注册 登录  
   显示下一条  |  关闭
温馨提示!由于新浪微博认证机制调整,您的新浪微博帐号绑定已过期,请重新绑定!立即重新绑定新浪微博》  |  关闭









2014-08-04 16:48:54|  分类: 莫笑译诗 |  标签: |举报 |字号 订阅

  下载LOFTER 我的照片书  |

【原创译文】特朗斯特罗姆:太多气体了! - 莫笑愚 - 莫笑愚de午夜骊歌




特朗斯特罗默对符号的森林如何深刻地与我们富有幻想的生命建立个人的对应关系的透彻理解,对后结构主义语言理论的某些场域进行了无声反驳。就个人经历的情感而言,关于所承继的诗歌结构,没有什么是任意的或政治上强制的。在来势汹汹的悖论面前,这些诗歌结构挑战着我们自身的恐惧与困惑之间更大的协同性。为此,特朗斯特罗默在“上海的街道”或“岛上生活:1860”的结尾写道:“此刻的锈渍为永恒涌出,/ 此刻的伤口为永恒流血”。诗人对两种时间的认可以及它们与锈渍和伤口之间的关系揭示了个人的命运是如何与“永恒”产生撞击的。诗人用日期作符号显示了他对人造的尊重,把令我们舒缓的符号的森林历史性地置于虚无中,同时也与它不安的影响产生共鸣。



客观地讲,这同时的否定与肯定,超越了用无情的冷酷面向虚无的王国,而虚无暗示着在我们与它之间的呼应、一种几乎向那开放之所栖居的邀请。也许我们最需要向特朗斯特罗默的诗歌学习的,是他严谨的创作作风,他的谨慎的对由语言的茂盛和堆砌相伴的虚无的拒绝,与此同时,允许在我们和那开放的一瞬之间产生的柔情发生共鸣并延伸开去。(~ 完 ~)


Too Much of the Air: Tomas Transtromer
by Tom Sleigh

In "Vermeer" as in "The Forgotten Captain" the poet confronts the rising of the deep as it announces its own arrival in historically defined circumstances, a l7th century alehouse in the former case, a World War II convoy patrolling the North Atlantic in the latter. Transtromer's sense of the continuity between history and our private fates sets up what Baudelaire called "correspondance" in which "the lyrical stirrings of the soul, the wave motions of dreaming, the shocks of consciousness" vibrate with and against the specific social conditions we are born into. Transtromer's poems are acoustically perfect chambers in which all of these contradictory vibrations can be heard without straining. In "Streets in Shanghai" the intoxication of the crowd resonates against darker notes: "We look almost happy out in the sun, while we bleed to death from wounds we know nothing about."

This inclusive, paradoxical habit of vision contributes to what I find most appealing in Transtromer's work (and perhaps most damaging to our current period style). You can see this rare quality hinted at in the title of his short prose memoir included in For the Living and the Dead, "Memories Look at Me." Baudelaire's lines "L'homme y passe à travers des f?rets de symboles/Qui l'observent avec des regards familiers" ("Human beings wander through forests of symbols/Which look back at them with a knowing stare") suggests the reciprocity between the forests of symbols that we make of memory through the means of art, and the actual lived events which will have been our lives. Transtromer's sense that memories have eyes that look at us from their own vantage point independent of our attempts at remembering insists on the objective quality of the past while acknowledging the contingent nature of memory. All is not at the mercy of language sieved through the ceaseless processes of mental flux; nor is language necessarily an enemy of recollected emotions objectively recorded through poetic form.

Transtromer's comprehensive understanding of how the forests of symbols establishes deeply personal correspondences to our imaginative lives argues quietly against certain premises of post-structuralist language theory. In terms of personally experienced emotion, there is nothing arbitrary or politically coercive about inherited poetic structures that challenge us to greater coherence in the face of our own fear and confusion before the menacing paradoxes Transtromer proposes at the end of "Streets in Shanghai" or in "Island Life, l860": "This moment's stain that flows out for eternity,/ this moment's wound that bleeds in for eternity." The poet's recognition of two kinds of time and their interrelationship through the stain and the wound demonstrate how individual fates impinge on categories like "eternity". The poet's notation of the date signals his respect for the manmade, historically situated forests of symbols that buffer us from the void, but also resonate with its unsettling influences.

Transtromer's work constructs spaces that allow us to penetrate to that void, but without denying the contingent nature of the poem's historical moment. By this quiet way of confronting the void in which "the deepsea cold" rises into our being, he makes his poems hospitable to the abyss while still acknowledging the vertiginous feel of too much emptiness underneath us. At the ending of "Vermeer" he takes this dynamic between the void and private subjectivity a step further:

The airy sky has taken its place leaning against the wall.
It is like a prayer to what is empty. 
And what is empty turns its face to us
and whispers: 
'I am not empty, I am open.'

Objectively voiced, this simultaneous denial and affirmation points beyond itself with unsentimental cool to a realm where the void itself hints at the correspondences between us and it, an invitation almost to inhabit that openness. Perhaps what we most need to learn from Transtromer's poetry is the grave tact of his making, his wary refusal to march into that void accompanied by linguistic flourishes and salvoes, while allowing the tenderness of this moment between us and that instant of openness to resonate and expand.

From Interview with a Ghost by Tom Sleigh (Graywolf Press, 2006). Copyright 2005 by Tom Sleigh. 

Source: http://www.poets.org/viewmedia.php/prmMID/19009.  Please contact me via spicychili@163.com should this article be removed from my blog.

阅读(425)| 评论(33)




<#--最新日志,群博日志--> <#--推荐日志--> <#--引用记录--> <#--博主推荐--> <#--随机阅读--> <#--首页推荐--> <#--历史上的今天--> <#--被推荐日志--> <#--上一篇,下一篇--> <#-- 热度 --> <#-- 网易新闻广告 --> <#--右边模块结构--> <#--评论模块结构--> <#--引用模块结构--> <#--博主发起的投票-->


网易公司版权所有 ©1997-2018