帕斯卡爾的遺囑

　　This pocket-sized paperback is one of the twenty-four titles published for 2017 Hong Kong International Poetry Nights. The theme of IPHHK2017 is “Ancient Enmity”. IPNHK is one of the most influential international poetry events in Asia. From 22–26 November 2017, over 20 invited poets from various countries will be in Hong Kong to read their works based on the theme “Ancient Enmity.” Included in the anthology and box set, these unique works are presented with Chinese and English translations in bilingual or trilingual formats.

作者簡介

哈里斯‧武拉維亞諾斯Haris Vlavianos

　　詩人、譯者、學者，1957年出生於羅馬，在布里斯托大學學習經濟學和哲學，在牛津大學（三一學院）取得哲學碩士和哲學博士學位。著有十二本詩集，其中Vacation in Reality（2009）獲Diavazo詩歌獎並入選希臘國家詩歌獎決選名單，另外Sonnets of Despair（2011）也入選過該獎項決選名單。他曾將但丁的《神曲》譯為希臘文出版。2005年2月，意大利總理親自為他頒發Cavaliere騎士名譽，意大利但丁學會亦頒發但丁獎，表彰他對意大利文化的貢獻。

　　(Greece 希臘)

　　Haris Vlavianos , born in Rome in 1957, is a prolific poet, translator and scholar. He studied Economics and Philosophy at the University of Bristol (B.Sc) and Politics, History and International Relations (M.Phil, D.Phil) at the University of Oxford (Trinity College). He has published twelve collections of poetry, including Vacation in Reality (2009), which won the prestigious “Diavazo” Poetry Prize and was short-listed for National Poetry Prize, and Sonnets of Despair (2011) which was also short-listed for the National Poetry Prize. For his contribution in promoting Italian literature and culture in Greece, the President of the Italian Republic bestowed upon him in February 2005 the title of “Cavaliere”, while the Dante Society of Italy awarded him the “Dante Prize” for his publications on the Divine Comedy.
 

另一種詩意風格的詩（變奏）
擬華萊士‧史蒂文斯
 
I
清水在閃閃發光的花瓶裹。
黃玫瑰和紅玫瑰。
房中白光如雪。
雪，新鮮的（冬季的尾聲）
輕柔墜落在虛構的風景裹。
下午數度歸來，悄無聲息，
沒有秘密，沒有焦躁的面孔。
圓形花瓶。
彩繪玫瑰瓷器。
黃與紅。
水──沉靜的虛空。
 
II
而這水，
雪，
差不多足以構成
一種新的白
──比花的意義更為必要
綻放在冷冽的幸福回憶裏。
（你出神的視線
證明，想像可以
一遍又一遍袒露記憶）。
 
III
大腦請求逃離。
思維
（某種轉移的可能）
已經力竭。
玫瑰，花瓶，未曾存在，
此時亦不存在。
而這些詞
繼續墜落──
真實生活的雪花
落在詩的空白處。
 
Poem of Another Poetics [Variation]
Following Wallace Stevens
 
I
Crystal-clear water in a glistening vase.
Yellow and red roses.
White light in the room, like snow.
Fresh snow (it’s the end of winter)
softly falling on the invented place.
The afternoons are returning without sounds,
without secrets, without impatient faces
Round vase.
Porcelain painted with roses.
Yellow and red.
The water—unruffled emptiness.
 
II
And still the water,
the snow,
once were enough to compose
a new whiteness
—more necessary than the meaning of flowers
blooming inside the cool memory of happiness.
(Your ecstatic gaze
confirms that imagination
can lay bare the memory again and again).
 
III
The mind seeks to escape.
This thought
(the possibility of the specific metaphor)
has been exhausted.
The roses, the vase, did not exist.
They do not exist.
The words however
keep fa11ing－
snowflakes of a real life
in the margins of the poem.