蔗尾蜂房

 

塔什干的盛宴
--Sitor Situmorang (1924- ), 羅浩原 譯
忽必烈汗的時代數百年後的
某一天
我出席一場聯誼餐會
與塔什干的詩人們
同飲美酒、共嚐鮮果
都是烏茲別克農人的產品
他們繼承的是天際線
一望無際的草原
本地大學的一位俄國姑娘娜塔莎
問了個出人意表的問題：
請問您是否認為
詩人具有童心？
真想將她的臉蛋擁入懷中，可我只能回答：
我的好娜塔莎，妳的臉龐確實如
孩子一般純潔。是呀
詩人們就像孩子
希望他們的詩句令人一見難忘
恰似妳的容顏！
這時同仁們紛紛舉起酒杯說：祝您健康！
向普希金與巴斯特納克致敬！
娜塔莎怯怯地舉起玻璃杯，紅著臉
好像要說什麼似的
怔怔地隔著桌子
望著我的臉
好像一下子心領神會：
詩人原來會在
寫下第一首詩後
瞬間老成這樣
更多的伏特加與水果上桌
堆得滿盤滿缽
杯中也注滿美酒
我們亦高歌如吼
好似忽必烈汗留下的老兵
猝然被「時間」圍攻
打散在烏茲別克的草原上
只記得夜晚的營帳
與騎兵
很久以前，曾在伏爾加河的兩岸
Jamuan Di Tashkent
--Sitor Situmorang (1924- )
Suatu ketika
lama sesudah zamannya Kublai Khan
aku duduk di jamuan persahabatan
dengan penyair-penyair Tashkent,
minum anggur, menyantap buah-buahan
hasil petani-petani Uzbekistan
pewaris tepi langit
padang-padang luasnya
Natasya, gadis Rusia dari universitas setempat
memajukan pertanyaan tak diduga:
Apakah tuan setuju pendapat yang berkata
bahwa penyair itu bersemangat anak-anak?
Ingin memeluk wajahnya, aku hanya menjawab:
Natasya yang baik, sungguh wajahmu
sejernih wajah anak-anak. Memanglah
penyair seperti anak-anak.
Semoga sajak mereka kekal seperti
Wajahmu!
Rekan-rekan angkat gelas: untuk kesehatan Anda!
Untuk Pusykin dan Pasternak!
Natasya ragu angkat gelasnya, tersipu
hendak berkata sesuatu, lalu
tertegun di seberang meja
menatap wajahku,
seolah-olah kini merasa mengerti:
Penyair mendadak tua bangka
sedari detik menuliskan
sajaknya yang pertama.
Wodka, buah-buahan, ditambah
Ditumpuk dalam bejana-bejana.
Anggur dituang dalam gelas-gelas.
Kami pun menyanyi dengan suara gemuruh
Seperti sisa pasukan Kublai Khan
dikepung dadakan Waktu,
tercecer di padang-padang Uzbekistan
mengenang malam-malam kemah
pasukan berkuda
dulu, di pinggir-pinggir Sungai Wolga.
Sitor Situmorang, Sitor Situmorang: Kumpulan sajak, 1980-2005, Jakarta: Komuitas Bambu, 2006, pp. 146-147.
A Meal in Tashkent
--Sitor Situmorang (1924- )
One day
long after the time of Kublai Khan
I joined a communal meal
for poets from Tshkent,
drinking wine and tasting fruit
the produce of Uzbekistani farmers,
inheritor’s of the world’s horizon,
the vast steppes
Natasya, a young Russian woman from the local university
proffered an unexpected question:
Do you agree
that poets have the spirit of children?
I wanted to kiss her face, but could only answer:
Dear Natasya, your own face is truly as bright
as that of a child. Indeed,
poets are like children.
One hopes their poems will be as memorable
as your face!
My companions raised their glasses: To your health!
To Pushkin and Pasternak!
Natasya timidly raised her glass, bashful
but wanting to speak,
dumbstruck across the table
staring at my face
and instantly understanding:
the poet becomes ancient
the very moment he writes
his very first poem.
More vodka and fruit appeared
heaped in containers
Wine flowed into glasses
and we sang in a thunderous voice
like stragglers of Kublai Khan’s troops
unwittingly overtaken by Time,
and scattered on the Uzbekistani plains
recalling nights in tents
and armed horsemen
long ago
on the baks of the Volga.
Sitor Situmorang, John H. McGlynn, trans., To Love, To Wander: The Poetry of Sitor Situmorang, Jakarta: The Lontar Foundation, 1996, p.132-133.

 

舊金山金門大橋
--Sitor Situmorang (1924- ), 羅浩原 譯
十多首禪詩
揉成了金門的形狀
沉浸在其半圓弧線的是——
打坐中的太平洋
Jembatan Golden Gate, San Francisco
--Sitor Situmorang (1924- )
Selusin sajak Zen
menggumpal jadi sosok Golden Gate
terbenam di lengkung bulatannya —
Samadi Pasifik.
Golden Gate Bridge, San Francisco
--Sitor Situmorang (1924- ), translated by John H. McGlynn
A dozen Zen poems
Solidify in the Golden Gate,
Submerged in the arc of its sphere —
Pacific meditation.
Sitor Situmorang, John H. McGlynn, trans., To Love, To Wander: The Poetry of Sitor Situmorang, Jakarta: The Lontar Foundation, 1996, p.118.
John H. McGlynn, ed. & trans., On Foreign Shores: American Images in Indonesian Poetry, Jakarta: The Lontar Foundation, 1990, pp.20-21.

 
 
布列頓畜產工廠
--Taufiq Ismail (1935- ), 羅浩原 譯
這是一所生產鮮肉的工廠
這是一個系統
秋陽照人
這一片緩坡地，泥土肥沃
兩百平方米的牛糞
深可及膝
這是生產鏈的一環：
布列頓牧場的
肉牛畜欄
兩千隻牛齊聲哞叫
團結得令人感容
牠們的聲音描繪出了
玉米田
緩坡地
黑沃土
九千加侖的水塔
飼料攪拌屋
可秤五千公斤的磅秤
辦公室收存的
牛隻出生記錄帳目
甜粉的味道
浮盪著
連同玉米粉
洋溢在叫聲中
兩千隻牛齊聲哞叫
團結得令人感容
陽光斜照在
空調進氣孔
裡面是牛隻診所
哎呀！
染上螺旋菌與腹瀉的病牛
在肥胖牲口的監牢
愛荷華牛肉批發商會來檢查你們
這是個遍布全國的產業
罐頭工廠
與充滿幻想的廣告！
全靠屠宰場
兩千隻牛齊聲哞叫
團結得令人感容
牠們的叫聲描繪出了
玉米田
緩坡地
黑沃土
糖漿的甜味
與玉米粉塵
這是一所鮮肉工廠
這是一個系統
秋陽照在
牛棚上
畜產牛肉
布列頓出品
1971
Sapi Daging Petemakan Brenton
--Taufiq Ismail (1935- )
Inilah pabrik daging yang hidup
Inilah sebuah sistem
Matahari musim rontok bersinar
Tanahnya landai, lumpurnya subur
Dua ratus meter persegi tahi sapi
dalamnya satu dengkul
Mata rantai produksi kali ini adalah
kandang-kandang sapi daging
Peternakan Brenton
Dua ribu sapi menguak sekaligus
Dalam persatuan yang mengharukan
Suara mereka adalah
Ilustrasi padang-padang jagung
Tanah yang landai
Lumpur yang subur
Tangki air sembilan ribu galon
Kamar pengaduk makanan
Timbangan 5000 kilo
Kantor catatan kelahiran
buku hitung dagang
Dan bau serbuk manis
Melayang bersama
Tepung jagung
Hinggap pada suara
Dua ribu sapi menguak sekaligus
Dalam persatuan yang mengharukan
Matahari bersinar miring
Masuk celah peredaran udara
Klinik sapi
Hai!
Para pasien leptospira dan diarrea
Si gemuk ternak penjara
Iowa Beef Packers akan memperinci kalian
Industri ke seluruh negeri
Perusahaan pengalengan
Dan adpertensi penuh fantasi!
Lewat penjagalan
Dua ribu sapi menguak sekaligus
Dalam persatuan yang mengharukan
Suara mereka adalah
Ilustrasi padang-padang jagung
Tanah yang landai
Lumpur yang subur
Bau sirup yang manis
Debu tepung jagung
Inilah pabrik daging yang hidup
Inilah sebuah sistem
Matahari musim rontok bersinar
Di atap kandang-kandang
Peternakan sapi daging
Kepunyaan Brenton
1971
The Brenton Stockyards
--Taufiq Ismail (1935- ), translated by John H. McGlynn
This is factory of living flesh
This is a system
An autumn sun shines
On the rolling land, fertile muck
Two hundred square meters of cow dung
knee deep
One link in the chain of production
The cattle pens
of the Brenton Stockyards
Two thousand head of cattle bellow as one
In a moving solidarity
A sound that portrays
Corn fields
Rolling hills
Fertile muck
A nine-thousand gallon water tank
A room to mix the feed
A 5000-kilogram scale
A registration office where birth records are kept
in black ledgers
And the sweet smell of chaff
That floats in the air
With corn dust
To alight on the sound
Of a thousand cattle bellowing as one
In a moving solidarity
The sun's slanted rays
Enter the slatted vents
Of the stockyard clinic
What!?
You sick ones with leptospira and diarrhea
You fat ones in the stockyard prison
The Iowa Beef Packers are here to inspect you
An industry for the entire country
The butchering
The packing plant
And fanciful advertising!
Two thousand head of cattle bellow as one
In a moving solidarity
A sound that portrays
Corn fields
Rolling hills
Fertile muck
A sweet syrupy smell
Corn dust
This is factory of living flesh
This is a system
An autumn sun shines
On the roofs of the cattle pens
at the Brenton Stockyards
1971
John H. McGlynn, ed. & trans., On Foreign Shores: American Images in Indonesian Poetry, Jakarta: The Lontar Foundation, 1990, pp.74-77.

 
 

秋天已在俄國降臨
--Taufiq Ismail (1935- ), 羅浩原 譯
一隻巨鳥在一個清朗的夜晚，展開巨大雙翅，隆隆拍動，然後沈沈入睡，抖落的羽絨在又深又藍的秋空，浮動、糾纏
秋天已在俄國降臨
無數天鵝白的點點棉絮在清朗的夜晚上揚、飄浮、扭動，牠振振翅膀，散播著色彩與芬芳
秋天已在俄國降臨
巨鳥懶懶地揮動雙翅，捲起涼風微寒，樺樹的葉子變了顏色，巨鳥到達北極，牠照著海面看了一眼，又繼續翱翔到大地的另一端，掀起一股更寒冷的風
秋天已在俄國降臨
1972

艾爾帕索的清晨
--Ajip Rosidi (1938- ), 羅浩原 譯
星與月在天上放光明
地平線上：城市燈火閃爍如鯔魚
背對：灰色花崗岩山峰
迎面而來：自山谷的方向
秋風正要揚起

盡是數字、盡是符號
--Ajip Rosidi (1938- ), 羅浩原 譯
獻給安瓦爾
去鳳凰城的飛機上
女空服員問道：「請問您在何處下機？」
坐我旁邊的年邁老人把眼鏡往上一抬
說道：「我也不知道去哪。請幫我看看
機票上的哪裡一定有寫。」
從此處旅行到彼處
這個城到那個城：總歸都一樣。就像
那位不知自己去向何方的老人
凡事都聽憑處理，全在行程表上：
那些字母、數字與符號
卻不是全都可以被我理解
「請看
全都寫在機票上」
然後我闔眼入睡
因為一切早就全都安排好了
Angka-Angka dan Tanda-Tanda
--Ajip Rosidi (1938- )
buat Anwar
Dalam penerbangan menuju Phoenix
stewardess bertanya, "Di mana Tuan akan turun?"
Dan orang tua renta di sebelahku mengangkat kacamata:
"Tak tahu di mana. Tolong lihat
barangkali dalam tiket ada tercatat."
Perjalanan dari satu ke lain tempat
dari kota ke kota: selalu sama. Bagaikan
si orang tua yang tak tahu lagi mau ke mana
Semuanya sudah terserah, diatur dalam acara:
huruf-huruf, angka-angka dan tanda-tanda
yang tak semuanya dapat kupahami.
"Tolong lihat
dalam tiket semuanya sudah dicatat."
Lalu aku pun tidur
karena semuanya toh sudah diatur.
Figures and Signs
--Ajip Rosidi (1938- ), translated by John H. McGlynn
for Anwar
On the flight to Phoenix
the stewardess asked, "Where will you be getting off?"
The decrepit old man beside me raised his glasses to
say: "Look at the ticket; I don't know.
It must say there somewhere."
Journeys from one place to another
from one city to another: it's always just the same.
Like the old man who did not know where he was going
Everything's up-to-you, it's all been taken care of:
letters, figures and signs
not all of which I understand.
"Look at the ticket;
It must say there somewhere."
And proceeded to sleep
because it's all been taken care of.
John H. McGlynn, ed. & trans., On Foreign Shores: American Images in Indonesian Poetry, Jakarta: The Lontar Foundation, 1990, pp.94-95.

憶起井里汶的面具舞
--Ajip Rosidi (1938- )
人們在山巖上築起記功柱：
一座不停追尋的城市，嶄新、強大的首爾
處處玻璃櫥窗、彩色燈光，惶惑的靈魂
無暇他顧，在虛無的空氣中亂找亂抓
我看見人們浮沉於兩個世界：
自己的身影也映在其中
熱烈追逐明天的影子
卻又夢著越變越美的過去
在夏季行宮欣賞面具舞時
我方憶起卡里阿亞爾的井里汶面具舞有多美！
聆聽「唐樂」時，令我全身紓緩斜倚
這與巴里、巽他美妙的「加美蘭」音樂，何其神似！
我走得越遠、我見識越多
我越發珍惜自家那些被棄之不理的事情
Terkenang Topeng Cirebon
--Ajip Rosidi
Di atas gunung batu manusia membangun tugu:
Kota yang gelisah mencari, Seoul yang baru, perkasa
Dengan etalasi kaca, lampu-lampu berwarna, jiwanya ragu
Tak acuh tahu, menggapai-gapai dalam udara hampa.
Kulihat bangsa yang terumbang-ambing antara dua dunia:
Bagaikan tercermin diriku sendiri di sana!
Mengejar-ngejar gairah bayangan hari-esok
Memimpikan masa silam yang terasa kian lama kian elok!
Waktu menonton tari topeng di Istana Musim panas
Aku terkenang betapa indah topeng Cirebon dari Kalianyar!
Dan waktu kusimakkan musik Tang-ak, tubuhku tersandar lemas
Betapa indah gamelan Bali dan degung Sunda. Bagaikan terdengar!
Kian jauh aku pergi, kian banyak yang kulihat
Kian tinggi kuhargai milik sendiri yang tersia-sia tak dirawat.
Memory of a masked dance from Cirebon
--Ajip Rosidi, translated by Harry Aveling
On a stone mountain man has built a monument
A restlessly searching city, a new Seoul, brave
In its window displays, coloured lights, troubled souls
Uncaring, searching in an atmosphere of futility.
I see a people adrift between two worlds:
And I see myself reflected there.
Chasing with passion the shadow of tomorrow
Dreaming of a past which grows more beautiful as it grows more distant.
As I watch the masked dance in the Summer Palace
I remember the beauty of the Cirebon masked dance.
As I listen to Tang-ak, my body gently at rest
I remember the beauty of the gamelan of Bali.
The further I travel, the more I see
The more I value my own, carelessly wasted.
Harry Aveling, trans., Contemporary Indonesian Poetry: Poems in Bahasa Indonesia and English, St. Lucia, Queensland: University of Queensland Press, 1975, pp.88-9.

 
三十年代上海，奧地利藉畫家希夫(Friedrich Schiff, 1908-1968)的插畫及打油詩
上海崛起
--Laksmi Pamuntjak (1971- ), 羅浩原 譯
「看」她尖叫著，光著身子站在窗邊，
「上海這可就大了一倍
咱們錯過了可惜！」像顆珍奇異果、
又像混血水妖，她們似乎都生著副水蛇腰。
半是土來半是水、半是娃子半是女人，
她總算也是四季分明：冬風暴雪、
春葉鮮脆、細雨沙沙泛秋光
盛夏渾如蒸汽浴。
眼下她的濕熱烘得我一陣焦黃，
我的剛毅如鐵錨陷進了軟泥，
而她呢，兀自夢著翠玉、黃金、
象牙，還有那水晶蝦餃。
一夜過去，沒有結果：多少回
空剩一張外文便條。可她突然
焦慮起來，她的牙齒哆嗦著
而金飾，在陽光下閃爍著。
「我想去外灘後面走走」，過一會兒她說，
結果我們迂迴著走了好幾里路：
看著盲人吃豆酥餅、
流浪狗舔腳後跟。
路邊攤旁，孩子弓著身子在做功課
就著閃爍昏暗的燈光。「這不是孩子們的地方」
她難過地說，大概在想著她認識的某個孩子，
也這樣蜷曲著身子，像個胎兒，直到夜深。
那一夜，她被寂寞擊敗
她從未有過這種感覺，
「這個城市我受夠了」她在我胸前呢喃著。
第二天早上，她沒拉上窗簾。
外面，令人暈眩脫序
幢幢高樓崛起，
揚起一陣陣小調：
我不愁來
我不顧
只管嫁個超級富
他要死了
我不哭
我再嫁個有錢夫
Shanghai Rising
--Laksmi Pamuntjak (1971- )
“Look,” she cries, naked by the window,
“Shanghai has doubled its size
and we’ve missed it!” A strange fruit,
a mongrel nymph, they seem eerily the same.
Half land half water, half child half woman,
she too has distinct seasons: snowstorm in winter,
crisp in spring, drizzle rustling autumn’s light.
A steambath in summer.
Now she browns me in the heat of her damp,
and I sink into the mud to anchor my grit,
while she dreams of jade, gold and
ivory, and prawns in crystal wrappers.
Indehiscent, overnight: how many times
a foreign postscript. But of a sudden she
is anxious, her teeth curt and
metal, blinking against the sun.
“I want to go behind the Bund,” she later says,
and so we weave our way through the lis:
watch blind men eat bean cakes,
stray dogs nipping at their heels.
Over near the stalls, children are bent over homework
in the flicker of a low flame. “This is no fit place for a child.”
she says sadly, thinking, perhaps, of a child she once knew,
curled up, in fetal position, until deep into the night.
That night, she is assailed by a loneliness
such that she has never felt before.
“I’ve had enough of this city.” she whispers into my chest.
The next morning, she doesn’t draw the curtain.
Outside, over the giddy anarchy
of towers rising,
the soft strains of a lyric:
Me no worry
Me no care
Me going to marry a millionaire
And if he die
Me no cry
Me going to get another guy.
Laksmi Pamuntjak, Ellipsis: Poems and Prose Poems, Jakarta & Singapore: Equinox Publishing, 2006, pp.34-35.

 
Kuslan Budiman (1935- )

北京—上海
--Kuslan Budiman (1935- ), 羅浩原 譯
我告別古老的城門
掠過了一棟棟土磚房
隨著火車疾馳
穿越了田野
遠處的山巒是灰色的
藍天上聚積著雲
攪動了我難以平靜的心
憑一把利刃
我切開橘紅果肉的西瓜
裡面一片朱紅
朱紅得像孩子的嘴唇
我細讀了妳的信：
我的盼望沒變
仍想辦個盛大的餞別宴！
但我的愛人呀
不必強求一個盛宴
火車向前奔
回首日已盡
晨光幽微幕重重
一路跋涉到上海
Beijing-Shanghai
--Kuslan Budiman (1935- )
gerbang kuno kutinggalkan
rumah-rumah lempung kulalui
kereta itu lari bandang
menembusi ladang-ladang
gunung kelabu di kejauhan
langit biru bergumpal awan
mengusik hati jadi tak jenjam
dengan pisau tajam
kubelah semangka jingga
dalamnya merah
semerah bibir si bocah
kuteliti surat-suratmu:
belum kuasa sudah bias
bikin pesta besar luar biasa!
tapi kekasihku
tak ditentukan oleh pesta
kereta itu meluncur kencang
menjauhi matahari
dengan selubung senja remang
mengarungi kota Shanghai
Awal Kembara, ed., Di Negeri Orang: Puisi Penyair Indonesia Eksil, Jakarta: Amanah-Lontar, 2002, p.114.
Beijing-Shanghai
--Kuslan Budiman (1935- ), translated by Harry Aveling
I pass through an ancient gateway
leave baked-clay houses behind
with the train that runs
so quickly through the fields
grey mountains in the distance
a blue sky gathering clouds
disturbs my restless heart
cutting a watermelon
with a sharp knife
I find the fruit inside
is as red as a young girl’s lips
I study your letters
and can do nothing
I want to have a big party
but, my Darling,
we have no time for parties
the train speeds quickly ahead
leaving the sun behind
veiled in the dark dawn
which covers Shanghai
John H. McGlynn & A. Kohar Ibrahim, ed., Menagerie 6: Indonesian Fiction, Poetry, Photographs, Essays, Jakarta: The Lontar Foundation, 2004, p.113.