美国 布洛茨基 L.D. Brodsky  美国   (1941~1996)
一首一页

布洛茨基 L.D. Brodsky

黑色的穹窿也比它四脚明亮。
它无法与黑暗溶为一体。

在那个夜晚,我们坐在篝火旁边
一匹黑色的马儿映入眼底。

我不记得比它更黑的物体。
它的四脚黑如乌煤。
它黑得如同夜晚,如同空虚。
周身黑咕隆咚,从鬃到尾。
但它那没有鞍子的脊背上
却是另外一种黑暗。
它纹丝不动地伫立。仿佛沉睡酣酣。
它蹄子上的黑暗令人胆战。

它浑身漆黑,感觉不到身影。
如此漆黑,黑到了顶点。
如此漆黑,仿佛处于针的内部。
如此漆黑,就像子夜的黑暗。
如此漆黑,如同它前方的树木。
恰似肋骨间的凹陷的胸脯。
恰似地窖深处的粮仓。
我想:我们的体内是漆黑一团。

可它仍在我们眼前发黑!
钟表上还只是子夜时分。
它的腹股中笼罩着无底的黑暗。
它一步也没有朝我们靠近。
它的脊背已经辨认不清,
明亮之斑没剩下一毫一丝。
它的双眼白光一闪,像手指一弹。
那瞳孔更是令人畏惧。

它仿佛是某人的底片。
它为何在我们中间停留?
为何不从篝火旁边走开,
驻足直到黎明降临的时候?
为何呼吸着黑色的空气,
把压坏的树枝弄得瑟瑟嗖嗖?
为何从眼中射出黑色的光芒?

它在我们中间寻找骑手。


布洛茨基 L.D. Brodsky

昔日,我站在交易所的圆柱下面,
等到冰凉的雨丝飘拂结束。
我以为这是上帝赐予的礼品。
也许我没有猜错。我曾经幸福。
过得像一名天使的俘虏。
踏着妖魔鬼怪走来走去。
像雅各一样,在前厅等候
沿着梯子跑下来的一名美女。
全都一去不复,
不知去了何处。
消失得无影无踪。真巧,
当我眺望窗外,写下“何处”,
却没有在后面打上问号。
时值九月。眼前是一片公园。
遥远的雷鸣涌进我的耳里。
厚密的叶间挂满成熟的梨子,
恰似刚毅雄浑的标志。

犹如守财奴把亲戚只放进厨房,
我昏昏欲睡的意识中唯有暴雨,
此时此刻啊,渗入我耳中的
早已不是噪音,虽说还不算乐曲。


布洛茨基 L.D. Brodsky

“昨夜我梦见了彼特罗夫。
他犹如活人站在床边。
我要想向他道一声问候,
只怕说出的话儿没有深浅。”

她发出一声叹息.将目光
移向木框中的一幅版画,
画中有个男人戴着草帽.
前头的犍牛神情疲乏。

彼特罗夫曾与她姐姐结婚,
可他爱的却是自己的妻妹;
前年夏天,他在度假前向她表白,
可是,他却不幸溺死于河水。

键牛。稻田。无际的天穹。
农夫。犁。在新的犁沟下面——
犹如谷粒,写着“赠给伊凡诺娃”,
而下方的署名却无法分辨。

我喝完茶,从桌边起身。
她的眼中闪烁着金光。
我当即明白,若是他此刻复活,
她定会做他娇美的新娘。

她随我身后走入庭院,
一双眼睛饱含着柔情,
仿佛她有了特殊的装备,
能与遥远的星辰发生对应。


布洛茨基 L.D. Brodsky

死神将会来临,取走你的眼睛。
——帕韦泽


1

人与物将我们
团团包围。无论是物是人
都在折腾着我们的眼睛。
倒不如在黑暗中生存。

我坐在公园里,
在长凳上观望
结伴而行的一家人。
我厌倦了亮光。

根据日历的记载,
这是一月.是冬天。
待到厌倦黑暗时,
我再开口发言。

2

时候到了。我准备发言。
从何说起?这没什么关系。
只要开口就行。我能沉默,
但最好还是诉说几句。

说什么?说白昼,说黑夜?
或者东扯西拉。
要么谈谈物体。
对,谈物不谈人吧。

人是注定要死的。
所有的人。我也难免一死。
谈人只是徒劳无功,
如同往空气中书写文字。

3

我的血液变冷。
冷得实在厉害,
胜于冰冻三尺的河水。
人不是我的所爱。

人的外貌今我厌恶。
他们那一张张脸膛
嫁接于生命的躯体,
显出不会脱落的模样。

他们面部的表情
使灵魂感到可憎。
犹如对一个陌生者
进行阿谀奉承。

4

物更为赏心悦目。
无论是根据它们的外形
或是深入它们的内部,
都没有善恶可分。

物体的内部——是尘埃
残骸。蛀木虫。内壁。
还有干枯的幼虫。
摸上去不太舒适。

尘埃。被拧开的灯光
照亮的只能是尘埃。
哪怕物体封得密不透气,
它也被照得富有光彩。

5

这古老的食品橱,
无论是外形还是里面,
都能让我联想起
那个巴黎圣母院。

搁在内部的是一片黑暗
拖布和圣徒的法衣
也无法拭去尘埃。
通常,就连物体自己

也不妄想战胜尘埃,
并不为此枉费心机。
因为尘埃——是时间的躯体,
时间的血肉之躯。

6

近来我经常沉睡
在白昼的明亮的时刻。
似乎死神眼下正在
把我试验,把我检测,

它把一面镜子放近
我依然呼吸的嘴唇。
看我是否能够承受
在白昼中不复生存。

我没有动弹。我的双腿
冻得恰似两根冰柱。
一根根青筋纵横交错,
犹如大理石上的纹路。

7

物有自己全盘的考虑,
这一点令人惊愕,
它们纷纷退出
以词语构成的人的世界。

物不停滞,也不运动——
这全是胡言乱语。
物也有自身的宇宙空间,
绝不存在超然在外的东西。

物能被砸碎、焚烧,
或被掏空、毁坏、抛弃。
然而在这些场合,
它不会大骂:“他妈的!”

8

树木。绿荫。以及
树下供根须缠卷的土地。
黏土的歪歪扭扭的图案
还有一排一排的磐石。

树根盘绕交织。
石头则以固有的重量,
自成一体,摆脱了
根须的反复纠缠。

磐石一动也不动。
无法推走,无法搬移。
树荫。树荫中的人
恰似落网的鱼。

9

物体。物体的褐色。
它的轮廓已经模糊。
一片昏暗。此外,
什么也没有。这是静物。

死神降临并且发现
一具尸体,它的安宁
表明死神已经来访,
犹如翩然而至的女人。

这真是荒谬绝伦:
头颅、骨胳、钐镰。
“死神将会来临,
取走你的双眼。”

10

圣母对基督说:
“你是我儿子还是上帝?
你被钉在十字架上。
我怎能回到家里?

“当我还没有弄清
你是我儿子还是上帝
你是死了还是活着,
我怎能跨进屋子?”

基督对她答复说:
“妇人啊,这其实没有关系,
无论是死了还是活着,
儿子还是上帝.反正都是属于你。”


布洛茨基 L.D. Brodsky

今夜我两次从梦中醒来,
走向窗户,窗外的灯火
如同苍白的省略号,试图
补充我梦中破碎的词句,
但也归于空茫,没有带来安抚。

我梦见你已经怀孕.尽管
这么多年我俩一直分居。
我仍然感觉到自己的罪过.
高兴地去用双手抚摸你的腹部,
可是摸到的却是我的衣裤

和开关。我走到窗口,
知道把你一人留在
那儿,在黑暗中,在梦里,
你在那儿耐心地等待
我的归来,没把我故意的别离

看成过错。因为黑暗
复活了被光线摧毁的事物。
我们在黑暗中结婚,举行仪式,
我们是双倍的怪物,孩子们
只是我们赤身裸体的无罪的证明。

在任何一个将来的夜晚
你会重新出现,消瘦、疲惫
我将看见儿子或女儿
仍未取名, ——那时我呀,
不再伸手去摸灯的开关。

我没有权利把你们
抛留在那阴影的王国,
被隔在白昼的篱栅之外,
无言无语地屈从着
我无法企及的活生生的现实。


布洛茨基 L.D. Brodsky

“很快即满十三载,从挣脱鸟笼的夜莺
飞去时算起。皇帝望着黑夜出神,
用蒙罪的裁缝的血冲服丸药,
仰躺在枕头上,他上足发条,
沉浸于轻歌曼曲催眠的梦境。
如今我们在人间的天堂欢庆
这样一些平淡的奇数的周年。
那面能抚平皱纹的镜子一年
比一年昂贵。我们的小花园在荒芜。
天空被屋顶刺穿,像病人的肩头
和后脑(我们仅睹其背项)。
我时常为太子解释天象。
可他只知道打趣开心。
卿卿,此为你的‘野鸭’所写之信,
用水墨在皇后赐给的宣纸上誊抄。
不知何故,纸愈来愈多,米却愈来愈少。”

“俗话说:千里之行,始于足下。
可惜,那远远不止千里的归途呀,
并不始于足下,尤其
当你每次都从零算起。
一千里亦罢,两千里亦罢,
反正你此时远离你的家,
言语无用,数字更于事无济,
尤其是零;无奈是一场瘟疫。

风向西边吹,一直吹到长城,
像黄色的豆粒从胀裂的豆荚中飞迸。
长城上,人像象形文字,恐惧
而又怪异;像其它一些潦草的字迹。
朝着一个方向的运动
在把我拉长,像马的头颅。
野麦的焦穗磨擦着暗影,
耗尽了体内残存的气力。”


布洛茨基 L.D. Brodsky

书页和烈焰,麦粒和磨盘,
锐利的斧和斩断的发——上帝
留存一切;更留存他视为其声的
宽恕的言词和爱的话语。

那词语中,脉搏在撕扯骨骼在爆裂,
还有铁锹的敲击;低沉而均匀,
生命仅一次,所以死者的话语更清晰,
胜过铺盖的厚絮下这片含混的声音。

伟大的灵魂啊,你找到了那词语,
一个跨越海洋的鞠躬,向你,
也向那熟睡在故土的易腐的部分,
是你让聋哑的宇宙有了听说的能力。


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

黑海之滨的第二个
圣诞,不冻如故。
众王之星高坐于港口界限鲜明的
地平线上,而我无法明说
没有你我不能活。就如
这张纸所证明的,我确实存在:充实地
生活,痛饮啤酒,弄脏树叶,
又践踏草地。

在胜者袭击之前退向南方,
我坐在咖啡馆里,从这里我俩
静静爆发进入未来
根据严酷的法律
那种幸福不能持久。我的手指
在穷人的大理石上尝试你的脸庞。远方,
锦缎般的仙女用急促的舞姿
炫耀大腿。

正是你所崇拜——假如她扩大污渍,
从阴暗的窗口隐约一闪,象征着
你们自己——你要告诫我们什么吗?
未来已经抵达又不堪
忍受。有东西落下,拉琴人走了,
音乐在衰落,深深的皱痕
在海面和男人的脸上展开。
但是无风。

某一天慢慢上升的激浪,但是
呵,不是我们,将席卷围栏,
到达浪顶,榨出无助的尖叫,蜂拥而来
寻找你喝酒,打瞌睡,在太阳下
晒你潮湿瘦小罩衫的
地点——朝向破旧长凳,破裂的木板路,
以及为将来的软体动物营造的
淤泥之床。

雅尔塔,1971年


布洛茨基 L.D. Brodsky

这么久生活在一起都是那样,星期二
现在元月第二天重又降临
使她讶异的眉毛抬起
正如雨中挡风玻璃上的刮水器,
抹掉她迷蒙的忧伤,现出
那路前无云的远景。

这么久生活在一起都是那样,一次
雪花飘临,仿佛无边无垠;
唯恐雪片弄疼她的眼睑,
我用手为她遮掩,但它们似乎
不知眼睛的珍贵柔嫩,
依然撞击我的手掌犹如蝶群。

这么相异所有的新奇都是那样
睡眠的纠缠会变得羞惭
无论分析得多么透彻;
而当我的嘴吹灭烛焰,
飘过我的双肩,她的朱唇
寻觅着,一心一意与我相吻。

这么久生活在一起都是那样 所有
破碎的纸玫瑰俱已逝去,
整个小桦丛长过墙头,
因某种偶然,我们有了积蓄,
整整三十天,海浪迤逦,
夕阳以火焰威胁着土耳其。

这么久生活在一起都是那样 没有
书籍,椅子,家具——唯有那老床——
那个三角形,在这之前
只有直角的两边,某些
熟知的人头就这样盘旋
于爱情连接的两点。

这么久生活在一起都是那样 她
和我,我们共同的影子,曾经是
双扉之门,甚至我们沉浸于
劳作和睡眠中,都一直紧闭:
门扉奇妙地裂开然后我们出去
走向未来,走向夜色里。

1969年


布洛茨基 L.D. Brodsky

他一直没有回到他古老的佛洛伦萨,甚至在死后……
——安娜·阿赫玛托娃《但丁》


那些门洞吸入空气吐出水雾;可是你
不会回到浅浅的阿诺河,那里
闲适的情侣如新的野兽沿着河岸的弯曲。
门砰地关上,猛兽撞击背板,其实,
这个城市的气氛仍然保留着一点
阴暗的森林,某个时代
它是一座美丽的都市
有人简单地翻起衣领以期
避免路人凝视的目光。


在阴冷的晨昏沉没,瞳仁闪动
吞下灰暗街灯麻木记忆的药丸。
从意大利女人的阴影处敞开围栏,
门口,几百年后,赞许放逐的
最好理由:一个人不能在
火山旁生存却又伸不出拳头,
尽管它的主人死时它不会紧握。
由于死亡总为从规模上来说的第二个
佛洛伦萨以及它天堂的建筑。


正午凳下的猫儿停下来察看阴影
是否是黑的,这是老桥(如今已修茸一新)
充盈着买卖小玩意的嘈杂声音,
切利尼在这儿凝视山坡耀眼的蓝意。
拱起的砖块梳弄着漂浮物。
当她仔细检查小贩的兽群,
过路美人那松散的金发,
在拱廊下忽然发出熠熠光华,
如黑发王国中天使的遗迹。


他减小钢笔在纸上的沙沙声响,
插入很多圈涂,又把这归结于
太滑的纸面,逗点和句点。确实,
好些平常的字眼中,当你写M
──像双眉,钢笔无意间弯滑:
墨水要比血液诚挚。
一张脸,隐含润湿的辞句
企望干涸刚才所说的话语,
想碎裂的纸片,假笑被阴影吸去。


码头类似阻塞的火车。那些
潮湿昏黄的宫殿齐腰沉入地下。
裹大衣的幽灵沿门口
阴湿的嘴巴,爬向衰萎,无聊,
磨损的臼齿,同其命定的数字16,
朝向红肿炎痛的上颚。
无声地,灌输恐惧,
终端的小铃声声刺耳:"等着!"
两个老太婆放你进去,她们颇像图形8


无聊的酒吧,你帽子的阴影中,
眼睛沿视线一一分辨壁画、仙女和美童。
在笼中拼凑押韵酸涩的收成,
成熟的金翅雀卖弄高昂的花腔,
偶然的阳光撒向宫殿
及安葬洛伦佐的圣器收藏间
穿过厚厚的窗帘,逗弄纹理斑斓的
大理石,一桶桶雪白的马鞭草:
还有鸟儿在琴弦和腊万纳城内的容光焕发。

吸入空气,吐出水雾,那些门洞
在佛洛伦萨砰地关上,几许人活着,一个
思念某夜(这也许适合你的信念)——
那是你第一次听说爱情
还不能推动星星(或月亮)。
由于爱把事物分成两份,两半,
像你梦中的铜钱,像你对死亡
的虚妄恐惧。假如爱改变南方
星群,她们就会奔向室女星座。


石穴回荡着闸车刺耳的尖鸣。
十字路口相交叉的骨殖把你
吓得要死。在十二月低矮的天空下
布鲁列雷斯基放在这儿的巨卵
从神圣的圆顶锐利的眼眶里
猛地迸并出眼泪。交通警察在空中
轻快地挥手犹如字母X。
高音喇叭一直吠叫不断增长的税款。
哦。那难以抛弃的活生生的面具!


这些不可重逢的城市。太阳
在它们寒酷的窗口抛掷金子,
但我还是没到入口,找不到合适的数量。
这儿还是六座桥梁横越钝滞的河道
这儿甚至是唇与唇初次相触的地方
笔与纸炽烈相贴的地方。
那么多拱顶、廊柱和铁像,这会玷污你的镜头。
拥挤,窒密,这儿庞大的车流,
从由此就死去的人嘴里说出。

1976年


布洛茨基 L.D. Brodsky
日子从我头上滑过
宛若云彩掠过树梢,
在林子的背后
汇成白色的一群。
定位在冷河的上方——
没有牛铃;或哞哞的叫唤——
日子将它们宏大的形体
压在牛栏的围篱上。
小山排成的这地平线
不呼吐逃亡的词句。
清朗的黎明有时
不留一线来过的踪迹。
在时间长河里运行
夜晚快速远航
远远越过欧椋鸟的家,
远远越过黑色的土地。
(1964年)

布洛茨基 L.D. Brodsky
鳕鱼角催眠曲(选译)
门嘎吱作响。鳕鱼出现在门槛。
请求进餐,诚然代表上帝。
你不会一毛不拔地放走来客。
你为他指路。道路弯弯曲曲。
鳕鱼走开,消失在远方。
可是,又一条鳕鱼
酷像前者,用嘴把门推开。
(两条鱼极其相像,如同茶杯两只。)
整夜,他们结伴而行。
不过,住在海边,你一定深知
该怎样睡觉,并在耳边抑住
鳕鱼匀整的脚步的声息。
睡吧。大地不是圆的。它
只不过很长:满是谷地、山丘。
比大地更长的——是海洋:波浪
时而奔向沙滩,像皱纹爬上额头。
而长于波浪和大地的
唯有一连串的白昼
和夜晚。随后是浓雾:
有天使的天堂,有魔鬼的地狱。
然而,比那“一连串”长百倍的
是对生命的认识和对死亡的沉思。
比死亡的深思长百倍的
是关于虚无的思考,可是视力
未必达到那里,眼睛自动
关闭,以便看见物体。
只有这样,在梦中,才能使双眼
习惯于物体。在这些梦里
或有吉祥,或有凶兆,取决于沉睡者。
鳕鱼把门弄得嘎吱嘎吱。
(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.
黑马
几乎是一首悲歌
喝茶
静物
爱情
明代书信
阿赫玛托娃百年祭
献给E.R.
六年以后
佛洛伦萨的十二月
日子从我头上滑过
鳕鱼角催眠曲