扬尼斯.里索斯诗歌

A

阿尔戈号的衰落

今夜，我们谈论事物是如何经过岁月，变得廉价——

美丽的女人，英雄事迹，诗歌——我们记得

那艘传说中的船，在一个春夜被带到科林斯，

被蛀虫咬噬，褪色，它的桨架被撕扯掉了，

满是补丁，漏洞，回忆。长长的队伍穿过树林，

手持火把，花环，笛子，各种青年竞赛的用具。老阿尔戈号是

献给波塞冬神庙的一件华丽的礼物。美丽的夜晚；

祭司的吟唱;

一只猫头鹰在殿角上鸣叫;舞者们在船上

轻舞，以不适当的优雅模仿粗野的动作，不存在的

桨、汗水、血的运动。然后一名老水手

朝他的脚边吐了一口唾沫，然后走到小树林小便。

（冯默谌 译）

——“老阿尔戈号”不老，恰是新船——“那艘传说中的船”。此句紧接“长长的队伍”。这队伍携带他们簇新的船只，向神祭献。神庙里，祭祀主持着仪式。诗歌是倒叙的。开头写破败的船。然后引出祭献的人群。最后收在老水手。诗歌的结构，旧船，老水手。

The Decline of the Argo

Tonight talking of how things pass age, become cheap -

beautiful women ,exploits, poems - we remembered

the legendary ship when it was brought to Corinth one spring night,

eaten by woodworm,fading, its tholepins torn off,

full of patches, holes, memories. The long procession through the woods,

with torches, wreath, flutes, contests of youths. The old Argo was

a magnificent offering to Poseidon's temple. Beautiful night; the

chanting of the priests;

an owl hooting from the temple' pediment; the dancers would jump lightly

on the ship imitating rough action with improper grace, the motion

of non-existent oars, sweat, blood. Then an old sailor

spat at his feet an walked away the small woods to piss.

B

比雷埃夫斯运输部的拘留者

一条毯子，一半在下，一半在上；发烧；水泥；潮湿；

汗淋淋的发丝；在墙上，用指甲刻下——

姓名、日期、小契约;同样的噩梦

照亮洞，用同样的火炬:“今夜”“今夜”，

“黎明，明天”。谁会留在这里纪念我们

当锁里传来钥匙声，长长的锁链

被拖在无尽的白色中，在一边，

我们扔掉的最后一根烟还在冒烟。

（冯默谌 译）

注：比雷埃夫斯，希腊港口城市。

——结构：烟头，对应拘留者的生命。

Piraeus Detainees' Transport Section

Half a blanket under, half over; fever; cement ;damp;

sweaty hair; inscription on the walls scratched with fingernails -

names, dates, small covenants; the same nightmare

opening holes with the same torch: 'tonight 'tonight',

'at dawn, tomorrow'. Who will be left here to remember us

when the key is heard in the lock and the long chain

is dragged on the endless white where, on one side,

the last cigarette we'd thrown down still smokes.

并非毫不怀疑

他并非毫不怀疑

也并非不够公正和真诚——

他常常看到镜子里微笑之外的东西

整个无法形容的夜和她的印象

他常常在镜中

看到她的头骨，而非她的脸。

然而，窗玻璃上的细微反光又让他

相信,

家具的表情，早晨平静的表情

没有要求，也没要求控制，——这些细小的

线

扫把经过地板时留下的，说服了他。

然后有一个女人，她微笑着，

温柔的，热情地，毛茸茸的微笑,

像挂在窗户上的毯子，

被太阳晒热。

他感到他的鼻孔里充满了海洋的清新气息。

（冯默谌 译）

——当然是一种心象，没人以为他面对的是一面真正的镜子。

Not Unsuspecting

Not that he was unsuspecting

nor less just and sincere—

often he had seen beyond the smile of the mirror

all of the ineffable night and her ramifications

often he had seen in the mirror

not the face but the skull.

However the tiny reflections on the window panes again

  Convinced him,

the convalescence of the furniture ,the calm look of the morning

that made no demands,requested no control,—these thin little

  lines

on the floor left by the passing of the broom convinced him.

Then there was a woman who smiled,

softly,ardently,a fluffy smile,

like the blanket hanging on the window,

heated by the sun.

And he felt in his nostrils the presentiment of ocean freshness.

珀涅罗珀的绝望

她并非未从微弱的火光中将他认出，

他伪装，穿着乞丐的破衣。不。有明显的迹象：

膝上的伤疤，健壮的肢体，狡黠的表情。

她怕极了，靠在墙上，想找个理由，拖延着不回答

以免泄露自己的心思。是为了他吗？花费了她二十年时光

来等待和梦想的。是为了这个浸泡在血中，可怜的，

留有白须的陌生人吗？她无言地跌坐在椅上。

仔细地看着地板上那些被屠杀的追求者，仿佛

看着自己死去的欲望，她说"欢迎"

她的声音听起来仿佛来自远方，像是别人的。角落里的

织布机如笼子般，在天花板上投下阴影，

她在绿叶间，用红线编织的鸟儿，突然变灰，变黑

低飞在她最终忍耐的，扁平的天空。

（冯默谌 译）

注：珀涅罗珀，荷马史诗《奥德赛》中奥德修斯忠实的妻子。她在丈夫远征特洛亚失踪后，拒绝了所有求婚者，一直等丈夫归来。

——贞洁的歌颂。作者把珀涅罗珀的形象，化为影子，而且是天花板上的影子。并且给她一双鸟儿的翅膀，实际上是把她比作天使。“花费了她二十年时光/来等待和梦想的。”并且，给这等待以质感：“仔细地看着地板上那些被屠杀的追求者”。地上躺着的不是“被杀者”，而是珀涅罗珀的忠诚。正是这些忠诚的光芒，把她的影子——天使的形象——投射到天花板上——“扁平的天空”。

Penelope's Despair

No that she didn't recognize him in the dim light of the fire,

his disguise in beggar's rags. No. There were clear signs:

the scar on the knee-cap, his muscular body, the cunning look.

Frightened,leaning against the wall ,she tried to find some excuse, a delay to avoid answering

So as not to betray her thoughts. Was it for him she had wasted twenty years

waiting and dreaming? Was it for this wretched stranger

Soaked in blood, with his white beard? She fell speechless on a chair,

she looked closely at the slaughtered suitors on the floor as if

looking at her own dead desires and she said 'welcome',

her voice sounding to her as if it came from a distance, as if someone else's. The loom in the corner

cast shadows across the ceiling like a cage, the birds she had woven

with bright red threads among green leaves suddenly turned grey and black

flying low on the flat sky of her final endurance.

不公

夜。只要简单一瞥。一颗无声的子弹。

孤独的金属盾牌满是窟窿。

支离破碎的洪亮之声。

和她膝上的骄傲。

心爱的夜晚。心爱的伤口。

道路、天空、星星，——都存在着

它们也许再次下沉。只要瞥一眼。

在孤独之外，孤独的

巨大危险正躺着等待——亲爱的危险

你可以用别人衡量自己，你也有权利成为自己

而最不公平的是，另一个人也是对的。

（冯默谌 译）

Injustice

Night.Only a single glance.A noiseless bullet.

The metal shield of loneliness is riddled with holes.

That fragmented rotundity.

And pride on her knees.

Beloved night.Beloved wound.

The road,the sky,the stars,—exist

That they might sink once more .Only a single glance.

Outside of the loneliness the great peril

of loneliness is lying in wait—beloved peril

to measure yourself with another and the right to be yours

and the whole injustice of it that the other person is also right.

不可避免地

在后街，在另一边，在消防通道，

那儿有破花盆，破水瓶，

那儿有死狗，蠕虫，绿苍蝇，

铁匠那儿小便，屠夫、车工也在——

孩子们害怕夜晚；无数的星星大叫，

它们从很远的地方叫着，好像每个人都离开了；——

别再和我讲那些雕像——他说——我无法忍受，我告诉你;

别再致歉;——走进那间巨大的地下室里，

纤瘦的女人用她的长臂从锅炉里掏烟灰，

她们涂她们的眼睛，牙齿，厨房门，玻璃瓶，

或至少让她们无法被认出，

走廊里的镜子，枯瘦的，向她们走来

当她们悄悄地走进或走出、靠着墙，

探照灯在黄色的草地中瞄准了她们。

（冯默谌 译）

Inevitable

In the back street ,on the other side, where the fire-escapes are,

where there are broken flower pots, broken carafes,

where there are dead dogs, worms, green flies,

where the ironmongers piss, the butchers, the turners -

children are scared a night; the stars shout too much,

they call from very far off as if everyone were away; -

don' talk to me again about the statues - he said; I can't stand it,

I tell you;

no more excuses; - down in the big cellar,

lean women with long arms collect the soot from the boilers,

they paint their eyes, their teeth, the kitchen door, the carafe,

thinking they become invisible, or at least unrecognizable,

while the mirror in the corridor, skeletal, advances upon them

when they come in or go out secretly, close to the wall,

and the searchlights aim at them in the middle of the yellow grass.

必要的感叹

你必须确定大致时间、灯光、颜色；

夜里，当马车载着木桶经过时，

车轮碾碎灰泥，

墙上的缝隙吱响。在窗玻璃后，

你能看到对面的白厨房，冰箱，

赤足的老人。然后，浴室的灯亮了。

他们拉上窗帘。女佣

把一碟苹果拿到阳台。

播放着留声机。你无法选择

在没有任何关系或对比的事物间，

直到听见尖叫声，刀子插入木桌，

刺进一张餐巾纸，餐巾纸上

印着两个完美的唇印。

（冯默谌 译）

The Necessary Exclamation

You must fix the approximate time ,the light, the colour;

at night when the horse-cab passes loaded with barrels,

on of its wheels crushes the pieces of plaster;

the joints of the wall creak. Behind the window panes

you can see opposite the white kitchen, the refrigerator,

the bare feet of the old man. Then, the bathroom light

goes on. They pull the curtain. The maid

takes a bowl of apples out on the balcony.

The gramophone is playing. You can't choose

between things with no relationship or contrast,

until the scream is heard and the knife is pushed into

the wooden table stabbing a paper napkin

with a perfect imprint of two painted lips.

必需品

他笨拙地缝外衣上的纽扣

用一枚粗针，一根粗线。

他自言自语道:

你吃面包了吗？你睡得好吗？

你能说说话，伸伸手吗？

你记得往窗外看吗？

你微笑了吗，当你听到敲门声时？

死亡总会到来。如果它第二个到来，

那第一个总是自由。

（冯默谌 译）

The Essentials

He sews the buttons on his coat awkwardly,

with a thick needle, with thick thread.

He talks to himself:

Did you eat your bread? Did you sleep well?

Were you able talk, to stretch your arm?

Did you remember to look out of the window?

Did you smile when you heard knocking on the door?

If it's always Death - he comes second.

Freedom always comes first.

C

 重建的睡眠

晚上，大块的灰泥掉在床上，从天花板。

无处可憩。镜子也碎了。

走廊里的石像落满烟灰——你甚至

不能触摸它，更别谈同它做爱了——大腿，

膝盖，嘴唇，手掌上都留下了黑色的印记。

水、电话和电已断了数月。在厨房里的

大理石桌上，烟头旁，两棵大生菜正在腐烂。

（冯默谌 译）

Reconstruction of Sleep

At night, big chunks of plaster fell from the ceiling onto the bed.

There was nowhere to lie down. The mirror too had shattered.

The plaster statue in the corridor was covered with soot - you couldn't

even touch it, let alone make love to it - black marks

were left on the thighs, the knees, the lips, the palms. It had been months

since the water, the telephone, the electricity were cut of .On the marble-topped table

in the kitchen ,next to the cigarette butts, two huge lettuces were rotting.

出现

他不到十八岁。他脱光衣服，

好像在玩，又仿佛遵循我们能认识的

什么东西。他爬上岩石

也许只是想让自己看起来更高一点。也许他认为

这个高度遮住了他的裸体。不必如此。

在这样的时刻，谁会在意身高呢?

他的腰上有一条粉红色的条纹，

——这是他腰带留下的印痕。他看起来

更赤裸了。然后，他以一个优美的跳姿，

跳入海里，尽管一月份很冷。

不久他又出现了，高举着十字架。

（冯默谌 译）

——1、结构：十八岁与十字架对举。十八岁成年，步入社会，开始承担责任。这就是十字架的意思。2、综合性的概括好。如“又仿佛遵循我们能认识的/什么东西。如“不必如此。”在白描的语言里，诗歌显得很实在。适当的抽象，增强了诗歌的品质。3、富有意味的句子，让诗歌厚重：“也许他认为/这个高度遮住了他的裸体。”

Emergence

He couldn't have been more than eighteen. He took of all his clothes,

as if playing, but obeying something

we too could recognize. He climbed up the rock

maybe to make himself look taller. And maybe he thought

that height concealed nudity. It wasn't necessary.

Who cares about height at such moments?

There was a pink stripe about his waist-

a mark from his tight belt. He seemed

even more naked with that. And then, with a superb jump,

despite the January cold, he dived into the sea.

Soon he reappeared holding the cross up high.

春天

一道玻璃墙。三个裸女

坐在墙后。一个男人

爬上楼梯。他光秃秃的鞋底

粘满红壤，富有节奏地

一步一步地出现。很快

那寂静的、近视的眩光

覆盖了整个花园，你听到

玻璃向上垂直地开裂，

被一颗秘密的，无形的大钻石切开。

（冯默谌 译）

——1、整首诗歌就是一个暗喻。情景设置。

Spring

A glass wall. Three naked girls

sit behind it. A man

climbs up the stairs. His bare soles

appear rhythmically on after the other, dusty

with red soil. Soon

the silent, short-sighted glare covers

the whole garden and you hear

the glass wall cracking up vertically,

cut by a big secret, invisible diamond.

吹

窗户对面，一片大向日葵。

在泥路上，尘土从经过的马匹身上落下。

她依然站在那里等着。伤心地。

映照在她脸上的光可能

来自对面的向日葵。突然

她扬起双臂，她追赶风，

她抓住骑手的草帽，紧紧地抱在胸前，

她进入屋中，关上了窗。

（冯默谌 译）

Blowing

Opposite the window, the big sunflowers.

On the dirt road, dust from the passing horse.

She stands there still waiting. Sad.

The light reflecting on her face may be

from the sunflowers opposite. And suddenly

she flings up her arms ,she chases the wind,

she grabs the rider's straw hat, clutches it to her breast,

she goes in and shuts the window.

窗里窗外

窗外，大云朵沐浴在阳光下；教堂的阴影在山谷。

面包在被包在餐巾里，挂在树上。风

从山间吹来，钻入楼梯下的迷宫。

靠窗的女人正在织一件羊毛背心。男人

脱下靴子；看自己的脚——赤足踩在地上。女人

把她的针线活放在一边；她起来；她犹豫；她穿上靴子;

把手伸进去，跪下来，爬在床下。

（冯默谌 译）

——1、虚实理论并不好用。这首诗歌前三行写外部景致，可以说是“实”，后四行写女人的心理活动，可以为“虚”。然而，然而，难道整首诗歌不就是一个虚幻的心境吗。2男人脱下靴子，女人穿上靴子。这样的细节暗示什么？男人是命运，律令，是窗外的景致。当窗外的景致——一种主宰——来到市内，脱下靴子，换上便鞋，置换了窗内的景致，窗内的景致自然就要换靴子出门。3、如果是这样的话，男人，和女人根本就是一个人，不过是为了便于写作，而给你的一个人设罢了。4、最后一句“把手伸进去，跪下来，爬在床下。”容易读成性暗示。细究起来并没有那种意思。

Inside and Outside the Window

Outside, big sunbathed clouds; the shadow of the church in the valley.

The bread folded in a napkin hanging from the tree. The wind

blows from the mountains, it burrows into small labyrinths under the staircase.

The woman near the window is knitting a woollen vest. The man

takes off his boots; he looks at his feet - his bare feet which step on soil. The woman

puts aside her knitting needles; she gets up; she hesitates; she takes the boots;

she puts her hand in them, she kneels, she crawls under the bed.

抽象的画家

一天下午，一名画家画了一列火车。

最后一节车厢从纸上脱落下来

并独自地返回车库。

而艺术家恰好坐在那节车厢里。

1959.6

（冯默谌 译）

ABSTRACTED PAINTER

A painter one afternoon drew a train.

The last carriage cut away from the paper

and returned to the carbarn all by itself.

Precisely in that carriage sat the artist.

June, 1959

 成就

我们所期待的，就像我们的生活

已经实现。我们的内心没有任何欲望、

回忆或恐惧的迹象。

两具空空的尸骸被抛在夜的岸边。

后来当你穿袜时，我仔细地查看了床。

它是一种非常古老的动物，以交媾的姿态变成大理石

用它的四只死脚步于虚空。

（冯默谌 译）

Achievement

What we had expected like the justification of our lives

was achieved.No trace of desire,recall or terror

remained in the center of our cells.

Two hollow bodies cast on the shore of the night.

Later as you were putting on your stockings—I looked closely

  at the bed.

It was a very ancient animal into marble in the stance of

  coition

Treading with his four dead feet into the void.

♡ 晨雨

他看到窗玻璃后的雨色——

芦苇里光滑的黄，栏杆上的锈迹，

灰蒙蒙阴影中的绿。他把透明的

色彩保留到最后——玻璃

杯和窗玻璃。在浴室的镜中

他看到了三个裸体女孩。她们粉红的手臂,

在蒸汽后跳舞。其中一个弯下腰来

去捡一束花。她的头发遮住了

脸和一个乳房。她站起，

把头发往后甩了甩。五粒银滴

溅在镜子上。她手里没有拿着一束花。

（冯默谌 译）

Morning Rain

He saw the colours of rain behind the window panes -

the smooth yellow in the reeds, the rust on the rail,

the shadowed green in the ashen grey. He saved

the colour of transparency till last - the glass

of the water glass and the window pane. In the bathroom mirror

he saw the three naked girls. Their arms, pink,

danced behind the steam. One of them bent down

to pick up a flower. Her hair covered

her face and one breast. She raised herself up again,

she shook her hair back. Five silver drops

splashed on the mirror. She wasn't holding a flower. ·

城中之夏

在此地，光让我们绝望。无情的月份

不允许你成为两个。你还不够。

单调的叮当声，街道上的汽车拐弯，

在炎热的中午，大理石切割师切着石头。

在墙的上方，可以看到同样古老的纪念柱，

大理石花，大理石丝带，

一尊银行家的半身像，

一张被天使翅膀遮挡的孩子的脸。

在这些专业的雕塑上，雅典的太阳盖有它的印章，

它们的阴影难以置信地伸展──

因此昨天下午，一点也不奇怪

当你从办公室回家时

拎着一个购物袋，装有面包和西红柿

这没什么奇怪：昨天，当太阳落山时

在树林里，你遇见了那个大理石青年

他慢悠悠地走着，微笑着。

你坐在公园池塘边的长椅上，把你的面包投给金鱼，

整夜，你一点也不饿，

即使你没有吃饭。

1939年8月  雅典

（冯默谌 译）

 ——1、转喻之一。诗歌中提到的 纪念柱大理石花，丝带半身像，包括墙——诗歌中没有明确提到它的材质——这些都是大理石的制成品。作为转喻，即是用产品代替大理石本身。2、暗喻之二。“在这些专业的雕塑上，雅典的太阳盖有它的印章，/它们的阴影难以置信地伸展──”印章是人的转喻。首先，石材本身就是做印章的材料——在中国，田黄，鸡血石最佳，但实际上，具备雕刻性的石头都能做印章，这当然也包括大理石。联系这首诗歌具体的内容，这里当然是指诗歌中所说的雕像制品。把雕像制品，说成印章，当然是比喻，这里是暗喻的用法。因为借助的是相似性。但这样的解释还是不到位的。主要是不直接，拐弯太多，虽然诗歌就是拐弯。但如果拐弯不是为了有力，而只是叫人思维上累，那也不是诗歌的本意。那么有没有直接的理解方法呢，有，转喻。印章是人的转喻。人生产了“印章”，就用印章来代替人。这是产品转喻。3、没头没脑的一句，“不允许你成为两个”。试着理解：一，中午太阳直射，人的阴影最小。下文确实提到了中午。二，结合下文，“大理石切割师切着石头。”你要么是切割师，要么是石头。也就是说，要么是，要么活。我们的口头语说累得半死，哪到哪啊。当然，这是猜测，不是正规解释。因为没有可靠的证据，我自己也不倾向于这样的解释。那么，这句话到底意味着什么呢。我想，它应该是这首诗歌的主体。即追求。追求让我们向前，一无反顾。紧接而来的四个字,“你还不够”，似乎透露了某些信息。你能读到欲望的高涨，乃至于它的毁灭，和痛苦。4、诗歌的主体是第四节。诗歌总要落实到现在。

SUMMER IN THE CITY

In this place the light makes us despair. This pitiless month

will not allow you not to become two. You are not enough.

The monotonous clang, the street cars turning round corners,

the marble cutters hewing stones in the blazing noon.

Above the wall can be seen the same old memorial columns,

marble flowers, marble ribbons,

the bust of a banker,

the face of a child shadowed by an angel’s wing.

On these professional sculptures the Attic sun stamps its seal,

the shadows add their unbelievable extensions—

and so it was not strange at all that yesterday afternoon

as you were returning home from the office

holding a shopping net of bread and tomatoes—

it was not strange at all that yesterday as the sun was setting

in the copse you met the marble youth

strolling languidly as he smiled.

You sat on a park bench, by the pond, casting your bread to the goldfish,

and all that night, even though you had not eaten,

you were not at all hungry.

Athens, August, 1939

D

等候处决

天亮时，在那儿，他倚墙而立，眼露着，

当十二支枪瞄准他时，他平静地感到

自己年轻又英俊，理应把胡子刮干净，

远处淡粉色的地平线与他很配——

——嗯，是的，他的生殖器保持着应有的重量，

只是在温暖中有点感伤——那就是太监们所看的地方，

那就是他们所瞄准的地方；他成为自己的雕像了吗?

在希腊夏天一个晴朗的日子里，他看着它

赤身裸体，在广场上——看着它，昂然地直立

于人群的肩后，于匆忙的，贪吃的女游客后,

于三个戴黑帽的化妆的老妇人后。

（冯默谌 译）

Awaiting His Execution

There ,stood against the wall,at dawn, his eyes uncovered,

as twelve guns aimed at him, he calmly feels

that he is young and handsome, that he deserves to be clean shaven,

that the pale pink distant horizon becomes him -

And, yes, that his genitals retain their proper weight,

somewhat sad in their warmth - that's where the eunuchs look,

that's where they aim; - has he already become the statue of himself?

Himself looking at it, all nude, on a bright day

of the Greek summer, in the square above - looking at it standing upright

himself behind the shoulders of the crowd, behind the hurrying

gluttonous tourist women,

behind the three made-up old women wearing black hats.

 第三个人

他们三个人坐在窗边看海。

一个人谈海。一个人听。第三个

不说也不听；他潜在大海深处；他浮起。

在窗玻璃后，他的动作缓慢，清晰

在薄薄的淡蓝中。他正在搜寻一艘沉舟。

他为这个巡查者敲响了丧钟；细小的泡沫

升起，伴随一阵轻柔之声，

“他淹死了吗？”一个人问；“他淹死了。”另一个回答。

第三个人从海底无助地望着他们，就像望着

淹死之人。

（冯默谌 译）

The Third One

The three of them sat before the window looking at the sea.

One talked about the sea. The second listened. The third

neither spoke nor listened； he was deep in the sea；he floated.

Behind the window panes, his movements were slow, clear

in the thin pale blue. He was exploring a sunken ship.

He rang the dead bell for the watch； fine bubbles

rose bursting with a soft sound - suddenly,

'Did he drown?' asked one； the other said: 'He drowned.' The 

third one

looked at them helpless from the bottom of the sea, the way one

looks at drowned people.

 雕像

他在门口转动钥匙

进入房中，躺下。

突然，他想起自己遗忘了什么东西。

天色已晚，他无法返回。

所以，独自在夜里，

他把手放在钥匙上，

远离街道，远离他的门，

整个人，面对自己的命运，

像雕像一样，变成了大理石。

是的，雕像冷冷地笑着。

1953-1954

（冯默谌 译）

THE STATUES

He turned the key in the door

to enter his house, to lie down.

Suddenly he remembered that he’d forgotten something.

It was late, he couldn’t go back.

So, alone in the night,

with his hand on the key,

away from the street, away from his door,

the whole man, facing his fate,

turned into marble like the statues.

Yes the statues smile indifferently.

1953-1954

F

服从

她打开窗。一阵风

吹来，她的头发，像两只大鸟，

披在肩上。她关上窗。

两只鸟在桌子上

看着她。她低下头

在它们之间，静静地哭泣。

（冯默谌 译）

Submission

She opened the window. The wind struck,

with a burst, her hair, like two big birds,

over her shoulders. She shut the window.

The two birds were on the table

looking at her. She lowered her head

between them an cried quietly.

分离，三

慢慢的东西空了，像夏天

人们在海滩上发现的那些大骨头——马骨

史前动物的骨骼；它们里面的东西是空的，骨髓；

所有剩下的都是纯白的，没有色彩，还有看不见的洞，

就像冬天下大雨时，你在

彩房里。你握着门把手或一个茶杯的

茶柄，你不知道是你握着它们，还是它们握着你。

或者是它们，或者是你，被握着。突然，当你

准备喝茶时，

你从你的指间看到了茶柄；

——杯子不见了——你审查它：那么白，

那么轻，几乎是骨头——你认为它很美，形状如

半个零——它渴望完整，然而，在墙的另一边，

从一个深深的裂缝里，渗出热气，从你没喝过的茶里。

（冯默谌 译）

Departures, III

Slowly thing empty, like those big bones

one finds on the beach in summer - horse bones

or bones prehistoric animals; they are empty of the stuff inside,

the marrow;

all that remains is a solid white ,a lack of colour, with invisible holes,

like the colour rooms take in winter when

it rains violently. You hold the doorknob, or the handle

Of a tea cup and you can't tell whether you hold them or they hold you

or whether they ,or you, can be held. And suddenly as you are

about to drink your tea,

you see between your fingers the porcelain handle

by itself; - the cup is missing - you examine it: so white,

so weightless, almost bone - you think it beautiful, shaped like

a half zero - it longs to be complete, while, across ,in the wall,

out of a deep crack, seeps the warm steam from the tea you did not drink.

 复明的女孩

啊——她说——我又看见了。那里。

这些年来，我的眼睛对我犹如陌客，

它们深印在的我心里；如两颗发霉的鹅卵石

浸泡在浓密的黑水中。现在,

那不是一朵云吗？这是一支玫瑰？——告诉我;

这是一片叶子，它是绿色的，对吧?——绿。

这，这是我的声音——对吧?——你能听到我说话吗?

声音和眼睛——这不就是自由吗?

在地下室，我忘记了那个宽大的银盘，

纸箱、笼子和线轴。

（冯默谌 译）

The Girl Who Found Her Sight

Ah - she say - I see again. There. All these years my eyes were strangers to me,

they'd sunk in me; the were two mouldy pebbles

in dark, thick water - black water. Now -

isn't that a cloud? and this a rose? - tell me;

and this a leaf- isn't it green? - g-r-e-e -

and this, my voice - yes? - and can you hear me talk?

Voice and eye - isn't this what's called freedom?

Down in the basement I've forgotten the broad silver tray,

the cardboard boxes, the cage and the spools of string.

放血

他的所作所为都是为了赶走那只大苍蝇

固执地返回同一地点，回到他的庙宇，

回到他的脸颊，他的鼻子。最后他安安静静地站着。苍蝇

也一动不动地站在他的脸颊，吸他的血，越吸越大。

在他的地方，只剩下这只苍蝇，它也被

蜘蛛网缠裹，那里的水滴闪闪发光。

1972.11.1雅典

（冯默谌 译）

BLOODLETTING           

His behavior was all one gesture to drive away the big fly

that doggedly kept returning to the same spot, to his temple,

to his cheek, to his nose. At last he stood still. The fly

also stood still on his cheek, where it sucked his blood and grew larger.

In his place only the fly remained, it too wrapped around

by the spider’ s cobweb, where droplets of moisture glittered.

Athens, November 1, 1972

 扶椅

这把扶椅曾是死者坐的地方。绿绒

闪闪发亮，在他手臂休息的地方。后来，当他被带走时，

苍蝇来了——一些安静的大苍蝇。它是冬天。

橘子丰收——他们把橘子扔到仓库的篱笆后;

天气阴沉——你不知天何时亮了。有天,

早上，装修工们用刷子敲门。

消瘦的仆人回答。他给了他们死者的领带

一条淡蓝色的，一条黄色的，一条黑色的。他们向他眨眼。

他们离开了。

扶椅搬到了地下室，上面放着老鼠夹。

（冯默谌 译）

The Armchair

This armchair was where the dead man sat. The green velvet

Is shiny where his arm rested. After, when he was taken away,

the flies came - some quiet enormous flies. It was winter.

Big orange crop - they'd throw orange away behind the fences of storage yards;

it was also cloudy -you couldn't tell when it dawned. One day,

early in the morning, the decorators knocked on the door with their brushes.

The thin servant answered. He gave them the dead man' ties -

a pale blue one,a yellow one, a black one. They winked at him.

They left.

The armchair is in the basement, the mouse trap on it.

♡ 愤怒

他闭上眼，对着太阳。他把脚泡在海里。他第一次

注意到他手的表情。一种隐蔽的疲劳

宽如自由。代表们

来来去去，带着礼物和誓言，

有前途的头衔和丰厚的战利品。他心有疑虑地，

看一只螃蟹，摇摇晃晃地爬上一块鹅卵石，

慢慢地，可疑地，然而以一种官方的方式，像是上升的永恒。

他们不知道，他的愤怒只是个借口。

（冯默谌 译）

The Wrath

He shut his eye to the sun.He dipped his feet in the sea. He noticed

the expression of his hands for the first time. A concealed fatigue

wide as freedom. Representatives

came and went bringing gifts and pledges,

promising titles and rich spoils. He, unconvinced,

looked at a crab staggering up a pebble

slowly, suspiciously, and yet in an official way as if ascending eternity.

They didn't know his wrath was only an excuse.

G

改变

离去的是我们的。我们感到了他们的损失。

归来的全是陌生人。

以前，他们不戴眼镜。现在戴着。

人们看不出他们的镜片后是否有眼睛。

我们必须看着入睡的他们，

当他们的行李箱在走廊上打开时，

吸入新内衣的外界空气，

度过那些时刻，当外面的大路灯亮着，

照亮了紧闭的店门，

无法穿透的变得容易接受，因为你不再

有任何东西要买或卖。

1988.1.23，雅典

（冯默谌 译）

ALTERATIONS

The ones who left were ours. We felt their loss.

The ones who returned are total strangers.

Before, they didn’t wear glasses. Now they do.

One can’t tell whether there are eyes behind their glasses.

We’ll have to look at them asleep,

when their open suitcases in the hallway

inhale the alien air of new underwear,

during that hour when the big street lamp outside is lit,

illuminating the closed doors of stores,

and the impenetrable becomes accessible, because you no longer

have anything to buy or sell.

Athens, January 23, 1988

感觉的步骤

太阳沉没，粉红，橘黄。大海，

幽暗，蓝绿。远处，有条船——

一个黑色摇晃的标志。有人

站起来喊：“一条船，一条船。”

咖啡馆里的其他人，离开座椅，察看。

“肯定有条船。”但刚刚那个叫喊的人，

现在仿佛有罪似的，在他们严厉的目光下，

低头窃语道：“我骗了你们。”

（冯默谌 译）

——1、结构。太阳与船构成结构。2、结尾有意味，以感觉的不可靠性点题。 

Gradations of Sensation

The sun sank, pink，orange. The sea,

dark,azure green. Far out, a boat -

a black rocking mark. Someone

stood up and shouted: 'A boat, a boat.'

The others, at the coffee house, left their chairs, they looked.

There was a boat for sure. But the one who had shouted,

as if guilty now, under the stern looks of the others,

looked down an said in a low voice: 'I lied to you.'

惯性

女人和黑狗呆在卧室。

老男仆提着一盏灯经过走廊。

没有一丝风，窗帘轻移。

我们不再等待他们的归来。他们挂在

衣柜里的衣服变旧。夜里

我们听到邮差在门前停下。

他没按门铃。也未说话。第二天

在花园里，我们发现了他印有金邮戳的烟蒂。

1988.1.6

（冯默谌 译）

INERTIA

In the bedroom, the woman with the black dog.

The old manservant passed by the corridor with a lantern.

Without a stir of air, the curtain moved.

We no longer waited for their return. Their clothes

hanging in the wardrobes grew old. During the night

we heard the messenger stop before the door.

He didn’t ring the doorbell. He didn’t speak. The next day

we found his gold stamped cigarette butts in the garden.

Kálamos, January 6, 1988

H

回忆

房屋被烧。透过空窗，

天空。山谷深处

葡萄采摘者的声音，遥远的。后来

来了三个年轻人，拿着水罐，

他们用芥末清洗雕像。他们吃

无花果。他们解开腰带，

在干荆棘中挨个坐着，

他们又系上腰带，走了。

（冯默谌 译）

Recollection

The house was burned. Through the empty windows,

the sky. Down in the valley

the voices of the grape harvesters, remote. Later

came the three young men with pitchers,

they washed the statues with must. They ate

the figs. They undid their belts,

the sat next to one another among the dry thorns,

they tied their belts again and left.

J

几乎

他手里拿着些不匹配的东西——一块石头，

一块破瓦片，两根烧过的火柴，

对面墙上生锈的钉子，

从窗外飘进的树叶，给花盆

浇水掉落的水滴，还有稻草

昨天风吹在你头发上的——他带着它们，

他在他的后院里，几乎种了一棵树。

诗歌就在“几乎”中。你看到了吗?

（冯默谌 译）

Approximately

He picks up in his hands things that don't match - a stone,

a broken roof-tile, two burned matches,

the rusty nail from the wall opposite,

the leaf that came in through the window, the drops

dropping from the watered flower pots, that bit of straw

the wind blew in you hair yesterday - he takes them

and he builds, in his backyard, approximately a tree.

Poetry is in this 'approximately'. Can you see it?

简单的含义

我把自己藏在简单事物之后，为了你能找到我，

如果你找不到，你就能找到那些东西，

你会触摸它们，我的手也曾触摸过，

我们的手迹将会混合在一起。

八月的月亮像厨房里的铁壶

（因为我同你的讲述，变得如此）

它点亮了空桌子和寂静正跪在房间——

寂静总是跪着。

每个字都是一次离去

为了一个会面，被取消了多次

它是一个真实之词，当它坚信相逢时。

（冯默谌 译）

The meaning of simplicity

I hide myself behind simple objects so you may find me,

if you do not find me ,you will find the objects,

you will touch those objects my hand has touched

the traces of our hands will mingle.

The August moon gleams like a tin kitchen kettle

(what I am telling you becomes like that),

it lights the empty table and silence kneeling in the house

silence is always kneeling.

Every single word is an exodus

for a meeting,canceled many times,

it is a true word when it insists on the meeting.

记忆

她大衣的腋窝里还残留着一股温暖的气息。

走廊里，挂在衣架上的大衣，如面被拉上的窗帘。

现在发生的一切都属于另一个时刻。光改变了面孔，

所有的未知。如果有人闯入屋中，

那件空大衣就会慢慢地，痛苦地抬起它的双臂，

并默默地，再次关上门。

（冯默谌 译）

Memory

A warm smell had remained in the armpits of her overcoat.

The overcoat on the hanger in the corridor was like a drawn curtain.

Whatever happened now was in another time. The light changed faces,

all unknown. And if someone made to enter the house,

that empty overcoat would raise its arms slowly, bitterly,

to shut the door again, silently.

季风

一艘小舟接着一艘……

手推车小贩紧盯着下坡，

松树把自己扑向大海。

海攀上山，

现在他骑着

日光，白沫泼溅。

1939.7

（冯默谌 译）

ETESIAN WINDS

Ship after ship after ship…

The pushcart peddler gazes down the slope,

The pine trees fling themselves into the sea.

The sea ascends the mountain

and the pushcart peddler mounts

the sun, splattered with white foam.

Poros, July, 1939

几乎是个魔术师

他调低油灯的光，从远处，他搬动椅子

而不触碰它们。他累了。他摘下帽子，扇风。

然后，用一个抽出的手势，他拿出三张扑克牌，

从耳边。他溶解了一颗绿色的，止痛的

星星，在一杯水中，用银匙搅拌。

他饮下水和勺子。他变得透明。

能看到一条金鱼在他的胸膛里游荡。

然后，精疲力竭，他靠在沙发上，合上了眼。

“在我的脑子里，有一只鸟，”他说。“我无法把它赶走。” 

两只巨大翅膀的影子充满了房间。

（冯默谌 译）

Almost a Conjurer

From a distance he lowers the light of the oil lamp, he moves the chairs

without touching them.He gets tired. He takes off his hat and fans himself.

Then, with a drawn out gesture, he produces three playing cards

from the side of his ear. He dissolves a green, pain-soothing star

In a glass of water, stirring it with a silver spoon.

He drinks the water and the spoon.He becomes transparent.

A goldfish can be seen swimming inside his chest.

Then, exhausted, he leans on the sofa and shuts his eyes.

'I have a bird in my head,’ he says. 'I can't get it out.'

The shadows of two huge wings fill the room.

K

 空获

高大的悬铃树，清凉的肌肉躯干。

树荫不想隐藏什么。勇敢的光，勇敢的树荫──

无用的胆量──在抗争什么？──

只为能在空气里呼吸。

人们坐在树下，

他们坐在小木桌上吃饭，聊天，

他们并不猜测覆在他们身上的巨大之物，

控制他们天真行为的。临近黄昏

有人唱歌（也许是喝醉了）。悬铃树

无声无息，整齐地向地平线移动。

那儿空了，系白围裙的侍者

在远处出现了一会儿，在深红的落日中，

如僧侣般捧着空杯的托盘。

1958年8—9月

（冯默谌 译）

HARVEST OF THE VOID

Tall plane trees, muscular torsos of coolness.

The shade is not intended to hide anything. Daring light, daring shade─

useless daring─to confront what?─

simplicity breathes in the air.

People sit under the trees,

they dine on small wooden tables, they talk,

they do not suspect the magnitude covering them, the magnitude

that regulates their innocent gestures. Toward evening

someone sang (drunk perhaps). The plane trees

moved in a silent procession toward the horizon.

The area emptied. And the waiter, with his white apron,

appeared for a moment at a distance, in the crimson sunset,

holding in a priestly fashion the tray with empty glasses.

August-September, 1958

 苦涩的知识

一个懒人。有时他想要哭泣

不知为何，没有缘由。也许是他老了，

也许是因为听到某处的音乐。他知道：

虚假的发明并未促进房屋的维修；

雨落下来；他的膝盖溅湿；

他的书，他的文件也都湿透。在火车站

一个盲人小提琴手站在雨中

当他拉动他湿漉漉的琴弦

他得到的并非音符，而是雨滴。

（冯默谌 译）

BITTER KNOWLEDGE

An idle man. Sometimes he feels like crying

without knowing why, without cause. Perhaps he's aging,

Perhaps it's music from somewhere. He knows it:

house repairs are not improved by phony contrivances；

rain falls；his knees get wet；

his books, his papers get drenched. At a train station

a blind violinist stands in the rain

and when he draws his wet bow

instead of notes he gets raindrops.

库存

在夜里，一堵墙可能在另一堵墙后被发现。鹿

不会来饮喷泉中的水。它们住在森林里。

当月亮升起时，第一面墙就会倒塌，然后第二面，

第三面。野兔下来，在山谷里吃草。

一切如故，柔软，模糊，银色，

月光下的牛角，屋顶上的猫头鹰

还有密封的板条箱，独自在河面向下漂去。

（冯默谌 译）

Inventory

At night, one wall may be divined behind the other. The deer

will not come to drink water from the fountain. They stay in the forests.

When there's a moon, the first wall crumbles, then the second,

then the third. The hares come down, they graze in the valley.

Everything is as it is, soft, undefined,silver,

the bull' s horn in the moonlight, the owl on the roof

and the sealed crate floating down the river all on its own.

愧疚

他拿着帽子出去了。她

仍坐在靠台灯的桌子旁。当他的脚步

走远了，她看自己的手，在灯下。“很漂亮”，

她说。然后,

仿佛向某个人证明她自己，

她把面包拿到厨房，关了灯。

外面有来往的车辆和月亮。

（冯默谌 译）

Guilt

He took his cap and went out. She

remained at the table next to the lamp. When his footsteps

became distant, she looked at her hand in the light. 'It's beautiful,'

she said. And then,

as if justifying herself to someone there,

she took the bread to the kitchen an turned the light off.

Outside passed the carts and the moon.

困惑

商店关闭。面粉洒在路上。

避难所旁堆满沙袋。双手交叉，

他悲伤地坐在花园的门后。一群

燕子飞过，它们的影子掠过

他的脸。他弯下腰采花。

他做了一个花环。他会戴上它吗?

（冯默谌 译）

Perplexity

Closed shops. Flour spilt upon the pavement.

Sandbags heaped by the shelter. Hands folded,

sad, he sits behind the garden's gate.A mob

of swallows flies over, their shadows crossing

his face. He bends over and gathers flowers.

He makes a wreath. Will he put it on?

L

脸或外表

“我把这座雕塑刻在石上。”——他说——

“不用锤子；用我裸露的手指，裸露的眼，

用我裸露的身体，用我的嘴唇。现在我不知道

我是谁，雕塑又是谁。

他藏在它后面，

他很丑，很丑——他抱起它，把它搂在腰间

他们一起走。

然后他会告诉我们

这座雕塑(妙极了，真的)就是他；甚至

是雕像自己走的。但谁又会相信他呢?

（冯默谌 译）

Face or Facade?

'I carved this statue in the stone' - he said -

'not with a hammer; with my bare finger, with my bare eyes,

with my bare body, with my lips. Now I don't know

who is I and who's the statue.'

He hid behind it,

he was ugly, ugly - he embraced it, lifted it holding it around

the waist

and they walked together.

And then he'd tell us that supposedly

this statue (marvellous, indeed) was he; or even

that the statue walked on it own. But who believes him?

老渔夫

现在——他说——我不再去捕鱼了。

我坐在咖啡厅，我看着窗外，

年轻渔夫带着鱼篓进来，

他们坐着，喝酒，聊天。鱼的

闪光不同于酒杯，我想告诉他们，

也想告诉他们那条大鱼：那鱼叉

斜插在它的背上；日落时，它长长的影子

映在海床。我没告诉他们。

他们不喜欢海豚。还有这些窗玻璃

被咸水弄脏了。它们需要清洗。

（冯默谌 译）

An Old Fisherman

Now - he says - I never go fishing.

I sit here in the coffee house, I look out of the window.

The young fishermen come in with their baskets.

They sit, drink, chat. Fish

gleam differently from wine glasses. I think of telling them,

also of telling them about that big fish, the harpoon

stuck at a slant into its back; about its long shadow

on the sea bed a sunset. I didn't tell them.

They don't love dolphins. And these window panes

are dirty with brine. They need cleaning.

理发店

他们在废墟上修了间小屋

用砖块和窗户上的纸板；他们贴了个牌子;

上面写着“理发店”。后来，在星期六，黄昏时，

在面朝大海，半掩着门的微光里，

镜子浅蓝——年轻渔夫和

船夫来刮胡子。然后，

当天色快黑时，他们从另一扇门出去，

安静的，幽暗的，留下虔诚的胡须。

（冯默谌 译）

Barbershop

They fixed up a small room among the ruins

with bricks and cardboard in the windows; they also put up a sign;

it read 'Barbershop'. Late,on Saturdays, around dusk,

in the dim light from the half open door, facing the sea,

the mirror pale blue - the young fishermen

and the boatmen come to shave. Then,

when it is quite dark ,they go out the other door,

Quiet, shadowy, with long reverent beards.

裸脸

切开柠檬让两股清汁落入杯中；

看那儿，桌子上，刀在鱼的旁边──

鱼是红的，刀是黑的。

他们的牙齿间或袖子上都插有一把刀，靴子和马裤上也插有。

这俩女人疯了，她们想要吃掉男人，

她们留着黑黑的大指甲，把未洗的头发

高高地梳起。如塔般高，五个男孩从那里

一个接一个地跳下。然后她们下楼，

从井里打水，洗身，伸开大腿，

插入松果，插入石头。而我们

点头，用一声“是”，又用一声“是”──我们低头

看一只蚂蚁，一只蝗虫，或看

松树毛毛虫在胜利女神像的翅膀上踱步。

缺乏神圣──有人说──是最后的，最糟糕的认知；

可即便这样的认知，现在依然被称为神圣。

1972.9.30 雅典

(冯默谌 译)

NAKED FACE

Cut the lemon and let two drops fall into glass；

look there, the knives beside the fish on the table─

the fish are red, the knives are black.

All with a knife between their teeth or up their sleeves, thrust in their boots or their breeches.

The two women have gone crazy, they want to eat the men,

they have large black fingernails, they comb their unwashed hair

high up. High up like towers, from which the five boys

plunge down one by one. Afterward they come down the stairs,

draw water from the well, wash themselves, spread out their thighs,

thrust in pine cones, thrust in stones. And we

nod our heads with a “yes” and a “yes” ─we look down

at an ant, a locust, or on the statue of Victory─

Pine tree caterpillars saunter on her wings.

The lack of holiness─someone said─is the final, the worst kind of knowledge；

it’s exactly such knowledge that now remains to be called holy.

Athens, September 30, 1972

M

枚举

人们停在街上，他们看。

门上毫无意义的数字。

木匠把钉子钉入一张又长又窄的桌子。

有人在电线杆上贴了张名单。

一张被荆棘夹住的报纸，簌响。

蜘蛛在葡萄架下。

一个女人从一所房子走向另一所。

墙壁泛黄潮湿，它的油漆剥落。

在死者的窗户上，放着一顶金丝雀的笼子。

（冯默谌 译）

Enumeration

People stop in the street, they look.

The numbers over the doors mean nothing.

The carpenter is hammering a nail into a long narrow table.

Somebody sticks a list of names on the telegraph pole.

A piece of newspaper rustles, caught in the thorns.

The spiders are under the vineleaves.

A woman got out of one house to enter another.

The wall yellow and wet, its paint peeling off.

A cage with a canary in the dead man's window.

矛盾

一天夜里，他看起来有点醉意，用一种奇趣的口吻说:

“我常常把星星握在手心，在它们边缘尽头的光芒

像千千万万只风筝的线，

我所有的神经都能感受到它们每一个动作的反冲，

它们的倾斜，它们距离间的拉力

在夜晚最高的平面上，发现的那种寒冷的平静，

刺眼的棕褐色的氧气和它们流苏状尾巴的悸动。”

说到这，他停住了，好像保留了最重要的一点。

然后，如实地，我们检查了他赤裸的上臂，星星的痕迹，

那是一根烧针疯狂振动时留下的奇怪痕迹，

如三列桨战船，数字，美人鱼，

我们知道他已被囚禁多年

也许现在依然如此。哦，不，

你不能说我们是他监狱的铁栅栏，

也不能说我们预见了他自由的本质。

1958年1 - 2月

（冯默谌 译）

CONTRADICTIONS

One night when he seemed a little drunk he said in a funny tone of voice:

“I often hold the stars in my palm by the end of their rays

like the strings of thousands of kites,

feeling in all my nerves the counter-thrust of their every motion,

their inclinations, the tension of their distance

and that cold calm found on the highest plane of night,

and sharp tan of oxygen and the throbs of their fringed tails.”

With that he stopped, as though holding back the most important point.

Then, honestly, we examined on his naked upper arm, the stigmata of stars,

strange marks made by the mad vibrations of a burning needle,

things like triremes, numbers, mermaids,

and we understood that he’d been imprisoned for years

and perhaps still was.But oh no,

you can’t say we were the metal bars of his prison,

nor that we foresaw the nature of his freedom.

January-February, 1958

民族志

“大鲨鱼在我们的海岸游荡”──他说。

在夜里，它们红得像火。我们孩子的

牙能被看到，即使他们闭着嘴。然后

老太太拿起桨，把它放在圣像下；

她不祈祷；继续站立。外面，

能听见，男人们正在磨刀。

四个女人呆在窗口，昏昏欲睡；

她们打哈。望着银河的邮差，

她们“啊”了一声。

1972.1.3 雅典

（冯默谌 译）

ETHOGRAPHY

Large shark roam our shore─he said.

At night they’re red like fire. Our children’s

teeth show even through closed mouths. Then

the old woman took the oar；she pitched it underneath the ikons；

she didn’t cross herself；she remained standing. Outside,

the men could be heard sharpening their knives.

The four women could not keep awake.

They stayed at the window； they yawned. Ah─they said─

seeing the mailman in the galaxy.

Athens, January 3, 1972

秘密愧疚

我们说，罪恶和圣洁是一样的，在相同之夜。

另一个发誓不说。可是，谁知道呢？——

你无法确定他会保持沉默多久，

你会保持沉默；也许你将愚蠢地预料到

另一个，看雨水从餐厅明亮的

玻璃窗滴落，当人们

听到椅子跌落声，玻璃碎了，

在他的脸颊划了下，红眼睛，

伸出他巨大的，肌肉发达的手臂，指着你。

（冯默谌 译）

Secret Guilt

Sin and saintliness, we said, are the same in the same night.

The other one had sworn not to tell. But, who knows -

you can never be sure if and how long he'll keep silent,

you will keep silent; - and maybe you will rush foolishly

to anticipate the other one, looking at the rain trickling down

the illuminated panes of the restaurant, when in the crowd

the chair is heard falling, the glass breaking,

and He ,with a stab in the cheek, red eyes,

stretches his huge, muscular arm and points at you.

 美

赤条条的──她拿起自己的红手帕

遮住眼，为了不让人看见，

以免恐惧会迫使他们不去看。寂静，傲慢──或许，甚至害怕。

在她被遮的眼的黑暗里

她也许会碰到或融入光；她没有醒来。

在花园的柳条椅下，她的鞋子

落在那里。她的白裙

在树枝上飘荡，解放了她的整个身体。

她希望死后也能这样。花园的光

浮动──我不知道如何描述──像是嘲笑，像是鼓掌。

1955─1956

（冯默谌 译）

BEAUTY

Naked─she took her red handkerchief

and covered her eyes so as not to been seen,

in case fear would force them not to look. Silent and overbearing─maybe even afraid.

Within the darkness of her bound eyes

she may have even touched or even mixed the light；then she did not wake.

Under the garden wicker chair, her shoes remained

with the bare form of her feet. On the tree branch,

her white dress streamed, unfastening all her nudity.

She had hoped for this after death. The light of the garden

fluttered─I don’t know how─like mockery, like applause. 

1955─1956

梦游者和他人

他整夜都无法入眠。他跟随

屋顶上梦游者的脚步。每一步

都在无穷地回响，在他的空虚中，

厚重，沉闷。他站在窗边，等待

万一他摔倒了，就抓住他。但如果他也在坠落中被拉下来?

墙上的一只鸟影？一颗星辰？他吗?他的手?

听到砰的一声，在石路上。黎明。

窗户打开。邻居们跑来。梦游者

正从防火梯上跑下

去看那个从窗口上掉下来的人。

（冯默谌 译）

The Somnambulist and the Other

He couldn't sleep all night. He followed

the somnambulist's steps above him on the roof. Each step

echoed without end in his own hollowness,

thick and muffled. He stood at the window, waiting

to catch him if he fell. But if he too was pulled down in his fall?

A shadow of a bird on the wall ?A star? He? His hands?

The thud was heard on the stone pavement. Dawn.

The windows opened. The neighbours ran. The somnambulist

was running down the fire escape

to look at the one who had fallen from the window.

N

 女人

女人很遥远。她们的床单有晚安之味。

她们把面包放在桌上，这样我们就不会注意到她们不见了。

然后我们意识到我们错了。我们从椅子上站起来说:

“你今天太累了，”或者“来，我点灯。”

当我们点燃火柴时，她悄然地转过身，走向

厨房，带着一种难以言说的虔诚。她的背

是一座悲伤的小山，里面装着许多死人——

死去的家人，死去的她和你。

你听到她的脚步在旧木板上咯吱作响

你听到碗碟在碗柜里哭泣，然后你

听到火车把士兵们送去前线的声音。

（冯默谌 译）

Women

Women are very distant.Their sheets smell of goodnight.

They put bread on the table so that we won’t notice they’re missing.

Then we realize we’re wrong.We get up from the chair and say:

“You are very tired today, ”or “here,I’ll light the lamp.”

When we light the match,she turns gently,going

toward the kitchen with an inexplicable devotion.Her back

is a sad little mountain loaded with many dead—

the family dead,her own dead and your own.

You hear her footsteps creaking on the old planks

you hear the dishes crying in the cupboard and then

the train is heard taking the soldiers to the front lines.

1946-1947

Q

 缺席

在我们的手中，我们握着自己的手影。

黑夜仁慈——别人看不到我们握着自己的影子。

我们加固夜晚。我们看着自己。

因此我们更加想念别人。

大海仍在找寻我们的眼睛，而我们不在那里。

一个年轻女孩把她的爱系在胸口

我们微笑地看着远方。

也许在更高的地方，在星光下，一扇天窗打开

窗外，我们能看到大海，橄榄树和烧毁的房屋——

我们听见蝴蝶在万灵节的玻璃中起舞，

渔夫的女儿在她的咖啡研磨机旁磨着寂静

（冯默谌 译）

Absence

In our hands we hold the shadow of our hands.

The night is kind—the others do not see us holding our shadow.

We reinforce the night.We watch ourselves.

So we think better of others.

The sea still seeks our eyes and we are not there.

A young girl buttons up her love in her breast

and we look away smiling at the great distance.

Perhaps high up,in the starlight,a skylight opens up

that looks out on the sea,the olive trees and burnt houses—

We listen to the butterfly gyrating in the glass of All Souls’Day,

And the fisherman’s daughter grinding serenity in her coffee-

grinder

囚犯

每次他打开窗，他都会看到自己

透过街对面房子的窗户

在另一间屋子的长镜子里，秘密地，

好像自己进去行窃似的。无法忍受——

不能呼吸一点空气，阳光——一切都不。有天,

他拿起一块石头，瞄准，扔了出去。在嘈杂声中

他的邻居出现在他的窗口:“感谢上帝”——他说——

每当我试着照自己的镜子时，你的镜子

就在背后，移动地看我;——难以忍受。”

他回到自己的房间，回到自己的空间。在他的镜子里

他的邻居站着，面对他，齿间夹着一把刀。

（冯默谌 译）

Prisoner

Every time he opened his window, he'd see himself

through the window of the house across the street

in the long mirror in the other room, clandestine,

as if he'd entered it to steal something. Unbearable -not being

able to take a little air ,a little sun - nothing. One day,

he took a stone,he aimed, threw it. With the noise

his neighbour appeared at his window: 'Thank God' - he said -

'whenever I tried to look at myself in my own mirror, yours

looked at me in a shift way, behind my back; - unbearable.'

The other turned back into his room, into his own space. There, in his mirror

stood his neighbour, facing him, a knife between his teeth.

♡ 虔诚的专注时刻

他们在沙滩上筛沙，装上马车。

太阳很热，汗水滴落。中午过后，

他们脱衣，骑马，驶向海中，

金色，黑色来自烈日，来自他们的体毛。

一名年轻人大叫了一声，当他的手移向胯部时。其他人

跑向他，把他抱起，放在沙滩上

默默地看着他，茫然不解，直到有人

恭敬地移动他的手

他们围成一圈，在胸前画十字。

马，浑身湿透，金黄，吸气，它们的马嚼指向

遥远的地平线。

（冯默谌 译）

Moment of Devout Concentration

They were sifting sand on the beach, they loaded the horse carts.

The sun was hot, sweat dripped. Past noon

they undressed, mounted their horses and rode into the sea,

gold and black from the burning sun and from their body hair.

A young man

uttered a cry as his palm moved to his crotch. The others

ran towards him, lifted him up, laid him down on the sand

looking at him dumb and uncomprehending, till someone

respectfully moved his palm

and they all crossed themselves, standing around him in a circle.

The horses, soaking, golden, sniffed, their muzzles pointing far

out towards the horizon.

  轻率地

在古墙后，

穿过碉堡,

穿过石洞，

死者

用野性的，睁大的眼睛

观察

那个年轻猎人

在一根折了的石柱上撒尿。

所以，如果生者是谎言

那么死亡也是谎言。

（冯默谌 译）

Indiscreetly

Behind the ancient wall,

through the bunkers,

through the holes from dislodged stones,

the dead

with wild, dilated eyes

observed

the young hunter who pissed

On a broken capital of a column.

So, then, if life lies

death too lies.

R

♡ 溶解

有时，语言如树叶般，几乎是自己生成——

看不见的根，泥土，阳光，水，

腐烂的叶子也有帮助。

意义很容易地附在叶上，像蜘蛛网，

或像尘埃和坠落的露珠闪烁着摇曳之光。

在树叶下，一个小女孩正在剥她的裸体娃娃；

一滴水滴在她的发丝；她抬起头；什么也没看到;

只有冰莹剔透的水珠在她的身上消失了。

（冯默谌 译）

Dissolution

Sometime words come almost by themselves, like leaves of trees -

the invisible roots, the soil, the sun, the water have helped,

old rotten leaves have also helped.

Meanings can easily be attached like spider webs on leaves, or

dust and drops of dew sparkling with wavering flashes.

Under the leaves, a young girl is disembowelling her nude doll;

a drop fall on her hair; she lifts her head; she sees nothing;

only the cold transparency of the drop is dissolved over her body.

热

岩石，酷热的中午，巨浪——

大海冷漠，危险，健壮。在上街，

骡夫们叫喊，他们的车上载满西瓜。

然后，一把刀，柔软的裂缝，风，

红果肉和黑籽。

（冯默谌 译）

Heat

The rocks, the flaming noon, the big waves -

the sea indifferent, dangerous, strong. On the upper street,

the muleteers shout, their carts full of water-melons.

Then, a knife, the soft slit, the wind,

the red flesh and the black seeds.

S

 疏远

只有一束花沉浸在它的芬芳里，

一张脸庞固定在它的微笑中——

——它存在吗？它不存在吗？迷失；

如果你和它说话，它就会回来，仿佛经过了几千年的，

迷惑，无奈——它不知自己在哪，也不知道

要用什么表情来作为回应。

在一条废弃的老街上，有一个祈祷用的石凳。

有时，在黄昏，他就走下大理石楼梯，

他做了一个花环，他把它挂在圣像上

经常会有些迷路的羊站在那里，像是祈祷，

缓慢而笨拙地咀嚼那个枯萎的花环。

（冯默谌 译）

Estrangement

Only a flower immersed in its perfume,

a face anchored in its smile,—

—does it exist? doesn’t it exist?lost;

If you speak to it it will return,as if after thousands of years,

perplexed,inept—it will not know its whereabouts,it will not

  know

what expression to assume that will be a response.

There is a praying stool of stone in an old,abandoned street.

Every so often,at twilight ,he walks down his marble stairway,

he makes a wreath and he hangs it on his sacred image.Every

  so often

some strayaway sheep stands there as if it is praying,

chewing slowly,stupidly,the withered wreath.

衰减

女人们去裸泳——她们说

她们喜欢水从她们的乳房间流出。孩子们

很烦躁，把石头扔入大海。老人

从紧闭的百叶窗后看。在花园里，

干涸的喷泉，和褪色的绿色长椅，

那儿无人来坐；有几只麻雀漫无目的地

飞来飞去。后来，女人们回了家;

铁门吱响，鸟儿停下脚步

好像丢失了什么东西，深埋心底，被遗弃了。

永恒的竞争、琐碎、怨恨，又将开始。

院子里，又大又湿的毛巾挂在晾衣绳上。

一副墨镜遗忘在了白色的砂砾上，

旁边一些留下的湿脚印开始褪色。

（冯默谌 译）

Attenuation

The women went swimming in the nude—they said

  they liked

how the water ran off between their breasts.The children

were irritable,they threw rocks into the sea.The old men

watched from behind the closed shutters.Out in the garden,

the dry fountain,and the faded green of the benches where

no one ever sat;a few sparrows wandered here and there

with an aimless freedom.Later,the women would come

  home;

the iron gate would creak,the birds stop in their tracks

  as if

something had been lost,something deep,abandoned.

  The eternal  

rivalries,the pettiness,the spite,would begin again.

Large,sopping towels weighed down the clothesline in

  the yard.

A pair of dark glasses forgotten on the white gravel,

next to some’wet footprints that had already begun

  to fade.

搜查

请进，先生们——他说。没什么不便。请随意搜查；

我没什么可隐藏的。这儿是卧室，这儿是书房，

这儿是餐厅。这儿?——阁楼，放旧物的；

所有的东西都磨损了，先生们，它满满的；都磨损了,

磨损得如此快，先生们；这个吗?——一个顶针；——母亲的；

这个？母亲的油灯，母亲的伞——她非常爱我；——

但这张假身份证，这珠宝，是别人的吗?这脏毛巾?

这张剧院的门票呢?有洞的衬衫?血迹呢?

这张照片?他的，是，戴着一顶女人的花帽，

写给一个陌生人——他的笔迹——

谁把它们放在这儿的？谁把它们放在这儿的？谁

把它们放在这儿的？

（冯默谌 译）

Search

Come in, Gentlemen - he said. No inconvenience. Look through everything;

I have nothing to hide. Here's the bedroom ,here the study,

here the dining-room. Here? - the attic for old things; -

everything wears out, Gentlemen, it's full; everything wears out,

wears out, so quickly too, Gentlemen; this? - a thimble; - mother's;

this? mother’s oil-lamp, mother's umbrella - she loved me enormously; -

but this forged identity card ?this jewellery, somebody else's? the dirty towel?

this theatre ticket? the shirt with hole? blood stains?

and this photograph? his, yes, wearing a woman's hat covered with flowers,

inscribed to a stranger - his handwriting -

who planted these in here? who planted these in here? who

planted these in here?

审讯后

受惊的脸紧锁。头发变皱；

衬衣撕裂；身上伤痕累累。他们把放在长桌上的

皮带、手表、黑梳子归还了他。他拿起它们。他不知道

要戴什么——手表？皮带？——梳子该放在何处？

他看了看身份证。“卢卡斯，”他说；

“卢卡斯，”他又对自己说——他没抬眼

他慢慢地，匆匆地戴上手表（那是桌子的错——

它光秃秃的，黑乎乎的，它的一个桌角还被刮伤，）

他系上皮带——收紧。他还在收紧它，

当他走到走廊时——旧厕所发臭，

水管滴着水珠；男孩在咖啡馆里收集瓶子；

光井下可以听到警卫们的声音。“卢卡斯，

卢卡斯，”他又说了一次，

好像在用外语和一个陌生人交流。这是夜。

大街上和博物馆花园里的灯都亮了。

（冯默谌 译）

After the Trial

The frightened face locked. Hair ruffled;

shirt torn; bruised flesh. They gave him back

the leather belt, the wrist-watch, the black comb

left on the long table.He took them. He didn't know

what to put on - the watch? the belt? - where should put the comb?

He looked at his identity card. 'Lucas,' he said;

'Lucas,' said again to himself- he didn't raise his eyes;

he put on his watch in slow hurry (it's the fault of the table -

too bare ,dark - one of its corners scratched),

he put the belt on too - tightened it. He was still tightening it

when he went out in the corridor - the old toilet stank,

the water-pipe dripped; the boy was collecting the bottles at the coffee-house;

the guards' voices could be heard down the light-well. 'Lucas,

Lucas,' he said again

as if talking to a stranger in a foreign language. It was night.

The lights came on in the avenue and in the Museum Garden.

 石头

日子来了，又去，不费力气，毫无惊喜。

石头浸润在阳光和记忆中。

一个人把石块当作枕头。

另一个在游泳前把石块放在自己的衣上，

以免它们被风吹走。还有一个把石头当作凳子

或者做记号，在他的田野间，在墓地中，在墙壁上，在森林里。

然后，太阳落山，当你回到家，

你把从沙滩上随意捡拾的鹅卵石放在桌上

它是一尊小雕像——一条奈基或阿耳忒弥斯的小狗，

这是名年轻人，在中午时，脚湿漉漉的，站在沙滩上，

那是位合着浓睫毛的普特洛克勒斯。

（冯默谌 译）

注：阿耳忒弥斯，古希腊神话中的狩猎女神。

普特洛克勒斯，古希腊战士。

Stones

Days come, go, without effort, no surprises.

The stones soak in the light and memory.

One makes a stone a pillow.

Another puts a stone on his clothes before swimming

to keep them from being blown away by the wind. Another uses a stone as his stool

or to mark something in his field, in the cemetery, in the wall, in the woods.

Later, after sunset, when you return home,

any pebble from the beach you place on your table

is a statuette — a small Nike or Artemis’s dog,

and this one, on which a young man stood with wet feet at noon,

is a Patroklus with shady shut eyelashes.

 甚至不是神话

白昼结束，绚烂般地，如此可爱，没有

事情发生，在我们的身上。警卫被遗忘在警卫室里。

一只小舟浮在浅水中，金红色之光，陌生；

黑鱼聚在泥网里，又肥又油，

反射着暮色的微光。后来，当灯点亮时，

我们进去，再次回到神话中，寻求

一些更深层次的关联，一些遥远的，普遍的寓言

来抚慰个人空虚的狭隘。我们什么也没找到。

对我们而言，石榴籽和珀尔塞福涅很低廉

因为夜色渐浓，空无茫茫。

（冯默谌 译）

注：珀尔塞福涅，宙斯之女，被冥王劫持娶作冥后。

NOT EVEN MYTHOLOGY

The day ends that way, with brilliant colors, so lovely, without

anything at all happening for us. The guards forgetten in the guardhouses.

A boat floats in the shallows, the light golden and rose, foreign；

the nets in the slime gather black fish, fat and oily,

reflecting the glimmer of twilight. And later, when the lamps were lit,

we went inside and again returned to Mythology, searching

for some deeper correlation, some distant, general allegory

to soothe the narrowness of the personal void. We found nothing.

The pomegranate seeds and Persephone seemed cheap to us

in view of the night approaching heavily and the total absence.

睡觉前

她收拾干净，洗了碟子。

一切安安静静。十一点钟。

她脱鞋上床睡觉。

她拖延。她在床沿徘徊。

她是否忘记了一天中不想结束的事？

——房子不是方的，床，桌子也不是。

她无意识地把袜子举在灯前

找那个洞。她什么也没看见。但她确信就在那里

——也许在墙上，也许在镜中；——

透过这个洞，她听到了夜的呼噜声。

床单上袜子的影子是一张网，

冷水中，一条瞎眼的黄鱼游过。

（冯默谌 译）

Before Sleep

She tidied up, she washed the plates.

Everything is quiet. Eleven o'clock.

She took off her shoes to go to bed.

She delays.She lingers at the side of her bed.

Has she forgotten something that her day does no want to end?

- The house, then, is not square ,nor the bed, nor the table.

Unconsciously she lifts her stocking before the lamp

to find the hole. She see nothing. Yet she is certain it is there

- maybe in the wall, or in the mirror; -

it' through this hole she hears the night snort.

The shadow of the stocking on the sheet is a net

in cold water crossed by a blind yellow fish.

 时刻

一片精疲力竭的海域。灯光渐暗。

破酒吧排成一列，如在市立医院门前

等候的贫穷妇女。

突然间

酒吧被一个少年洁白的笑声照亮，灯光照到

最后几把椅子。而在那之后

浩瀚的大海震耳欲聋，所向披靡，不可分割。

（冯默谌 译）

Moment

An exhausted maritime district.The lamps are getting drowsy.

Miserable beer saloons in a row like poverty-stricken women

Who wait in front of the Municipal Hospital.

  Suddenly

The beer saloons were illuminated up to the very last chairs

by the pure white laughter of an adolescent.And directly after,

The vast expanse of the sea was heard,invincible,undivided.

世界的根

一些在夏天腋窝里被烤焦的黄杨木，

一些鼠尾草，百里香，蕨类植物。

我们十分干渴。

我们十分饥饿。

我们经历了许多磨难。

我们从不相信

人类会如此残酷。

我们也不相信

我们的心竟如此坚韧。

我们的口袋里装着一块死亡碎片——未剃须。

向天空膝屈的那根麦梗如今在何处？

天色渐暗。阴影不会藏在石头的坚硬里。

死者的水壶埋在沙里。

月亮停泊在另一片海岸

当寂静随它的小手指滚动时——

在哪片海？在哪片寂静里？

我们十分干渴，

我们整天都在挖石头。

在我们的渴望下

是世界的根。

（冯默谌 译）

The roots of the world

Some parched boxwood shrubs in the summer’s armpit,

some sage,thyme,fern.

We were very thirsty.

We were very hungry.

We suffered a lot.

We would never have believed

that men would be so cruel.

We would never have believed

that our hearts had such fortitude.

With a piece of death in our pockets—unshaven.

Where is there a stalk of wheat to bend its knee to the sky?

It grows dark late.The shadow doesn’t hide stone’s hardness.

The dead man’s canteen buried in the sand.

The moon moored at another beach

while the stillness rolls it along with its little finger—

on which sea?Which stillness?

We were very thirsty,

working the stone all day long.

Beneath our thirst

are the roots of the world.

受伤还是死亡?

他们从后门偷偷地把担架抬出。我们

透过百叶窗的缝隙往里看。其中一个回去了——

他一定是忘了什么——也许是他的梳子。在街上，

床单显得更洁白。灯还未开。

我想知道他们是否有时间——他说。

抽烟的那个人把香烟灭了：

我——他说——他们为何要把他藏起?一个女人在他身旁弯着腰，

她的大腿向上露出。从对面，

走来一条大狗，用牙齿咬着面具

和躺在担架上的人的脸一模一样。

突然，五盏强力灯亮了。下头，一动不动，

五个戴新黑帽的告密者。我们

迅速离开百叶窗的板条。房间里到处是

线条和条纹——在无形错误的划线下，

桌子上，放着珠宝盒、钥匙和他的一只鞋。

（冯默谌 译）

Wounded or Dead?

They took the stretcher out secretly through the back door. We

were looking through the slats of the shutters. One of them went back -

he must have forgotten something - maybe his comb. In the street

the sheet gleamed all the whiter. The lights hadn't been turned on yet.

I wonder if they'll have time - he said. The one with the cigarette

which had gone out:

I - he said - why should they hide him? The woman bent down next to him;

her thighs showed all the way up. From the opposite side,

the big dog was approaching, holding in its teeth the mask

which was identical to the face of the one lying on the stretcher.

And suddenly

the five strong lamps came on. Underneath, motionless,

the five informers wearing new black hats. We

moved away quickly from the slats of the shutters. The room was all lit

with lines and stripes - underlinings under invisible errors,

and on the table, the jewellery case, the keys and one of his shoes.

水仙的衰落

墙灰掉在四处。

他的袜子和衬衫在椅子上。

床下，同样的影子，永远未知。

他赤身站在镜前。他全神贯注。

“不可能,”他说。“不可能。”他拿了一大片

生菜，从桌子上，放在嘴边，开始

咀嚼，裸体站在镜前，试图

再现或模仿他的本性。

（冯默谌 译）

The Decline of Narcissus

The plaster had come off the wall here and there.

His socks and shirt on the chair.

Under the bed, the same shadow, always unknown.

He stood naked before the mirror. He concentrated.

'Impossible,’he said. 'Impossible.' He took from the table

a big lettuce leaf, brought it to his mouth and started

chewing it, standing the naked before the mirror, trying

to recapture or to mimic his naturalness.

 审讯室

长廊。两边的门关着。

一个无形的火炉烟囱——冒着点烟。在另一边尽头，

五个穿黑衣，戴相同面具的人看着他。

他敲了第一扇门。空无。第二扇，第三扇，直到最后。

没有回答。然后再到另一边，敲了又敲，

敲了所有的门。空无。蒙面人一动不动。

所以呢？他正准备穿过门口离开时，

门自己关上了。天黑了。外面下着雨。

他听见雨水打在院子里的铁皮顶和瓦片上。

他刚有时间在他的记忆里固定：——湿沥青反射着

用玻璃造成的新理发店，有浅蓝色的高高的扶手椅。

（冯默谌 译）

Interrogation Offices

Long corridor. Shut doors on both sides.

Chimney of an invisible stove - it smoked a little. At the other end,

five men dressed in black, wearing identical masks, looked at him.

He knocked at one door. Nothing. At the second ,the third, to the end.

No answer. And then again down the other side, knock after knock,

at all the doors. Nothing. The masked men not moving.

So? As he made to pass through the doorway and go away,

the door shut by itself.It got dark. It was raining outside.

He heard the water on the tin roof,on the tiles in the courtyard.

He just had time to fix in his memory: - the wet asphalt reflecting

the new barbershop made of glass, with high pale blue armchairs.

死亡景象

日落时，他们把死人抬到岸边。

金色、淡紫色和粉红色的光，远远地反射

蔓延在湿沙子的半圆上。而且奇怪——

这些光辉和面孔——根本没有死;尤其是

他们的身体，年轻而旺盛，涂抹着芳香油，

更适合爱情之床。在帐篷所在的地方，一台收音机

播放着。在这里可以清楚地听到

胜利进行曲，当暮色最后一次折射时，

紫色的光，在欧墨洛斯的脚趾甲和盾牌上。

（冯默谌 译）

Necrography

When the sun went down, they carried the dead to the shore.

A gold, mauve and pink refection spread far over the

semicircle of the damp sand. And it was strange -

this brilliance and these faces - not at all dead; especially

their bodies, young and exuberant, anointed with aromatic oils,

more suited to beds of love. Where the tents were, a radio

had been left turned on. The triumphant march

could be heard clearly down here, while the last refection from the dusk

was going out, purple, on Eumelos's toe-nail and his shield.

T

突然地

寂静之夜。寂静。你已停止

等待。近乎安宁。

然后在你脸上，他强烈的抚摸

突然消失。他会到来。就在这时，

你听到百叶窗在叮当作响。

一阵微风吹来。再往下一点，大海

淹没在自己的涛声里。

（冯默谌 译）

SUDDENLY

Silent night. Silent. And you had stopped

waiting. It was almost quiet.

Then suddenly on your face the so intense

touch of him who is absent. He will come. It was then

you heard window shutters clanging by themselves.

A breeze had sprung up. And a little further down, the sea

was drowning in its own voice.

听

在巨大的喧闹中,

寂静的裂缝。我们清楚地听到

寂静的深度。时光膨胀。

老人拄杖过桥。

两个骑自行车的人，在山的地平线上。

大鸟出现。

（冯默谌 译）

Hearing

Amidst great clamor,

Fissures of silence.We clearly hear

the silent depth.Time expands.

Old men with canes cross the bridge.

Two cyclists on the hill’s horizon.

Large birds appear.

1985

陶匠

一天，他做完了水罐、花盆和陶锅。还剩些

黏土。他捏了个女人。她的乳房

硕大又结实。他走神，很晚才回家。

他的妻子嘀咕，埋怨。他没理她。第二天

他留下了更多的黏土，第三天更多。

他不想回家。他的妻子离开了他。

他的眼睛燃烧。他裸着半身。他系着一条红腰带。

他整夜都和泥女人睡在一起。黎明时

你能听见他在车间的栅栏后唱歌。

他解开他的腰带。赤裸。完全地赤裸。

围在他身边的是

空水罐，空陶锅，空花盆

和那个美丽的，目盲的，又聋又哑，乳房被咬过的女人。

（冯默谌 译）

The Potter

On day he finished with the pitchers, the flower pots, the cooking pots. Some clay

was left over. He made a woman. Her breasts

were big and firm. His mind wandered .He returned home late.

His wife grumbled. He didn't answer her. Next day

he kept more clay and even more the following day.

He wouldn't go back home. His wife left him.

His eye burn.He' s half-naked. He wears a red waist-band.

He lies all night with clay women. At dawn

you can hear him sing behind the fence of the workshop.

He took off his red waist-band too. Naked. Completely naked.

And all around him

the empty pitcher, the empty cooking pots, the empty flower pots

and the beautiful, blind, deaf-and-dumb women with the bitten breasts.

W

未完成的

山上的云。该怪谁呢？什么？沉默，疲劳,

他看着前方，他转身走去，他弯腰。

石头下沉，鸟儿飞起。一个水罐

在窗口。蓟在山谷，手插在兜。

借口，借口。这首诗延迟了。空无。

这个词的意义就在于它所隐藏的东西。

（冯默谌 译）

Unfinished

Clouds on the mountain. Who is to blame? What? Silent, tired,

he looks before him,he turns back walks, he bends.

The stones are down, the birds are up. A pitcher

in the window. Thistle in the valley .Hands in pockets.

Pretexts, pretexts. The poem delays .Empty.

The word is signified by what it would conceal.

微恙

他几乎病了，第二天早上。

昨晚他听了太多话。

他无法忍受这些词，但又甩不开。

他们正把街对面的房子涂白，

白得不堪入目。装修者的声音

犹如洪钟，在冬日的阳光下。一个人

紧抱窗户，在屋顶上，

像是做爱。厚厚的白水珠

溅在黑土上，带着腐烂的叶子。

（冯默谌 译）

Indisposition

He was almost sick next morning.

He was pumped with words last night.

He can’t bear words; he can't shake them off.

They're painting sheer white the house across the street,

indecently white. The voices of the decorators sound

very loud in the winter light. One

on the roof-top has embraced the chimney

as is fucking it. Thick drops of whitewash

splash on the black soil with the rotten leaves.

午夜

一个恢宏的星夜露出它的赤爪，

外地人的脚步窃去你的睡眠，

爬在天花板上，把房间

切成两半的阴影，是什么？

脚步声，摩托声，扳机声——

提灯透过玻璃窗，

蟑螂在士兵的鞋子和头盔里。

月亮的怜悯现在有何意义？

有的人藏在夜的枝干里，

有的人进入棺材，旅行，

有的人拿走收银员的钥匙，交出土地，

而这条忘记了我们的狗，又对着月亮吠叫，

惊醒远处瞭望塔上的哨兵，

第一声爆炸炸毁了桥，

然后门咯吱作响，角落里站着一队士兵，

街灯朝下，当五条路都被刺刀封锁时，

火车的呼啸声传入耳际。

1941.10 雅典

（冯默谌 译）

Midnight

A great starry night showing its bare claws,

foreign footsteps stealing your sleep,

what is this shadow climbing on the ceiling

cutting the room in half?

Footsteps, a motorcycle, the trigger's sound -

the lantern through the windowpanes,

the cockroaches in the soldiers' shoes and helmets.

What's the use of the moon's compassion now?

Some have hidden in the trunks of the night,

some have entered the coffins and travel,

some have taken the cashier's keys and surrendered their earth,

and this dog that forgot us barks again at the moon,

awakens the sentries at the distant watchtowers,

the first explosion blows up the bridge,

then the doors creak, at the corner stands the squadron,

the street lamps fall face down and the train's whistling is heard

when all five roads are closed by the bayonets.

Athens, October 1941

未被占用的

他们走来。他们看看废墟，和四周的土地，

他们的眼睛像是在打量什么，他们尝了尝

舌头上的光和空气。他们喜欢它。

他们肯定想要从我们这儿拿走什么。我们

扣上了衬衣的扣子，虽然天气很热，

我们还看了看我们的鞋子。然后，我们中的一个

用他的手指指向远处的什么东西。其他人转过身来。

当他们转身时，他小心地弯腰，

抓起一把土，藏在口袋里，

然后冷淡地离去。当那些陌生人转过身来

他们看到他们的脚前有个深坑，

他们移开，看了看手表后，他们离去。

在这个深坑里有：一把剑，一个花瓶，一具白骨。

（冯默谌 译）

Unexpropriated

They came. They were looking at the ruins, the surrounding plots of land,

they seemed to measure something with their eyes, they tasted

the air and the light on their tongues. They liked it.

Surely they wanted to take something away from us. We

buttoned up our shirts, although it was hot,

and looked at our shoes. Then one of us

pointed with his finger to something in the distance. The others turned.

As they were turned, he bent discreetly,

took a handful of soil, hid it in his pocket

and moved away indifferently. When the strangers turned about

they saw a deep hole before their feet,

they moved, they looked at their watches and they left.

In the pit: a sword, a vase, a white bone.

未表达的

这座城市灯火通明；在夜空下，

两盏明亮的红灯莫名其妙地在高处闪烁;

窗，桥，街道，出租车，公共汽车。

“我也有一辆自行车——”他说；“我做梦。”他说。

房间里的女人移动目光；她没说一个字;

她的衣服右侧未缝;如果她站着，

就能看到她的肩膀弯了。至于别的，

“我不想谈——”他说;你保留它们，如碎水杯般；

你把它们拿下，当垃圾收集者经过时，

带有一种愧疚的渴望，清晨，美丽的水杯

裹在旧报纸里，总是担忧

你可能会把它们撞在楼梯的栏杆上，因为

它们依然发出一种深沉的声音，穿透——那坚实之声

仿佛与窗玻璃，风和墙壁合谋。

盲人音乐家疲倦地走上楼梯;他把小提琴

放在椅上;他打开它;在它

三个水杯中的两个，晶莹剔透，浑然一体。

（冯默谌 译）

The Unexpressed

The city all lit up under its evening sky;

two bright red lights blink inexplicably high up;

the windows, the bridge, the streets, the taxis, the buses.

'I too had a bicycle - he said; - 'I was dreaming' - he said.

The woman in the room looked away; she didn't say a word;

her dress was unstitched on the right side; if she stood

one could see her shoulder was bent. As for the rest,

one can' talk about them - he said; you keep them like broken water glasses;

you take them down yourself, when the rubbish collector passes,

with a guilty eagerness, early in the morning, the beautiful water glasses

wrapped in old newspapers, always anxious

you might knock them against the rails of the staircase, because

they still ring

with a deep sound, penetrating - that unbreakable sound

as if conspiring with the window panes, with the wind, with the walls.

The blind musician then goes up the stair exhausted; he puts down

his violin case on the chair; he opens it; in it

are two of the three water glasses, glittering, whole.

X

 下午

下午满是掉落的灰泥，黑石，干荆棘。

下午有种难以描述的色彩，由半途留下的旧脚印，

院子里埋着的旧罐而成，疲倦和青草在它们的上面。

两个死人，五个死人，十二个——难以计数，数不胜数。

每小时都有人离去。窗口后

站着那些消失的人，还有他们未喝水的水罐。

而那颗坠落在夜色边缘的星，

如一只被割去的耳朵，听不到蟋蟀唧唧，

听不到我们的借口——听不到

我们的歌——独自，独自，

独自，与众隔绝，对一切谴责或辩解漠不关心。

（冯默谌 译）

Afternoon

The afternoon is all fallen plaster, black stones, dried thorns.

The afternoon has a difficult color made of old footsteps left halfway,

made of old buried jugs in the yard, and on them tiredness and grass.

Two dead men, five dead men, twelve - how many, how many.

Each hour has its dead. Behind the windows

stand those missing and the pitcher with the water they didn't drink.

And that star that fell at the edge of the night

is like the cut off ear that doesn't hear the crickets

that doesn't hear our excuses - doesn't deign

to hear our songs - alone, alone,

alone, cut off, indifferent to condemnation or justification.

1946-1947

嫌疑犯

他锁上门。他怀疑地回头看了看

然后把钥匙塞到兜里。就在此刻，他被捕了。

他被他们拷问了数月。直到有天晚上，他坦白

（而这被视为证据）钥匙和房子

是他自己的。但还是没有人能明白

他为何要把钥匙藏起。因此，

尽管他被判无罪，但他仍然被他们怀疑。

（冯默谌 译）

The Suspect

He locked the door. He looked suspiciously behind him

and shoved the key in his pocket. It was just then he was arrested.

They tortured him for months. Until, one evening, he confessed

( which was considered proof ) that the key and the house

were his own. But no one understood

Why he should try to hid the key. And so,

despite his acquittal, he remained to them a suspect.

协助

风在窗前说话

像那些将要分别的人。

家具变得如贫穷的女孩，在捡拾

那些掉落的橄榄。在橄榄树下，黄昏

独自漫步，收获了小麦的田地

是种否认。蝉蜕看起来像一个

小小的、倒塌的钟塔，在枯草中。

细雨随即而来──它追赶着麻雀，

月亮慢慢地躺在柏树下

像废弃的犁。农夫

睡在泥土下──

他的妻子独自生活，与狗和瘦牛。

沉默之手冻结了，

当她把黑头巾系在下巴时。

但是他手上留下的痕迹比留在犁木上的更有力，

椅背还留有他宽阔的肩胛骨的温暖。

关于这些微不足道的小事──我不知道──

我想写一首小歌，来表达我对他们的

一无所知──我只知道他们就是他们，

孤独的，非常孤独，他们也不要求

任何调解，在自己和他人间。

1938-1941

（冯默谌 译）

ASSISTANCE

The wind converses before the windows

like those who are about to separate.

The furniture becomes like the impoverished girls who gather

fallen olives. Beneath the olive trees, the evening walks

all alone, and the field with the harvested wheat

is a denial. The cicada’s shed husk

seems like a small, fallen bell-tower in the dry grass.

The drizzle comes later—it pursues the sparrows,

slowly the moon lies down beneath the cypresses

like the abandoned plow. The ploughman

sleeps beneath the soil—

his wife alone with the dog and the thin ox.

The hands of silence are frozen

as she ties her black kerchief beneath her chin.

But the trace of his hand stays more strongly than his hand on the wood of the plow

and the back of the chair keeps the warmth of his broad shoulder blades.

About these insignificant things—I don’t know—

I want to write a small song that will show I don’t know

anything about any of them—only that they are as they are,

alone, completely alone, and neither do they ask for any mediation

between themselves and someone else.

1938-1941

小小的邀请

来到明亮的沙滩──他喃喃自语

这里，色彩正在欢庆──看──

王公贵族和他们的官方使节

从未乘紧闭的马车经过。

来，让人看到你可不行──他常说──

我是来自夜的叛逆者

我是黑暗的叛逆者

我的衬衫和口袋塞满了阳光。

来──我的双手和胸口正在燃烧。

来，让我把它交给你。

我要告诉你的

甚至是我也不必听的话。

1938 雅典

（冯默谌 译）

A SMALL INVITATION

Come to the luminous beaches—he murmured to himself

here where the colors are celebrating—look—

here where the royal family never once passed

with its closed carriages and its official envoys.

Come, it won’t do for you to be seen—he used to say—

I am the deserter from the night

I am the deserter of darkness

and my shirt and pockets are crammed with sun.

Come—it’s burning my hands and my chest.

Come, let me give it to you.

And I have something to tell you

Which not even I must hear.

Athens, 1938

夏天

他从海岸的一边走向另一边，闪耀

在太阳和他青春的光辉中。他不时地跳入海里

使他的皮肤金光闪闪，如粘土之色。男女们

低声赞美他。他身后几步外，

一位从村子里来的年轻姑娘，虔诚地拿着他的衣服，

隔着一段距离——她不愿抬眼看他

——有点愠怒，有点欣喜，在她虔诚的专注里。

有一天他俩吵架了，他不许她拿他的衣服。她

把它们扔在沙滩——她只提起他的凉鞋;

夹在腋窝下，跑开了。

在她背后的阳光下，在她赤足的脚跟下

升起一朵小小的，笨拙的云。

（冯默谌 译）

Summer

He walked from on end of the beach to the other, bright

in the glory the sun and of his youth. Every so often he'd jump

in the sea

making his skin shine - gold, the colour of clay. Whispers of

admiration followed him,

from men and women. A few feet behind him came

a young girl from the village ,carrying his clothes devoutly,

always at some distance - she wouldn't lift her eyes to look at him

- a little angry

and happy in her devout concentration. One day they quarrelled

and he forbade her to carry his clothes. She

threw them on the sand - she only held on to his sandals;

she put them under her armpits and disappeared running,

leaving behind her in the sun' s heat a small, an awkward little

cloud from her bare feet.

现在没有一面镜子

她的头发披散在眼前，嘴边，

她咬着发丝，唾液泛白。

窗帘上有个巨大阴影。水杯在地板上。

一直大喊，直到最后；把它移走，藏起。

藏什么？藏在哪里？“死！”她喊道。

“老了，死！”她喊道，我要逃离。拦住我。

一座散有贝壳的小山。那儿，

在尸骨间，有一把梳子，一根红线，

正为你梳妆，不用镜子，把你的头发挽起

以免再落到你的眼上，也不向你隐瞒那白色蠕虫

黏滑地，安然地，缓缓地爬上桌子。

1972.9.29雅典

（冯默谌 译）

WITHOUT A MIRROR NOW

Her hair fallen over her eyes, her mouth,

she chews at her hair;her saliva whitens.

A great shadow on the curtain. The water glasses on the floor.

Shout it until the end; turn it about, hide it.

Hide what? Hide yourself where? “Death!” she shouted.

“Old age, death!” she shouted, I’ll run away. Hold me back.

A hill strewn with shell fragments. And there,

amid bones, a comb, a red piece of string,

to comb yourself without a mirror now, to bind your hair

that it might not fall over your eyes, that it might not hide from you the white worm

that slimily, serenely, sluggishly crawls up the table.

Athens, September 29, 1972

 笑

他从公园的长椅上看云。

他扯下外套内衬，

拉开帽带，

裹好被拐来的婴儿

投在井里。他双脚分开站着，

撒尿，微笑，在你之前。

此刻，我是说微笑，说夜景，

月色。婴儿，

不，他没有被拐。无论是井，还是婴儿

都不存在。只有云。

1971.12.19 萨摩斯岛

（冯默谌 译）

THE LAUGH

He saw the clouds from the park bench.

He tore out his coat lining,

removed his hat band,

wrapped the kidnapped infant

and pitched it in the well. Standing with his feet apart,

he pissed, smiling before you did.

I’m speaking about this smile, about night’s spectacles

about the moon’s spectacles. The infant,

no, it wasn’t kidnapped. Nor did there exist

a well or an infant. Only the clouds.

Samos, December 19, 1971

Y

预防措施

也许你仍应控制你的声音;

明天，后天，某时，

当别人在旗子下大喊时，

你也必须大喊，

但你一定要把帽子拉低，遮住眼

拉得很低，十分低，

这样他们就不知道你的眼看向何处。

尽管你知道那些大喊的人

也不看任何地方。

（冯默谌 译）

Precautions

Maybe you should still control your voice;

Tomorrow, the day after ,some time,

when the others shout under the flags,

you too must shout,

but make sure you lower your cap over your eyes

Low, very low,

so that they will not see where your eyes look,

no matter that you know that those who shout

look nowhere.

夜

她浇花。她听见水从阳台上滴下。

木板浸湿，腐烂。第二天

当阳台坍塌时，她仍留在空中，

平静，美丽。她怀里抱着

两大盆天竺葵和她的微笑。

（冯默谌 译）

Evening

She watered the flowers. She listened to the water dripping from the balcony.

The planks get soaked and rot. Tomorrow,

when the balcony collapses, she will remain up in the air,

Calm, beautiful, holding in her arms

the two big pot of her geraniums and her smile.

 一棵树

这棵树远远地在花园的那边生长，

高大，修长而孤独──也许它的高度

泄露了侵入的秘密。它不开花，

也不结果，只有一道长长的影子将花园一分为二，

这种尺度，不适用于那些弯腰，硕果累累的树木。

每天傍晚，当壮丽的夕阳落山时，

一只奇特的，橘黄色的小鸟就悄悄地栖息在它的叶子里

像是它仅有的果实──一口小金钟

在绿色的，巨大的钟楼里。当这株树被砍倒时

这只小鸟在它的上面飞过，发出微弱的，狂怒的鸣叫，

在空中画圈，在落日的余晖中描绘

这棵树的无穷形状。这口小钟在高空中

无形地敲响，甚至高于原来树的高度。

1963年6月 萨摩斯岛

（冯默谌译）

A TREE

This tree had taken root in the far side of the garden,

tall, slender, solitary—perhaps its height

betrayed a secret idea of intrusion. It never produced

either fruit or flower, only a long shadow that split the garden in two,

and a measurement not applicable to the stooped, laden trees.

Every evening, when the glorious sunset was fading,

a strange, orange bird roosted silently in its foliage

like its only fruit—a small golden bell

in a green, enormous belfry. When the tree was cut down,

this bird flew above it with small, savage cries,

describing circles in the air, describing in the sunset

the inexhaustible shape of the tree, and this small bell

rang invisibly on high, and even higher than the tree’s original height.

Samos, June, 1963

一种生活

死板，不妥协贯穿着他的整个人生。

最后，他越来越担忧这番固执，

明白它非一种美德，而是一种姿态，

是对他人，也是对自己的一种惩罚。

然后他躺下，在静默中，慵懒而僵硬，

像一行忏悔的句子。像一副长棺材

躺在两把普通的椅子上，

成为一道狭窄的桥梁，在他恐惧和怀疑之上的。

1956─1957

（冯默谌 译）

A LIFE

Rigid, uncompromising throughout his entire life.

Towards the end he grew to fear this rigidity,

seeing it not as a virtue but a pose,

a punishing of others and, of course, himself.

Then he lay down in silence, slack and rigid

like a repentant line. A long coffin

lying across two common chairs

became a narrow bridge over his fears and suspicions.

1956─1957

遗弃

在我们贫穷的郊区，牙科手术成倍地增加。

化学家，棺材制造者也是。夜里

门上的绿灯泡的油漆在剥落，

长长的光带。一个水龙头

忘关了，在克劳的小街流了一夜——

在花店前，理发店。某人

在门前擦了很长时间鞋，

好像要进入一个空荡荡的大厅

大厅有明亮的，上蜡的大理石地板，

这处空间很陌生，

同样陌生的还有他的脚步，一举一动，

没有窗户，寂静，钥匙，手帕。

（冯默谌 译）

Desertion

Dental surgeries have multiplied in our poor suburb,

so have chemists, coffin makers. The evenings

are green light bulbs over doors whose paint is peeling,

long stripes of light. A tap

has been forgotten running all night at Crow' s sidestreet -

in front of the flowershop, the barbershop. Someone

is wiping his shoes before the door taking a long time

as if about to enter an empty hall

with bright waxed marble floors,

the space is unfamiliar,

equally unfamiliar the steps he takes, the movement,

the lack of windows, the silence, the key, the handkerchief.

 一种命运

在经过无数次的流浪后，他总会回来

回到那个相同的地方，相同的地点(正如他们所说的，命运)。

墙上的拱形凹处，在入口处，花盆，

钥匙在它后面。他总是从这里开始，

试图忘记钥匙，有时

在厚厚的变换层下寻找它，或者有时

真的忘记了它。突然,

某人在街上的姿势，他走路的方式，

会让他再次陷入自己的秘密。在稍远点的地方，

黄昏时，同样的声音

能被听到，在运动会结束后，

从体育场的更衣室里，而且不可挽回。

（冯默谌 译）

A Fate

After his endless wandering, he'd always return

to the same place, the same spot (a fate, as they say ) .

The arched recess in the wall, at the entrance, with the flower pot,

the key behind it. This is where he'd always start from,

trying to forget the key and sometimes searching for it

under thick layer of transformations, or sometimes

actually forgetting it. And suddenly,

someone's posture in the street ,his way of walking,

would plunge him in his secret again. A little further away, at dusk, that same voice

could be heard irrevocably coming from the stadium changing

rooms, after the athletic games.

一个近视的儿童

别的小孩都在操场上玩耍；他们的球

飞到宿舍的屋顶，而球上的污点

如一个完整的世界，充满欢乐和鲁莽。

但他一直在读书，在春天的窗口，

在一个苦寂的长方形中，

直到下午，他终于在窗台上睡着，

遗忘了那些与他同龄的人的声音，

和对自己优越的过早担忧。

他鼻子上的眼镜看起来像

一辆停靠在树上的小自行车，

被遗忘一个遥远的，被阳光淹没的乡村，

一辆某个已去世儿童的自行车。

1956─1957

（冯默谌 译）

A MYOPIC CHIKD

The other kids romped around the playground； their ball

rose up to the roofs of the quarter, also the “splock” of the ball

like a globular world, all joy and impertinence.

But he was reading the whole time, there in the spring window,

within a rectangle of bitter silence,

until he finally fell asleep on the window sill in the afternoon,

oblivious to the voice of those his own age

and to premature fears of his own superiority.

The glasses on his nose looked like

a little bike left leaning against a tree,

off in a far-flung, light-flooded countryside,

a bike of some child who had died.

1956─1957

遥远的

哦，遥远的，遥远的；深不可及；接受的总是

沉默者，在他们缺席时，在他们不在时

当危险来自附近的人，来自附近本身，承受

并度过许诺之夜，在花园五彩缤纷的灯光下，

当狮子和老虎半闭着眼

绿色的结膜，在笼子里闪烁着光芒，

年老的小丑在昏暗的镜子前

清洗他化妆的眼泪，为了他能哭泣──

哦！不可授予的安静，你用湿湿的长手，

无形的安静，没有借贷，没有债务，

在空中钉着钉子，支撑起世界

在音乐主宰的极度无为中。

1975年1－2月

（冯默谌 译）

THE DISTANT

O distant, distant；deep unapproachable；receive always

the silent ones in their absence, in the absence of the others

when the danger from the near ones, from the near itself, burdens

during nights of promise with many-colored lights in the gardens,

when the half-closed eyes of lions and tigers scintillate

with flashing green omissions in their cages

and the old jester in front of the dark mirror

washes off his painted tears so that he can weep－

O quiet ungrantable, you with the long, damp hand,

quiet invisible, without borrowing and lending, without obligations,

nailing nails on the air, shoring up the world

in that deep inaction where music reigns.

January－February, 1975

遥远的

哦，遥远的，遥远的；深不可及；接受的总是

沉默者，在他们缺席时，在他们不在时

当危险来自附近的人，来自附近本身，承受

并度过许诺之夜，在花园五彩缤纷的灯光下，

当狮子和老虎半闭着眼

绿色的结膜，在笼子里闪烁着光芒，

年老的小丑在昏暗的镜子前

清洗他化妆的眼泪，为了他能哭泣──

哦！不可授予的安静，你用湿湿的长手，

无形的安静，没有借贷，没有债务，

在空中钉着钉子，支撑起世界

在音乐主宰的极度无为中。

1975年1－2月

（冯默谌 译）

THE DISTANT

O distant, distant；deep unapproachable；receive always

the silent ones in their absence, in the absence of the others

when the danger from the near ones, from the near itself, burdens

during nights of promise with many-colored lights in the gardens,

when the half-closed eyes of lions and tigers scintillate

with flashing green omissions in their cages

and the old jester in front of the dark mirror

washes off his painted tears so that he can weep－

O quiet ungrantable, you with the long, damp hand,

quiet invisible, without borrowing and lending, without obligations,

nailing nails on the air, shoring up the world

in that deep inaction where music reigns.

January－February, 1975

Z

 在空虚中

水落在石上，

水声

冬天阳光下的，

一只孤独的鸟儿啼叫

在空旷的天空

再次找寻我们，

暗示

(“是”意味着什么?)

落下

从高处

停在公共汽车上

到处都是游客，几个世纪前死去的。

（冯默谌 译）

 ——简短却复杂的一首。原因，事件对应。水落在石头上，和鸟落在汽车上，两件事构成诗歌的结构。而且，这里，鸟在空中飞着，落下的是暗示。而且，汽车是死了几个世纪的人。

In the Void

Water falling on stone,

the sound of water

in the winter sun,

cry of a lonely bird

in the hollow sky

searching for us again,

implying

(what 'yes' implying?)

falling

from high up

on parked buses

filled with tourist centuries dead.

智慧

一座山是什么，然后空气，然后一颗星；

那个轻声说“谢谢你”的人，为了

不让第二个和第三个人听到它，于是他们非常生气；

他们把自己的鞋子、花盆、唱片、

水杯和餐巾纸都扔出窗外，

这可能也让我们变得愤怒，我们也许会对他们大喊“别再扔了！”

从而给他们的行为找个理由。

在隔壁的屋中，有张大铁床，

我们能听到老人咳嗽；在他的毯子上

他放了一只小青蛙，到现在，他已连续几天几夜，

平静地、不吃不喝地、狂喜地盯视，研究

青蛙跳跃的柔软机制，

然后他停止了咳嗽。我们听到他在床上跳。

第三天，我们用石膏把他裹得严严实实，

只露出他无牙的、咧嘴的微笑。

雅典，1972.10.2

（冯默谌译）

WISDOM

What was a mountain and afterward air and later a star；

and he who said “Thank you”─said it softly so that

neither the two nor the third might hear it, because they were very angry；

they were throwing their shoes out of the window, their flower pots,

their gramophone records, their water glasses and their napkins

that we might get angry too, that we might shout at them “Don’t!”

and thus give them an excuse for what they’d already done.

In the room next door, with its large iron bed,

we can hear the old man coughing；on his blanket

he has placed a small frog, and for days and nights now,

calm, fasting, ecstatic, he stares at and studies

the soft mechanisms of the frog’s leaping.

Afterward he stops coughing. We hear him jumping on the bed.

On the third day we encased him completely in plaster,

leaving only his toothless grin showing.

Athens, October 2, 1972

责任

在晨光中，一颗星闪烁着，如一个被点亮的钥匙孔

你把眼贴在上面——你往里看——你看到了一切

世界完全被照亮了，在锁着的门后

你需要打开它

（冯默谌 译）

Duty

One star gleams in the twilight like a lit

keyhole

you glue your eye on it – you look inside – you see everything

The world is fully illuminated behind the locked door

You need to open it  

中午

下午三点；他们脱衣跳入海中；

冰冷的海水无法阻止他们嬉戏。极目远望，海滩闪烁着，

死寂，遗弃，荒凉。远处的房子紧闭。

世界蒸腾着微光。一辆马车

从街道的尽头，淡出视线。邮局的屋顶上

落着半旗。这次是谁远离了人世？

（冯默谌 译）

Noon

They undressed and jumped in the sea；three o’clock in the afternoon；

the cool water did not at all prevent their touching. The beach

gleamed as far as one could see,

dead, deserted, barren. The distant houses shut.

The world steamed gleaming.A horse cart

was moving out of sight at the end of the street. On the roof of the post-office

a flag hung at half mast. Who had died?

♡ 中午

一匹白马被柏树的蓝影一分为二。

有人提高嗓门大喊（是谁？）

我不知道──他大喊着──我不知道，生活像胃里的一个拳头，富有力量。

一个裸男齿间夹着金刀经过。

在公牛的角后，一场火，如蔷薇丛般，燃烧。

1958年，8—9月

（冯默谌 译）

NOON

A white horse dissected in two by the blue shadow of a cypress tree.

Someone shouted further up. (Who was it?)

I don’t know—he was shouting—I don’t know, life is powerful like a fist in the stomach.

A naked man with a golden knife between his teeth passed by.

Behind the horns of the bulls, a fire, like a rosebush, smoked.

August—September, 1958

拯救的方式

夜里；大风暴。那个孤独的女人听到

海浪爬上楼梯。她害怕

它们会爬到二楼，把灯熄灭，

把火柴浸湿，爬在床上。然后，

在海中的那盏灯像一个淹死者的头

只有一个黄色的想法。拯救了她。

她听到海浪退了回去。在桌子上,

她看到那盏灯——它的玻璃被盐弄浊了。

（冯默谌 译）

Way of Salvation

Nights; big storms. The lonely woman hears

the waves climbing up the stairs. She's afraid

they'll reach the second storey, they'll put the lamp out,

they'll soak the matches, they'll make their way to the bed. Then,

the lamp in the sea will be like the head of a drowned man

with only one yellow thought. This saves her.

She hears the waves retreat again. On the table,

she sees the lamp - its glass a little clouded by the salt.

♡ 早晨

她打开百叶窗。她把床单挂在窗台。她看到了白昼。

一只鸟直视着她，用眼。“我是孤单的。”她低语道。

“我活着。”她进入房间。镜子也是一扇窗。

如果我从中跳出，我就会落入我的双臂。

（冯默谌 译）

Morning

She opened the shutters. She hung the sheets over the sill. She saw the day.

A bird looked at her straight in the eyes. 'I am alone,’ she whispered.

'I am alive.’ She entered the room. The mirror too is a window.

If I jump from it I will fall in my arms.

在黑暗中

点灯人带着梯子在黄昏时走过，

他点亮了岛上的灯，仿佛在黑暗中钻洞，

好像在打一口黄色的大水井。在井里

灯，笔直地，摇晃，铜绿的灯架，淹没；

一个十字架在圣佩拉吉亚的钟楼上闪过；

一条狗在马厩后吠叫，另一条在海关；

酒馆的招牌上滴着血；这个男人，坦胸露乳，

拿着一把红色的大刀；这个女人,

未梳头，在碗里打蛋清。

（冯默谌 译）

In the Dark

The lamplighter went by at sunset with his ladder,

he lit the lamps of the island as if drilling holes in the darkness,

as if drilling big yellow wells. In the wells

the lamps ,upright, swayed, copper-green, drowned;

a cross flashed on the belfry of Saint Pelagia;

a dog barked behind the stable, another at the Customs;

the tavern sign dripped blood; the man, barechested,

held a big red knife; the woman,

uncombed, beat the eggwhites in a bowl.

在一座古庙的废墟中

博物馆的门卫正在羊圈前抽烟。

羊群在大理石废墟中吃草。

再往下，妇女们在河里浣洗。

你能听到铁匠铺里锤子的敲击声。

牧羊人吹着口哨。羊群跑向他，那大理石废墟仿佛也在奔跑。

在夹竹桃后，水稠密的后颈闪着清凉之光。一个女人

把她洗过的衣服摊搭在树木和雕塑上——

把她丈夫的内衣裤也搭在赫拉的双肩上。

年复一年，重复这陌生的、和平的，无声的亲密。

在海滨，渔夫们头顶装满鱼的鱼篓经过，

好像他们携带着又长又窄的闪光：

金色的、玫瑰色的、和紫色的——就像那支队伍，披着长长的

华丽的女神绣花面纱，在别的日子里

在我们空空的房间中，我们可以剪下来当作窗帘和桌布。

（冯默谌 译）

注：赫拉，古希腊神话众神之王宙斯之妻、婚姻和生育女神。

In the Ruins of an Ancient Temple

The museum guard was smoking in front of the sheepfold.

The sheep were grazing among the marble ruins. 

Farther down the women were washing in the river.

You could hear the beat of the hammer in the blacksmith’s shop.

The shepherd whistled.The sheep ran to him as though the marble ruins were running.  

The water’s thick nape shone with coolness behind the oleanders.  

A woman spread her washed clothing on the shrubs and the statues——

she spread her husband’s underpants on Hera’s shoulders.

Foreign, peaceful, silent intimacy ——years on years.  

Down on the shore the fishermen passed by with broadbaskets full of fish on their heads, 

as though they were carrying long and narrow flashes of light:

gold, rose, and violet - the same as that procession bearing the long, 

richly embroidered veil of the goddess that we cut up the other day

to arrange as curtains and table-cloths in our emptied houses.

 在军营

月亮进入军营。

她洗劫了步兵的毛毯。

她抓起一只裸手。

有人在梦中呓语。有人打鼾。

一个影子在长墙上做着手势。

最后一辆电车已经通过。一切安然。

这些人明天可能就会死去吗?

他们可能早已离开了吧?

一名步兵醒来。

他目光呆滞地环顾四周。

月亮的嘴唇上挂着一缕血丝。

（冯默谌 译）

In the Barracks

The moon entered the barracks.

She ransacked the blankets of the infantry.

She seized a naked hand.Sleep.

Someone is talking in his sleep.Someone is snoring.

A shadow gesticulates on the long wall.

The last trolley car has passed.All is quiet.

Is it possible that all these may be dead tomorrow ?

Is it possible that they may already be dead?

An infantryman wakes up.

He looks around him with glassy eyes.

A thread of blood hangs from the lips of the moon.

展品

女人还躺在床上。他

取出他的玻璃眼，放在桌上，

走了一步，停下。“现在，你该相信我了吧？”──他问她。

她拿起那只玻璃眼，把它举到眼前，看着他。

（冯默谌 译）

EXHIBITS

The woman was still lying in bed. He

took out his glass eye, set it on the table,

took one step, stopped. Do you believe me now? ─he asked her.

She picked up the glass eye, raised it to her eye and looked at him.

在井边

三个女人坐在井边，拿着水罐。

巨大的红叶落在她们的头发和肩上。

有人躲在悬铃木后，扔了一块石头。

水罐碎了。水没有溅出；它依然立着，

闪闪发光，并向我们藏身的地方望去。

（冯默谌 译）

Around the Well

The three women sat around the well holding their pitchers.

Big red leaves fell on their hair and shoulders.

Someone hidden behind the plane-trees threw a stone.

The pitcher broke. The water did not spill; it remained standing,

all shining, looking towards where we were hiding.

这些

夜里，巨型卡车从高速公路上飞驰而过，

载着一捆捆刺铁丝网和防毒面具。

黎明时，在石楼下，他们发动摩托。

一个面色苍白的人，穿红外衣，走到屋顶，

望着紧闭的窗户，群山，他用一根纤细的手指，

一个一个地数着，很久以前被遗弃的鸽舍上的洞。

（冯默谌 译）

These

Huge trucks speed past on the highway at night

loaded with drums of barbed wire and gas masks.

At dawn, below the stone building, they crank the motorcycles.

A very pale man ,wearing a red tunic, comes out on the roof

looks at the shut window, the hills ,he points a thin finger,

one by one he counts the holes in the dove-cot abandoned long ago.

至少风

夜。餐厅。苍蝇趴在吊灯上；

趴在托盘、面包、杯子上。老人

贪婪地咀嚼；他盯着其他盘子。

白桌布，极白。风和

街灯在街上。哦，风

用它长长的，嗡嗡作响的、发光的管子

偷偷地插在墙壁，桌下，

在大床的泉水中，吮吸

苍蝇，纸巾，睡眠。哦，风！他说。

他放下勺子；他出去。我们会

等上一夜，为他的归来，

现在和过会儿

我们会不时地

往杯子里放些

方形的小冰块。

（冯默谌 译）

At Least the Wind

Night. Dining-room. Flies on the chandelier;

flies in the tray,on the bread, on the glasses. The old man

chew greedily; he spies on the other plates.

White tablecloth, very white. The wind

in the street with the street lamps. Ah the wind

with its long, humming, shiny tubes

secretly inserted in the walls, under the table,

in the springs of big beds, sucking

Flies, paper napkins, sleep. Ah the wind - he said.

He put his spoon down; he went out. We'd

wait all night for his return

dropping now and then

small square ice cubes

in the carafe.

真实的对抗

他们谈了整夜，愤怒，争辩，

努力用激情和真诚去达成妥协

或某种分离；卑贱，真是卑贱；悔恨

时间的流逝──傻瓜们；最后，他们脱下衣服

站在那里，美，赤裸，羞辱，毫无防备。黎明时，

对面的屋顶上，一群鸟儿飞着

仿佛一个赌徒在最后，把一副做了标记的牌抛向空中。

就这样，没有争论，没有辩解，没有保证，

白天带着执拗的傲慢的表情从山坡上升起。

1960.5 雅典

（冯默谌 译）

Honest Confrontation

All during the night they kept talking,getting offended,arguing,

they tried ardently and sincerely to discover some arrangement,

  a means of separation,

they humiliated and were humiliated,they repented,

for all the time lost—the senseless ones;finally they threw off

  their clothing,

And they stood there,beautiful,naked,degraded and unprotected.

  The dawn was breaking

from the housetop opposite,a flock of birds took wing,

like a card player finally throwing out a deck of marked cards.

In this way,without arguments and without assurances,

the day rose from the hills with the obdurate pride of the act.

HONEST CONFRONTATION

All night long they talked, raged, wrangled,

strove with passion and sincerity to find a compromise

or some separation； humbled and were humbled； regretted

the time lost—the fools； at last they cast off their clothes

and stood there, beautiful, naked, humiliated, defenseless. Dawn was breaking.

From the roof opposite, a flock of birds took wing

as though some gambler had finally cast into the air a marked pack of cards.

Thus, without arguments, justifications, or assurances,

day ascended from the hills with the cruel pride of action.

Athens, May 1960

再次驱逐

她把花插入花瓶，收拾好，徘徊，

在他的周围徘徊。他沉默着。

一个安静的早晨，在四扇窗户上。她手

拿着鸡毛掸子，

心不在焉地打扫家具。他

把它看作是一只色彩斑斓的鸟，在瓷像上

昂首阔步。她

站着不动，犹豫了下，最后靠在他身上:“不，不，”

“不是鸟，”她告诉他，“不是鸟，”然后她哭了。

（冯默谌 译）

Exiled Twice

She arranges the flower in the vases, she tidies up, lingers on,

hovers about the man. He's silent.

A quiet morning on the four windows. In her hand,

her feather duster flies over the furniture

with an absent-minded care. He

see it as a richly coloured bird strutting

about the porcelain statuettes. She

stand still ,hesitates, finally leans over him: 'No, no,'

'not bird,’ she tells him, 'not bird,' and she weeps.

枚举

人们停在街上，他们看。

门上毫无意义的数字。

木匠把钉子钉入一张又长又窄的桌子。

有人在电线杆上贴了张名单。

一张被荆棘夹住的报纸，簌响。

蜘蛛在葡萄架下。

一个女人从一所房子走向另一所。

墙壁泛黄潮湿，它的油漆剥落。

在死者的窗户上，放着一顶金丝雀的笼子。

（冯默谌 译）

Enumeration

People stop in the street, they look.

The numbers over the doors mean nothing.

The carpenter is hammering a nail into a long narrow table.

Somebody sticks a list of names on the telegraph pole.

A piece of newspaper rustles, caught in the thorns.

The spiders are under the vineleaves.

A woman got out of one house to enter another.

The wall yellow and wet, its paint peeling off.

A cage with a canary in the dead man's window.

总是如此

每个夜晚，万物在黑暗中被摔碎，

但喧嚣从它们的崩塌中幸存了下来。这喧嚣

似乎又把一切重构，更新。事实上，

第二天，随着日出的清新，在新建的房屋里，

在白色和黄色的大广场灯光的照射下，生活站在

未剃须的时光面前，如一个女人站在一个男人面前，

静静地等着被亲吻，被赞美

然后独自去生孕，去歌唱。

1958，1—2

（冯默谌译）

ALWAYS SO

Every night, all things are shattered in the dark,

but the clamor from their collapse survives. This clamor

seems to reconstruct all things anew.And, in fact,

the nest day, with the freshness of sunrise, amidst

the newly-built houses, within the lights

that reflect the large white and yellow public squares, life stands

before unshaven time as a woman stands before a man,

waiting silently to be kissed and to be sung

and then to give birth and to sing alone.

January-February, 1958

在国外

他环顾四周。他不知自己身在何处。夕阳

高贵，遥远。他认出了花园的栏杆，

门把手，窗户，柏树。

但他呢？平静的湖面倒映在

高高的云端，一座镶金边的

针状湖泊。他把

鞋子和衣服留在了上面。现在，

他光秃秃的，怎能站在路间，

光秃秃的，怎能进入洋屋?

（冯默谌 译）

In Foreign Parts

He looks all around. He doesn't know where he is. The sunset

noble, distant. He recognizes the garden rails,

the door knob, the windows, the cypress.

But he? A calm lake is mirrored

high up,in a cloud - a pin lake

with gold edges. Up there

he has left his shoes ,his clothes. Now,

naked like this, how can stand in the middle of the road,

naked like this, how can enter the foreign house?