诗——我,也一样,不喜欢他

[美]玛丽安·摩尔

我,也一样,不喜欢它:在这堆瞎胡闹之外有的是重要的事情。

读着它,然而,心怀一种对它的完全蔑视,却会发现在

其中,毕竟,有一个位置是属于真实的。

手可以抓握,眼

可以放大,头发可以立起

如果必须的话,这些事物是重要的并非因为一个

高调门的诠释可以被置于它们之上而是因为它们

有用。当它们变成尽是衍生以至于无法理解之时,

同样的话或许可以形容我们所有人,就是我们

不欣赏那些

我们无法理解的东西:蝙蝠

倒悬着或是在找东西

吃,大象在推,一匹野马在打滚,一头不倦的狼在

一棵树下,不为所动的批评家抽动着皮肤像一匹马感觉有一只跳蚤,棒

球迷,统计员——

同样不成立的

是歧视“商务文件和

学校课本”;这些现象全都重要。人必须作一个区分

无论如何:在被半吊子诗人拖入赫赫声名之时,结果并不是诗,

而且除非我们中间的诗人们可以成为

“想象的

字面照录者”——超乎

傲慢与琐屑并且可以呈现

以供审视,“内有真蛤蟆的想象花园,”倘若我们拥有

它的话。同时,倘若你要求一方面,

诗的生鲜材料

全然生鲜而

另一方面它又是

真实的,你就对诗有兴趣。

【注释】

① 托尔斯泰日记“诗是诗篇:散文不是诗篇。否则诗就是所有一切,除了商务文件和学校课本。”

② 叶芝《善与恶的理念》(Ideas of Good and Evil)中论威廉•布莱克的文字:“他是个太过拘泥字面的想象写实主义者”。

 

Poetry

Marianne Moore

I, too, dislike it: there are things that are important beyond all this fiddle.

Reading it, however, with a perfect contempt for it, one discovers in

it after all, a place for the genuine.

Hands that can grasp, eyes

that can dilate, hair that can rise

if it must, these things are important not because a

high-sounding interpretation can be put upon them but because they are

useful. When they become so derivative as to become unintelligible,

the same thing may be said for all of us, that we

do not admire what

we cannot understand: the bat

holding on upside down or in quest of something to

eat, elephants pushing, a wild horse taking a roll, a tireless wolf under

a tree, the immovable critic twitching his skin like a horse that feels a flea, the base-

ball fan, the statistician–

nor is it valid

to discriminate against “business documents and

school-books”; all these phenomena are important. One must make a distinction

however: when dragged into prominence by half poets, the result is not poetry,

nor till the poets among us can be

“literalists of

the imagination”–above

insolence and triviality and can present

for inspection, “imaginary gardens with real toads in them,” shall we have

it. In the meantime, if you demand on the one hand,

the raw material of poetry in

all its rawness and

that which is on the other hand

genuine, you are interested in poetry.

[ Final Version ]

Poetry

Marianne Moore

I, too, dislike it: there are things that are important beyond all this fiddle.

Reading it, however, with a perfect contempt for it, one discovers in

it after all, a place for the genuine.

 

玛丽安 • 摩尔

____________

玛丽安•摩尔(Marianne Moore,1887-1972),美国诗人,批评家,翻译家,被众多诗歌评论者视为与罗伯特•弗罗斯特和华莱士•史蒂文斯同列的现代主义大师,“提供思考的乐趣,和拒绝比世界更简单,令你每次重读都更有意味的诗篇的乐趣”。摩尔的诗歌以形式的创新,精确的用词与机智为特征,她认为“诗的运行比诗行在书页上的传统外观更重要,诗节而非诗行才是诗篇的组成单位”。

从1921年的《诗篇》(Poems)到1969年的《重音节》(The Accented Syllable),摩尔著有几十部诗集,曾获国家图书奖,普利策奖,博林根奖,国家文学奖章等。

 

译者:

陈东飚,译有纳博科夫《说吧,记忆》,《博尔赫斯诗选》,埃利•威塞尔《一个犹太人在今天》,叶芝《日记》,艾兹拉•庞德《阅读ABC》,华莱士•史蒂文斯《诗选》,并在《今天》等海内外文学杂志发表《当代印度诗选》《保罗•穆尔顿诗选》《C. D. 赖特诗选》等。

 

 

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