蒙塔莱一首悼亡诗

可怜的艺术
蒙塔莱
那幅画
在画架上，要求画它的人
牺牲自己，可要那买了它
却不知道挂哪儿的人牺牲更多。
有几年我只画捕鸟的诱饵
和被捕到袋子里的鸟儿
在蓝色的糖袋子或包装纸上，
用酒或咖啡做颜料
如果背景是流苏般的大海
我就用牙膏涂抹。在圣安德海斯
荣格凯德找到了他的凝冻的光
而我则用烟灰和卡布其诺的残渣
作画，那小盒子
用塑料纸和樟脑保护
（可不怎们成功）。
这是设法在我自个里的空空如也
和你曾是一切而我不曾明白中
苟延残喘的那一部分我。
Poor Art
Eugenio Montale, translated by G. SIngch
The painting
on the easel demands sacrifices of him
who paints it and even more of him who buys it
and doesn’t know where to hang it.
For some years I have only painted decoys
and birds caught in sacks
on blue sugar bags or wrapping paper,
with wine and coffee for the colours
and smears of toothpaste if the background
was a tasselled sea. I also composed
with ashes and the dregs of cappuccino
at Sainte-Adresse (1) where Jongkindfound (2)
his frozen lights and the packet
was protected by cellophane and camphor
(without much success).
This is the part of me that has managed to survive
of the nothing that was in me and
of everything that you were without knowing it.
From Diario Del’ 71，选自”Enugenio Montale New Poems: A selection form Satura and Diario del ’71 e del’ 72”, translated by G. SIngch. Chatto & Windus, London, 1976.
此诗是纪念他早逝的妻子Drusilla Tanzi，在诗中被他称作Mosca. 蒙塔莱晚期的三部诗集Xenia (1966), Satura (1971) and Diario del '71 e del '72 (1973)，冷静沉痛地表现了Mosca去世后的存在。F.R.Leavis认为作为悼亡诗，蒙塔莱的这一系列诗歌比哈代的名篇”The Voice”( http://rpo.library.utoronto.ca/poem/928.html)更深刻，因为哈代还是浪漫的，他追忆的亡妻是那个年轻时爱恋的女子。而蒙塔莱是经历妻子不在中的在，她的死亡的存在，和她已失去的存在。Mosca是她自己，而不是诗人的思恋思乡般的描画。所以蒙塔莱不能看见她的脸，而是听到她的声音。
注：
(1) Sainte-Adresse: 法国西北部的一个小镇
（2）Johan Barthold Jongkind (3 June 1819 – 9 February 1891): 荷兰画家、版画家，他是流飞的光和折射光绘画的先驱，影响了莫奈。
http://www.impressionniste.net/jongkind_johan.htm