意大利的回憶
【美】約翰·阿什? ? ? 陳子弘? 譯
——獻給帕特·斯蒂爾
我當然愛那里的光
以及年輕男人彼此間
調情的方式。
我喜歡那輕快渔伯，——
它落下如同畫作自天際降臨够话，
或者也許像揮灑（希望這
樣的說法不會太過
悖謬）于大地，
或如年輕人站在車站中
穿著天青色的牛仔褲
抑或如畫中海洋之色徐伐，
展示他們腿形的褲子贯钩，讓我想起
站前廣場上的雕塑群，
那里陽光照射得如此猛烈
雕像陰影卻比畫家的絕望又還要黑
畫家無法繼續(xù)作畫：畫布
在他前面办素，畫上的碧海和空白處猶如車站上方的天空
年輕人在站前游蕩著看起就像特洛伊大戰(zhàn)某個間歇
閑逛的英雄
平靜海畔旁慵懶地吃頓野餐角雷，在微笑的
天空下，
而這場戰(zhàn)爭半似會永遠結束性穿，顯然
他們都必定就會很快彼此愛上……
而畫家知道這幅畫必須要顯得英勇勺三，而藍色
并不是天空
是神已舉起一片怒海要浸死車站中
大理石戰(zhàn)場上年輕人的俊美，
他知道這幅畫畫完了需曾，
它代表了神明感到對人類的羨慕
如同大理石羨慕海水一樣吗坚，
而那幅畫懸掛在車站大廳中
年輕人在畫前漫不經(jīng)心地走來走去：
他們的腳似乎不怎么踩到大理石滄海祈远。
譯注：帕特·斯蒂爾（Pat Steir1938-? ）美國畫家和版畫家。她的早期作品與觀念藝術和極簡主義有著松散的聯(lián)系商源，然而车份，她最著名的作品是她在 20 世紀 80 年代開始創(chuàng)作的抽象滴、潑牡彻、澆 “瀑布 ”畫扫沼，以及后來創(chuàng)作的特定地點墻面繪畫。
詩人簡介：約翰·阿什（John Ash庄吼，1948 年 6 月 29 日-2019 年 12 月 3 日）是一位旅居美國的英國詩人和作家缎除。他畢生對拜占庭（尤其是拜占庭建筑）的興趣是貫穿其詩歌、小說和游記寫作的重要主題总寻。
Memories of Italy
? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?for Pat Steir
I loved the light of course
and the way the young men
flirted with each other.
I loved the light, —
the way it fell out of a sky like a painting,
or perhaps like the ground (if this
is not too paradoxical a way of
putting it) for a painting,
and the way the young men stood in the station
wearing jeans that were the colour of the sky
or the sea in a painting, jeans that revealed
the shapes of their legs which reminded me
of the statues in the square outside the station
where the light fell with such violence
their shadows were blacker than the despair of the painter
who cannot proceed with the painting: the canvas
is before him, its ground blue and blank as the sky above the station
where the young men loiter like the heroes in one of the lulls of
the Trojan War
when lazy picnics were possible beside the calm sea, under the
smiling sky,
and it half seems that the war will end forever, for surely they
must all soon fall in love with each other . . .
And the painter knows his painting must be heroic, that the blue
is not the sky
but a terrible sea a God has raised to drown the beauty of the
young men in the marble battlefield of the station,
and he knows the painting is finished,
that it represents the envy the divine must feel
towards the human as marble must envy the sea,
and the painting is hung in the concourse of the station
and the young men drift indifferently to and fro before it:
their feet hardly seem to touch the blue marble ground.
John Ash
from Disbelief
#1988年最佳美國詩選#
