辛波絲卡〈印象劇場〉/ 阿健 譯

〈Theatre Impressions〉

For me the tragedy's most important act is the sixth:
the raising of the dead from the stage's battlegrounds,
the straightening of wigs and fancy gowns,
removing knives from stricken breasts,
taking nooses from lifeless necks,
lining up among the living
to face the audience.

The bows, both solo and ensemble—
the pale hand on the wounded heart,
the curtsies of the hapless suicide,
the bobbing of the chopped-off head.

The bows in pairs—
rage extends its aaarm to meekness,
the victim's eyes smile at the torturer,
the rebel indulgently walks beside the tyrant.

Eternity trampled by the golden slipper's toe.
Redeeming values swept aside with the swish of a
wide-brimmed hat.
The unrepentant urge to start all over tomorrow.

Now enter, single file, the hosts who died early on,
in Act 3 and 4, or between scenes.
The miraculous return of all those lost without a trace.

The thought that they've been waiting patiently offstage
without taking off their makeup
or their costumes
moves me more than all the tragedy's tirades.

But the curtain's fall is the most uplifting part,
the things you see before it hits the floor:
here one hand quickly reaches for a flower,
there another hand picks up a fallen sword.
Only then, one last, unseen, hand
does his duty
and grabs me by the throat.

對我來講 ，悲劇最重要的一幕是第六幕：
從戰場死去的亡者全都活回來，
假髮與特製長袍也都重新改過，
利刃由刺穿的胸腑中拔出，
套索自已無生息的脖子解下，
這些全都成排地列在生者當中
面對所有的觀眾。


在個別的及全體的鞠恭謝幕中：
覆在受傷心口的那隻蒼白的手，
那名自殺的不 幸 女士的屈膝禮，
被砍下的頭顱所施行的點頭禮。

在成對搭檔的鞠恭謝幕中：
憤怒將臂膀搭向溫順，
受難者的眼球對施刑者微笑，
叛變者自在地走在獨裁者的身旁。


永恆被黃金拖鞋的尖部踐踩。
挽救回來的評價被帽緣掃得刷刷作響。
無悔激勵明日全新的開始。

先前相繼死去的角色，那些在第三、第四幕
或是在過場時刻死去的，現在成一路進場。
從未留下痕跡的消失人物奇蹟般重返。
想到他們在後台耐心等待
並未隨即卸除臉上粉墨
或一身的裝束
這些遠比悲劇的長篇大義更讓我感動。


然而布幕降下才是最讓人振奮的部份，
就在它觸及地面之前你所目睹的幾件事：
這邊有一隻手迅速伸出 接下一朵花，
那邊另一隻手拾起掉在地上的劍。
只有在最後這時候，一隻看不見的手
克盡了它的責任義務
緊緊掐扣住我的咽喉。

*東華大學讀詩會「運詩人」唸誦、討論詩稿
原文選自《Poems new and collected 》
翻譯感謝阿健提供