<p><br/>"To Speak of Woe That Is in Marriage"<br/>Robert Lowell (1917 – 1977)<br/><br/>"The hot night makes us keep our bedroom windows open.<br/>Our magnolia blossoms. Life begins to happen.<br/>My hopped up husband drops his home disputes,<br/>and hits the streets to cruise for prostitutes,<br/>free-lancing out along the razor's edge.<br/>This screwball might kill his wife, then take the pledge.<br/>Oh the monotonous meanness of his lust. . .<br/>It's the injustice . . . he is so unjust--<br/>whiskey-blind, swaggering home at five.<br/>My only thought is how to keep alive.<br/>What makes him tick? Each night now I tie<br/>ten dollars and his car key to my thigh. . . .<br/>Gored by the climacteric of his want,<br/>he stalls above me like an elephant." </p><p>《谈及婚姻的悲哀》<br/>（美）罗伯特•洛威尔<br/>胡桑译<br/><br/>“炎热的夜晚让我们把卧室的窗子一直打开。<br/>我们的木兰花开了。生命开始出现。<br/>我暴跳如雷的丈夫扔下他的家庭争吵，<br/>冲上街道到处寻找妓女，<br/>沿着剃刀边缘建立自由契约。<br/>这个神经病可能会杀掉他老婆，然后发誓戒酒。<br/>哦，他的欲望单调而卑鄙……<br/>这是无理取闹……他真不讲道理——<br/>威士忌让他盲目，五点钟才大摇大摆回家。<br/>我想的只是如何活下来。<br/>他到底想干什么？如今我每晚<br/>在大腿上上绑上十美元和他的车钥匙……<br/>欲望的更年期戳伤了他，<br/>他停在我身上如一头大象。”</p><p>Children of Light<br/> <br/>Our fathers wrung their bread from stocks and stones<br/>And fenced their gardens with the Redmen's bones;<br/>Embarking from the Nether Land of Holland,<br/> ilgrims unhouseled by Geneva's night,<br/>They planted here the Serpent's seeds of light;<br/>And here the pivoting searchlights probe to shock<br/>The riotous glass houses built on rock,<br/>And candles gutter by an empty altar,<br/>And light is where the landless blood of Cain<br/>Is burning, burning the unburied grain. <br/><br/>《福光之子》</p><p>我们的父亲从原料和石头中榨取面包<br/>用红种人的骨头给花园围上栅栏；<br/>朝圣者们在荷兰登船，<br/>因日内瓦的福光舍弃房屋，<br/>他们在此种下毒蛇的光的种子<br/>这里，探针旋转着在搜寻光，击打<br/>建于岩石上的骚动的玻璃房子<br/>空无的祭坛边，蜡烛熄灭<br/>福光是一个地方，那里该隐<font face="宋体">①</font>失去土地的血<br/>在燃烧，燃烧那尚未埋掉的谷物</p><p>注①，改隐：《圣经》中记载的亚当之子，亚伯的兄长。亚伯牧羊，该隐种地。他们各自拿收成献给耶和华，耶和华看中了亚伯的供物，而冷落了该隐的。该隐杀了亚伯。耶和华对该隐发话：“你种地，地不再给你效力，你必流离飘荡在地上。”（《创世记》4：12）</p><p>Epilogue<br/> <br/>Those blessèd structures, plot and rhyme--<br/>why are they no help to me now<br/>I want to make<br/>something imagined, not recalled?<br/>I hear the noise of my own voice:<br/>The painter's vision is not a lens, <br/>it trembles to caress the light.<br/>But sometimes everything I write <br/>with the threadbare art of my eye<br/>seems a snapshot,<br/>lurid, rapid, garish, grouped,<br/>heightened from life,<br/>yet paralyzed by fact.<br/>All's misalliance.<br/>Yet why not say what happened?<br/>ray for the grace of accuracy<br/>Vermeer gave to the sun's illumination<br/>stealing like the tide across a map<br/>to his girl solid with yearning.<br/>We are poor passing facts,<br/>warned by that to give<br/>each figure in the photograph<br/>his living name. </p><p>《结语》</p><p>那些神圣的结构、情节和韵脚<br/>为什么此刻于我一无是处？<br/>我应该<br/>想像某种事物，而不是追忆？<br/>我听到自己话语中的噪音：<br/>画匠的眼力颤抖着抚摸光线，<br/>它不是一只透镜。<br/>但是有时我用眼睛的窠臼<br/>写出的一切<br/>如同一张快照，<br/>苍白、迅疾、夸饰、杂乱，<br/>升起于生命，<br/>但在事实面前一败涂地。<br/>全都不伦不类。<br/>然而为何不说出已发生的一切？<br/>维米尔①带着渴望面对凝固的少女<br/>他祈求优美的精确<br/>却偷去了太阳的照耀<br/>就像潮汐漫过地图。<br/>我们无法扼杀真相<br/>我们被警告要给<br/>相片中每一个形象<br/>他生活里的名字</p><p>注①，维米尔：（1632-1675），荷兰画家。代表作《戴珍珠耳环的少女》。<br/></p>
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