我的身体为了一个声音,我不能
   消失在沉默中---

   在寒冷的早晨
   在黑暗的大地表面
   我声音的回声漂流,
   白色有规则地被黑暗吸收

   仿佛你后来做一个记号
   让我相信你也不能在这里生存

   或者告诉我你不是我所召唤的光
   而是它背后的黑暗。



The White Rose

   This is the earth? Then
   I don't belong here.

   Who are you in the lighted window,
   shadowed now by the flickering leaves
   of the wayfarer tree?
   Can you survive where I won't last
   beyond the first summer?

   All night the slender branches of the tree
   shift and rustle at the bright window.
   Explain my life to me, you who make no sign,

   though I call out to you in the night:
   I am not like you, I have only
   my body for a voice; I can’t
   disappear into silence---

   And in the cold morning
   over the dark surface of the earth
   echoes of my voice drift,
   whiteness steadily absorbed into darkness

   as though you were making a sign after all
   to convince me you too couldn’t survive here

   or to show me you are not the light I called to
   but the blackness behind it.






蕃薯

   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   我在另一个生命中犯了什么罪,
   因为在这一生中,我的罪
   是悲伤,我不能再被
   允许提升,
   在任何意义上从不
   允许重复我的生命,
   在山楂树上受伤,所有的
   尘世之美我的惩罚
   因为它是你的---
   我受苦的根源,你为何
   从我身上拔出
   这些好像天空的花来,只是
   把我标记为
   我主人的一部分。我是
   他斗篷的颜色,我的肉体给予
   他荣耀的形式。



Ipomoea


   What was my crime in another life,
   as in this life my crime
   is sorrow, that I am not to be
   permitted to ascend ever again,
   never in any sense
   permitted to repeat my life,
   wound in the hawthorn, all
   earthly beauty my punishment
   as it is yours---
   Source of my suffering, why
   have you drawn from me
   these flowers like the sky, except
   to mark me as a part
   of my master: I am
   his cloak's color, my flesh giveth
   form to his glory.





普雷斯克岛

   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   在每个人的生命中,都有那么一两个瞬间。
   在每个人的生命中,都有一个房间,在海边或山里。

   桌子上,一盘杏子。白色烟灰缸里的坑。

   像所有的图像一样,这些都是约定的条件:
   在你的脸颊上,阳光的颤动,
   我的手指按着你的嘴唇。
   墙是蓝白色的;低衣柜的油漆有点剥落。

   那个房间一定还存在,在四楼,
   有一个可以俯瞰大海的小阳台。
   一间方形的白色房间,上面的床单向后拉过床沿。
   它还没有化为乌有,变成现实。
   透过敞开的窗户,海上空气,碘的味道。
   清晨:一个男人叫一个小男孩从水里回来。
   那个小男孩---他现在二十岁了。

   围绕你的脸,湿头发奔涌,红褐色的条纹。
   薄纱,银光闪闪。盛满白牡丹的沉重罐子。



Presque Isle


   In every life, there's a moment or two.
   In every life, a room somewhere, by the sea or in the mountains.

   On the table, a dish of apricots. Pits in a white ashtray.

   Like all images, these were the conditions of a pact:
   on your cheek, tremor of sunlight,
   my finger pressing your lips.
   The walls blue-white; paint from the low bureau flaking a little.

   That room must still exist, on the fourth floor,
   with a small balcony overlooking the ocean.
   A square white room, the top sheet pulled back over the edge of the bed.
   It hasn’t dissolved back into nothing, into reality.
   Through the open window, sea air, smelling of iodine.

   Early morning: a man calling a small boy back from the water.
   That small boy---he would be twenty now.

   Around your face, rushes of damp hair, streaked with auburn.
   Muslin, flicker of silver. Heavy jar filled with white peonies.






 楼主| 发表于 2020-11-3 14:05:02 | 显示全部楼层
  
后退的光
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   你们就像很小的孩子,
   总是在等待故事。
   我已经经历这一切太多次;
   我厌倦了讲故事。
   所以我给你们铅笔和纸。
   
   我把自己收集的芦苇
   做成的钢笔送给你们,下午在茂密的草地上。
   我告诉你,写你们自己的故事。
   
   毕竟听了这么多年
   我认为你们会知道
   什么是故事。
   
   你们能做的一切只是哭。
   你们想把一切都告诉你们
   自己什么都不想。
   
   然后我意识到你们不能
   用真正的勇气和激情去思考;
   你们还没有自己的生活,
   你们自己的悲剧。
   所以我给了你们生命,我给了你们悲剧,
   因为显然光靠工具是不够的。
   
   你们永远不会知道
   看到你们像独立的生命一样
   坐在那里,
   看着你们在敞开的窗户边做梦,
   拿着我给你们的铅笔,
   直到夏天的早晨消失在文字中,我的满意多么强烈。
   
   创造给你们带来了
   巨大的兴奋,正如我所知道的,
   正如它在一开始所做的那样。
   我现在可以随心所欲地去做,
   去处理其他的事情,相信
   你们不再需要我了。
  
  
  
Retreating Light
   
   
   You were like very young children,
   always waiting for a story.
   And I’d been through it all too many times;
   I was tired of telling stories.
   So I gave you the pencil and paper.
   I gave you pens made of reeds
   I had gathered myself, afternoons in the dense meadows.
   I told you, write your own story.
   
   After all those years of listening
   I thought you’d know
   what a story was.
   
   All you could do was weep.
   You wanted everything told to you
   and nothing thought through yourselves.
   
   Then I realized you couldn't think
   with any real boldness or passion;
   you hadn't had your own lives yet,
   your own tragedies.
   So I gave you lives, I gave you tragedies,
   because apparently tools alone weren't enough.
   
   You will never know how deeply
   it pleases me to see you sitting there
   like independent beings,
   to see you dreaming by the open window,
   holding the pencils I gave you
   until the summer morning disappears into writing.
   
   Creation has brought you
   great excitement, as I knew it would,
   as it does in the beginning.
   And I am free to do as I please now,
   to attend to other things, in confidence
   you have no need of me anymore.
  
  
  
  
晚祷
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我知道你计划什么,你想做什么,教我
   爱这个世界,完全
   离开,再把它完全拒之门外不可能---
   到处都是;当我闭上眼睛,
   鸟鸣,早春的丁香气味,夏天玫瑰的气息:
   你是说把它带走,每一朵花,每一个与地球的联系---
   你为什么要伤害我,为什么你想让我
   终于落寞,除非你想让我如此渴望希望
   我会拒绝看到最终
   什么都没有留给我,反而去相信
   最后你会留给我。
  
  
  
Vespers
   
   
   I know what you planned, what you meant to do, teaching me
   to love the world, making it impossible
   to turn away completely, to shut it out completely ever again---
   it is everywhere; when I close my eyes,
   birdsong, scent of lilac in early spring, scent of summer roses:
   you mean to take it away, each flower, each connection with earth---
   why would you wound me, why would you want me
   desolate in the end, unless you wanted me so starved for hope
   I would refuse to see that finally
   nothing was left to me, and would believe instead
   in the end you were left to me.
  
  
  
  
晚祷:基督再临
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   爱我的生命,你
   失去了,我
   又年轻了。
   
   几年过去了。
   空气中弥漫着
   少女的音乐;
   前院的
   苹果树上
   开满了鲜花。
   
   我想把你赢回来,
   这就是
   写作的重点。
   但你永远都离开了,
   就像在俄国小说里,说
   几句我不记得的话---
   
   世界多么繁茂,
   不属于我的东西多么满---
   
   我看着花儿碎裂,
   不再是粉红色,
   而是老了,老了,一片黄白色---
   花瓣仿佛
   漂浮在明亮的草地上,
   微微飘动。
   
   你是一个虚无,
   这么快就变成了
   一个形象,一股气味---
   你无处不在,智慧
   和痛苦的源泉。
  
  
  
Vespers: Parousia
   
   
   Love of my life, you
   are lost and I am
   young again.
   
   A few years pass.
   The air fills
   with girlish music;
   in the front yard
   the apple tree is
   studded with blossoms.
   
   I try to win you back,
   that is the point
   of the writing.
   But you are gone forever,
   as in Russian novels, saying
   a few words I don’t remember---
   
   How lush the world is,
   how full of things that don’t belong to me---
   
   I watch the blossoms shatter,
   no longer pink,
   but old, old, a yellowish white---
   the petals seem
   to float on the bright grass,
   fluttering slightly.
   
   What a nothing you were,
   to be changed so quickly
   into an image, an odor---
   you are everywhere, source
   of wisdom and anguish.
  
  
  
  
晚祷
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   你的声音现在不见了;我几乎听不见你。
   你那星光般的声音现在全是阴影
   大地再次黑暗
   伴随你内心的巨大变化。
   
   白天,枫树宽阔的树荫下
   有些地方的草开始变黄。
   现在,我在任何地方都被沉默地交谈,
   
   所以很明显我无法访问你;
   我不为你而存在,你已经
   穿过我的名字划出一条线。
   
   你在什么样的轻视中拥有我们
   相信只有失败才能
   对我们强加你的力量,
   
   秋天的第一场雨摇曳着洁白的百合花---
   
   当你离开,你绝对地离开,
   从所有的事物中扣除可见的生命
   
   但不是所有的生命,
   以免我们脱离你。
  
  
  
Vespers
   
   
   Your voice is gone now; I hardly hear you.
   Your starry voice all shadow now
   and the earth dark again
   with your great changes of heart.
   
   And by day the grass going brown in places
   under the broad shadows of the maple trees.
   Now, everywhere I am talked to by silence
   
   so it is clear I have no access to you;
   I do not exist for you, you have drawn
   a line through my name.
   
   In what contempt do you hold us
   to believe only loss can impress
   your power on us,
   
   the first rains of autumn shaking the white lilies---
   
   When you go, you go absolutely,
   deducting visible life from all things
   
   but not all life,
   lest we turn from you.
  
  
  
  
晚祷
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   八月底。热得
   像约翰
   花园的帐篷。有些事情
   有勇气开始,
   一簇簇西红柿,一株株
   晚熟的百合花----伟大茎杆的
   乐观主义---帝国的
   金银:但是为什么
   开始得
   如此接近终点?
   西红柿永远不会成熟,百合花
   冬天会杀死,不会
   在春天回来。或者
   你认为
   我花了太多时间
   展望未来,就像
   夏天穿着毛衣的
   一个老妇人;
   你是说我可以
   茁壮成长,没有
   持久的
   希望?火红脸颊火焰,张开的
   喉咙的荣耀,白色,
   打上深红的斑点。
  
  
  
Vespers
   
   
   End of August. Heat
   like a tent over
   John’s garden. And some things
   have the nerve to be getting started,
   clusters of tomatoes, stands
   of late lilies---optimism
   of the great stalks---imperial
   gold and silver: but why
   start anything
   so close to the end?
   Tomatoes that will never ripen, lilies
   winter will kill, that won't
   come back in spring. Or
   are you thinking
   I spend too much time
   looking ahead, like
   an old woman wearing
   sweaters in summer;
   are you saying I can
   flourish, having
   no hope
   of enduring? Blaze of the red cheek, glory
   of the open throat, white,
   spotted with crimson.
  
  
  
  
傍晚
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我最大的幸福
   是你的嗓音发出的声音
   甚至在绝望中呼唤我;我的悲哀
   是我无法用言语
   回答你,你把它当作我的。
   
   你对自己的语言没有信心。
   所以你
   把权威投资在
   你不能精确阅读的符号上。
   
   但你的声音总是到达我。
   我不停地回答,
   我的愤怒
   随着冬天的流逝而消逝。我的温柔
   应该显现给你
   在夏夜的微风中
   在变成你自己
   回应的语言中。
  
  
  
Sunset
   
   
   My great happiness
   is the sound your voice makes
   calling to me even in despair; my sorrow
   that I cannot answer you
   in speech you accept as mine.
   
   You have no faith in your own language.
   So you invest
   authority in signs
   you cannot read with any accuracy.
   
   And yet your voice reaches me always.
   And I answer constantly,
   my anger passing
   as winter passes. My tenderness
   should be apparent to you
   in the breeze of the summer evening
   and in the words that become
   your own response.
  
  
  
  
摇篮曲
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   现在是休息时间,这时间
   你已经够兴奋了。
   
   黄昏,然后是傍晚。房间里的
   萤火虫,到处闪烁,到处,
   夏日深深的甜蜜充满了敞开的窗户。
   
   别再想这些。
   听我的呼吸,你自己的呼吸
   像萤火虫,每一个小小的呼吸
   都是世界出现的闪光。
   
   在夏日的夜晚,我已经为你歌唱了很久。
   我最终会赢你;这个世界不能
   给你这种持久的远见。
   
   你必须学会爱我。人类必须学会爱
   沉默和黑暗。
  
  
  
Lullaby

   
   Time to rest now; you have had
   enough excitement for the time being.
   
   Twilight, then early evening. Fireflies
   in the room, flickering here and there, here and there,
   and summer's deep sweetness filling the open window.
   
   Don't think of these things anymore.
   Listen to my breathing, your own breathing
   like the fireflies, each small breath
   a flare in which the world appears.
   
   I've sung to you long enough in the summer night.
   I’ll win you over in the end; the world can’t give you
   this sustained vision.
   
   You must be taught to love me. Human beings must be taught to love
   silence and darkness.
  
  
  
  
银百合
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   夜晚又变凉了,像早春的
   夜晚,又静了下来。演讲会
   打扰你吗?我们
   现在是孤独的,我们没有沉默的理由。
   
   你能看见,在花园的上空---满月升起。
   我看不到下一个满月。
   
   春天,当月亮升起,意味着
   时间是无尽的。雪花莲
   开了又合,枫树的
   种子成群下落成苍白的漂流物。
   白色对白色,月亮升起在白桦树上。
   在弯曲处,树木分开的地方,
   第一片水仙花的叶子,在月光下
   柔和的银绿色。
   
   现在我们向终点一起已经走得太远,
   而不再害怕终点。这些夜晚,我甚至不确定
   我知道什么是终点。你,和一个男人在一起---
   
   在第一次哭泣之后,
   不再快乐,像恐惧一样,不发出声音?
  
  
  
The Silver Lily
   
   
   The nights have grown cool again, like the nights
   of early spring, and quiet again. Will
   speech disturb you? We're
   alone now; we have no reason for silence.
   
   Can you see, over the garden---the full moon rises.
   I won't see the next full moon.
   
   In spring, when the moon rose, it meant
   time was endless. Snowdrops
   opened and closed, the clustered
   seeds of the maples fell in pale drifts.
   White over white, the moon rose over the birch tree.
   And in the crook, where the tree divides,
   leaves of the first daffodils, in moonlight
   soft greenish-silver.
   
   We have come too far together toward the end now
   to fear the end. These nights, I am no longer even certain
   I know what the end means. And you, who've been with a man---
   
   after the first cries,
   doesn't joy, like fear, make no sound?
  
  
  
  
九月黄昏
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我把你们聚集在一起,
   我可以不需要你们---
   
   我厌倦了你们,混乱的
   生活世界---
   长久以来我只能把自己
   延伸到一个有生命的东西上。
   
   我召唤你们的存在
   张开嘴,举起
   我的小手指,野紫菀
   
   闪烁的
   蓝色,百合花
   开放,巨大的,
   金色的脉络---
   
   你们来来去去,最后
   我忘了你们的名字。
   
   你们来来去去,你们每个人
   都在某种程度上有缺陷,
   在某种程度上妥协:你们值得
   一个生命,仅此而已。
   
   我把你们聚集在一起;
   我可以抹去你们
   就好像你们是一个要扔掉的草稿,
   一个练习,
   
   因为我已经完成了你们,一个
   最深的哀悼的幻象。
  
  
  
September Twilight
   
   I gathered you together,
   I can dispense with you---
   
   I'm tired of you, chaos
   of the living world---
   I can only extend myself
   for so long to a living thing.
   
   I summoned you into existence
   by opening my mouth, by lifting
   my little finger, shimmering
   
   blues of the wild
   aster, blossom
   of the lily, immense,
   gold-veined---
   
   you come and go; eventually
   I forget your names.
   
   You come and go, every one of you
   flawed in some way,
   in some way compromised: you are worth
   one life, no more than that.
   
   I gathered you together;
   I can erase you
   as though you were a draft to be thrown away,
   an exercise
   
   because I’ve finished you, vision
   of deepest mourning.
  
  
  
  
金百合
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   当我意识到
   现在我要死,知道
   我不会再说话,不会
   在地球上生存,再次
   被召唤出来,还没有
   一朵花,只有一根脊梁,原始的泥土
   抓住了我的肋骨,我呼唤你,
   父和主:周围,
   我的同伴们都在失败,以为
   你看不见。他们
   怎么知道你看见了
   除非你救我们?
   在夏日的暮色中,你
   近到听见
   你孩子的恐惧?或者
   难道你不是我的父,
   你养育了我?
  
  
  
The Gold Lily
   
   
   As I perceive
   I am dying now and know
   I will not speak again, will not
   survive the earth, be summoned
   out of it again, not
   a flower yet, a spine only, raw dirt
   catching my ribs, I call you,
   father and master: all around,
   my companions are failing, thinking
   you do not see. How
   can they know you see
   unless you save us?
   In the summer twilight, are you
   close enough to hear
   your child’s terror? Or
   are you not my father,
   you who raised me?
  
  
  
  
白百合
   
   (选自THE WILD IRIS (1992))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   当一个男人和女
   在他们之间建造一个花园,就像
   一张星星的床,这里
   他们在夏夜逗留
   夜晚因他们的恐惧
   变得寒冷:这一切
   都有可能结束,这是可以
   毁灭的。所有的,所有的
   都可能消失,透过芬芳的空气
   狭窄的柱子
   毫无用处地升起,在远处,
   翻腾的罂粟花海---
   
   安静,亲爱的。我能活多少个夏天
   对我来说都无关紧要:
   这个夏天我们进入了永恒。
   我感觉到你的双手
   埋葬了我以释放它的光辉。
  
  
  
The White Lilies
   
   
   As a man and woman make
   a garden between them like
   a bed of stars, here
   they linger in the summer evening
   and the evening turns
   cold with their terror: it
   could all end, it is capable
   of devastation. All, all
   can be lost, through scented air
   the narrow columns
   uselessly rising, and beyond,
   a churning sea of poppies---
   
   Hush, beloved. It doesn’t matter to me
   how many summers I live to return:
   this one summer we have entered eternity.
   I felt your two hands
   bury me to release its splendor.
  
  
  

 楼主| 发表于 2020-11-4 18:46:05 | 显示全部楼层
本帖最后由 剑郭琴符 于 2020-11-4 18:49 编辑




  
珀涅罗珀之歌

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   草地(1996)
   致罗伯特和弗兰克

   让我们播放选择音乐。最喜欢的形式。
   歌剧。
   最喜欢的作品。
   费加罗。不,费加罗和唐豪瑟。现在轮到你了:
   为我唱一首。

   珀涅罗珀之歌

   小小的灵魂,永远不穿衣服的小家伙,
   现在就照我的吩咐去做,爬上
   像架子状的云杉树的树枝;
   在上面等着,专心,像
   一个哨兵或是了望员。他很快就回家;
   你有必要
   宽宏大量。你也不完全
   完美无缺;用你那麻烦的身体
   你做了一些
   不该在诗中讨论的事情。因此
   在开阔的水上,在明亮的水上呼唤他
   用你那黑暗的歌声,用你那紧抓的、
   不自然的激情歌,
   像玛丽亚.卡拉斯。谁
   不想要你?你可能不回答
   谁最有魔力的胃口?很快
   他就要从这段时间里去的任何地方回来,
   在他离开的时间晒得黝黑,想
   吃烤鸡。啊,你必须欢迎他,
   你必须摇动树枝
   引起他的注意,
   但要小心,小心,以免
   他美丽的脸
   被太多落下的针弄坏。
   ------
   珀涅罗珀,奥德修斯的妻子。
   费加罗:莫扎特歌剧《费加罗的婚礼》,罗西尼歌剧《塞尔维亚的理发师》中的男主人公。
   唐豪瑟,瓦格纳歌剧《唐豪瑟》中的男主人公。
  
  

  
MEADOWLANDS (1996)
   TO ROBERT AND FRANK

   Let’s play choosing music. Favorite form.
   Opera.
   Favorite work.
   Figaro. No. Figaro and Tannhauser. Now it’s your turn:
   sing one for me.

   Penelope's Song


   Little soul, little perpetually undressed one,
   do now as I bid you, climb
   the shelf-like branches of the spruce tree;
   wait at the top, attentive, like
   a sentry or look-out. He will be home soon;
   it behooves you to be
   generous. You have not been completely
   perfect either; with your troublesome body
   you have done things you shouldn’t
   discuss in poems. Therefore
   call out to him over the open water, over the bright water
   with your dark song, with your grasping,
   unnatural song-passionate,
   like Maria Callas. Who
   wouldn’t want you? Whose most demonic appetite
   could you possibly fail to answer? Soon
   he will return from wherever he goes in the meantime,
   suntanned from his time away, wanting
   his grilled chicken. Ah, you must greet him,
   you must shake the boughs of the tree
   to get his attention,
   but carefully, carefully, lest
   his beautiful face be marred
   by too many falling needles.
  
  




  
迦南

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   我能告诉你你不知道
   会让你再次颤抖的什么?

   连翘
   在路边,在
   潮湿的岩石旁,在种植不足的
   风信子的堤岸上, ---

   我快乐了十年。
   你就在那里;从某种意义上说,
   你一直和我在一起,房子,花园
   一直亮着,
   不用像我们在天上拥有的光
   而是用那些更强大的
   光的象征,含蓄地
   改变了一些
   尘世的东西---

   所有的一切都消失了,
   重新吸收进冷漠的过程。那么
   我们将看到什么,
   既然黄色的火炬变成了
   绿色的树枝?

   ---
   迦南:见《旧约》。可以指约旦以西的整个巴勒斯坦,被希伯来人称为“应许之地”。
  
  

  
   Cana


   What can I tell you that you don’t know
   that will make you tremble again?

   Forsythia
   by the roadside, by
   wet rocks, on the embankments
   underplanted with hyacinth---

   For ten years I was happy.
   You were there; in a sense,
   you were always with me, the house, the garden
   constantly lit,
   not with light as we have in the sky
   but with those emblems of light
   which are more powerful, being
   implicitly some earthly
   thing transformed---

   And all of it vanished,
   reabsorbed into impassive process. Then
   what will we see by,
   now that the yellow torches have become
   green branches?
  
  




  
安静的夜晚

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   你牵着我的手,然后我们就孤零零地
   在威胁生命的森林。几乎马上

   我们就在一所房子里;诺亚
   长大了,搬走了;十年后铁线莲
   突然开了白色的花。

   我比世界上任何事情都更爱的是
   我们在一起的这些夜晚,
   夏日里宁静的夜晚,此时此刻天空依然明亮。

   所以珀涅罗珀牵着奥德修斯的手,
   不是要阻止他,而是
   要在他的记忆中留下这种宁静的印象:

   从这一刻起,你所走过的沉默
   就是我追求你的声音。
  
  

  
Quiet Evening


   You take my hand; then we’re alone
   in the life-threatening forest. Almost immediately

   we’re in a house; Noah’s
   grown and moved away; the clematis after ten years
   suddenly flowers white.

   More than anything in the world
   I love these evenings when we're together,
   the quiet evenings in summer, the sky still light at this hour.

   So Penelope took the hand of Odysseus,
   not to hold him back but to impress
   this peace on his memory:

   from this point on, the silence through which you move
   is my voice pursuing you.
  
  




  
仪式

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   当我停止吃黄油时,我不再
   喜欢洋蓟。我从来
   不喜欢茴香。

   有一件事我一直讨厌
   你:我讨厌你拒绝
   让人在家里。福楼拜
   有更多的朋友,福楼拜
   是个隐士。

   福楼拜疯了:他
   和母亲住在一起。

   和你住在一起就像住在
   寄宿学校:
   鸡星期一,鱼星期二。

   我有深厚的友谊。
   我和其他隐士
   有友谊。

   你为什么叫它僵化?
   你不能称之为对仪式的
   品味吗?还是你对美的渴望
   完全被你自己的人满足了?

   另一件事:命名另一个
   没有家具的人。

   我们星期二有鱼
   因为星期二是新鲜的。如果我能开车
   我们可以有不同的日子。

   如果你这么绝望
   作为先例,试试
   史蒂文斯。史蒂文斯
   从不旅行,这并不意味着
   他不懂得快乐。

   也许是快乐,但不是
   欢乐。当你做洋蓟,
   自己做。
  
  

  
Ceremony

   I stopped liking artichokes when I stopped eating
   butter. Fennel
   I never liked.

   One thing I’ve always hated
   about you: I hate that you refuse
   to have people at the house. Flaubert
   had more friends and Flaubert
   was a recluse.

   Flaubert was crazy: he lived
   with his mother.

   Living with you is like living
   at boarding school:
   chicken Monday, fish Tuesday.

   I have deep friendships.
   I have friendships
   with other recluses.

   Why do you call it rigidity?
   Can't you call it a taste
   for ceremony? Or is your hunger for beauty
   completely satisfied by your own person?

   Another thing: name one other person
   who doesn't have furniture.

   We have fish Tuesday
   because it’s fresh Tuesday. If I could drive
   we could have it different days.

   If you’re so desperate
   for precedent, try
   Stevens. Stevens
   never traveled; that doesn’t mean
   he didn't know pleasure.

   Pleasure maybe but not
   joy. When you make artichokes,
   make them for yourself.
  
  




  
国王的寓言

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   伟大的国王向前看
   看到的不是命运,而简直是
   未知岛屿上
   闪耀的曙光:作为一个国王
   他认为当务之急是:最好
   不要重新考虑方向,最好
   在波光粼粼的水面上
   继续前进。不管怎么说,
   命运是什么,它只是一种无视历史的
   策略,有道德上的
   困境,一种将
   现在,其决策
   被作出,视为和过去(国王像一个
   年轻王子的形象)以及辉煌未来(奴隶女孩
   形象)的必要方式。不管
   前面是什么,为什么一定要
   如此让人炫目?谁能知道
   那不是通常的太阳
   而是在一个即将灭绝的世界上
   升起的火焰?
  
  

  
Parable of the King

   The great king looking ahead
   saw not fate but simply
   dawn glittering over
   the unknown island: as a king
   he thought in the imperative---best
   not to reconsider direction, best
   to keep going forward
   over the radiant water. Anyway,
   what is fate but a strategy for ignoring
   history, with its moral
   dilemmas, a way of regarding
   the present, where decisions
   are made, as the necessary
   link between the past (images of the king
   as a young prince) and the glorious future (images
   of slave girls). Whatever
   it was ahead, why did it have to be
   so blinding? Who could have known
   that wasn't the usual sun
   but flames rising over a world
   about to become extinct?
  
  




  
无月之夜

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   一位女士在黑暗的窗户前哭泣。
   我们必须说出它是什么吗?我们不能简单地说
   一件私事吗?现在是初夏,
   隔壁的灯光正在练习克莱斯默音乐。
   晚安:单簧管调好了。

   至于那位夫人---她要永远等着;
   再看毫无意义。
   一会儿后,路灯熄灭。

   但永远等待
   总是答案吗?没有什么
   总是答案;答案
   总是取决于故事。

   想把所有事情搞清楚
   真是一个错误。多么单一的
   一个夜晚,尤其是
   像这样的一个,现在如此接近结局?
   另一方面,可能有任何东西,
   世界上所有的欢乐,星星逐渐消失,
   街灯变成公共汽车站。
  
  

  
Moonless Night


   A lady weeps at a dark window.
   Must we say what it is? Can't we simply say
   a personal matter? It's early summer;
   next door the Lights are practicing klezmer music.
   A good night: the clarinet is in tune.

   As for the lady---she’s going to wait forever;
   there's no point in watching longer.
   After awhile, the streetlight goes out.

   But is waiting forever
   always the answer? Nothing
   is always the answer; the answer
   depends on the story.

   Such a mistake to want
   clarity above all things. What's
   a single night, especially
   one like this, now so close to ending?
   On the other side, there could be anything,
   all the joy in the world, the stars fading,
   the streetlight becoming a bus stop.
  
  




  
出发

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   夜不黑暗,世界黑暗。
   跟我多呆一会儿。

   你的手在椅背上---
   这是我会记得的。
   在那之前,轻轻地抚摸我的肩膀。
   就像一个训练自己避开心脏的男人。

   在另一个房间里,女仆小心翼翼地
   把照我阅读的灯熄灭了。

   那个有粉笔墙的房间---
   我想知道一旦你开始流放,
   你会怎么看它?我想你的眼睛会找到
   它相对于月亮的光。
   显然,这么多年,你需要
   距离来说清楚它的强度。

   你的手在椅子上,用精确的
   同样的方式抚摸着我的身体和木头。
   就像一个想要再次感到渴望的男人,
   他珍视渴望甚于所有其他情感。

   海滩上,希腊农民的声音,
   渴望着日出。
   仿佛黎明将把他们
   从农民变成英雄。

   在那之前,你抱着我是因为你要离开---
   这些都是你在做的陈述,
   而不是需要回答的问题。

   除非我看见你为我悲伤,
   否则我怎么知道你爱我?
  
  

  
Departure

   The night isn't dark; the world is dark.
   Stay with me a little longer.

   Your hands on the back of the chair---
   that’s what I’ll remember.
   Before that, lightly stroking my shoulders.
   Like a man training himself to avoid the heart.

   In the other room, the maid discreetly
   putting out the light I read by.

   That room with its chalk walls---
   how will it look to you I wonder
   once your exile begins? I think your eyes will seek out
   its light as opposed to the moon.
   Apparently, after so many years, you need
   distance to make plain its intensity.

   Your hands on the chair, stroking
   my body and the wood in exactly the same way.
   Like a man who wants to feel longing again,
   who prizes longing above all other emotion.

   On the beach, voices of the Greek farmers,
   impatient for sunrise.
   As though dawn will change them
   from farmers into heroes.

   And before that, you are holding me because you are going away---
   these are statements you are making,
   not questions needing answers.

   How can I know you love me
   unless I see you grieve over me?
  
  



 楼主| 发表于 2020-11-5 16:05:15 | 显示全部楼层
  
伊萨卡
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   心爱的人不需要
   活着。心爱的人
   活在头脑里。织布机
   为求婚者准备,像竖琴
   用白色的裹尸布线串起来。
   
   他是两个人。
   他是一个活生生的男人的身体和声音,容易
   吸引人,然后
   展开的梦或形象
   被在织布机上工作的女人所塑造,
   坐在一个满是
   平淡男人的大厅里。
   
   当你同情
   那些试图永远带走他
   只带走第一个,
   真正的丈夫的受骗的海,你必须
   同情这些人:他们不知道
   他们在看什么;
   他们不知道当一个人爱这样的时候
   裹尸布就变成了一件婚纱。
   ---
   伊萨卡是神话英雄奥德修斯(奥德赛)的故乡,奥德修斯也是伊萨卡的国王。
  
  
  
Ithaca
   
   
   The beloved doesn’t
   need to live. The beloved
   lives in the head. The loom
   is for the suitors, strung up
   like a harp with white shroud-thread.
   
   He was two people.
   He was the body and voice, the easy
   magnetism of a living man, and then
   the unfolding dream or image
   shaped by the woman working the loom,
   sitting there in a hall filled
   with literal-minded men.
   
   As you pity
   the deceived sea that tried
   to take him away forever
   and took only the first,
   the actual husband, you must
   pity these men: they don't know
   what they're looking at;
   they don’t know that when one loves this way
   the shroud becomes a wedding dress.
  
  
  
忒勒玛科斯的分离
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我小时候看着
   父母的生活,你知道
   我是怎么想的吗?我觉得
   心碎。现在我觉得
   心碎,而且
   疯狂。也
   很有趣。
   ----
   忒勒玛科斯:奥德修斯的儿子。
  
  
  
Telemachus’ Detachment
   
   
   When I was a child looking
   at my parents’ lives,you know
   what I thought? I thought
   heartbreaking. Now I think
   heartbreaking, but also
   insane. Also
   very funny.
  
  
  
  
人质的寓言
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   希腊人坐在海滩上
   想知道战争结束后该怎么办。没有人
   想回家,回到
   那个骨瘦如柴的岛上;每个人都想多了解一点
   特洛伊有什么,边缘
   更多的生命,那种每天都
   被惊喜包围的感觉。但如何对家里的人
   解释这些,对他们来说
   打仗是为缺席找的合理的借口,但
   探索一个人转移注意力的能力
   不是。好吧,这可以在以后
   面对;这些人
   都是有行动能力的男人,随时准备
   给妇女和儿童留下深刻的见解。
   在烈日下思考问题,对
   前臂的新力量感到高兴,它们似乎
   比家里更金黄,有些人
   开始有点想念家人,
   想念妻子,想看看
   战争是否使他们变老了。还有一些人变得
   有点不安:如果战争
   只是一种男性化的装扮,
   一种设计为避免
   深刻的精神问题的游戏呢?啊,
   但不仅仅是战争。世界开始
   呼唤他们,这是一部
   以战争的高亢和弦开始,以飘荡的海妖咏叹调结束的歌剧。
   在海滩上,讨论着回家的
   各种时间表,没有人相信
   十年后才能回到伊萨卡;
   也没有人预见到那十年来无法解决的困境——哦,人类
   内心无法解决的痛苦:如何
   将世界的美丽分为可接受的
   和不可接受的爱!在特洛伊海岸,
   希腊人怎么知道
   他们已经是人质:他们曾经
   耽误旅程的人
   已经被迷住了;他们怎么知道
   他们中的一小部分人
   将永远被快乐的梦想所束缚,
   一些人被睡眠,一些人被音乐?
  
  
  
Parable of the Hostages

   The Greeks are sitting on the beach
   wondering what to do when the war ends. No one
   wants to go home, back
   to that bony island; everyone wants a little more
   of what there is in Troy, more
   life on the edge, that sense of every day as being
   packed with surprises. But how to explain this
   to the ones at home to whom
   fighting a war is a plausible
   excuse for absence, whereas
   exploring one's capacity for diversion
   is not. Well, this can be faced
   later; these
   are men of action, ready to leave
   insight to the women and children.
   Thinking things over in the hot sun, pleased
   by a new strength in their forearms, which seem
   more golden than they did at home, some
   begin to miss their families a little,
   to miss their wives, to want to see
   if the war has aged them. And a few grow
   slightly uneasy: what if war
   is just a male version of dressing up,
   a game devised to avoid
   profound spiritual questions? Ah,
   but it wasn't only the war. The world had begun
   calling them, an opera beginning with the war's
   loud chords and ending with the floating aria of the sirens.
   There on the beach, discussing the various
   timetables for getting home, no one believed
   it could take ten years to get back to Ithaca;
   no one foresaw that decade of insoluble dilemmas---oh unanswerable
   affliction of the human heart: how to divide
   the world's beauty into acceptable
   and unacceptable loves! On the shores of Troy,
   how could the Greeks know
   they were hostage already: who once
   delays the journey is
   already enthralled; how could they know
   that of their small number
   some would be held forever by the dreams of pleasure,
   some by sleep, some by music?
   
  
  
  
  
下雨的早晨
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   你不爱这个世界。
   如果你爱这个世界你的
   诗里就会有意象。
   
   约翰爱这个世界。他有
   一个座右铭:判断而不要
   担心你们被人评判。不要
   
   争论这一点
   理论上这是不可能的:
   爱一个人拒绝
   知道的东西:拒绝
   
   言语并不是
   抑制知觉。
   
   看看约翰,在外面的世界里,
   即使在像今天这样悲惨的日子里
   也在跑步。你
   保持干燥就像猫猎杀死鸟的
   可怜偏好:完全
   
   符合你温顺的精神主题,
   秋天,失落,黑暗等等。
   
   我们都可以闭着我们的眼睛
   写苦难。你应该更多地
   向人们展示你自己;向他们展示
   你对红肉秘密的爱好。
   
  
  
  
Rainy Morning
   
   
   You don't love the world.
   If you loved the world you'd have
   images in your poems.
   
   John loves the world. He has
   a motto: judge not
   lest ye be judged. Don't
   
   argue this point
   on the theory it isn't possible
   to love what one refuses
   to know: to refuse
   
   speech is not
   to suppress perception.
   
   Look at John, out in the world,
   running even on a miserable day
   like today. Your
   staying dry is like the cat’s pathetic
   preference for hunting dead birds: completely
   
   consistent with your tame spiritual themes,
   autumn, loss, darkness, etc.
   
   We can all write about suffering
   with our eyes closed. You should show people
   more of yourself; show them your clandestine
   passion for red meat.
  
  
  
  
格子的寓言
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   一棵铁线莲生长在一个大棚架的脚下。
   尽管是
   以一棵树为模型,这个棚架
   却是人类的发明;每年,五月,
   挣扎着的葡萄藤上的绿线
   爬上了简单的
   棚架,许多年后
   脆弱的木头上绽放出白色的花朵,就像
   花园心脏的一场流星雨。
   
   够了,这种诡计。我们都知道
   没有棚架的葡萄藤
   如何生长,它如何
   在地上爬行;我们两个都见过它
   在那里开花,白色的花朵
   就像从蛇身上长出来的车头灯。
   
   这不是葡萄藤想要的。
   记住,对葡萄藤来说,棚架
   从来不是禁闭的形象:
   这不是
   贬低或悲剧。
   
   葡萄藤有一个光的梦想:
   与支持的提升相比,
   在拥有黑暗自由的
   泥土中的生命是什么?
   
   有一段时间,
   每年夏天,我们都能看到葡萄藤
   重现这一决定,从而
   模糊了木头,结构
   本身就很漂亮,就像
   一个港口或柳树。
  
  
  
Parable of the Trellis
   
   
   A clematis grew at the foot of a great trellis.
   Despite being
   modeled on a tree, the trellis
   was a human invention; every year, in May,
   the green wires of the struggling vine
   climbed the straightforward
   trellis, and after many years
   white flowers burst from the brittle wood, like
   a star shower from the heart of the garden.
   
   Enough of that ruse. We both know
   how the vine grows without
   the trellis, how it sneaks
   along the ground; we have both seen it
   flower there, the white blossoms
   like headlights growing out of a snake.
   
   This isn't what the vine wants.
   Remember, to the vine, the trellis
   was never an image of confinement:
   this is not
   diminishment or tragedy.
   
   The vine has a dream of light:
   what is life in the dirt
   with its dark freedoms
   compared to supported ascent?
   
   And for a time,
   every summer we could see the vine
   relive this decision, thus
   obscuring the wood, structure
   beautiful in itself, like
   a harbor or willow tree.
  

 楼主| 发表于 2020-11-6 16:05:07 | 显示全部楼层
  
忒勒玛科斯的内疚
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我母亲对我父亲的
   那种耐心
   (在他的自我
   专注中,他误认为
   这是一种颂词,尽管事实上
   这是一种愤怒---他从来
   没有想过,为什么他
   在表达自己对家乡的遗弃时
   如此受阻?):它传染了
   我的童年。她耐心地
   喂养我,她耐心地
   监督照顾我的那些
   善良的奴隶,不管
   我的行为如何,我用越来越多的暴力
   来检验这个
   假设。我似乎清楚了
   从她的角度来看
   我并不存在,因为
   我的行为
   无力打扰她:我是
   我的玩伴们嫉妒的对象。
   在接下来的几十年里
   我为父亲的离去
   感到骄傲
   即使他因为错误的原因
   而离开我;
   我习惯于笑
   当我妈妈哭。
   我现在希望她能
   原谅这种残忍;我希望
   她明白多么像
   她自己的冷漠,
   一种
   与深爱的东西
   保持分离的手段。
  
  
  
Telemachus' Guilt
   
   
   Patience of the sort my mother
   practiced on my father
   (which in his self-
   absorption he mistook
   for tribute though it was in fact
   a species of rage---didn’t he
   ever wonder why he was
   so blocked in expressing
   his native abandon?): it infected
   my childhood. Patiently
   she fed me; patiently
   she supervised the kindly
   slaves who attended me, regardless
   of my behavior, an assumption
   I tested with increasing
   violence. It seemed clear to me
   that from her perspective
   I didn’t exist, since
   my actions had
   no power to disturb her: I was
   the envy of my playmates.
   In the decades that followed
   I was proud of my father
   for staying away
   even if he stayed away for
   the wrong reasons;
   I used to smile
   when my mother wept.
   I hope now she could
   forgive that cruelty; I hope
   she understood how like
   her own coldness it was,
   a means of remaining
   separate from what
   one loves deeply.
  
  
  
  
周年纪念日
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我说你可以依偎着。这并不意味着
   你冰冷的脚遍及我的阴茎。
   
   有人应该教你怎么在床上行动。
   我认为你应该
   保持四肢是你自己的。
   
   看看你做了什么---
   你让猫动了。
   
   但我不想要你的手在那里。
   我想要你的手在这里。
   
   你应该注意我的脚。
   你应该画它们
   下次你见到一个热辣的十五岁孩子。
   因为有更多地方来自于脚。
  
  
  
Anniversary
   
   
   I said you could snuggle. That doesn't mean
   your cold feet all over my dick.
   
   Someone should teach you how to act in bed.
   What I think is you should
   keep your extremities to yourself.
   
   Look what you did---
   you made the cat move.
   
   But I didn't want your hand there.
   I wanted your hand here.
   
   You should pay attention to my feet.
   You should picture them
   the next time you see a hot fifteen year old.
   Because there's a lot more where those feet come from.
  
  
  
  
草地之一
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我希望我们继续散步
   像史蒂文和凯西,那样
   我们就很幸福。你甚至可以
   在狗身上看到。
   
   我们没有狗。
   我们有一只怀敌意的猫。
   
   我认为萨姆
   很聪明,他
   愤恨于当宠物。
   
   为什么总是在家里和你在一起?
   我们不能成为两个成年人吗?
   
   看看船长多么幸福,世界
   多么和平。你不喜欢
   他坐在草坪上的样子,盯着鸟看吗?他认为
   因为他是白色的它们看不见他。
   
   你知道他们为什么高兴吗?他们带走了
   孩子。你知道为什么他们可以
   和孩子们一起散步吗?因为
   他们有孩子。
   
   他们一点也不像我们,他们不
   旅行。这就是他们养狗的原因。
   
   你有没有注意到艾莉莎总是从散步回来
   手里拿着东西,把大自然
   带进屋子里?春天的花,
   冬天的树枝。
   
   我敢说他们还是会把狗带走
   当孩子们长大。
   他是只小狗,几乎
   是一只小狗。
   
   如果我们不希望
   山姆跟着,我们不能
   带他一起去吗?
   你可以抱着他。
  
  
  
Meadowlands 1
   
   
   I wish we went on walks
   like Steven and Kathy; then
   we'd be happy. You can even see it
   in the dog.
   
   We don't have a dog.
   We have a hostile cat.
   
   I think Sam’s
   intelligent; he
   resents being a pet.
   
   Why is it always family with you?
   Can't we ever be two adults?
   
   Look how happy Captain is, how
   at peace in the world. Don't you love
   how he sits on the lawn, staring up at the birds? He thinks
   because he’s white they can’t see him.
   
   You know why they’re happy? They take
   the children. And you know why they can go
   on walks with children? Because
   they have children.
   
   They’re nothing like us; they don’t
   travel. That's why they have a dog.
   
   Have you noticed how Alissa always comes back from the walks
   holding something, bringing nature
   into the house? Flowers in spring,
   sticks in winter.
   
   I bet they’re still taking the dog
   when the children are grown up.
   He's a young dog, practically
   a puppy.
   
   If we don't expect
   Sam to follow, couldn’t we
   take him along?
   You could hold him.
  
  
  
  
忒勒玛科斯的善良
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   当我年轻的时候,我
   强迫性地为自己
   感到遗憾;实际上,
   我没有父亲;我母亲
   住在织布机旁,假设
   她丈夫的性生活;渐渐地
   我意识到岛上没有一个孩子有
   不同的故事;我的审判
   是一般规则,我们
   所有人共同的,是
   我们之间的纽带,因此
   在人性方面:我母亲
   有什么样的生活,没有
   同情我父亲的
   痛苦,没有同情一个
   天性热情的灵魂,因此
   被选择地蹂躏,我父亲也没有
   她勇气的任何感觉,微妙地
   表现为无所作为,他自己
   倾向于戏剧化,
   表现出来:我发现
   我可以和我最亲密的朋友
   分享这些看法,就像他们与我
   分享他们,测试他们,
   改善他们:作为一个成年人
   我可以公正地看待
   我的父母,同情他们两个:我希望
   能够永远同情他们。
  
  
  
Telemachus' Kindness
   
   
   When I was younger I felt
   sorry for myself
   compulsively; in practical terms,
   I had no father; my mother
   lived at her loom hypothesizing
   her husband's erotic life; gradually
   I realized no child on that island had
   a different story; my trials
   were the general rule, common
   to all of us, a bond
   among us, therefore
   with humanity: what
   a life my mother had, without
   compassion for my father’s
   suffering, for a soul
   ardent by nature, thus
   ravaged by choice, nor had my father
   any sense of her courage, subtly
   expressed as inaction, being
   himself prone to dramatizing,
   to acting out: I found
   I could share these perceptions
   with my closest friends, as they shared
   theirs with me, to test them,
   to refine them: as a grown man
   I can look at my parents
   impartially and pity them both: I hope
   always to be able to pity them.
  
  
  
  
野兽的寓言
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   那只猫带着死鸟
   在厨房里转来转去,
   它的新领地。
   
   有人应该和猫
   讨论道德问题,就像它
   询问跛脚的鸟:
   
   在这个房子里
   我们没有经验
   这样的愿望。
   
   告诉那只动物,
   它的牙齿已经
   深深地在另一只动物的肉里。
  
  
  
Parable of the Beast
   
   
   The cat circles the kitchen
   with the dead bird,
   its new possession.
   
   Someone should discuss
   ethics with the cat as it
   inquires into the limp bird:
   
   in this house
   we do not experience
   will in this manner.
   
   Tell that to the animal,
   its teeth already
   deep in the flesh of another animal.
  
  
  
  
午夜
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   对我说,疼痛的心:你
   为自己设计了什么可笑的差事
   拿着一袋垃圾
   在黑暗的车库里哭泣:倒垃圾不是
   你的工作,倒空洗碗机是
   你的工作。你又在炫耀,
   恰恰像你小时候那样---你
   运动那一侧,你那著名的
   讽刺分离在哪里?一点月光打在
   破碎的窗户上,一点夏日的月光,温柔地
   在大地低语着,带着它现成的甜蜜---
   这是你和你丈夫
   沟通的方式,当他打电话时
   不回答,还是这是心
   在悲伤时的表现:它想
   和垃圾独处?如果我是你,
   我会提前考虑。十五年后,
   他的声音可能会变得很累;如果你
   不回答,有一天晚上别人会回答。
  
  
  
Midnight
   
   
   Speak to me, aching heart: what
   ridiculous errand are you inventing for yourself
   weeping in the dark garage
   with your sack of garbage: it is not your job
   to take out the garbage, it is your job
   to empty the dishwasher. You are showing off again,
   exactly as you did in childhood---where
   is your sporting side, your famous
   ironic detachment? A little moonlight hits
   the broken window, a little summer moonlight, tender
   murmurs from the earth with its ready sweetnesses---
   is this the way you communicate
   with your husband, not answering
   when he calls, or is this the way the heart
   behaves when it grieves: it wants to be
   alone with the garbage? If I were you,
   I'd think ahead. After fifteen years,
   his voice could be getting tired; some night
   if you don't answer, someone else will answer.
  
  
  
  
塞壬
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我堕入爱的时候成了罪犯。
   在我是一名服务员之前。
   
   我不想和你一起去芝加哥。
   我想和你结婚,我想
   让你的妻子受苦。
   
   我希望她的生活就像一场游戏
   其中所有的部分都是悲伤的部分。
   
   一个好人
   这样想吗?我的勇气
   
   值得我的称赞---
   
   我在黑暗中坐在你的前廊上。
   一切对我来说都很清楚:
   如果你妻子不让你走
   那证明她不爱你。
   如果她爱你
   她不想让你幸福吗?
   
   现在我想
   如果我感觉太少我会
   是一个更好的人。我是
   一个好服务员,
   我可以带八杯饮料。
   我过去常常告诉你我的梦。
   昨晚我看见一个女人坐在一辆黑暗的公共汽车上---
   在梦中,她在哭泣,她乘坐的公共汽车
   正在开走。她一只手
   在挥动,另一只抚摸着
   装满宝宝的鸡蛋盒。
   
   梦救不了少女。
   ---
   塞壬:希腊神话中女人面孔鸟身的海妖,拥有美丽的歌喉,常用歌声诱惑过路的航海者而使航船触礁沉没。她们是河神埃克罗厄斯的女儿。
  
  
  
Siren
   
   
   I became a criminal when I fell in love.
   Before that I was a waitress.
   
   I didn't want to go to Chicago with you.
   I wanted to marry you, I wanted
   your wife to suffer.
   
   I wanted her life to be like a play
   in which all the parts are sad parts.
   
   Does a good person
   think this way? I deserve
   
   credit for my courage---
   
   I sat in the dark on your front porch.
   Everything was clear to me:
   if your wife wouldn't let you go
   that proved she didn’t love you.
   If she loved you
   wouldn't she want you happy?
   
   I think now
   if I felt less I would be
   a better person. I was
   a good waitress,
   I could carry eight drinks.
   I used to tell you my dreams.
   Last night I saw a woman sitting in a dark bus---
   in the dream, she’s weeping, the bus she’s on
   is moving away. With one hand
   she’s waving; the other strokes
   an egg carton full of babies.
   
   The dream doesn’t rescue the maiden.
   
  
  
  
  
草地之二
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   艾莉莎不给房子
   带回棍子,这些棍子
   属于狗。
  
  
  
Meadowlands 2
   
   Alissa isn’t bringing back
   sticks for the house; the sticks
   belong to the dog.
  
  
  
  
玛丽娜
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我的心是一堵石墙
   总之,被你打破了。
   
   我的心是一座岛屿花园
   即将被你践踏。
   
   你不想要我的心;
   你在去我身体的路上。
   
   这都不是我的错。
   你是我的一切,
   不仅仅是美和钱。
   当我们做爱
   猫去了另一间卧室。
   
   然后你忘了我。
   
   无缘无故
   在围墙环绕的
   花园里,石头并没有颤抖:
   
   现在那儿没有什么
   除了称之为自然,
   接管混乱的野蛮人。
   
   你把我带到一个
   我可以看到我性格中邪恶的地方
   然后把我留在那里。
   
   那只被遗弃的猫
   在空卧室里嚎叫。
  
  
  
Marina
   
   
   My heart was a stone wall
   you broke through anyway.
   
   My heart was an island garden
   about to be trampled by you.
   
   You didn't want my heart;
   you were on your way to my body.
   
   None of it was my fault.
   You were everything to me,
   not just beauty and money.
   When we made love
   the cat went to another bedroom.
   
   Then you forgot me.
   
   Not for no reason
   did the stones
   tremble around the walled garden:
   
   there’s nothing there now
   except the wildness people call nature,
   the chaos that takes over.
   
   You took me to a place
   where I could see the evil in my character
   and left me there.
   
   The abandoned cat
   wails in the empty bedchamber.
  
  
  
  
鸽子的寓言
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   一只鸽子住在一个村庄里。
   当它张开嘴
   甜味就出来了,听起来
   像是樱桃树枝
   周围的银光。但是
   鸽子不满意。
   
   它看到村民们
   聚集在
   开花的树下听。
   它没有想到:我
   比它们高。
   它想走在它们中间,
   体验人类情感的暴力,
   部分是为了它的歌声的原因。
   
   所以它变成了人类。
   它找到了激情,找到了暴力,
   先是合并,然后
   作为独立的情感
   而且这些没有被
   音乐所包含。因此
   它的歌声改变了,
   它渴望成为人类的甜美音符
   变得酸腐而平淡。然后
   
   世界退却;变种人
   从爱情中跌落
   就像从樱桃枝跌落,
   它跌落得沾满血淋淋的
   树的果实。
   所以这毕竟是真的,不仅仅是
   一个艺术法则:
   改变你的形式,你就改变了你的本性。
   时间对我们干了这些。
  
  
  
Parable of the Dove
   
   
   A dove lived in a village.
   When it opened its mouth
   sweetness came out, sound
   like a silver light around
   the cherry bough. But
   the dove wasn't satisfied.
   
   It saw the villagers
   gathered to listen under
   the blossoming tree.
   It didn't think: I
   am higher than they are.
   It wanted to walk among them,
   to experience the violence of human feeling,
   in part for its song's sake.
   
   So it became human.
   It found passion, it found violence,
   first conflated, then
   as separate emotions
   and these were not
   contained by music. Thus
   its song changed,
   the sweet notes of its longing to be human
   soured and flattened. Then
   
   the world drew back; the mutant
   fell from love
   as from the cherry branch,
   it fell stained with the bloody
   fruit of the tree.
   So it is true after all, not merely
   a rule of art:
   change your form and you change your nature.
   And time does this to us.
  
  
  
  
忒勒玛科斯的困境
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我永远无法决定
   在我父母的墓上
   写什么。我知道
   他想要什么:他想要
   心爱的人,这当然是
   关键,特别是
   如果我们把
   所有的女人都算进去的话。但
   那让我妈妈
   被冷落。她告诉我
   这对她来说一点也
   不重要;她更喜欢
   用自己的成就
   来表现。提醒他们
   一个人并不是
   通过延续死者的
   虚荣心,他们
   对自己的投射来纪念死者,这似乎是不明智的。
   我自己的品味决定了
   准确而不
   喋喋不休;他们是
   我的父母,因此
   我看到他们在一起
   有时倾向于
   夫妻,有时
   倾向于对立的力量。
  
  
  
Telemachus’ Dilemma
   
   I can never decide
   what to write on
   my parents' tomb. I know
   what he wants: he wants
   beloved, which is
   certainly to the point, particularly
   if we count all
   the women. But
   that leaves my mother
   out in the cold. She tells me
   this doesn’t matter to her
   in the least; she prefers
   to be represented by
   her own achievement. It seems
   tactless to remind them
   that one does not
   honor the dead by perpetuating
   their vanities, their
   projections of themselves.
   My own taste dictates
   accuracy without
   garrulousness; they are
   my parents, consequently
   I see them together,
   sometimes inclining to
   husband and wife, other times
   to opposing forces.
   
  
  
  

 楼主| 发表于 2020-11-7 19:24:24 | 显示全部楼层
  
草地之三
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   巨人们怎么能给那个地方
   起名叫草地?它
   和牧场和烤箱内部
   有着同样多的共同点。
   
   新泽西
   是个乡村。他们希望你
   记住这一点。
   
   西姆斯
   不是个暴徒。LT
   不是个暴徒。
   
   我认为我们应该
   实事求是地看待
   我们周围的环境,看看它们现在
   是什么。
   
   这就是
   我告诉你的关于房子的事情。
   
   没有巨人
   会像你那样说话。
   你会是个更好的人
   如果你喜欢某样东西。
   当你用嘴说话
   你看起来就像你妈妈。
   
   你知道它们是什么吗?
   人中的国王。
   个国王解雇了西姆斯又怎么样?
  
  
  
Meadowlands 3
   
   
   How could the Giants name
   that place the Meadowlands? It has
   about as much in common with a pasture
   as would the inside of an oven.
   
   New Jersey
   was rural. They want you
   to remember that.
   
   Simms
   was not a thug. LT
   was not a thug.
   
   What I think is we should
   look at our surroundings
   realistically, for what they are
   in the present.
   
   That’s what
   I tell you about the house.
   
   No giant
   would talk the way you talk.
   You’d be a nicer person
   if you were a fan of something.
   When you do that with your mouth
   you look like your mother.
   
   You know what they are?
   Kings among men.
   So what king fired Simms?
   
  
  
  
  
  岩石
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   作为地球上
   可怕的隐匿处、黑暗的
   灵魂、罪恶的
   心灵的
   标志,我确实
   感到在你的内心
   有某种人类的东西,可以
   用言语来接近。你是
   怎么用你的
   上瘾的信息
   接近夏娃的?我为
   她的过失付出了
   惨痛的代价,所以
   注意我。告诉我
   你怎么生活在地狱里,
   地狱需要什么,
   因为我会
   把我的爱人送到那里。当然
   不是永远:
   我可能想要他
   某一天回来,不要
   永远受到伤害,而是要
   严厉的惩罚,
   因为他还没有,在这里
   在表面上。我要
   给他什么
   保护,什么
   防护不能
   完全覆盖他?你必须是
   他的向导和主人:像你一样
   帮助他
   蜕皮,尽管在这种情况下
   我们希望他
   在下面长大,也许
   有点像老鼠。我相信
   你理解这些
   微妙之处---你似乎
   很感兴趣,你不会
   滑回你的岩石下!哦
   我敢肯定,即使你不是
   人类,我们还是
   有某种联系的;也许我
   毕竟拥有爬行动物的灵魂。
  
  
  
The Rock
   
   Insignia
   of the earth’s
   terrible recesses, spirit
   of darkness, of
   the criminal mind, I feel
   certain there is within you
   something human, to be
   approached in speech. How else
   did you approach Eve
   with your addictive
   information? I have paid
   bitterly for her
   lapse, therefore
   attend to me. Tell me
   how you live in hell,
   what is required in hell,
   for I would send
   my beloved there. Not
   of course forever:
   I may want him
   back sometime, not
   permanently harmed but
   severely chastened,
   as he has not been, here
   on the surface. What
   shall I give him for
   protection, what
   shield that will not
   wholly screen him? You must be
   his guide and master: help him
   shed his skin
   as you do, though in this case
   we want him
   older underneath, maybe
   a little mousy. I feel confident
   you understand these
   subtleties---you seem
   so interested, you do not
   slide back under your rock! Oh
   I am sure we are somehow related
   even if you are not
   human; perhaps I have
   the soul of a reptile after all.
   
  
  
  
  
喀耳刻的力量
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我从没把任何人变成猪。
   有些人是猪,我让他们
   看起来像猪。
   
   我厌恶你的世界
   让外界假装成内心。
   
   你的人不是坏人;
   无纪律的生活
   把他们搞成那样。像猪,
   
   在我和我的女人们的
   照顾下,它们
   就这样改善了。
   
   然后我颠倒咒语,
   向你展示我的善良
   和我的力量。我看到
   
   我们在这里可以很快乐,
   就像男人和女人
   需求很简单的时候一样。就在
   
   我预见到你离开的同时,
   你的人在我的帮助下勇敢地
   面对着怒吼和汹涌的大海。你觉得
   
   几滴眼泪让我心烦意乱?我的朋友,
   每个女巫
   内心都是一个实用主义者,谁也
   看不到不能面对局限的
   本质。如果我只想抓你
   
   我可以把你囚禁。
   ---
   喀耳刻(英语:Circe),或译为瑟茜。 希腊神话中的巫术女神、魔女之神,隐居在埃埃亚岛上的著名女巫。她是太阳神赫利俄斯(Helios)与大洋神女之一的焚烧仙女珀耳塞伊斯(Perseis)的女儿,是科尔基斯国王埃厄忒斯和帕西法厄的姐妹,女巫美狄亚的姑妈。
   在《奥德赛》故事中,奥德修斯一行人来到艾尤岛,喀耳刻邀请他的船员到岛上大餐一顿,却在食物中放入药水。那些船员们吃下食物后就被变成了猪。其中一名船员欧里罗科(Eurylochus)逃脱回到船队里,并告诉奥德修斯这一情况。同行的赫耳墨斯建议奥德修斯用草药(Moly)去抵抗喀耳刻的魔法。经过一夜之后,喀耳刻便爱上了奥德修斯,并在未来一年帮助他返回家乡。
  
  
  
Circe’s Power
   
   I never turned anyone into a pig.
   Some people are pigs; I make them
   look like pigs.
   
   I'm sick of your world
   that lets the outside disguise the inside.
   
   Your men weren't bad men;
   undisciplined life
   did that to them. As pigs,
   
   under the care of
   me and my ladies, they
   sweetened right up.
   
   Then I reversed the spell,
   showing you my goodness
   as well as my power. I saw
   
   we could be happy here,
   as men and women are
   when their needs are simple. In the same breath ,
   
   I foresaw your departure,
   your men with my help braving
   the crying and pounding sea. You think
   
   a few tears upset me? My friend,
   every sorceress is
   a pragmatist at heart; nobody
   sees essence who can't
   face limitation. If I wanted only to hold you
   
   I could hold you prisoner.
  
  

  
忒勒玛科斯的幻想
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   有时我会想知道我父亲
   在那些岛上的岁月:为什么
   他对女人那么
   有吸引力?他那时正处于困境,我想
   令人绝望。我相信
   女人们喜欢看到一个男人
   仍然完整,仍然站着,但
   即将崩溃:这种
   分裂让她们想起了
   激情。我认为她们的一生
   都是完全
   裸体的。这一定
   使他眼花缭乱,我想,比他
   年轻得多的女人显然
   对他很狂热,准备
   做他想做的任何事。面对
   如此顺应自己意愿的环境,能活
   这么多年
   而不受质疑、不受牵绊,幸运吗?一个人
   必须相信自己
   完全是好的或有价值的。我想
   有一天,任何
   一个都会变成一个怪物或
   被爱的人看到了自己是什么。我从来没有
   希望得到我父亲的生命
   也对他在那些时刻为了生存
   而做出的牺牲没有想法。不那么危险的
   是相信他被她们吸引了
   所以留下来
   看看她们是谁。不过,我认为,
   作为一个富有想象力的人,
   他在某种程度上
   变成了她们。
Telemachus’ Fantasy
   
   Sometimes I wonder about my father's
   years on those islands: why
   was he so attractive
   to women? He was in straits then, I suppose
   desperate. I believe
   women like to see a man
   still whole, still standing, but
   about to go to pieces: such
   disintegration reminds them
   of passion. I think of them as living
   their whole lives
   completely undressed. It must have
   dazzled him, I think, women
   so much younger than he was
   evidently wild for him, ready
   to do anything he wished. Is it
   fortunate to encounter circumstances
   so responsive to one’s own will, to live
   so many years
   unquestioned, unthwarted? One
   would have to believe oneself
   entirely good or worthy. I
   suppose in time either
   one becomes a monster or
   the beloved sees what one is. I never
   wish for my father's life
   nor have I any idea
   what he sacrificed
   to survive that moment. Less dangerous
   to believe he was drawn to them
   and so stayed
   to see who they were. I think, though,
   as an imaginative man
   to some extent he
   became who they were.
   

  
飞行寓言
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   一群鸟离开山的一边。
   黑色映衬着春天的夜晚,初夏的铜色,
   泛起一片空白的湖水。
   
   为什么这个年轻人突然不安,
   他的注意力从同伴身上滑走?
   他的心不再完全分裂,他努力想
   如何富有同情心地说这句话。
   
   现在,我们听到了其他人的声音,穿过图书馆
   向着阳台,夏季的走廊;我们看到它们
   在它们通常位置的各种吊床和椅子上,
   在旧房子的白色木椅上,重新排列
   条纹靠垫。
   
   鸟去哪里重要吗?它们
   是什么物种也重要吗?
   它们离开这里,这就是重点,
   先是它们的身体,然后是它们悲伤的哭泣。
   从那一刻起,就不复为我们存在。
   
   你必须学会这样看待我们的激情。
   每个吻都是真实的,接着
   每一个吻都离开了大地的面容。
Parable of Flight
   
   
   
   A flock of birds leaving the side of the mountain.
   Black against the spring evening, bronze in early summer,
   rising over blank lake water.
   
   Why is the young man disturbed suddenly,
   his attention slipping from his companion?
   His heart is no longer wholly divided; he’s trying to think
   How to say this compassionately.
   
   Now we hear the voices of the others, moving through the library
   toward the veranda, the summer porch; we see them
   taking their usual places on the various hammocks and chairs,
   the white wood chairs of the old house, rearranging
   the striped cushions.
   
   Does it matter where the birds go? Does it even matter
   what species they are?
   They leave here, that's the point,
   first their bodies, then their sad cries.
   And from that moment, cease to exist for us.
   
   You must learn to think of our passion that way.
   Each kiss was real, then
   each kiss left the face of the earth.

  
奥德修斯的决定
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   这位伟大的男人背对着这座岛。
   现在他不会死在天堂里
   也不会再听到
   天堂的琵琶在橄榄树之间,
   在柏树下清澈的池塘边。时间
   
   现在开始,他再次听到
   叙事的海洋的
   脉搏,在黎明时分,当它的拉力最强烈。
   “把我们带到这里来的东西
   会把我们引开;我们的船
   在染红的港湾水里摇曳。”
   
   现在咒语结束。
   还给他生命,
   只能前进的大海。
Odysseus' Decision
   
   
   
   The great man turns his back on the island.
   Now he will not die in paradise
   nor hear again
   the lutes of paradise among the olive trees,
   by the clear pools under the cypresses. Time
   
   begins now, in which he hears again
   that pulse which is the narrative
   sea, at dawn when its pull is strongest.
   What has brought us here
   will lead us away; our ship
   sways in the tinted harbor water.
   
   Now the spell is ended.
   Give him back his life,
   sea that can only move forward.

  
还乡
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   院子里有一棵苹果树---
   这应该是
   四十年前---后面
   只有草地。在潮湿的草地上
   漂流的番红花。
   我站在那个窗口;
   四月下旬。邻居家
   院子里的春天的花朵。
   多少次,真的,那棵树
   在我生日那天开花,
   那精确的日子,不是
   之前,不是之后?用
   不变的代替变化,进化。
   用图像代替
   无情的大地。我
   对这个地方了解多少,
   几十年来树的作用
   被盆景占据,声音
   从网球场上升起---
   田野。长草的味道,新割的。
   正如人们对抒情诗人的期望。
   我们看世界一次,在童年的时期。
   剩下的是记忆。
   ----
   Nostos:希腊词为νόστος,指人们从海上回家,如奥德修斯的还乡。
Nostos
   
   
   There was an apple tree in the yard---
   this would have been
   forty years ago---behind,
   only meadow. Drifts
   of crocus in the damp grass.
   I stood at that window;
   late April. Spring
   flowers in the neighbor's yard.
   How many times, really, did the tree
   flower on my birthday,
   the exact day, not
   before, not after? Substitution
   of the immutable
   for the shifting, the evolving.
   Substitution of the image
   for relentless earth. What
   do I know of this place,
   the role of the tree for decades
   taken by a bonsai, voices
   rising from the tennis courts---
   Fields. Smell of the tall grass, new cut.
   As one expects of a lyric poet.
   We look at the world once, in childhood.
   The rest is memory.

  
蝴蝶
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   看,一只蝴蝶。你许愿了吗?
   
   你没对蝴蝶许愿。
   
   你这样做。你尝试一下?
   
   对。
   
   这不算数。
The Butterfly
   
   
   
   Look, a butterfly. Did you make a wish?
   
   You don't wish on butterflies.
   
   You do so. Did you make one?
   
   Yes.
   
   It doesn’t count.

  
喀耳刻的痛苦
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我极其后悔
   多年来
   在你在场和不在的时候都爱你,后悔
   法律,禁止
   我留住你的天职,大海
   是一片玻璃,阳光嗮黑的
   希腊船只的美丽:如果
   我不想改变你
   我怎么会
   有力量:如同
   你爱我的身体,
   如同你发现
   我们拥有的激情
   胜过一切其他礼物,那一瞬间
   超越荣誉和希望,超越
   忠诚,以这种纽带的名义
   我拒绝你
   对你妻子的那种感情
   如同让你
   和她一起休息,我拒绝你
   再睡一觉
   如果我不能拥有你。
Circe's Torment
   
   
   I regret bitterly
   the years of loving you in both
   your presence and absence, regret
   the law, the vocation
   that forbid me to keep you, the sea
   a sheet of glass, the sun-bleached
   beauty of the Greek ships: how
   could I have power if
   I had no wish
   to transform you: as
   you loved my body,
   as you found there
   passion we held above
   all other gifts, in that single moment
   over honor and hope, over
   loyalty, in the name of that bond
   I refuse you
   such feeling for your wife
   as will let you
   rest with her, I refuse you
   sleep again
   if I cannot have you.

  
喀耳刻的不幸
   
   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   最后,我让
   你的妻子知道
   我是神,在她自己的家里,在
   伊萨卡,一个
   没有身体的声音:她
   停下编织,她的头先转向
   右边,然后向左
   尽管,要把声音
   追溯到任何客观的来源
   当然没有希望:我怀疑
   她是否会带着她现在所知道的
   回到织布机上。当
   你再次见到她时,告诉她
   神是这样说再见的:
   如果我永远在她的脑海里,
   我就永远在你的生命里。
Circe’s Grief
   
   
   In the end, I made myself
   known to your wife as
   a god would, in her own house, in
   Ithaca, a voice
   without a body: she
   paused in her weaving, her head turning
   first to the right, then left
   though it was hopeless of course
   to trace that sound to any
   objective source: I doubt
   she will return to her loom
   with what she knows now. When
   you see her again, tell her
   this is how a god says goodbye:
   if I am in her head forever
   I am in your life forever.


 楼主| 发表于 2020-11-8 22:35:03 | 显示全部楼层
本帖最后由 剑郭琴符 于 2020-11-8 22:38 编辑

重聚

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   当奥德修斯终于还乡
   不认识伊萨卡,杀死了
   蜂拥在王室里的求婚者时,
   他非常巧妙地示意忒勒玛科斯
   离开:就像他站在二十年前,
   现在他站在珀涅罗珀面前。
   在宫殿的地板上,宽阔的阳光带
   从金色变成红色。他没有告诉她
   那些年来的事,他选择只说
   一些小事,就像
   一个男人和女人长期在一起的习惯一样:
   一旦她看到他是谁,她就会知道他做了什么。
   他一边说,啊,
   一边温柔地抚摸她的前臂。
Reunion   


   When Odysseus has returned at last
   unrecognizable to Ithaca and killed
   the suitors swarming the throne room,
   very delicately he signals to Telemachus
   to depart: as he stood twenty years ago,
   he stands now before Penelope.
   On the palace floor, wide bands of sunlight turning from gold to red. He tells her
   nothing of those years, choosing to speak instead ()
the habit of a man and woman long together:
   once she sees who he is, she will know what he's done.
   And as he speaks, ah,
   tenderly he touches her forearm.







 楼主| 发表于 2020-11-8 22:39:24 | 显示全部楼层
剑郭琴符 发表于 2020-11-8 22:35
重聚

   (选自 MEADOWLANDS (1996))

exclusively of small things, as would be
 楼主| 发表于 2020-11-8 22:45:26 | 显示全部楼层

珀涅罗珀的固执

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   一只鸟来到窗前。把它们
   当作鸟
   是错误的,它们常常是
   信使。这就是为什么,当它们
   一头栽到窗台上,它们坐着
   如此完美地平静,假装
   有耐心,抬起头来唱着
   “可怜的女士”、“可怜的女士”、它们的三个音符的
   警告,然后
   像乌云一样从窗台飞到橄榄林里。
   但谁会派这么一个没有重量的存在
   来评判我的生活?我的思想深邃
   我的记忆很长,为什么我会羡慕这样的自由
   当我有人性?那些
   心最小的人有
   最大的自由。



Penelope's Stubbornness



   A bird comes to the window. It's a mistake
   to think of them
   as birds, they are so often
   messengers. That is why, once they
   plummet to the sill, they sit
   so perfectly still, to mock
   patience, lifting their heads to sing
   poor lady, poor lady, their three-note
   warning, later flying
   like a dark cloud from the sill to the olive grove.
   But who would send such a weightless being
   to judge my life? My thoughts are deep
   and my memory long; why would I envy such freedom
   when I have humanity? Those
   with the smallest hearts have
   the greatest freedom.





忒勒玛科斯的忏悔

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   当
   他离开时
   他们并不更好;最终
   我过得更好。这
   让我很惊讶,不是因为我确信
   我需要他们俩,而是因为
   我在成年后很长一段时间里保留着
   孩子们对仪式的
   渴望。除此以外还能怎么解决
   这种被爱不足的
   感觉呢?可能
   所有的孩子都没有
   得到足够的爱,我
   不知道。但一直以来
   他们每个人都想要
   与我不同的东西:必须
   制造每个
   需要的存在,在任何
   给定的时刻,这
   比必须成为两个人
   更让人
   筋疲力尽。过了片刻
   我意识到我
   其实是一个人;我有
   自己的声音,我自己的看法,尽管
   我来到它们面前太晚了。我再也不后悔
   在田野里那可怕的一刻,
   那次把我父亲
   带走的诡计。我母亲
   为我们所有人感到悲伤。



Telemachus' Confession


   They
   were not better off
   when he left; ultimately
   I was better off. This
   amazed me, not because I was convinced
   I needed them both but because
   long into adulthood I retained
   something of the child’s
   hunger for ritual. How else address
   that sense of being
   insufficiently loved? Possibly
   all children are
   insufficiently loved; I
   wouldn't know. But all along
   they each wanted something
   different from me: having
   to fabricate the being
   each required in any
   given moment was
   less draining than
   having to be
   two people. And after awhile
   I realized I was
   actually a person; I had
   my own voice, my own perceptions, though
   I came to them late. I no longer regret
   the terrible moment in the fields,
   the ploy that took
   my father away. My mother
   grieves enough for us all.






空虚

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   我明白了你为什么不买家具。
   你不买家具是因为你沮丧。

   我告诉你你的毛病:你
   不合群。你应该
   看看自己,只有当你切碎一只鸡的时候,
   你才会完全快乐。

   为什么我们不能说我想说的?
   你为什么总是换话题?

   你伤害了我的感情。我不会误认为
   重复是为了分析。

   你应该服用一种化学药品,
   也许你可以写更多。
   也许你得了某种空虚综合症。

   你知道你为什么做饭?因为
   你喜欢控制。一个做饭的人是一个喜欢
   制造债务的人。

   真正的人!真正的人类
   坐在我们客厅的椅子上!
   我告诉你:我要学
   桥牌。

   别把他们当成客人,把他们当成
   额外的鸡。你会喜欢它。
   如果我们有更多的家具
   你会有更多的控制。



Void


   I figured out why you won't buy furniture.
   You won’t buy furniture because you’re depressed.

   I’ll tell you what’s wrong with you: you’re not
   gregarious. You should
   look at yourself; the only time you’re totally happy
   is when you cut up a chicken.

   Why can't we talk about what I want to talk about?
   Why do you always change the subject?

   You hurt my feelings. I do not mistake
   reiteration for analysis.

   You should take one of those chemicals,
   maybe you'd write more.
   Maybe you have some kind of void syndrome.

   You know why you cook? Because
   you like control. A person who cooks is a person who likes
   to create debt.

   Actual people! Actual human beings
   sitting on our chairs in our living room!
   I’ll tell you what: I’ll learn
   bridge.

   Don't think of them as guests, think of them
   as extra chickens. You’d like it.
   If we had more furniture
   you’d have more control.





忒勒玛科斯的负担

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   没有什么
   恰好是困难的,因为
   常规的发展,弥补了
   觉察到的
   缺席和疏漏。我母亲
   是那种让你知道
   她在受苦,然后又
   否认受苦的女人,因为在她看来
   苦难是奴隶造成的;当
   我试图安慰她,
   减轻她的痛苦时,她
   拒绝了我。我现在意识到
   如果她能够诚实
   她就是
   一个斯多葛。不幸的是
   她是一个女王,她想明白
   每一刻她选择
   自己命运。她必须
   疯了才能选择那个命运。好吧,
   祝我父亲好运,在我看来
   他是个愚蠢的人,如果他希望
   自己的归来减少
   她的孤独感,也许
   他回来就是为了这个。


Telemachus' Burden


   Nothing
   was exactly difficult because
   routines develop, compensations
   for perceived
   absences and omissions. My mother
   was the sort of woman
   who let you know she was suffering and then
   denied that suffering since in her view
   suffering was what slaves did; when
   I tried to console her,
   to relieve her misery, she
   rejected me. I now realize
   if she'd been capable of honesty
   she would have been
   a Stoic. Unfortunately
   she was a queen, she wanted it understood
   at every moment she had chosen
   her own destiny. She would have had to be
   insane to choose that destiny. Well,
   good luck to my father, in my opinion
   a stupid man if he expects
   his return to diminish
   her isolation; perhaps
   he came back for that.






天鹅的寓言

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   在世界地图之外的
   一个小湖上,住着
   两个天鹅。作为天鹅,
   它们一天花了百分之八十的时间
   在专注的水中研究自己
   百分之二十在照顾心爱的
   另一半。因此
   它们作为恋人的名声主要
   来源于自恋,这留下
   这么少的闲暇进行
   更广泛的巡航。但是
   命运另有安排:十年后,它们撞上了
   粘滑的水;不管是什么脏物,它都
   粘住雄性的羽毛,它立刻
   变成灰色;同时,
   它脖子灵活设计的真正目的
   也显露出来了。在平坦的
   湖面上有这么多动作,他错过得
   太多!迟早,在漫长的
   共同生活中,每一对夫妻都会遇到
   这样的紧急情况,一些
   导致伤害的
   戏剧。这是
   有原因的:测试
   爱并要求
   复杂术语的新的表达。
   于是,泄露了男人和女人
   在不同的旗帜下飞翔:然而
   男人相信爱
   是一个人内心的感受
   而女人相信
   爱是一个人所做的。但这并不是
   一个关于男性内在腐败的
   小故事,用天鹅
   对纯洁的卑鄙定义作为证据。这是
   一个充满诡计和天真的故事。十年来
   女性研究男性,当他睡觉或者当他
   方便地被水吸收时,她会挑逗,
   而自发的男性
   随意行事,在
   一时的突发奇想中。在泥泞的水面上
   他们争吵了一会儿,在昏暗的光线下,
   直到争吵慢慢变得
   抽象,过了一会儿
   变成他们歌声的
   一部分。



Parable of the Swans


   On a small lake off
   the map of the world, two
   swams lived. As swans,
   they spent eighty percent of the day studying
   themselves in the attentive water and
   twenty percent ministering to the beloved
   other. Thus
   their fame as lovers stems
   chiefly from narcissism, which leaves
   so little leisure for
   more general cruising. But
   fate had other plans: after ten years, they hit
   slimy water; whatever the filth was, it
   clung to the male's plumage, which turned
   instantly gray; simultaneously,
   the true purpose of his neck’s
   flexible design revealed itself. So much
   action on the flat lake, so much
   he’s missed! Sooner or later in a long
   life together, every couple encounters
   some emergency like this, some
   drama which results
   in harm. This
   occurs for a reason: to test
   love and to demand
   fresh articulation of its complex terms.
   So it came to light that the male and female
   flew under different banners: whereas
   the male believed that love
   was what one felt in one’s heart
   the female believed
   love was what one did. But this is not
   a little story about the male’s
   inherent corruption, using as evidence the swan’s
   sleazy definition of purity. It is
   a story of guile and innocence. For ten years
   the female studied the male; she dallied
   when he slept or when he was
   conveniently absorbed in the water,
   while the spontaneous male
   acted casually, on
   the whim of the moment. On the muddy water
   they bickered awhile, in the fading light,
   until the bickering grew
   slowly abstract, becoming
   part of their song
   after a little longer.






紫色泳衣

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   我喜欢看你这花园
   穿着你紫色泳衣背对着我:
   你的背是我最喜欢的部位,
   离你的嘴最远的部位。

   你可以考虑一下那张嘴。
   还有你除草的方式,把草
   从地面上阻断
   当你应该把它的根拔起来时。

   我要告诉你多少次
   草是如何蔓延的,尽管
   你的一小堆,在一个黑暗的团块里
   藉由弄平表面你终于
   完全模糊了?看着你

   在整齐的一排排菜园里
   凝视着太空,表面上
   努力工作,而实际上
   却做着最糟糕的可能的工作,我认为

   你是一个令人恼火的紫色小东西
   我希望看到你离开地球的表面
   因为你是我生命中的全部错误
   我需要你,我要求你。



Purple Bathing Suit


   I like watching you garden
   with your back to me in your purple bathing suit:
   your back is my favorite part of you,
   the part furthest away from your mouth.

   You might give some thought to that mouth.
   Also to the way you weed, breaking
   the grass off at ground level
   when you should pull it up by the roots.

   How many times do I have to tell you
   how the grass spreads, your little
   pile notwithstanding, in a dark mass which
   by smoothing over the surface you have finally
   fully obscured? Watching you

   stare into space in the tidy
   rows of the vegetable garden, ostensibly
   working hard while actually
   doing the worst job possible, I think

   you are a small irritating purple thing
   and I would like to see you walk off the face of the earth
   because you are all that’s wrong with my life
   and I need you and I claim you.





信仰的寓言

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   现在,在暮色中,在宫殿的台阶上
   国王请求他的夫人宽恕。

   他不是
   奸诈者;他一直在努力
   恰好是真实的;有没有另一种方式
   来忠于自我?

   其夫人
   藏起她的脸,有点
   被阴影所辅助。她
   为自己的过去哭泣;当一个人有了秘密的生活时,
   他的眼泪从未被解释

   但国王会欣然承受
   他夫人的悲伤:他的(悲伤)
   是一颗慷慨的心,
   在痛苦中就像在欢乐中。

   你知道
   “宽恕意味着什么吗?这意味着
   世界有罪,世界
   必须得到赦免---”



Parable of Faith


   Now, in twilight, on the palace steps
   the king asks forgiveness of his lady.

   He is not
   duplicitous; he has tried to be
   true to the moment; is there another way of being
   true to the self?

   The lady
   hides her face, somewhat
   assisted by shadows. She weeps
   for her past; when one has a secret life,
   one’s tears are never explained

   Yet gladly would the king bear
   the grief of his lady: his
   is the generous heart,
   in pain as in joy.

   Do you know
   what forgiveness means? It means
   the world has sinned, the world
   must be pardoned---





 楼主| 发表于 2020-11-8 22:46:57 | 显示全部楼层


   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   我做了一个最奇怪的梦。我梦到我们又结婚了。

   你说了很多。你一直说事情“像这样是现实的。”
   当我醒来时,我开始阅读我所有的旧日记。

   我认为你讨厌日记。

   我痛苦的时候就留着它们。不管怎么说,
   这么多年来我觉得我们很幸福
   我有很多日记。

   你曾经想过它吗?你曾经有没有想过
   整件事是不是一个错误?事实上,
   一半的客人在婚礼上这么说。

   我要告诉你一些我从未告诉过你的事情:
   那天晚上我吃了安定药。

   我一直在想我们惯于怎么看电视,
   怎么把脚放在你的大腿上。猫会坐在
   它们上面。这难道似乎不是
   一种满足,幸福的象征吗?这样
   为什么不能再继续下去?

   因为那是个梦。



The Dream

   I had the weirdest dream. I dreamed we were married again.

   You talked a lot. You kept saying things like this is realistic.
   When I woke up, I started reading all my old diaries.

   I thought you hated diaries.

   I keep them when I'm miserable. Anyway,
   all those years I thought we were so happy
   I had a lot of diaries.

   Do you ever think about it? Do you ever wonder
   if the whole thing was a mistake? Actually,
   half the guests said that at the wedding.

   I’ll tell you something I never told you:
   I took a valium that night.

   I kept thinking of how we used to watch television,
   how I would put my feet in your lap. The cat would sit
   on top of them. Doesn’t that still seem
   an image of contentment, of well-being? So
   why couldn’t it go on longer?

   Because it was a dream.





奥蒂斯

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   一个美丽的早晨;夜里
   什么也没死。
   灯光搭起它们豆子的棚架。
   重生!更新!院子对面,
   很安静,有人在演奏奥蒂斯.雷丁。

   现在伟大的主题
   又集中在一起:我二十三岁,乘地铁
   追逐着查斯勒,追寻我失去的爱人,紧握着
   我自己的唱片,因为我必须听到
   这个确切的声音,无论我在哪里着陆,无论
   谁的公寓---那年夏天
   我去了谁的公寓?我不知道
   我要去哪里,即将离开纽约,生活
   在天堂里,因为那时我没有
   改变的概念,对查斯勒
   会发生什么,对执迷不悟的需求,没有丝毫的感觉,唯一
   能触动我的悲伤就是奥蒂斯的悲伤。

   看,帐篷
   站着:史蒂文
   第一次尝试就平衡了它们。
   现在种子进入,安娜在那儿
   拿着打开的袋子坐在土里。

   这就是结局,不是吗?
   你又在这里与我同在,与我一同聆听。大海
   “不再折磨我;我所希望的
   自我就是我的自我。”



Otis


   A beautiful morning; nothing
   died in the night.
   The Lights are putting up their bean tepees.
   Rebirth! Renewal! And across the yard,
   very quietly, someone is playing Otis Redding.

   Now the great themes
   come together again: I am twenty-three, riding the subways
   in pursuit of Chassler, of my lost love, clutching
   my own record, because I have to hear
   this exact sound no matter where I land, no matter
   whose apartment---whose apartments
   did I visit that summer? I have no idea
   where I'm going, about to leave New York, to live
   in paradise, as I have then
   no concept of change, no slightest sense of what would
   happen to Chassler, to obsessive need, my one thought being
   the only grief that touched mine was Otis' grief.

   Look, the tepees
   are standing: Steven
   has balanced them the first try.
   Now the seeds go in, there is Anna
   sitting in the dirt with the open packet.

   This is the end, isn’t it?
   And you are here with me again, listening with me: the sea
   no longer torments me; the self
   I wished to be is the self I am.





愿望

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   记得你许愿的时候吗?

   我许了很多愿。

   那时我对你撒谎
   关于蝴蝶的事。我一直在想知道
   你想要什么。

   你觉得我希望什么?

   我不知道。我会回来,
   我们最终会在一起。

   我希望得到我一直以来的愿望。
   我希望再写一首诗。



The Wish


   Remember that time you made the wish?

   I make a lot of wishes.

   The time I lied to you
   about the butterfly. I always wondered
   what you wished for.

   What do you think I wished?

   I don’t know. That I’d come back,
   that we'd somehow be together in the end.

   I wished for what I always wish for.
   I wished for another poem.





礼物的寓言

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   我的朋友给了我
   一株紫红色的植物,对我
   期待太多,在寒冷的四月
   不要把它留在
   大自然里过夜,深
   粉色的在
   塑料筐里---我
   杀掉我的礼物,露出
   一大堆叶子里的花,
   把它误认为是
   大自然的一部分,它有
   许多茎干:我
   现在和你怎么办,
   从前的生灵
   昨夜还
   像我的朋友,丰盛的
   叶子像她蓬松的头发
   虽然叶子有
   微红的模子:我看见她
   在春天的黄昏爬上石阶
   她手里拿着颤抖的
   礼物,埃里克
   和达芙妮紧跟
   在后面,每人
   忍受着一条生菜叶:
   今晚有那么多,那么多值得庆祝的
   事情,好像她在说
   世界就在这里,这应该
   足够让你开心。



Parable of the Gift


   My friend gave me
   a fuchsia plant, expecting
   much of me, in cold April
   judgment not to leave it
   overnight in nature, deep
   pink in its plastic
   basket---I have
   killed my gift, exposed
   flowers in a mass of leaves,
   mistaking it
   for part of nature with
   its many stems: what
   do I do with you now,
   former living thing
   that last night still
   resembled my friend, abundant
   leaves like her fluffy hair
   although the leaves had
   a reddish cast: I see her
   climbing the stone steps in spring dusk
   holding the quivering
   present in her hands, with
   Eric and Daphne following
   close behind, each
   bearing a towel of lettuce leaves:
   so much, so much to celebrate
   tonight, as though she were saying
   here is the world, that should be
   enough to make you happy.





心的渴望

   (选自 MEADOWLANDS (1996))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符

   我想做两件事:
   我想从罗贝尔那里订购肉
   我想开个派对。

   你讨厌派对。你讨厌
   四个以上的团体。

   如果我讨厌它,
   我就上楼去。而且
   我只邀请厨师。
   好厨师和我所有的老情人。
   也许甚至你的前女友,除了
   那些爱出风头的人。

   如果我是你,
   我会从订购肉开始。

   我们会在花园里安装喇叭灯。
   当你看别人的脸
   你会发现他们是多么幸福。
   有些人在跳舞,也许
   茉莉花在喜马拉雅脚镯中。
   当她累了,铃声拖动。

   春天又到了,所有
   郁金香都要开放。

   关键不在于
   客人是否高兴。

   关键是
   他们是否死了。

   相信我:不会
   再有人受伤。

   一个晚上,感情
   会战胜激情。激情
   全部在音乐中。

   如果你能听到音乐
   你就能想象聚会的情景。
   我已经都计划好了:先是
   激烈的爱情,然后
   是甜蜜。先是诺玛
   然后也许是灯光要播放。



Heart’s Desire


   I want to do two things:
   I want to order meat from Lobel’s
   and I want to have a party.

   You hate parties. You hate
   any group bigger than four.

   If I hate it
   I’ll go upstairs. Also
   I'm only inviting people who can cook.
   Good cooks and all my old lovers.
   Maybe even your ex-girlfriends, except
   the exhibitionists.

   If I were you,
   I’d start with the meat order.

   We'll have buglights in the garden.
   When you look into people's faces
   you'll see how happy they are.
   Some are dancing, maybe
   Jasmine in her Himalayan anklet.
   When she gets tired, the bells drag.

   It will be spring again; all
   the tulips will be opening.

   The point isn’t whether or not
   the guests are happy.

   The point is whether or not
   they're dead.

   Trust me: no one’s
   going to be hurt again.

   For one night, affection
   will triumph over passion. The passion
   will all be in the music.

   If you can hear the music
   you can imagine the party.
   I have it all planned: first
   violent love, then
   sweetness. First Norma
   then maybe the Lights will play.



 楼主| 发表于 2020-11-9 15:36:44 | 显示全部楼层
  
新生
   
   (选自 VITA NOVA (1999))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   新生(1999)
   
   致
   凯瑟琳.戴维斯
   凯伦.肯尼利
   还有埃伦.布莱恩夫特.沃格特
   
   致
   汤姆和维拉.克里坎普
   
   大师说:“你必须把你看到的写下来。”
   但我所看到的并没有打动我。
   大师回答说:“改变你所看到的。”
   


   新生

   
   你救了我,你应该记得我。
   
   一年中的春天;年轻人买渡船票。
   笑声,因为空气中充满了苹果花。
   
   当我醒来时,我意识到我能够同样感觉。
   
   我记得听起来像我小时候的声音,
   无缘无故地笑,只是因为世界是美丽的,
   差不多就是这样。
   
   卢加诺。苹果树下的桌子。
   甲板工人升起和放下彩旗。
   在湖边,一个年轻人把帽子扔进水里;
   也许他的甜心接受了他。
   
   决定性的
   声音或手势,就像
   在大主题前铺开的轨道
   
   然后闲置,掩埋。
   
   远处的岛屿。我妈妈
   拿出一盘小蛋糕---
   
   据我所知,没有
   任何细节的改变,那一刻
   生动、完整,从未
   暴露在阳光下,因此我兴奋地醒来,在我这个年纪
   渴望生活,完全自信---
   
   桌子旁,一片片新草,淡绿色
   镶嵌在黑暗的现有地面上。
   当然,春天已经回到我的身边,这一次
   不是作为一个爱人,而是一个死亡的使者,然而
   它仍然是春天,它仍然意味着温柔。
  
  









  
VITA NOVA (1999)
   
   TO
   KATHRYN DAVIS
   KAREN KENNERLY
   and ELLEN BRYANfT VOIGT
   
   TO
   TOM and VERA KREILKAMP
   
   The master said You must write what you see.
   But what I see does not move me.
   The master answered Change what you see.
   




   Vita Nova
   

   You saved me, you should remember me.
   
   The spring of the year; young men buying tickets for the ferryboats.
   Laughter, because the air is full of apple blossoms.
   
   When I woke up, I realized I was capable of the same feeling.
   
   I remember sounds like that from my childhood,
   laughter for no cause, simply because the world is beautiful,
   something like that.
   
   Lugano. Tables under the apple trees.
   Deckhands raising and lowering the colored flags.
   And by the lake's edge, a young man throws his hat into the water;
   perhaps his sweetheart has accepted him.
   
   Crucial
   sounds or gestures like
   a track laid down before the larger themes
   
   and then unused, buried.
   
   Islands in the distance. My mother
   holding out a plate of little cakes---
   
   as far as I remember, changed
   in no detail, the moment
   vivid, intact, having never been
   exposed to light, so that I woke elated, at my age
   hungry for life, utterly confident---
   
   By the tables, patches of new grass, the pale green
   pieced into the dark existing ground.
   Surely spring has been returned to me, this time
   not as a lover but a messenger of death, yet
   it is still spring, it is still meant tenderly.
  
  
  
  
晨歌
   
   (选自 VITA NOVA (1999))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   世界很大。然后
   世界很小。啊
   非常小,小到足以
   适合大脑。
   
   它没有颜色,全是
   内部空间:没有东西
   进出。但不管怎样
   时间渗入,这就是
   悲剧的维度。
   
   那几年我非常认真地对待时间,
   如果我的记忆准确。
   
   有椅子、窗户的房间。
   一扇小窗户,上面充满了灯光制造的图案。
   在它的空虚中,世界
   
   总是完整的,不是
   什么东西的碎片,在
   中心带着自我。
   
   在自我的中心,
   我以为自己活不下去的悲痛。
   
   有床、桌子的房间。光的
   闪烁在裸露的表面上。
   
   我有两个愿望:安全的
   渴望和感觉的渴望。好像
   
   世界都在做出
   反对白色的决定
   因为它蔑视潜力
   想要物质取而代之:
   光线
   撞击其上的黄金面板。
   在窗户里,紫红色的
   山毛榉的微红树叶。
   
   出于静止,事实,物体
   模糊或或编织在一起:在某处
   
   时间搅拌,时间
   喊叫着被触摸,显而
   易见,
   
   抛光的木头
   带着差异闪烁---
   
   后来我再一次
   在财富面前是一个孩子
   我不知道财富由什么构成。
  
  
  
Aubade
   
   The world was very large. Then
   the world was small. O
   very small, small enough
   to fit in a brain.
   
   It had no color, it was all
   interior space: nothing
   got in or out. But time
   seeped in anyway, that
   was the tragic dimension.
   
   I took time very seriously in those years,
   if I remember accurately.
   
   A room with a chair, a window.
   A small window, filled with the patterns light makes.
   In its emptiness the world
   
   was whole always, not
   a chip of something, with
   the self at the center.
   
   And at the center of the self,
   grief I thought I couldn’t survive.
   
   A room with a bed, a table. Flashes
   of light on the naked surfaces.
   
   I had two desires: desire
   to be safe and desire to feel. As though
   
   the world were making
   a decision against white
   because it disdained potential
   and wanted in its place substance:
   panels
   of gold where the light struck.
   In the window, reddish
   leaves of the copper beech tree.
   
   Out of the stasis, facts, objects
   blurred or knitted together: somewhere
   
   time stirring, time
   crying to be touched, to be
   palpable,
   
   the polished wood
   shimmering with distinctions---
   
   and then I was once more
   a child in the presence of riches
   and I didn't know what the riches were made of.
  
  
  
  
迦太基女王
   
   (选自 VITA NOVA (1999))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   爱残酷,
   死亡更残酷。
   残酷超越正义的范围
   为爱而死。
   
   最后,狄多
   召集了她的侍女们,等待
   她们看到
   命运女神为她刻下的残酷命运。
   
   她说:“埃涅阿斯
   在波光粼粼的水面上向我走来;
   我请求命运女神
   允许他回报我的激情,
   哪怕是很短的一段时间。这和一生
   有什么区别:事实上,在这样的时刻
   它们是一样的,它们二者都是永恒。
   
   我得到一个巨大的礼物
   我试图增加,延长它。
   埃涅阿斯在水上到我这里来。起初
   使我失明。
   
   现在迦太基女王
   要接受苦难,正如她接受恩惠:
   被命运女神眷顾
   毕竟是有区别的。
   
   或者有人说,以渴望为荣,
   既然命运女神也以这个名字命名。”
   ----
   迦太基女王指狄多,参见《埃涅阿斯纪》。
  
  
  
The Queen of Carthage
   
   
   Brutal to love,
   more brutal to die.
   And brutal beyond the reaches of justice
   to die of love.
   
   In the end, Dido
   summoned her ladies in waiting
   that they might see
   the harsh destiny inscribed for her by the Fates.
   
   She said, “Aeneas
   came to me over the shimmering water;
   I asked the Fates
   to permit him to return my passion,
   even for a short time. What difference
   between that and a lifetime: in truth, in such moments
   they are the same, they are both eternity.
   
   I was given a great gift
   which I attempted to increase, to prolong.
   Aeneas came to me over the water: the beginning
   blinded me.
   
   Now the Queen of Carthage
   will accept suffering as she accepted favor:
   to be noticed by the Fates
   is some distinction after all.
   
   Or should one say, to have honored hunger,
   since the Fates go by that name also.”
  
  
  
  
打开的坟墓
   
   (选自 VITA NOVA (1999))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   我母亲让我需要
   我的父亲我的良心。
   “对死者唯有赞美”。
   
   因此,我要付出
   惨痛的代价去说谎,
   拜倒
   在坟墓的边缘。
   
   我对大地说
   善待我的母亲,
   现在和以后。
   拯救,用你的冷漠,
   我们都羡慕的美。
   
   我变成一个老女人。
   我欢迎
   我曾经害怕的黑暗。
   “对死者唯有赞美”。
  
  
  
The Open Grave
   
   
   My mother made my need
   my father my conscience.
   De mortuis nil nisi bonum.
   
   Therefore it will cost me
   bitterly to lie,
   to prostrate myself
   at the edge of a grave.
   
   I say to the earth
   be kind to my mother,
   now and later.
   Save, with your coldness,
   the beauty we all envied.
   
   I became an old woman.
   I welcomed the dark
   I used so to fear.
   De mortuis nil nisi bonum.
  
  
  
  
不成文法
   
   (选自 VITA NOVA (1999))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   对我们如何坠入爱河感兴趣:
   对我来说,绝对的。绝对,而且,唉,经常---
   我年轻的时候也是这样。
   总是和一些相当孩子气的男人在一起---
   未成形,闷闷不乐,或羞怯地踢死叶子:
   以巴兰钦的方式。
   我也不把它们看作是同一事物的版本。
   我,以我不屈不挠的柏拉图主义,
   我一次只能看到一件事的狂热的视力:
   我驳回这不定的条款。
   然而,我年轻的错误
   使我绝望,因为它们重复自己,
   就像是普遍的事实。
   但在你身上,我感觉到了一种超越原型的东西---
   一种真正的辽阔,一种对地球的浮力和爱
   与我的本性完全不相干。为了我的信誉,
   我祝你好运。
   绝对祝福它,以那些年的方式。
   你用你的智慧和残忍
   逐渐教会了我这个词的意义。
  
  
  
Unwritten Law
   
   
   Interesting how we fall in love:
   in my case, absolutely. Absolutely, and, alas, often---
   so it was in my youth.
   And always with rather boyish men---
   unformed, sullen, or shyly kicking the dead leaves:
   in the manner of Balanchine.
   Nor did I see them as versions of the same thing.
   I, with my inflexible Platonism,
   my fierce seeing of only one thing at a time:
   I ruled against the indefinite article.
   And yet, the mistakes of my youth
   made me hopeless, because they repeated themselves,
   as is commonly true.
   But in you I felt something beyond the archetype---
   a true expansiveness, a buoyance and love of the earth
   utterly alien to my nature. To my credit,
   I blessed my good fortune in you.
   Blessed it absolutely, in the manner of those years.
   And you in your wisdom and cruelty
   gradually taught me the meaninglessness of that term.
  
  
  
  
燃烧的心
   
   (选自 VITA NOVA (1999))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   “…没有比
   在痛苦中预演
   快乐的记忆更悲伤……”
   
   
   问她有没有后悔什么。
   
   我被
   许诺给另一个---
   我和某人住在一起。
   当你被触动,你会忘记这些事。
   
   问她他是怎么触动她的。
   
   他的目光触到了我
   在他的手触到我之前。
   
   问她他是怎么触动她的。
   
   我什么都没要求;
   一切都被给予。
   
   问她还记得什么。
   
   我们被拖进了黑社会。
   
   我以为
   我们要负的责任
   不比对活着
   更多。我是
   一个年轻女孩,很少遭受指责:
   
   那时的一个弃儿。我从一天到另一天
   改变了那么多?
   如果我不改变,我的行为不正是
   那个年轻女孩的性格吗?
   
   问她还记得什么。
   
   我什么也没注意到。我注意到
   我在发抖。
   
   问她是否火感到疼。
   
   我记得
   我们在一起。
   渐渐地我明白了
   虽然我们两个都没有动
   但我们不在一起,而是深深地分开。
   
   问她是否火感到疼。
   
   你希望和你丈夫永远
   活在火中,比世界更持久。
   我想这个愿望已经实现了,
   我们现在
   既是火又是永恒。
   
   “你后悔你的生活吗?”
   
   甚至在我被感动之前,我就属于你;
   你只要看着我。
  
  
  
The Burning Heart
   
   
   “…No sadness
   is greater than in misery to rehearse
   memories of joy...”
   
   
   Ask her if she regrets anything.
   
   I was
   promised to another---
   I lived with someone.
   You forget these things when you're touched.
   
   Ask her how he touched her.
   
   His gaze touched me
   before his hands touched me.
   
   Ask her how he touched her.
   
   I didn't ask for anything;
   everything was given.
   
   Ask her what she remembers.
   
   We were hauled into the underworld.
   
   I thought
   we were not responsible
   any more than we were responsible
   for being alive. I was
   a young girl, rarely subject to censure:
   
   then a pariah. Did I change that much
   from one day to the next?
   If I didn't change, wasn't my action
   in the character of that young girl?
   
   Ask her what she remembers.
   
   I noticed nothing. I noticed
   I was trembling.
   
   Ask her if the fire hurts.
   
   I remember
   we were together.
   And gradually I understood
   that though neither of us ever moved
   we were not together but profoundly separate.
   
   Ask her if the fire hurts.
   
   You expect to live forever with your husband
   in fire more durable than the world.
   I suppose this wish was granted,
   where we are now being both
   fire and eternity.
   
   Do you regret your life?
   
   Even before I was touched, I belonged to you;
   you had only to look at me.
   
  
  
  
  
罗马研究
   
   (选自 VITA NOVA (1999))
   作者:(美)露易丝.格丽克(Louise Glück)
   译者:剑郭琴符
   
   起初他觉得
   他应该是阿佛洛狄忒
   生的,而不是维纳斯,
   在希腊人之后
   剩下要做的,要实现的事太少了。
   
   他憎恨光,
   希腊人对光
   有最大的要求。
   
   他诅咒他的母亲
   (私下里,谨慎地),
   本可以安排这一切的她。
   
   然后他想到
   研究这些反应
   在其中,他最终
   认识到一种全新的思想,
   更世俗,更具野心
   和政治性,用我们现在所说的
   人类术语。
   
   他想得越久
   他就越经验到
   对希腊人模糊的蔑视,
   对他们的朴素,甚至是
   伟大悲剧的诡异平衡---
   一开始很刺激,后来
   是隐约可预见,是常规的。
   
   他想得越久
   他就越清楚还有多少东西
   需要留下来经历,
   并写下来,一个迄今为止
   几乎没有尊严的物质世界。
   
   在这一精确推理中,他认识到
   他自己警惕本性的
   范围和轨迹。
  
  
  
Roman Study
   
   
   He felt at first
   he should have been born
   to Aphrodite, not Venus,
   that too little was left to do,
   to accomplish, after the Greeks.
   
   And he resented light,
   to which Greece has
   the greatest claim.
   
   He cursed his mother
   (privately, discreetly),
   she who could have arranged all of this.
   
   And then it occurred to him
   to examine these responses
   in which, finally, he recognized
   a new species of thought entirely,
   more worldly, more ambitious
   and politic, in what we now call
   human terms.
   
   And the longer he thought
   the more he experienced
   faint contempt for the Greeks,
   for their austerity, the eerie
   balance of even the great tragedies---
   thrilling at first, then
   faintly predictable, routine.
   
   And the longer he thought
   the more plain to him how much
   still remained to be experienced,
   and written down, a material world heretofore
   hardly dignified.
   
   And he recognized in exactly this reasoning
   the scope and trajectory of his own
   watchful nature.
   
  
  
  

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