美国 布洛茨基 L.D. Brodsky  美国   (1941~1996)
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布洛茨基 L.D. Brodsky

黑色的穹窿也比它四腳明亮。
它無法與黑暗溶為一體。

在那個夜晚,我們坐在篝火旁邊
一匹黑色的馬兒映入眼底。

我不記得比它更黑的物體。
它的四腳黑如烏煤。
它黑得如同夜晚,如同空虛。
周身黑咕隆咚,從鬃到尾。
但它那沒有鞍子的脊背上
卻是另外一種黑暗。
它紋絲不動地伫立。仿佛沉睡酣酣。
它蹄子上的黑暗令人膽戰。

它渾身漆黑,感覺不到身影。
如此漆黑,黑到了頂點。
如此漆黑,仿佛處於針的內部。
如此漆黑,就像子夜的黑暗。
如此漆黑,如同它前方的樹木。
恰似肋骨間的凹陷的胸脯。
恰似地窖深處的糧倉。
我想:我們的體內是漆黑一團。

可它仍在我們眼前發黑!
鐘錶上還衹是子夜時分。
它的腹股中籠罩着無底的黑暗。
它一步也沒有朝我們靠近。
它的脊背已經辨認不清,
明亮之斑沒剩下一毫一絲。
它的雙眼白光一閃,像手指一彈。
那瞳孔更是令人畏懼。

它仿佛是某人的底片。
它為何在我們中間停留?
為何不從篝火旁邊走開,
駐足直到黎明降臨的時候?
為何呼吸着黑色的空氣,
把壓壞的樹枝弄得瑟瑟嗖嗖?
為何從眼中射出黑色的光芒?

它在我們中間尋找騎手。


布洛茨基 L.D. Brodsky

昔日,我站在交易所的圓柱下面,
等到冰涼的雨絲飄拂結束。
我以為這是上帝賜予的禮品。
也許我沒有猜錯。我曾經幸福。
過得像一名天使的俘虜。
踏着妖魔鬼怪走來走去。
像雅各一樣,在前廳等候
沿着梯子跑下來的一名美女。
全都一去不復,
不知去了何處。
消失得無影無蹤。真巧,
當我眺望窗外,寫下“何處”,
卻沒有在後面打上問號。
時值九月。眼前是一片公園。
遙遠的雷鳴涌進我的耳裏。
厚密的葉間挂滿成熟的梨子,
恰似剛毅雄渾的標志。

猶如守財奴把親戚衹放進廚房,
我昏昏欲睡的意識中唯有暴雨,
此時此刻啊,滲入我耳中的
早已不是噪音,雖說還不算樂麯。


布洛茨基 L.D. Brodsky

“昨夜我夢見了彼特羅夫。
他猶如活人站在床邊。
我要想嚮他道一聲問候,
衹怕說出的話兒沒有深淺。”

她發出一聲嘆息.將目光
移嚮木框中的一幅版畫,
畫中有個男人戴着草帽.
前頭的犍牛神情疲乏。

彼特羅夫曾與她姐姐結婚,
可他愛的卻是自己的妻妹;
前年夏天,他在度假前嚮她表白,
可是,他卻不幸溺死於河水。

鍵牛。稻田。無際的天穹。
農夫。犁。在新的犁溝下面——
猶如𠔌粒,寫着“贈給伊凡諾娃”,
而下方的署名卻無法分辨。

我喝完茶,從桌邊起身。
她的眼中閃爍着金光。
我當即明白,若是他此刻復活,
她定會做他嬌美的新娘。

她隨我身後走入庭院,
一雙眼睛飽含着柔情,
仿佛她有了特殊的裝備,
能與遙遠的星辰發生對應。


布洛茨基 L.D. Brodsky

死神將會來臨,取走你的眼睛。
——帕韋澤


1

人與物將我們
團團包圍。無論是物是人
都在折騰着我們的眼睛。
倒不如在黑暗中生存。

我坐在公園裏,
在長凳上觀望
結伴而行的一傢人。
我厭倦了亮光。

根據日曆的記載,
這是一月.是鼕天。
待到厭倦黑暗時,
我再開口發言。

2

時候到了。我準備發言。
從何說起?這沒什麽關係。
衹要開口就行。我能沉默,
但最好還是訴說幾句。

說什麽?說白晝,說黑夜?
或者東扯西拉。
要麽談談物體。
對,談物不談人吧。

人是註定要死的。
所有的人。我也難免一死。
談人衹是徒勞無功,
如同往空氣中書寫文字。

3

我的血液變冷。
冷得實在厲害,
勝於冰凍三尺的河水。
人不是我的所愛。

人的外貌今我厭惡。
他們那一張張臉膛
嫁接於生命的軀體,
顯出不會脫落的模樣。

他們面部的表情
使靈魂感到可憎。
猶如對一個陌生者
進行阿諛奉承。

4

物更為賞心悅目。
無論是根據它們的外形
或是深入它們的內部,
都沒有善惡可分。

物體的內部——是塵埃
殘骸。蛀木蟲。內壁。
還有幹枯的幼蟲。
摸上去不太舒適。

塵埃。被擰開的燈光
照亮的衹能是塵埃。
哪怕物體封得密不透氣,
它也被照得富有光彩。

5

這古老的食品櫥,
無論是外形還是裏面,
都能讓我聯想起
那個巴黎聖母院。

擱在內部的是一片黑暗
拖布和聖徒的法衣
也無法拭去塵埃。
通常,就連物體自己

也不妄想戰勝塵埃,
並不為此枉費心機。
因為塵埃——是時間的軀體,
時間的血肉之軀。

6

近來我經常沉睡
在白晝的明亮的時刻。
似乎死神眼下正在
把我試驗,把我檢測,

它把一面鏡子放近
我依然呼吸的嘴唇。
看我是否能夠承受
在白晝中不復生存。

我沒有動彈。我的雙腿
凍得恰似兩根冰柱。
一根根青筋縱橫交錯,
猶如大理石上的紋路。

7

物有自己全盤的考慮,
這一點令人驚愕,
它們紛紛退出
以詞語構成的人的世界。

物不停滯,也不運動——
這全是鬍言亂語。
物也有自身的宇宙空間,
絶不存在超然在外的東西。

物能被砸碎、焚燒,
或被掏空、毀壞、拋棄。
然而在這些場合,
它不會大駡:“他媽的!”

8

樹木。緑蔭。以及
樹下供根須纏捲的土地。
黏土的歪歪扭扭的圖案
還有一排一排的磐石。

樹根盤繞交織。
石頭則以固有的重量,
自成一體,擺脫了
根須的反復糾纏。

磐石一動也不動。
無法推走,無法搬移。
樹蔭。樹蔭中的人
恰似落網的魚。

9

物體。物體的褐色。
它的輪廓已經模糊。
一片昏暗。此外,
什麽也沒有。這是靜物。

死神降臨並且發現
一具屍體,它的安寧
表明死神已經來訪,
猶如翩然而至的女人。

這真是荒謬絶倫:
頭顱、骨胳、釤鐮。
“死神將會來臨,
取走你的雙眼。”

10

聖母對基督說:
“你是我兒子還是上帝?
你被釘在十字架上。
我怎能回到傢裏?

“當我還沒有弄清
你是我兒子還是上帝
你是死了還是活着,
我怎能跨進屋子?”

基督對她答復說:
“婦人啊,這其實沒有關係,
無論是死了還是活着,
兒子還是上帝.反正都是屬於你。”


布洛茨基 L.D. Brodsky

今夜我兩次從夢中醒來,
走嚮窗戶,窗外的燈火
如同蒼白的省略號,試圖
補充我夢中破碎的詞句,
但也歸於空茫,沒有帶來安撫。

我夢見你已經懷孕.儘管
這麽多年我倆一直分居。
我仍然感覺到自己的罪過.
高興地去用雙手撫摸你的腹部,
可是摸到的卻是我的衣褲

和開關。我走到窗口,
知道把你一人留在
那兒,在黑暗中,在夢裏,
你在那兒耐心地等待
我的歸來,沒把我故意的別離

看成過錯。因為黑暗
復活了被光綫摧毀的事物。
我們在黑暗中結婚,舉行儀式,
我們是雙倍的怪物,孩子們
衹是我們赤身裸體的無罪的證明。

在任何一個將來的夜晚
你會重新出現,消瘦、疲憊
我將看見兒子或女兒
仍未取名, ——那時我呀,
不再伸手去摸燈的開關。

我沒有權利把你們
拋留在那陰影的王國,
被隔在白晝的籬柵之外,
無言無語地屈從着
我無法企及的活生生的現實。


布洛茨基 L.D. Brodsky

“很快即滿十三載,從掙脫鳥籠的夜鶯
飛去時算起。皇帝望着黑夜出神,
用蒙罪的裁縫的血衝服丸藥,
仰躺在枕頭上,他上足發條,
沉浸於輕歌曼麯催眠的夢境。
如今我們在人間的天堂歡慶
這樣一些平淡的奇數的周年。
那面能撫平皺紋的鏡子一年
比一年昂貴。我們的小花園在荒蕪。
天空被屋頂刺穿,像病人的肩頭
和後腦(我們僅睹其背項)。
我時常為太子解釋天象。
可他衹知道打趣開心。
卿卿,此為你的‘野鴨’所寫之信,
用水墨在皇后賜給的宣紙上謄抄。
不知何故,紙愈來愈多,米卻愈來愈少。”

“俗話說:千裏之行,始於足下。
可惜,那遠遠不止千裏的歸途呀,
並不始於足下,尤其
當你每次都從零算起。
一千裏亦罷,兩千裏亦罷,
反正你此時遠離你的傢,
言語無用,數字更於事無濟,
尤其是零;無奈是一場瘟疫。

風嚮西邊吹,一直吹到長城,
像黃色的豆粒從脹裂的豆莢中飛迸。
長城上,人像象形文字,恐懼
而又怪異;像其它一些潦草的字跡。
朝着一個方向的運動
在把我拉長,像馬的頭顱。
野麥的焦穗磨擦着暗影,
耗盡了體內殘存的氣力。”


布洛茨基 L.D. Brodsky

書頁和烈焰,麥粒和磨盤,
銳利的斧和斬斷的發——上帝
留存一切;更留存他視為其聲的
寬恕的言詞和愛的話語。

那詞語中,脈搏在撕扯骨骼在爆裂,
還有鐵鍬的敲擊;低沉而均勻,
生命僅一次,所以死者的話語更清晰,
勝過鋪蓋的厚絮下這片含混的聲音。

偉大的靈魂啊,你找到了那詞語,
一個跨越海洋的鞠躬,嚮你,
也嚮那熟睡在故土的易腐的部分,
是你讓聾啞的宇宙有了聽說的能力。


The fire and the page, the hewed hairs and the swords, 
The grains and the millstone, the whispers and the clatter -- 
God saves all that -- especially the words 
Of love and pity, as His only way to utter. 
The harsh pulse pounds and the blood torrent whips, 
The spade knocks evenly in them, by gentle muse begotten, 
For life is so unique, they from the mortal lips 
Sound more clear than from the divine wad-cotton. 
Oh, the great soul, I'm bowing overseas 
To you, who found them, and that, your smoldering portion, 
Sleeping in the homeland, which, thanks to you, at least, 
Obtained the gift of speech in the deaf-mute space ocean.

布洛茨基 L.D. Brodsky

黑海之濱的第二個
聖誕,不凍如故。
衆王之星高坐於港口界限鮮明的
地平綫上,而我無法明說
沒有你我不能活。就如
這張紙所證明的,我確實存在:充實地
生活,痛飲啤酒,弄髒樹葉,
又踐踏草地。

在勝者襲擊之前退嚮南方,
我坐在咖啡館裏,從這裏我倆
靜靜爆發進入未來
根據嚴酷的法律
那種幸福不能持久。我的手指
在窮人的大理石上嘗試你的臉龐。遠方,
錦緞般的仙女用急促的舞姿
炫耀大腿。

正是你所崇拜——假如她擴大污漬,
從陰暗的窗口隱約一閃,象徵着
你們自己——你要告誡我們什麽嗎?
未來已經抵達又不堪
忍受。有東西落下,拉琴人走了,
音樂在衰落,深深的皺痕
在海面和男人的臉上展開。
但是無風。

某一天慢慢上升的激浪,但是
呵,不是我們,將席捲圍欄,
到達浪頂,榨出無助的尖叫,蜂擁而來
尋找你喝酒,打瞌睡,在太陽下
曬你潮濕瘦小罩衫的
地點——朝嚮破舊長凳,破裂的木板路,
以及為將來的軟體動物營造的
淤泥之床。

雅爾塔,1971年


布洛茨基 L.D. Brodsky

這麽久生活在一起都是那樣,星期二
現在元月第二天重又降臨
使她訝異的眉毛擡起
正如雨中擋風玻璃上的颳水器,
抹掉她迷蒙的憂傷,現出
那路前無雲的遠景。

這麽久生活在一起都是那樣,一次
雪花飄臨,仿佛無邊無垠;
唯恐雪片弄疼她的眼瞼,
我用手為她遮掩,但它們似乎
不知眼睛的珍貴柔嫩,
依然撞擊我的手掌猶如蝶群。

這麽相異所有的新奇都是那樣
睡眠的糾纏會變得羞慚
無論分析得多麽透徹;
而當我的嘴吹滅燭焰,
飄過我的雙肩,她的朱唇
尋覓着,一心一意與我相吻。

這麽久生活在一起都是那樣 所有
破碎的紙玫瑰俱已逝去,
整個小樺叢長過墻頭,
因某種偶然,我們有了積蓄,
整整三十天,海浪迤邐,
夕陽以火焰威脅着土耳其。

這麽久生活在一起都是那樣 沒有
書籍,椅子,傢具——唯有那老床——
那個三角形,在這之前
衹有直角的兩邊,某些
熟知的人頭就這樣盤旋
於愛情連接的兩點。

這麽久生活在一起都是那樣 她
和我,我們共同的影子,曾經是
雙扉之門,甚至我們沉浸於
勞作和睡眠中,都一直緊閉:
門扉奇妙地裂開然後我們出去
走嚮未來,走嚮夜色裏。

1969年


布洛茨基 L.D. Brodsky

他一直沒有回到他古老的佛洛倫薩,甚至在死後……
——安娜·阿赫瑪托娃《但丁》


那些門洞吸入空氣吐出水霧;可是你
不會回到淺淺的阿諾河,那裏
閑適的情侶如新的野獸沿着河岸的彎麯。
門砰地關上,猛獸撞擊背板,其實,
這個城市的氣氛仍然保留着一點
陰暗的森林,某個時代
它是一座美麗的都市
有人簡單地翻起衣領以期
避免路人凝視的目光。


在陰冷的晨昏沉沒,瞳仁閃動
吞下灰暗街燈麻木記憶的藥丸。
從意大利女人的陰影處敞開圍欄,
門口,幾百年後,贊許放逐的
最好理由:一個人不能在
火山旁生存卻又伸不出拳頭,
儘管它的主人死時它不會緊握。
由於死亡總為從規模上來說的第二個
佛洛倫薩以及它天堂的建築。


正午凳下的貓兒停下來察看陰影
是否是黑的,這是老橋(如今已修茸一新)
充盈着買賣小玩意的嘈雜聲音,
切利尼在這兒凝視山坡耀眼的藍意。
拱起的磚塊梳弄着漂浮物。
當她仔細檢查小販的獸群,
過路美人那鬆散的金發,
在拱廊下忽然發出熠熠光華,
如黑發王國中天使的遺跡。


他減小鋼筆在紙上的沙沙聲響,
插入很多圈塗,又把這歸結於
太滑的紙面,逗點和句點。確實,
好些平常的字眼中,當你寫M
──像雙眉,鋼筆無意間彎滑:
墨水要比血液誠摯。
一張臉,隱含潤濕的辭句
企望幹涸剛纔所說的話語,
想碎裂的紙片,假笑被陰影吸去。


碼頭類似阻塞的火車。那些
潮濕昏黃的宮殿齊腰沉入地下。
裹大衣的幽靈沿門口
陰濕的嘴巴,爬嚮衰萎,無聊,
磨損的臼齒,同其命定的數字16,
朝嚮紅腫炎痛的上顎。
無聲地,灌輸恐懼,
終端的小鈴聲聲刺耳:"等着!"
兩個老太婆放你進去,她們頗像圖形8


無聊的酒吧,你帽子的陰影中,
眼睛沿視綫一一分辨壁畫、仙女和美童。
在籠中拼湊押韻酸澀的收成,
成熟的金翅雀賣弄高昂的花腔,
偶然的陽光撒嚮宮殿
及安葬洛倫佐的聖器收藏間
穿過厚厚的窗簾,逗弄紋理斑斕的
大理石,一桶桶雪白的馬鞭草:
還有鳥兒在琴弦和臘萬納城內的容光煥發。

吸入空氣,吐出水霧,那些門洞
在佛洛倫薩砰地關上,幾許人活着,一個
思念某夜(這也許適合你的信念)——
那是你第一次聽說愛情
還不能推動星星(或月亮)。
由於愛把事物分成兩份,兩半,
像你夢中的銅錢,像你對死亡
的虛妄恐懼。假如愛改變南方
星群,她們就會奔嚮室女星座。


石穴回蕩着閘車刺耳的尖鳴。
十字路口相交叉的骨殖把你
嚇得要死。在十二月低矮的天空下
布魯列雷斯基放在這兒的巨卵
從神聖的圓頂銳利的眼眶裏
猛地迸並出眼淚。交通警察在空中
輕快地揮手猶如字母X。
高音喇叭一直吠叫不斷增長的稅款。
哦。那難以拋棄的活生生的面具!


這些不可重逢的城市。太陽
在它們寒酷的窗口拋擲金子,
但我還是沒到入口,找不到合適的數量。
這兒還是六座橋梁橫越鈍滯的河道
這兒甚至是唇與唇初次相觸的地方
筆與紙熾烈相貼的地方。
那麽多拱頂、廊柱和鐵像,這會玷污你的鏡頭。
擁擠,窒密,這兒龐大的車流,
從由此就死去的人嘴裏說出。

1976年


布洛茨基 L.D. Brodsky
日子從我頭上滑過
宛若雲彩掠過樹梢,
在林子的背後
匯成白色的一群。
定位在冷河的上方——
沒有牛鈴;或哞哞的叫喚——
日子將它們宏大的形體
壓在牛欄的圍籬上。
小山排成的這地平綫
不呼吐逃亡的詞句。
清朗的黎明有時
不留一綫來過的蹤跡。
在時間長河裏運行
夜晚快速遠航
遠遠越過歐椋鳥的傢,
遠遠越過黑色的土地。
(1964年)

布洛茨基 L.D. Brodsky
鱈魚角催眠麯(選譯)
門嘎吱作響。鱈魚出現在門檻。
請求進餐,誠然代表上帝。
你不會一毛不拔地放走來客。
你為他指路。道路彎彎麯麯。
鱈魚走開,消失在遠方。
可是,又一條鱈魚
酷像前者,用嘴把門推開。
(兩條魚極其相像,如同茶杯兩衹。)
整夜,他們結伴而行。
不過,住在海邊,你一定深知
該怎樣睡覺,並在耳邊抑住
鱈魚勻整的腳步的聲息。
睡吧。大地不是圓的。它
衹不過很長:滿是𠔌地、山丘。
比大地更長的——是海洋:波浪
時而奔嚮沙灘,像皺紋爬上額頭。
而長於波浪和大地的
唯有一連串的白晝
和夜晚。隨後是濃霧:
有天使的天堂,有魔鬼的地獄。
然而,比那“一連串”長百倍的
是對生命的認識和對死亡的沉思。
比死亡的深思長百倍的
是關於虛無的思考,可是視力
未必達到那裏,眼睛自動
關閉,以便看見物體。
衹有這樣,在夢中,才能使雙眼
習慣於物體。在這些夢裏
或有吉祥,或有兇兆,取决於沉睡者。
鱈魚把門弄得嘎吱嘎吱。
(1975年)

布洛茨基 L.D. Brodsky
A list of some observation. In a corner, it's warm. 
A glance leaves an imprint on anything it's dwelt on. 
Water is glass's most public form. 
Man is more frightening than its skeleton. 
A nowhere winter evening with wine. A black 
porch resists an osier's stiff assaults. 
Fixed on an elbow, the body bulks 
like a glacier's debris, a moraine of sorts. 
A millennium hence, they'll no doubt expose 
a fossil bivalve propped behind this gauze 
cloth, with the print of lips under the print of fringe, 
mumbling "Good night" to a window hinge. 

布洛茨基 L.D. Brodsky
All the huskies are eaten. There is no space 
left in the diary, And the beads of quick 
words scatter over his spouse's sepia-shaded face 
adding the date in question like a mole to her lovely cheek. 
Next, the snapshot of his sister. He doesn't spare his kin: 
what's been reached is the highest possible latitude! 
And, like the silk stocking of a burlesque half-nude 
queen, it climbs up his thigh: gangrene.

布洛茨基 L.D. Brodsky
I wish you were here, dear, I wish you were here.
I wish you sat on the sofa
and I sat near.
the handkerchief could be yours,
the tear could be mine, chin-bound.
Though it could be, of course,
the other way around.

I wish you were here, dear,
I wish you were here.
I wish we were in my car,
and you'd shift the gear.
we'd find ourselves elsewhere,
on an unknown shore.
Or else we'd repair
To where we've been before.

I wish you were here, dear,
I wish you were here.
I wish I knew no astronomy 
when stars appear,
when the moon skims the water
that sighs and shifts in its slumber.
I wish it were still a quarter
to dial your number.

I wish you were here, dear,
in this hemisphere,
as I sit on the porch
sipping a beer.
It's evening, the sun is setting;
boys shout and gulls are crying.
What's the point of forgetting
If it's followed by dying?

布洛茨基 L.D. Brodsky
Here's a girl from a dangerous town
She crops her dark hair short
so that less of her has to frown
when someone gets hurt.

She folds her memories like a parachute.
Dropped, she collects the peat
and cooks her veggies at home: they shoot
here where they eat.

Ah, there's more sky in these parts than, say,
ground. Hence her voice's pitch,
and her stare stains your retina like a gray
bulb when you switch

hemispheres, and her knee-length quilt
skirt's cut to catch the squall,
I dream of her either loved or killed
because the town's too small.

布洛茨基 L.D. Brodsky
As you pour yourself a scotch
Crush a roach or check your watch
As your hands adjust your tie people die

In the towns with funny names
Hit by bullets, caught in flames
By and large not knowing why people die

And in small places you don't know of
Yet big for having no chance to scream
Or say good-bye people die

Chorus: La, la... Let me know

People die as you elect
New apostles of neglect, self restraint
Whereby people die Too far off to practice love
For thy neighbour, brother Slav
Where your cherubs dread to fly people die

Chorus...

While the statues disagree
Cain's version, history for its fuel tends to buy
Those who die

As you watch the athletes score 
Or check your latest statement
Or sing your child a lullaby people die

Time, whose sharp, bloodthirsty quill
Parts the killed from those who kill
Will pronounce the latter tribe
As your type.

2nd Version:

As you pour yourself a scotch,
crush a roach, or scratch your crotch,
as your hand adjusts your tie,
people die.
In the towns with funny names,
hit by bullets, caught in flames,
by and large not knowing why,
people die.
In small places you don't know
of, yet big for having no
chance to scream or say good-bye,
people die.
People die as you elect
brand-new dudes who preach neglect,
self-restraint, etc. –whereby
people die.
Too far off to practice love
for thy neighbor/brother Slav,
where your cherubs dread to fly,
people die.
While the statues disagree,
Cain's version, history
for its fuel tends to buy
those who die.
As you watch the athletes score,
check your latest statement, or
sing your child a lullaby,
people die.
Time, whose sharp bloodthirsty quill
parts the killed from those who kill,
will pronounce the latter band
as your brand.

布洛茨基 L.D. Brodsky
All his life he was building something, inventing something.
Now, for a Cretan queen, an artificial heifer,
so as to cuckold the king. Then a labyrinth, the time for
the king himself, to hide from bewildered glances
an unbearable offspring. Or a flying contraption, when
the king figured himself so busy with new commissions.
The son of that journey perished falling into the sea,
like Phaeton, who, they say, also spurned his father’s 
orders. Here, in Sicily, stiff on its scorching sand,
sits a very old man, capable of transporting
himself through the air, if robbed of other means of passage.
All his life he was building something, inventing something.
All his life from those clever constructions m from those inventions,
he had to flee. As though inventions
and constructions are anxious to rid themselves of their blueprints
like children ashamed of their parents, Presumably, that’s the fear
of replication. Waves are running onto the sand;
behind, shine the tusks of the local mountains.
Yet he had already invented, when he was young, the seesaw,
using the strong resemblance between motion and stasis.
The old man bends down, ties to his brittle ankle
(so as not to get lost) a lengthy thread,
straightens up with a grunt, and heads out for Hades.

布洛茨基 L.D. Brodsky
A hotel in whose ledgers departures are more prominent than arrivals.
With wet Koh-i-noors the October rain
strokes what's left of the naked brain.
In this country laid flat for the sake of rivers,
beer smells of Germany and the seaguls are
in the air like a page's soiled corners.
Morning enters the premises with a coroner's
punctuality, puts its ear 
to the ribs of a cold radiator, detects sub-zero:
the afterlife has to start somewhere.
Correspondingly, the angelic curls
grow more blond, the skin gains its distant, lordly
white, while the bedding already coils
desperately in the basement laundry.

布洛茨基 L.D. Brodsky
About a year has passed. I've returned to the place of the battle,
to its birds that have learned their unfolding of wings 
from a subtle
lift of a surprised eyebrow, or perhaps from a razor blade
- wings, now the shade of early twilight, now of state 
bad blood.

Now the place is abuzz with trading
in your ankles's remnants, bronzes
of sunburnt breastplates, dying laughter, bruises,
rumors of fresh reserves, memories of high treason,
laundered banners with imprints of the many
who since have risen.

All's overgrown with people. A ruin's a rather stubborn
architectural style. And the hearts's distinction
from a pitch-black cavern
isn't that great; not great enough to fear
that we may collide again like blind eggs somewhere.

At sunrise, when nobody stares at one's face, I often,
set out on foot to a monument cast in molten
lengthy bad dreams. And it says on the plinth "commander
in chief." But it reads "in grief," or "in brief,"
or "in going under."

布洛茨基 L.D. Brodsky
It's not that the Muse feels like clamming up,
it's more like high time for the lad's last nap.
And the scarf-waving lass who wished him the best
drives a steamroller across his chest.

And the words won't rise either like that rod
or like logs to rejoin their old grove's sweet rot,
and, like eggs in the frying pan, the face 
spills its eyes all over the pillowcase.

Are you warm tonight under those six veils
in that basin of yours whose strung bottom wails;
where like fish that gasp at the foreign blue
my raw lip was catching what then was you?

I would have hare's ears sewn to my bald head,
in thick woods for your sake I'd gulp drops of lead,
and from black gnarled snags in the oil-smooth pond
I'd bob up to your face as some Tirpitz won't.

But it's not on the cards or the waiter's tray,
and it pains to say where one's hair turns gray.
There are more blue veins than the blood to swell
their dried web, let alone some remote brain cell.

We are parting for good, my friend, that's that.
Draw an empty circle on your yellow pad.
This will be me: no insides in thrall.
Stare at it a while, then erase the scrawl.

布洛茨基 L.D. Brodsky
1. E. Larionova
E. Larionova. Brunette. A colonel's 
and a typist's daughter. Looked 
at you like someone studying a clockface. 
She tried to help her fellow mortals. 
One day when we were lying side by side 
upon the beach, crumbling some chocolate, 
she said, looking straight ahead, out 
to where the yachts held to their course, 
that if I wanted to, I could. 
She loved to kiss. Her mouth 
reminded me of the caves of Kars. 
But I wasn't scared off. 
I hold
this memory dear, like a trophy won 
on some unintelligible battle- 
front, from enemies unknown. 
That lover of plump women, that lurking tom, 
D. Kulikov, then hove in sight -- 
he married her, did Dima Kulikov. 
She joined a women's choir, 
while he toils in a classified establishment -- 
a great bony engineer... 
But I can still recall the long corridor 
and my struggle with her on the chest-of-drawers. 
Dima at the time was an ugly little pioneer. 
Where did it all go? Where's the reference point? 
And how can one, today, hope to discover 
that which has transfigured all these lives? 
A strange world lurked behind her eyes 
she could not understand herself. Or rather, 
she did not understand it even as a wife. 
Kulikov is living. I am living. She is living. 
But what happened to that world? 
Perhaps it is keeping them awake? 
I keep mumbling my words. 
Snatches of a waltz come to me through the wall. 
And the rain rustles on broken bricks. 
2. Oleg Poddobry
Oleg Poddobry. His father was 
a fencing coach. He was familiar with 
it all -- thrust, parry, lunge. 
No ladies' man, nevertheless 
he used to score, as sometimes happens 
in the world of sports, from offside. 
That was at night. His mother was sick, 
his little brother wailing in the crib. 
Oleg picked up an axe and when 
his father entered, battle began. 
But the neighbours arrived in the nick 
and four of them got the better of the son. 
I remember his face, his hands; 
next, the foil with a wooden grip. 
Sometimes we practised fencing in the kitchen. 
He got hold of a ring with a whopping stone; 
used to splash around in out communal bath... 
He and I left school together; then 
he joined a cookery class, while I 
worked as a milling operator in the Arsenal. 
He baked pancakes in the Taurid Gardens. 
We had a good time carting firewood, 
on New Year's Eve sold fir trees at the station. 
Unfortunately, in association 
with some low character, 
he did a shop -- he got three years for that. 
He warmed his ration up over the bonfire. 
Was released. Survived some heavy drinking. 
Did factory-construction work. 
Got married to a nurse it seems. 
Began to paint. Wanted, apparently, 
to take up art. His landscapes were, 
in places, not unlike 
still-lifes. Then he got pinched 
for playing tricks with medical certificates. 
Now all there is, is silence. 
I haven't seen him now for years. 
Was inside myself but didn't run into him. 
Now I am free. But even out of gaol 
I never see him. 
Somewhere
he is surely strolling through the woods, breathing in 
the wind. Neither kitchen, gaol, nor college could 
absorb him. And he vanished. Like Jack Frost 
he managed to disguise himself. 
I hope he is alive and safe. 
Now he excites my interest, 
like the other characters from out of childhood. 
But he is more unreachable than they. 
3. T. Zimina
T. Zimina; a delightful child. 
Her mother was an engineer, her dad 
a tally-clerk -- I never knew them. 
She was not easily impressed. Although 
a frontier pilot married her. 
But that was later. Her trouble 
started earlier than that. She had 
a relative. A district committee man. 
With a car. Her folks were separated. 
Evidently, they had problems of their own. 
A car was quite unheard of. 
Well, it all began with that. 
She was upset. But later, things 
seemed to be improving, as it were. 
A gloomy Georgian came on the scene. 
But suddenly he landed up in prison. 
And then she gave herself 
to the counter in a large haberdashery. 
Linen, fabrics, eau-de-Cologne. 
She loved the whole atmosphere, 
the confidences and her friends' admirers. 
Passers-by goggling through the window. 
In the distance, the officers' Club. And officers 
flocking like birds, with a mass of buttons. 
The pilot, returning from the skies, 
congratulated her on her good looks. 
He gave her a champagne salute. 
Marriage. However, in the Air Force 
a high value is placed on chastity; it 
is raised to the level of an absolute. 
And it was this scholasticism that 
accounted for her almost drowning. 
She had already found a bridge, but winter'd come. 
The canal was covered with an icy crust. 
And again she hurried to her counter. 
A fringe edged her eyelashes. 
Onto her ashy hair the neon 
lights poured their radiance. 
Spring -- and by the doors flung wide, 
the current of customers seethes. 
She stands and gazes from the piles of linen 
into the murky channel, like a Lorelei. 
4. Yu. Sandul
Yu. Sandul. Sweet-tempered as a polecat. 
With a face that sharpened towards the nose. 
Informed on people. Always wore a collar. 
Went into raptures over caps with peaks. 
Made speeches in the lavatory about 
whether the badge should be pinned on the jacket. 
Pinned it on. Generally enthused 
over all kinds of emblems and insignia. 
Loved ranks and titles to distraction. 
Styled himself `PT Instructor', 
though was as old as Jacob to look at. 
Considered furunculosis as his scourge. 
Was susceptible to colds, 
stayed at home in bad weather. 
Mugged up his Bradis tables. Was bored. 
Knew chemistry and yearned for the institute. 
But landed in the infantry after school -- 
those secret underground forces. 
Now he is drilling holes. It's said, 
in the Diesel works. That may not be so accurate. 
But perhaps accuracy is irrelevant here. 
Of course, it's a speciality, a status. 
What's important is, he's doing a correspondence course. 
At this point we will lift the curtain's edge. 
At dusk, besides absorbing Marx, he leafs 
through The Strength of Materials. Such books, 
incidentally, give off 
a special scent at night. 
Doesn't consider himself to be 
a simple worker. In fact, looks to the next class. 
At dusk he strives for new 
horizons. Metal's resistance 
is pleasanter in theory! He is bursting 
to be an engineer, to get at blueprints. 
And, come what may, he will be one. 
Like this... the amount of labour, 
surplus value... progress... 
And all this scholasticism about the market... 
He makes his way through dense thickets. 
Would like to marry. But hasn't the time. 
And he prefers parries, casual 
relationships, addresses. 
`Our future -- smiling -- engineer'. 
He remembers the sombre mass 
and gazes past the girls, out of the window. 
He is lonely in his own manner. 
He is a traitor to his class. 
Perhaps I am overdoing it. But 
the utilization of a class for hire 
is more dangerous than the perfidy of men. 
`Youth is sinful. Blood is hot,' he says. 
I even remember that plain-speaking poster 
that dealt with casual relationships. 
But there is no clinic and no doctor 
to guard you against these déclassé ones, to 
protect you from the inflammation. 
And if the age we live in is no wife to us, 
then it's so as not to pass on the infection 
from this generation to the next. 
That is a baton we can do without.

布洛茨基 L.D. Brodsky
As though the mercury's under its tongue, it won't 
talk. As though with the mercury in its sphincter, 
immobile, by a leaf-coated pond 
a statue stands white like a blight of winter. 
After such snow, there is nothing indeed: the ins 
and outs of centuries, pestered heather. 
That's what coming full circle means - 
when your countenance starts to resemble weather, 
when Pygmalion's vanished. And you are free 
to cloud your folds, to bare the navel. 
Future at last! That is, bleached debris 
of a glacier amid the five-lettered "never." 
Hence the routine of a goddess, nee 
alabaster, that lets roving pupils gorge on 
the heart of color and the temperature of the knee. 
That's what it looks like inside a virgin.

布洛茨基 L.D. Brodsky
I said fate plays a game without a score,
and who needs fish if you've got caviar?
The triumph of the Gothic style would come to pass
and turn you on--no need for coke, or grass.
I sit by the window. Outside, an aspen.
When I loved, I loved deeply. It wasn't often.

I said the forest's only part of a tree.
Who needs the whole girl if you've got her knee?
Sick of the dust raised by the modern era,
the Russian eye would rest on an Estonian spire.
I sit by the window. The dishes are done.
I was happy here. But I won't be again.

I wrote: The bulb looks at the flower in fear,
and love, as an act, lacks a verb; the zer-
o Euclid thought the vanishing point became
wasn't math--it was the nothingness of Time.
I sit by the window. And while I sit
my youth comes back. Sometimes I'd smile. Or spit.

I said that the leaf may destory the bud;
what's fertile falls in fallow soil--a dud;
that on the flat field, the unshadowed plain
nature spills the seeds of trees in vain.
I sit by the window. Hands lock my knees.
My heavy shadow's my squat company.

My song was out of tune, my voice was cracked,
but at least no chorus can ever sing it back.
That talk like this reaps no reward bewilders
no one--no one's legs rest on my sholders.
I sit by the window in the dark. Like an express,
the waves behind the wavelike curtain crash.

A loyal subject of these second-rate years,
I proudly admit that my finest ideas
are second-rate, and may the future take them
as trophies of my struggle against suffocation.
I sit in the dark. And it would be hard to figure out
which is worse; the dark inside, or the darkness out.
黑馬
幾乎是一首悲歌
喝茶
靜物
愛情
明代書信
阿赫瑪托娃百年祭
獻給E.R.
六年以後
佛洛倫薩的十二月
日子從我頭上滑過
鱈魚角催眠麯