羅伯特∙洛厄爾（Robert Lowell）1917年生於波士頓一個古老的名門望族（家族成員包括詩人詹姆斯∙羅素∙洛厄爾和艾米∙洛厄爾，哈佛大學校長阿伯特∙勞倫斯∙洛厄爾等）。他在哈佛學習了兩年，然後轉到凱恩學院師從詩人兼批評家克羅∙蘭色姆（John Crowe Ransom），並於1940年獲學士學位。他早期的兩本書《相異之國度》（1944）和《維瑞勛爵的城堡》（1947年獲普立茲獎）受到個人信仰轉變的影響（由新教聖公會轉向天主教）。在艾倫∙塔特（Allen Tate）和"新批評"的影響下，他寫格律詩並得到贊譽。他曾涉入政治活動，二戰時，因拒絕服兵役被判入獄，越戰時則積極反戰。他的私生活飽受婚姻和心理問題的困擾，曾因精神抑鬱進醫院。

自五十年代中期開始，他的詩作多取自個人經歷，形式上也日趨自由。他的詩集《生活的課題》（1959）是個分水嶺，就像三十年前艾略特的《荒原》一樣，對現代詩歌產生了深遠的影響。1970年這位被認為是二十世紀下半葉最重要的美國詩人因心臟衰竭而與世長辭。

以下詩作選自《詩集》Collected Poems, Farrar, Straus and Giroux (June 2003):

祖父母

他們現在完全超脫了塵世，
這些大人急切等待周五例行公事般地
去兜風，去布洛克頓¹的藥房、五十雜貨店²。
回溯我那被棄置、紊亂
的青春期，爺爺仍像個警察一樣
舞動他的拐棍；
奶奶，像個穆斯林，仍戴著她那厚厚的
淡紫色旅行晨衣面紗；
馬廄裡的刺箭³轎車清了清嗓子。
接著道路上干燥的塵土飛揚起來，將疲倦的
榆樹葉子染白 －
十九世紀，厭倦了小孩子，過去了。
他們都到光的世界去了；這農場是我的。
 

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1) I Compare the Small Town to a Prairie

For so many years, I've been looking
for a great prairie through which clean streams run
Its ever more ample verge
like a morning
easily stretches out its neck into night
Its people of plenty, namely the luxuriant grass
produce solid fruits crop after crop
There're wild fires, spring winds, and I
am nothing but a nameable horse
who needs a carriage, a grateful heart
when running

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Charles Olson (1910-1970), an avant-garde poet and literary theorist, was born in 1910, in Massachusetts. From Wesleyan University, he received a B.A in 1932 and an M.A. the following year. He taught at Clark University and Harvard University, but his real influence began in the late 1940s as an instructor and then as rector (1951－56) at Black Mountain College in North Carolina. His concepts of poetry in the essay Projective Verse (1950), advocating a primal linkage between breathing and the phrasing of words to obtain the most forceful version of a poem, influenced many poets during the late 1950s. Olson's The Maximus Poems (1953, 1956, combined 1960) is a long sequence of poems continued in subsequent volumes, while In Cold Hell, in Thicket (1953) and The Distances (1960) contain some of his best-known shorter poems.

 

查爾斯·奧爾森（1910-1970），美國前衛派詩人兼文學理論家，1910年生於馬萨诸塞州。1932他自衛斯廉大學獲得了學士學位，翌年又獲碩士學位。後於克拉克大學和哈佛大學執教。1940年代後期，在北卡羅來納州的黑山學院先任教後當院長，才開始發揮影響力。他提出的“投射詩”理論，主張詩人應注意呼吸與遣詞造句之間的重要聯繫以加强诗歌的力度。他的理論和創作影響了五十年代末众多的詩人。主要诗作包括1960年發表的︰《馬克西穆斯的詩》，《在寒冷的地狱中，在灌木丛中》（1953），《距离》（1960）等。

 

 

馬克西穆斯，對他自己說
選自《馬克西穆斯的詩》

我曾不得不最後才學習
最簡單的事情。這造成了不少困難。
既使在海上我也很遲緩，取出手來，或穿過
濕淥淥的甲板。
　　航海，最終，並未成為我的職業。
但就算那是我的職業，在海上，我也和最為人熟知
的事情脫節。給耽誤了
而且不甚滿意那些個理由
說這種耽誤現在已成了
服從的特徵
　　說在緩慢的時間中
　　我們全都遲了，
　　說我們長大後會和多數人一樣
　　而單個的並不容易
　　為人瞭解
可能是，不過我在他人身上
留意到的鮮明（胭脂樹籽 ¹）
比我自己的距離
更加合乎情理。他們平日

　　表露出的機靈
　　他們做世俗的事
　　做自然界的事
　　因為我沒見識
　　哪樣都沒做過

 

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阿佛瑞德·但尼生：(Alfred Tennyson, 1809-1892) 英國詩人，其作品包括《悼念集》（1850年）和《國王敘事詩》(1854年）等，反映了維多利亞時期的情感和美學思想。1850年他獲得桂冠詩人的稱號。


突然間一片輝煌
選自《公主》

城堡的圍牆突然間一片輝煌
還有故事裏古老的雪峰：
悠長的光線晃過湖泊，
而狂野的瀑布光榮地躍動。
吹呀，軍號，吹呀，令狂野的回聲飛馳，
吹呀，軍號；應答，回聲消逝，消逝，消逝。

噢，聽，注意聽！多麽尖細、清泠，
然後更加尖細、清泠，不斷遠去！
噢，真甜潤，遠離懸崖與裸岩之處
仙境的號角在隱隱吹起！
吹呀，讓我們聽聽紫色峽谷的答詞：
吹呀，軍號；應答，回聲消逝，消逝，消逝。
噢，愛人，它們消逝在那富麗的空中，
它們暈倒在山丘，田野，或河上：
我們的回聲從心靈滾向心靈，
并且永遠永遠地成長。
吹呀，軍號，吹呀，令狂野的回聲飛馳，
然後應答，回聲，應答，消逝，消逝，消逝。

1850


The Splendour Falls
from The Princess

The splendour falls on castle walls
And snowy summits old in story:
The long light shakes across the lakes,
And the wild cataract leaps in glory.
Blow, bugle, blow, set the wild echoes flying,
Blow, bugle; answer, echoes, dying. dying, dying.

O, hark, O, hear! how thin and clear,
And thinner, clearer, farther going!
O, sweet and far from cliff and scar
The horns of Elfland faintly blowing!
Blow, let us hear the purple glens replying:

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模仿鳥中的模仿鳥

一只淺灰色的鳥
大概兩只肥麻雀那麼大，
跌落野地裡，
很快變得扁平，只剩干癟的
一團羽毛 -
而沒人知道
這是他那一類的王子，
能手中的能手
會千千闕歌的貴族，
編曲精細，自信的幻像曲作者，
夜鶯的對手。

注：
模仿鳥：又名嘲鶇或反舌鳥，以其能模仿其他鳥的聲音的能力而著稱。

 

儀式

白蠟樹落下僅剩的幾片干枯的、五月時生出的葉子，
赤裸裸地佇立於七月中旬。
當每天的壞消息流入下一天，
一種平穩的泛濫，
一株樹之將死使之喪失了被哀悼的權利嗎？
不 - 生命是不可分割的。而且這株樹，
扎根在我的籬笆以外，不論
枝葉茂盛還是光禿禿，都一直是
我那窗中支撐天空的網。
它的樹幹或在幽暗處，它那高聳的冠冕
則在每個漫長日子裡

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日夕倦遊心若酲，厭聞車輦亂音聲。
故人遠別長相憶，新識去來多縱情。
夏木陰陰戀光影，俗塵滾滾染浮生。
前程往昔皆迷惑，顧視虛無與徑行。

注：
黃景仁（1749－1783年），字仲則，清代詩人。其感舊詩原玉：

喚起窗前尚宿酲，啼鵑催去又聲聲。
丹青舊誓相如札，禪榻經時杜牧情。
別後相思空一水，重來回首已三生。
雲階月地依然在，細逐空香百遍行。

伊麗莎白·畢謝普（Elizabeth Bishop,1911-1979）是美國20世紀最重要的詩人之一。1911年生於美國馬薩諸塞州的伍斯特。她很小的時候父親便去世了，母親則進了瘋人院，她童年時和祖父母住在加拿大新思科舍省，也曾與其他親戚住在麻省。畢謝普1934年畢業於瓦薩學院。她的一生很多時候都在旅行，曾在紐約、巴西、波士頓等地生活。曾任教於哈佛和紐約大學。1979年去世。1949-1950年成為美國國會圖書館詩歌顧問（相當於現在的桂冠詩人）。伊麗莎白·畢謝普憑詩集《北與南》（1946）和另一部新詩集《一個寒冷的春天》合編為《詩集》（1955），獲得普利策獎。詩集《旅行的問題》（1965）獲國家圖書獎。另一部詩集《地理學Ⅲ》（1976）獲國家書評界獎。

Elizabeth Bishop, born in Worcester, Massachusetts in 1911, was considered by many critics as "one of the most important American poets" of the twentieth century. Her father died when she was very young, and while still in early childhood her mother was permanently hospitalized in a sanitarium. She spent her childhood years living with her grandparents in Nova Scotia, and with relatives in Massachusetts.

Bishop attended Vassar College, and afterwards travelled a great deal, living at different times in New York, Brazil and Boston. Bishop taught poetry at Harvard and New York University. She died on October 6, 1979.

Bishop was Consultant in Poetry to the Library of Congress [the equivalent to what is now called the Poet Laureate] in 1949-50. In 1955, she received the Pulitzer Prize for Poems: North & South — A Cold Spring. Her book of poems, Questions of Travel, won the National Book Award in 1965. A later book, Geography III, received the National Book Critics Circle Award in 1976.

The following poems are selected from Complete Poems by Elizabeth Bishop (Chatto and Windus 2004)

以下詩作譯自伊麗莎白·畢謝普的《詩全集》（查托溫德斯出版社，2004）

1) The Map

Land lies in water; it is shadowed green.
Shadows, or are they shallows, at its edges
showing the line of long sea-weeded ledges
where weeds hang to the simple blue from green.
Or does the land lean down to lift the sea from under,
drawing it unperturbed around itself?
Along the fine tan sandy shelf
is the land tugging at the sea from under?

The shadow of Newfoundland lies flat and still.
Labrador's yellow, where the moony Eskimo
has oiled it. We can stroke these lovely bays,
under a glass as if they were expected to blossom,
or as if to provide a clean cage for invisible fish.
The names of seashore towns run out to sea,
the names of cities cross the neighboring mountains
—the printer here experiencing the same excitement
as when emotion too far exceeds its cause.
These peninsulas take the water between thumb and finger
like women feeling for the smoothness of yard-goods.

Mapped waters are more quiet than the land is,
lending the land their waves' own conformation:
and Norway's hare runs south in agitation,
profiles investigate the sea, where land is.
Are they assigned, or can the countries pick their colors?
—What suits the character or the native waters best.
Topography displays no favorites; North's as near as West.
More delicate than the historians' are the map-makers' colors.

1) 地圖

陸地躺在水中；映有綠色陰影。
陰影，或是淺灘，在其邊緣
能看見一列長長的布滿海草的暗礁，
那些海草從綠色垂下，懸至純藍。
或許是陸地附身從下面把大海抬起，
平靜地把它拉到自己身邊來？
沿著美麗的黃褐色的沙洲
陸地是否在下面拖曳大海？

紐芬蘭的陰影平展靜止地躺著。
拉布拉多¹是黃色的，迷亂的愛斯基摩人
給它上了油彩。我們可以撫摸這些可愛的海灣，
在玻璃下面它們似乎將會開花，
又像是會為看不見的魚提供干淨的籠子。
海邊城鎮的名字跑進大海，
城市的名字與鄰近的山脈相交叉
— 此處印刷工體驗到同樣的興奮
正如當情感遠遠超越其原由時那樣。
這些半島把水握在拇指和另一指間
就像婦人在摸索布匹的柔滑。

地圖上的水域比陸地文靜，
給予陸地其波浪的形態：
而挪威的野兔不安地向南跑，
輪廓偵察大海，陸地的所在。
是分配的，還是各國可以自行挑選顏色？
— 那最適合其特性或固有水域的。
地形圖不顯偏愛；北方和南方皆近在咫尺。
比歷史學家更講究的是制圖者的著色。

注：

1. 位於加拿大紐芬蘭省的大陸部分。

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夢魘

我不知在這陰冷
的路上走了多久。
很累，胸中隱隱作痛。
偶爾我會停下來做個夢，
夢見溫暖的白天。
卻有只獵犬將我吠醒，
我不敢看這惡獸的眼，
怕它咬我。

我雙腳騰空，步子很大，
盡管我使出了全身的氣力，
還是走得很慢。
有位面容模糊的人突然走向我，
對我說了些難聽的話，
我把他摔了個半死，
就像電視裏的職業摔角手一樣。
我何以變得如此力大無窮？
如此
心懷仇恨？
我隱隱覺得
這一切并不是真的。

我又看見了那只惡犬，
為何它總跟著我？
或許我該走
另一條路。

我變成了溫室中的仙人掌。
四周的空氣死寂。
我突然發現有朵剛開的
花在看著我，
欲言又止。
我卻在想這碩大建築物
外面的風；
那未隔玻璃的陽光
一定更加熾熱。
花兒呀，你想不想
知道我的心事？

不知怎樣擺脫那只惡犬，
還是等它自己走開？
這昏暗的路不知有多長，
但世上的路總會有個盡頭。
我仍得繼續，
尋視有朝霞的天際，
慢吞吞地走
猶如在水底一般...

Nightmare

How long I've been walking on this bleak
road, I don't know.
Exhausted, with faint pains in the chest,
I stop to have a dream now and then
and dream of warm day.
Yet the barks of a hound wakes me up;
I'm afraid to look at its eyes,
lest it may bite me.

With both feet in the air, my strides are great;
though I exert all my strengh,
how slow I go!
Suddenly a dim face approaches me
and say something nasty,
I wrestle him almost to death,
like the pro wrestlers on TV.
How come I become so powerful
and bear such an
anomosity?
I vaguely feel
that all this are not real.

I see that hound again,
why does it stalk me?
Perhaps I should go
another way.

I've become a greenhouse cactus.
The air is dead still around.
I then find a blooming flower
looking at me as if it has
things to say to me.
But I'm thinking about the winds
outside this enormous building;
the sunlight without the glass in between
must be more fervent.
O flower, do you want
to know my feelings?

How can I get rid of the hound or should I
just wait for its going away?
I don't know how long the dark road is,
only roads in the world always have an end.
I must continue
and look for a horizon in sunglow;
I'm slowly marching
like walking underwater...

下星期

面前的數字不要搞錯;
手中的筆隨本能擺動。
如蝶的心總飛向未來，
去追尋一個答案，
你承諾過的答案。
睡意在身軀裏沉澱，
令我想起我下沉的聲音
如何送別你遠行的身影。

胸腹間的熱病又開始發作，
四面的燈火在浮動，
你的話語隱現其間。
我的希望隨之游走
在這寂寥的長夜。

對面的紅綠燈不要看錯，
疲憊的雙腿不要思索。
下星期
帶著一陣辛辣掠過我的眼睛，
下星期
我會在漩渦中清除我的迷惑。

The Next Week

The numbers in front of me, don't get them wrong;
the pen in the hand moves by instinct.
The heart always wants to fly, like a butterfly, to the future,
to chase an answer
which you have promised to give.
Sleepiness that is sinking within my body
reminds me of my sinking voice,
and how it saw you off, onto a long trip.

Another fit of fever arises in my chest,
the lights from all quarters are drifting
with your words flashing among them.
And my hope follows them, winding down
this lonely long night.

The traffic lights across the street, don't get them wrong;
the weary legs, stop thinking!
The next week
sweeps through my eyes with pungency,
next week
I'll sweep away in a vortex my perplexity.

 

追日

不久以前，
我也曾這樣對你直視，
那是透過影影綽綽的樓群；
此刻我與你之間，
只隔了一層玻璃
和前方一段不很長的
海岸線。
你又大又圓，臉色橙紅，
傍著岸邊的山丘，
對著大海哼唱。
這雙層巴士的引擎聲
真是令人心煩！
我只能默默看著你
金色的聲線隨波浪流轉。
原來竟是很曲折的
海岸線令你的面容
時隱時現，
最終隱入山丘後方，
只留下水天交接處
的一片裊裊餘音...
你回家了，
我的一天卻開始不久；
當我憑幻想解渴，
藉燈光和詩篇驅散
內心的陰影，
你又在為誰歌唱？

Chase the Sun

Not long ago,
I've looked at you in the eyes like this,
through shadowy crowds of buildings;
now between you and me,
there's only a layer of glass
and a section of coastline
that doesn't look very long.
You're big and round, with a flame complexion,
and by the hills along the coast
humming to the sea.
The engine sound of the double-decker
really annoys me!
I can only silently watch your
golden voice flowing on the waves.
The coastline turns out to be so
winding and indented that your face
hides, shows, and finally
vanishes behind the hills,
leaving only a lingering sound
to where the sky and the sea meet...
You've gone home,
but my day has just started;
while I try to quench my thirst with my imagination
and dispel by the lamplight and poesy
the shadows in my heart,
to whom are you again singing?

原載《詩天空》

 

The Road to Glory

Go now, go to the land of love
and tend to the wounded flower

Sunshine and moonlight
meet on the earth

In the world there are always
other flowers about to bloom

 

光榮之路

去吧，到愛的故鄉
呵護那受傷的花兒

陽光和月色
在大地相逢

世上總有
不一樣的花，將要開放

 

Naked God

Prologue:

On green hills and fields, two young boys speed,
Handsome young boys, galloping a white horse.
My dear, hug me tight, tighter still.


Part I Patroclus: Achilles' sun

Let the rage of fire rise higher in Troy, which even the Aegean seawater shan't slake.
-- Achilles murmurs.

The sky is overcast by black clouds, thunderbolts sound gathering,
It starts to blow a gale, and all the plants in Troy begin to tremble.
The galleys in the distance are rocking, a sea storm is coming.

Aegean Sea, since when have you quietly changed your colors?
[Achilles is full of tears]: Ocean, I will nevermore see
your calm blue, as blood pervades your dark abysses.

How can you leave me like this, bearing the loneliness in this world?
[caressing Patroclus' naked body]: my love,
from now on, I can only face the cold moonlight with sword in my hand.

No matter for how long I shall stop looking for joy, it won't be long enough
To recall all the times of your smiles. Ocean! I beseech you,
Bestow upon me just a moment of his breath by Moses' rod.

[Achilles kisses Patroclus on the dead arms,
the legs, the feet, with his lips pressing long on the feet]
Half of my life has vanished: glory and love! -- No! All of it!

The sky nevermore will be blue, nor will the seas, the sword in my hand
Is no longer bright -- Is Troy, [ruefully] meant to be
A punishment on me, and I, to lose forever my naked god of starry nights...

Patroclus, my love, my life, you are finally
with me, let me look at you closely again, let me kiss you
to the full. Tonight, I'll drop my sword outside the brocade curtains for the first time.

On my bed, I only want you, whether or not you have departed.
I only want to recollect your eternal smiles with my naked body,
and warm your ever more cold body with my burning life.

Across the icy waters, this massive expedition is a mistake which I
cannot remedy, everything is gone, my happiness that will never again be found, the times
that cannot be reversed and called, Patroclus, my love, gift from Heaven.

Let me have your breath once more, and put it into an enclave in my life that only belongs
to you, again let me listen to your murmurs of all those nights,
Let me sip the last drop of your lip juice in this sea storm, before the fire flares up.

Flames! Burn, redden the dark clouds, burn the thunderbolts brighter!
Blaze all the woods of Troy, and the shores of the Aegean Sea shall be
your funeral site. [Achilles holds Patroclus' hanging hand tight, sobbing]

In the surge of the Aegean Sea, in the flames of Troy, Patroclus,
my love, you shall become the only star in the black sky that shall direct
my joy, when my curtain is flipped open by wind, I will have got the first kiss.


Part II Hephaestion: Alexander’s moon

Even the eminent Taurus Mountain range is not as high as the hairline of your forehead.
-- Alexander’s eulogy

Get jubilant, golden cups and silver goblets have been scattered about, lands
And jungles are their destinations for sleep; yellow leaves shall fly, strong
Winds shall also come here, sing, jump, let us all dance!

It is the time of heroes, from the Black Sea to the Red Sea, across the Mediterranean
to the Persian Gulf, to the end of the known world, the rivers are dyed red.
Where are our heroes, Alexander, where are you, Hephaestion?

[Aside]: The two rascals, they must have found a nice place, behind thin
Bed curtains, where they fell over each other, not even bother to close the door.
[Alexander sniggers]: My dear, no hurry, you should wait for the last sip of my wine.

Now that half of the sip is left, I want you to get it with your lips, let the sweet smell
Permeate our long night, Hephaestion, sweet love, Hephaestion,
My life, I cannot wait any more, let the wind more vigorously blow.

I do not need any armor, I do not need any weapon.
You are my only breath, I just beg to be allowed to present my stark
Naked body to you. Come, Hephaestion, come stay at my side.

You are my king here, and our sheets are your staff.
Let me remove your weary armor, let me scoop a ladle of aromatic
bath. Let me take off your muddy boots, and breathe on your feet.

Let me, the bashfulness below your soft belly, let me take and clean it
with my hands, and adorn my armor with it; let me suck your wounds, may gods
Bless you. I'll spread your love juice on the handle of my sword and cremate it over combatants' bones.

You shall always enjoy the inscriptions of my love, let me kiss your eyes, let me kiss
Your lips, I'll absorb your nightly waiting with my taste buds, I’ll wash away
the dust on your arms with my lip juice. I’ll rest on their gentleness in this long night.

[Hephaestion whispers]: Your Majesty, my love, the Mediterranean
Performs ablution on your unique body with its seething waves. The flowers of Babylon
are now ornaments on your crown, and the Armenia Mount the cornerstone of your throne.

O, my love, I will throw myself at your knees, kiss your tracks and earth, kiss your
Fatigue; appease your trembling and pains, make bed for you, and scatter on it the petals
Of fragrant, blooming flowers, then lie naked like the stars and wait for your lithe steps.

[Grunts of love from Alexander and Hephaestion]: I want all of you,
I want all of you......I want all the interlacing creases on your naked
body, I want the enchanting youth that you had, until the next starry night.

[Alexander]: The loving eyes of Hephaestion are glittering in the starlight,
[Hephaestion]: The lips of Patroclus will always be as tender as water,
My God, I request all the stars to exit, and leave the intimacies of lovers brightening the depth of the night.


Epilogue:

In ancient Canaan, there is a handsome young man.
In beautiful Jerusalem, there is a wise king.
The sun rises, and shines down on the whole Florence.

 

裸神

序曲：

綠色的山野，奔馳的是兩個美麗的少年
美麗的少年，共同馳騁著一匹白色的駿馬
親愛的，你再把我摟緊點，摟緊一點。

**上篇 普特洛克勒斯：阿喀琉斯的太陽

讓特洛伊的火焰再高一些吧，愛琴海的海水也無法熄滅
——阿喀琉斯的喃喃低語

烏雲已經布滿了天空，雷電有了蓄勢的聲響，
狂風刮起來了，特洛伊所有的樹木都在顫抖，
遠方的戰艦在搖晃，海嘯，它即將來臨

愛琴海啊，什麼時候，你悄悄地變了顏色，
[阿喀琉斯淚流滿面]：海神，我再也看不到
你平靜的藍色，黑色的深淵彌漫了你的血液

你怎可如此離我而去，撇下我在世間承受孤獨
[撫摩著普特洛克勒斯赤裸的屍體]：愛人啊，
從此後，我將只能手執長劍面對寒冷的月光

人生中將長久地停止去尋找快樂，也不夠來回首
那曾經有你笑容的所有歲月，海神啊!我請求你，
以摩西的長劍賜給我他還能片刻的呼吸

[阿喀琉斯吻著普特洛克勒斯沒有呼吸的手臂，
他的腿，他的腳，嘴唇在他的腳上長久地吻著]：
我生命的一半已經消逝：名譽和愛!----不!全部!

天空將不再是藍色，大海將不再是藍色，我手中的
劍已經失去了光芒，----難道，[痛悔地]特洛伊
是對我的懲罰，我永遠失去了我星夜裡的裸神......

普特洛克勒斯，我的愛人，我的一生，你終於
在我的身邊，讓我再好好地看你，讓我再盡情地
吻你，今夜，我將第一次在錦帳外丟棄我的長劍

在我的床上，只需要有你，無論你是否已經遠離，
我只想用我赤裸的軀體，來追憶你永遠的歡顏
用我燃燒的一生，來溫暖你漸漸冰冷的胴體

跨越冰冷的海水，龐大隊伍的征戰是我無可彌補的
錯誤，一切都帶走了，無法尋找的我的快樂，喚不回
時光的倒流，普特洛克勒斯，我的愛人，天的賜予!

讓我再擁有你的氣息，存放進我的生命裡你專屬的
領地，讓我再一次輕輕地聽你每一個夜晚的低語，
讓我在海嘯中吮吸你的最後一滴唇液，火焰升起之前

火焰啊，燃燒吧，把烏雲燒得通紅，讓雷電燒得更亮
點燃特洛伊所有的叢林，愛琴海的堤岸將成為你的
祭奠，[阿喀琉斯握緊了普特洛克勒斯低垂的手，哭泣]

在愛琴海的翻湧中，在特洛伊的火光中，普特洛克勒斯，
我的愛人，你將成為漆黑的天際裡指引我歡笑的唯一的
星辰，當風中我的錦帳開啟的時候，我的唇邊有了第一個吻


**下篇 赫菲斯申：亞歷山大的月亮

托羅斯山再高，也高不過你額前的發線
——亞歷山大的悼詞

歡騰起來吧，金銀的杯盞已經扔得滿地，叢林和
大地給了它們昏睡的歸宿，黃葉會飄起來，狂風
也會來到這裡，唱起來呀，跳起來呀，都舞起來吧

這是英雄的年代，從黑海到紅海，越過地中海
抵達波斯灣，已知的盡頭，河流染成了血色
我們的英雄呢，亞歷山大，你在哪裡，赫菲斯申?

[旁白]：這兩個混蛋，早就找到了好的去處，薄薄的
寢帳，連門都來不及關，就已經倒在了一起，[亞歷山大偷笑]：
我的可人兒，你不要心急，你要等候我的最後一口美酒

還有半口酒，我要你用嘴唇來接，讓那芳香溢滿
我們的長夜，赫菲斯申，我的愛人，赫菲斯申，
我的生命，我再也無法等候，讓風刮得猛烈些吧

我不再需要任何盔甲，我不再需要任何武器
你是我唯一的呼吸，我只祈求能把最赤裸的軀體
呈現給你，來吧，赫菲斯申，來吧，來到我的身邊

在這裡，你是我的國王，我們的錦被是你的權杖
讓我為你解下疲憊的盔甲，讓我為你盛一勺沐浴的
甘霖，讓我為你脫去泥濘的戰靴，在腳邊輕輕呵護

讓我來，你柔軟腹下的羞赧，讓我為你取下，我要親手
洗淨，綴為我戰甲的點綴，我要吮吸你的傷口，讓神靈
賜佑，我要把你的愛液塗在我的劍柄，以勇士的烈骨煆燒

你將永享愛的銘文。讓我親吻你的眼睛，讓我親吻
你的嘴唇，我要用舌苔攝取你夜晚的守侯，我要用
唇液洗去你手臂的浮塵，我將在長夜安枕它的溫柔

[赫菲斯申的輕吟]：尊貴的陛下，我的愛人，地中海
洶湧的海浪為你獨一無二的身軀做了洗禮，巴比倫的
鮮花已經做了你皇冠的綴飾，亞美尼亞山是你王座的基石

愛人啊，我願跪在你的腳下，親吻你的足跡和大地，親吻
你的疲憊，撫慰你的顫栗和傷痛，為你鋪好床褥，撒上
剛剛綻放馨香的花瓣，以星辰的裸露等候你的腳步輕盈

[亞歷山大和赫菲斯申發出了愛的呻吟]我要你的一切，
我要你的一切......我要你赤裸的軀體上，每一塊交織的
痕跡，我要你曾經的美妙春光，直到下一個星夜的來臨

[亞歷山大]：阿喀琉斯充溢著愛的眼睛在星光中閃爍，
[赫菲斯申]：普特洛克勒斯的嘴唇永遠是那樣的似水柔情，
神啊!請所有的星辰退場，讓愛人的纏綿為我點亮夜的深沉


後記：

古老的希伯萊，有一個美麗的少年
美麗的耶路撒冷，有一個聖明的君王
太陽升起來，照亮了佛羅倫薩

 

按：此詩曾獲“華河杯”2007中外華文詩歌聯賽二等獎。

【評論】
　　此詩把抒情的背景置放在偉大史詩的環境中，在神秘而雄渾的氛圍中展開熾烈的情感風暴。語言華美而有力。（謝冕）

　　詩的結構及文字都相當圓熟，有西方史詩或詩劇的味道。只是那些有譯名的詩中人物，對不熟悉這段希腊神話故事的讀者來說，恐怕會隔了些。（非馬）

　　嚴格地說，這是一首不成熟的“史詩”，唯其是“不成熟”，而非完全的失敗，我們應給予作者對此的企圖和努力作出肯定。（陳銘華）

　　Naked God, trans. Edgar Dive

　　What an ambitious poem to translate! So much of the passion and grief are deftly carried over into English. Some of the rewording of the images is exquisite: lines like, "all the plants in Troy begin to tremble," "I'll drop my sword outside the brocade curtains for the first time," "Let me take off your muddy boots and breathe on your feet." I think the struggle for the translator here is twofold: how to maintain an elegant yet unarchaic diction and how to express such passion without becoming melodramatic and overstated. I'll give a couple of examples to show what I mean. The lines "The sky nevermore will be blue, nor will the seas, the sword in my hand/ Is no longer bright--Is Troy, [ruefully] meant to be/ A punishment on my, and I, to lose forever my naked god of starry nights..." could be reworded, with the considerations I mentioned in mind, to become: "The sky won't be blue any more, nor the seas. The sword in my hand/Is no longer bright--Is Troy meant to be/My punishment. Am I to lose my naked god of starry nights..." "Ruefully" is one of those unecessary adverbs again. The ruefulness is already in the voice and what the speaker is saying. There are some phrases the translator may want to find alternatives for. For instance, "lip juices" sounds strange in English whereas "The lips of Patroclus will always be tender as water," sounds exquisite.

　　(Commented by Lorna Crozier)

　　裸神
　　英譯 戴玨

　　可以想見翻這首詩是很費勁的! 譯者圓熟地將大量的激情和痛苦在英語版中保存了下來。某些意像的措辭是精美的：如這幾行，"all the plants in Troy begin to tremble,"（特洛伊所有的樹木都在顫抖，） "I'll drop my sword outside the brocade curtains for the first time,"（我將第一次在錦帳外丟棄我的長劍） "Let me take off your muddy boots and breathe on your feet."（讓我為你脫去泥濘的戰靴，在腳邊輕輕呵護）我想譯者面對的難處是雙重的：怎樣保持文雅但並不古舊的用詞，怎樣表達出這樣的激情但又不至於誇張濫情。我來舉幾個例子說明我的意思。這幾行"The sky nevermore will be blue, nor will the seas, the sword in my hand/ Is no longer bright--Is Troy, [ruefully] meant to be/ A punishment on me, and I, to lose forever my naked god of starry nights..."（天空將不再是藍色，大海將不再是藍色，我手中的 /劍已經失去了光芒，----難道，[痛悔地]特洛伊 /是對我的懲罰，我永遠失去了我星夜裡的裸神......）按我說的考慮，可以這樣改寫："The sky won't be blue any more, nor the seas. The sword in my hand/Is no longer bright--Is Troy meant to be/My punishment. Am I to lose my naked god of starry nights..."再者，"Ruefully"[痛悔地]是不必要的副詞。敘述者的語氣和所說的已經顯得痛悔了。有些字譯者或可找到其它的選擇。例如， "lip juices"（唇液）在英語中聽起來有點怪而"The lips of Patroclus will always be tender as water,"（普特洛克勒斯的嘴唇永遠是那樣的似水柔情，）就優美多了。

　　（評論 羅娜·克羅茲爾）

又轉過兩個山頭
終於看到了
遠處的青馬大橋
隱隱約約
車輛，輪船
在無聲地
移動

數聲鳥叫
引來一陣春風
四處飄落綠葉和花瓣
芭蕉的香氣
彌漫

漸漸下山
當年的村民為了趕集
今日的山行者
為了回歸
塵囂

注：

元荃古道連接元朗及荃灣（香港新界西部的兩個地方），是昔日居民往返兩地的必經之路，他們必須沿這古道把農作物運往荃灣的市集以換取日用品。

青馬大橋是世界最長的行車、鐵路兩用吊橋，乃連接大嶼山、香港國際機場與市區的主要行車通道。

 

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