大不里士
整座城都包括在一张织毯上 －卡尔维诺
一座生长在地毯上的城市
城市的街巷内铺挂满了织毯
织毯的款式却大不一样
象来往的行人的装束一样
城堡内一张古萨伐维猎毯
一队王公逐鹿于鲜花间
商场中游牧毯、丝绸毯精呈
大不里士旋花毯令人目瞪
市场上的人们操各种口音
高加索的牧民，库尔德的士兵
一家亚美尼亚人的小理发店
就开在香料柜台的街对面
孜然、胡椒、肉桂和丁香
混着乳香、檀香、安息香和沉香
店里间有位土库曼姑娘
她的一双眼睛把满屋照亮
她从远方来到这座城市
一张未织成的壁毯紧随在身旁
毯面上是她的心血和成长
城里的新鲜还要赶着织上
清真塔传过来宣祷的声响
走进来几位赶祷的阿赛拜疆
他们脱下厚皮边的毡帽
铺开了洁净的卑路支祷毯
罗尔人拉嗓门敲着精铜器
乘午祷的时辰引人留意
餐馆披白巾的阿富汗小伙们
在窗口探着头把客人偷趣
丝绸坊的公子催人来说媒
珐琅店、珠宝商也不再彷徨
姑娘家一直是沉默不语
她还没有赶织好她的嫁妆
城南花园中的石榴和樱桃
蓝湖、蓝寺和蓝砖花纹
再织两只黄公鸡，两条黑狗
和天空上一群洁白的绵羊
一座生长在绿洲上的城市
城市的四周是黄沙戈壁
来了一位勤劳美丽的纺织娘
把一座城市织在了牧毯上
2003/04/28
==============================
读卡尔维诺《看不见的城市》，总想寻找那一座一切都包括在
织毯中的城。波斯纪行终于遇到了一座相仿的城市－大不里士
。这是一座伊朗西北部靠近高加索和土尔其边界的城，一个关
于织毯的城。如果说波斯是一个织毯的国家，这城就是织毯中
的织毯。
此篇是波斯纪行第二篇，应放在《塔自耶》前面。本不应如此
匆匆拿出来，只因赶一个日子。又应玛雅的要求添此后记。
*******************
大不里士 Tabriz
萨伐维 Safavid
猎毯 Hunter mat
祷毯 Kilim or prayer mat
卑路支 Baluchi
牧毯 Gabbeh
旋花毯 Tabriz flower carpet: (intricate flowers and tendrils circled).
- 璋wposted on 04/29/2003
针针线线，密密层层
哪里来的绣娘她不说话
该说的话都悄悄缝在壁毯上
求天求地许给她个好人家 - Re: 璋wposted on 04/29/2003
当哈德良皇帝和布什的军队
在同一天越过幼发拉底河
年轻而古老的桥上扬起风沙
人们说,你的编年史错误百出
我说,文字就是沙粒值得堪查
这一天的黄昏战士陈骨杀场
这一天新娘的血流过边疆
落日孤漠,废墟迎来宫殿的节日
象形的花朵缠绕着玫瑰的音乐
一座方尖碑记录了他们的誓言
a poem with classic rhythm that copy from mr xw's poetry style - posted on 04/30/2003
The stanza structure of this lyric, which loosely patterns a rhythmic formation of xyaa and, occasionally, aabb, is a skillful choice for depicting this kaleidoscopic landscape. Ideally, each stanza would function as a independent module or bead, while at the same time, following the string of the poetic narration, connecting to the preceding and following stanzas. The much famed Fitzgerald's version of Rubaiyat of Omar Khayyam could be used as a good model for the further refinement of the present stanza structure and functionality, despite the noticeable differences here and there. The rubaiyat also uses the four-line structure, although it adopts a much more restrictive, yet highly rhythmic, pattern of aaba. In many ways, it resembles the classic Chinese poetic style of Qi1 Jue2. Although there is probably no apparent nor inherent connection between the rubaiyatical style or its progeny, and its adequacy in portraying life in ancient Arabic or Persian culture, a stanza thus structured, when used to recapture a moment in the remote past in that culture, does have a rich poetic connotation that resonates well the reader. - posted on 05/01/2003
Thank you very much for the detailed comments and suggestion.
Fitzgerald's rubaiyat is always my favorite reading, but it isn't
easy to form epic style.<quatrain> Sometimes I feel Fodowsi's couplet is more appropriete
here. Actually Persian poets all have their own styles. I did 'Paralyzed
Heart' to follow Hafez' lines. Actually Sadi's writing, his Rose-Garden(Gulistan) is
definitely my favorite. I will write a set of poems about Persepolis and
Pasargadae follow Gulistan style.
Bai2Ju1Yi4's epics also follow couplets. But too strict
writing will make the poem short. That's Qi1Lv4.
I am learning from all those masters, it's a great resources of eastern
poetry, another should be in India.
Thanks again for your reply !
Please paste HTML code and press Enter.
(c) 2010 Maya Chilam Foundation