本帖最后由 寂静之声 于 2026-3-9 01:23 编辑
《论现代诗》
诗,心灵在行动中
寻找的立足点。它并非总是
需要寻找:场景已定;
它只是在重复剧本里的内容。
后来,剧场改变。
它的过去只是一件纪念品。
诗需要活着,必须学会
这个地方的语言。
它必须面对这个时代的男人,
并与这个时代的女人见面。
它必须思考战争,
并找到其中的呈现。
它必须建造一个新的舞台。
它要站在那舞台上,
像一个永不满足的演员,缓慢地
并在沉思之中,说出一些词语——
这些词语在耳中,
在心灵最纤细的耳中,
准确地重复
它所渴望听见的东西;
当这声音响起时,
一群看不见的观众在倾听,
他们听的不是戏剧,
而是他们自己——
在一种情感中被表达出来,
仿佛两个人,仿佛两种
情感渐渐合而为一。 那演员
是在黑暗中的形而上学家,
拨动一件乐器,拨动
一根紧绷的弦,发出
穿越骤然正确瞬间的声音,
完全容纳心灵;
在这之下它无法再下降,
在这之上它也无意再升起。 它必须
成为一次满足的发现;而这满足
也许只是一个男人滑冰,
一个女人跳舞,或一个女人
梳头。 诗——
是心灵涌动的诗。
"Of Modern Poetry"
The poem of the mind in the act of finding
What will suffice. It has not always had
To find: the scene was set; it repeated what
Was in the script.
Then the theatre was changed
To something else. Its past was a souvenir.
It has to be living, to learn the speech of the place.
It has to face the men of the time and to meet
The women of the time. It has to think about war
And it has to find what will suffice. It has
To construct a new stage. It has to be on that stage,
And, like an insatiable actor, slowly and
With meditation, speak words that in the ear,
In the delicatest ear of the mind, repeat,
Exactly, that which it wants to hear, at the sound
Of which, an invisible audience listens,
Not to the play, but to itself, expressed
In an emotion as of two people, as of two
Emotions becoming one. The actor is
A metaphysician in the dark, twanging
An instrument, twanging a wiry string that gives
Sounds passing through sudden rightnesses, wholly
Containing the mind, below which it cannot descend,
Beyond which it has no will to rise.
It must
Be the finding of a satisfaction, and may
Be of a man skating, a woman dancing, a woman
Combing. The poem of the act of the mind.
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