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轮回的马 發表於 2015-2-22 17:09

肖恩•奥布莱恩诗四首

肖恩•奥布莱恩诗四首



关于詹姆士•赖特主题的幻想曲

仍然有矿工
在西部荒原和帕默斯维尔的
地下河流里。

有忽明忽暗的矿灯紧缚在根部,
煤再次从那里形成。
在滞怠的煤层之间

他们缓慢地向更深处沉陷,
沉向世界之床的黑色淤积。
在他们的坟墓里,矿工们仍在劳作 ——

漱出粉尘,井然有序地下降,
他们镶缀饰带的黑旗帜高扬在空中,
下降到渗漏和沼气里,再一次

到那里去继承巨大房产的狭窄走廊,
在走廊地面铺贴赫德利的印刷品《归家》。
我们几乎从没听说过他们。

有模糊的报道传来,
关于失效的经济,大洋底的爆炸,
关于砰然作响的铁门被一劳永逸地封死,密闭

祈祷和哀悼,
实用主义和漫长的溺刑
这溺刑被施加给一个梦到它自己

至少将因贫困而不朽的阶级。
土地深处死者的歌唱
如巨大石块在摩擦,或如水

涌进新敞开的黑暗。哦我的兄弟们,
活着的人将永远无法使他们相信
要紧的是别的,历史已经终结。



(梁俪真 译)



Fantasia on a Theme of James Wright

There are miners still
In the underground rivers
Of West Moor and Palmersville.

There are guttering cap-lamps bound up in the roots
Where the coal is beginning again.
They are sinking slowly further

In between the shiftless seams,
To black pools in the bed of the world.
In their long home the miners are labouring still –

Gargling dust, going down in good order,
Their black-braided banners aloft,
Into flooding and firedamp, there to inherit

Once more the tiny corridors of the immense estate
They line with prints of Hedley’s Coming Home.
We hardly hear of them.

There are the faint reports of spent economies,
Explosions in the ocean floor,
The thud of iron doors sealed once for all

On prayers and lamentation,
On pragmatism and the long noyade
Of a class which dreamed itself

Immortalized by want if nothing else.
The singing of the dead inside the earth
Is like the friction of great stones, or like the rush

Of water into newly opened darkness. Oh my brothers,
The living will never persuade them
That matters are otherwise, history done.



欧洲人
  
我们这是在欧洲我们得
喜欢路边的蘑菇摊,
这宽边盘子和制服纽扣般的蘑菇
黎明前采自桦树林,
这阴湿的美味的单腿肉身
爬上深如森林大如森林的
墓坑,无需花时间
发展顾客,无需花时间
忘记当初,无需花时间
抱着满桶或满筐的蘑菇
唠家常,耸肩
以证明我们的知识和我们的无知
合乎身份,众所周知,完全
超乎历史或法律的范围,
既然我们总在这里
靠近十字路口,坐着折叠椅,
臃肿地穿着黑外套,苍白如我们的产品,
寻找和贩卖大地之肉
论把论斤装进棕黄色的纸袋子,
我们活的真是无比真实。



(西川 译)



Europeans

Now we are in Europe let us take
To selling mushrooms by the roadside,
Broad-brimmed platefuls and uniform buttons
Plucked before dawn in the forest of birch,
The dank delicious one-legged flesh
Climbing from grave-pits as big and as deep
As the forests themselves, for it does not
Take long to establish the custom, to hold up
A bucket or basket of mushrooms
And talk about always and offer a shrug
That proves our knowledge and our ignorance
Identical, proverbial, entirely
Beyond the scope of history or law,
And since we have always been here
On our fold-away chairs near the crossroads,
Hunched in black overcoats, pale as our produce,
Seeking and selling the flesh of the earth
By the handful and kilo in brown paper bags,
We cannot be other than real.



小阳春

这些烙铁安慰人,合理的禁忌
            —— 约翰•阿什伯利
看这台阶上结霜的红玫瑰
它们弯伏在白色汁液之上。请摘下它。但留给我
它的芬芳,它头脑中的冰,来记住你。
午后酒客们的女友
(哦犯罪的阶级,他们那些用化妆品涂抹出古铜肤色的少女)
已锁上了他们的背心和短裤 ——
作为现实的女孩,她们很快就弄清楚,
我所挣扎的已接近终了,我眼里进了砂 ——
当热量在四点钟散去,那座
小便宫殿花园变得昏暗和有风。这重现的光景。
现在工程师露面来维修采暖,
从他厚夹克风帽卡戎星一样寒冷的深处
他说:我看见你的钟还是坏的。
这黑暗的房屋是一具规律的棺材;早已阖上。
但如果钟表必须永远走回到
冥王星的时区,请留给我你的语音,
它葡萄牙语和西班牙语交汇的流言,
像一枚嵌在耳中回音里的贝壳,从
它缠绕的水中升起,你自己至高无上的克里奥尔语。
“平庸广场“的高原已成为一处多风的海滨,
它属于一片只有一侧岸的海洋,如果我命定要在这里度过冬天,在
咆哮的阳光也不能温暖我的地方等待,
让我说你的语言,至少——
因为你的语言是黑豹吟啸挽歌的音乐,
而退缩到布赖登,你的语言就是
午夜蜘蛛银色的脚本,
你的日记是丑闻的游乐场,
从那里,惊鸿一瞥间的乳沟或小腿
是我将拥有的支撑我的全部。你的语言
是我想要搬演的时代和作品:
你躺在草坪的床上,涂成金黄,
你脊骨的尾部赤裸着在呼吸,
现在我也许要封存我浮华的许诺
来吻你,直到你和你的名字活过来,请你看我
一次 —— 现在就看吧 —— 直接
看到眼睛里,不要微笑或摇头。



(梁俪真 译)



Indian Summer

these iron comforts, reasonable taboos
John Ashbery
Look at this frosty red rose leaning over
The milk on the step. Please take it. But leave me
Its fragrance, its ice in the mind, to remember you by.
The girlfriends of afternoon drinkers
(O the criminal classes, their bottle-tanned lasses)
Have locked up their halters and shorts -
Being practical girls, they have understood soon
What I struggle with late, getting grit in my eyes -
That the piss-palace garden is windy and dim
When the heat goes at four. It is over again.
Now the engineer turns up to service the heating
And says: I see your bell’s still bust
From the Charon-cold depths of his anorak hood.
The dark house is a coffin of laws; early closing.
But if the clocks must forever go back
To the meantime of Pluto, leave me your voice,
Its rumour at the confluence of Portugal and Spain,
From whose entwining waters rises, like a shell
Within the echo in the ear, your own supreme Creole.
If I am doomed to winter on the Campo Mediocrita
Whose high plateau becomes the windy shore
Of an ocean with only one side, to wait
Where the howling sunshine does not warm me,
Let me speak your tongue, at least -
For yours is the music the panther laments in,
Retreating to Burradon, yours is the silvery
Script of  the spider at midnight,
Your diary is scandal’s pleasure-ground
From which a bare instant of cleavage or leg
Is all I shall have to sustain me. And yours
Are the text and the age I should like to be acting:
You lie on the bed of the lawn, painted gold,
With the base of your spine left naked to breathe,
And now I might seal the extravagant promise
To kiss you to life with your name, if for once
You could look at me - do it now - straight
In the eye, without smiling or shaking your head.



听觉学

我听见一架电梯在新奥尔良冒汗,
迦太基地底深处的贮水池里
水在黑色之上折叠黑,
兰开夏郡未经压裂开采的石油,
以及你正在思考的。这就是真相 ——
你沉默地数到十,克制地屏住呼吸,
所有未曾说出的语言,或
所有无法说出的语言,书页的暗面。
但这与你无关。我能听见
海水从本州岛退回,
数艘渔船泊在隐蔽的坞,令人生畏的“无噪音车厢”里的
多语症,
股市指数上偶然印记的
火焰风暴,牛市,熊市,
一只手的轻拍和雨水的挫败,
干涸的星星噼啪爆裂,
星星被分娩,反常和非此即彼,
一个未被记录的元音里有关创造的声迹,
那最新却可能是最后的事物,
那如其所是或并未出现的全部事物的前沿。
“矛盾覆盖了如此大的范围。“
我被告知,这一切都会变得更为容易 ——
去让爱的哭泣和怒嗥相抵消,
戴上助听器,举止相称于自己的年纪,
从世界的后面倾听这个世界,
不去渴求失忆 。



(梁俪真 译)



Audiology

I hear an elevator sweating in New Orleans,
Water folding black on black in tanks deep under Carthage,
Unfracked oil in Lancashire
And what you’re thinking. It’s the truth –
There goes your silent count to ten, the held breath
Of forbearance, all the language not yet spoken
Or unspeakable, the dark side of the page.
But this is not about you. I can hear
The sea drawn back from Honshu,
Hookers in the holding pen, and logorrhoea
In the dreaded Quiet Coach,
The firestorm of random signs
On market indices, the bull, the bear,
The sound of one hand clapping and the failure of the rains,
The crackle of the dried-out stars,
Stars being born, anomalies and either /or,
The soundtrack of creation in an unrecorded vowel,
The latest that might be the last, the leading edge
Of all that is the case or is not there.
‘The contradictions cover such a range.’
And I’m told that soon it will be easier
To balance out the love-cry and the howl,
To wear an aid and act my age, to hear the world
Behind this world and not to crave amnesia.



肖恩•奥布莱恩是一位诗人,批评家,广播评论员,小说家,剧作家,翻译家,编辑。他是英国纽卡斯尔大学创造性写作专业的教授,皇家文学协会会员。他于1952年出生于伦敦,成长于英格兰北部的赫尔,在剑桥塞尔温学院接受教育。在一所中等学校教授英语的八年期间内,他出版了两本诗集,之后于1989年获得创造性写作的奖学金。他随即相继获得英国利兹,杜伦,纽卡斯尔大学及丹麦和日本的大学的奖助金,并在英国,希腊,毛里求斯召开的会议上发言。1998至2006年,他在谢菲尔德•哈勒姆大学教创造性写作课程,并于2003年成为一名诗歌教授。他为包括《卫报》,《独立报》及《时代文学增刊》等英国报纸,杂志撰写评论,还是BBC电台定期播音的广播员,主要在节目中谈论诗歌,也涉及许多其他主题。他也为电视节目撰稿,如《离开书页的诗人》等,在BBC四台播出。他的前六本诗集均获得了不同奖项。他的第七本最新诗集,《十一月》,入围了2011年T.S.艾略特奖,2011年前进诗歌奖和2012年格里芬国际诗歌奖的决选名单。他的诗作被收录入诸多文集,例如2006年由英国文化委员会/格兰塔出版社出版的《新写作14》(由拉维尼娅•格林劳和赫隆•哈比拉任编辑)。他的戏剧作品包括,《当我们死时放声大笑》,一部政治悲剧诗剧,于2000年在纽卡斯尔现场剧院上演,2001年在BBC电台3播出;《火焰看护人》,一部以上世纪三十和九十年代为背景的关于诗歌与法西斯主义的诗剧,2003年由皇家莎士比亚剧团与现场剧院合作上演;《鸟》,他基于阿里斯托芬的《鸟》创作的新诗剧,由皇家国立剧院委托创作,2002年初演,2006年重演;以及《穿绿马裤的唐吉尔》,一部西班牙黄金时代由蒂尔索•德•莫利纳创作的喜剧的新诗剧 版本,于2013年,2014年分别在巴斯,伦敦,考文垂上演。他还为BBC电台4的“经典系列”改编和撰写剧本,包括叶甫根尼•扎米亚京的《我们》,和格雷厄姆•格林的《恐怖内阁》。他还出版了一部小说,一本短篇故事集。他对翻译保持了经久不息的兴趣,出版过来自法国,德国,意大利,佛得角和中国的诗歌译作。

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