诗人曰：以冰、偶像与风填写文字

海外文苑

Publication inNew york 'Compact News' Edition#856

纽约【综合新闻报】856期发刊

Translated by ChristineChen(汉译：佩英）

哈桑·亚尔提（Hassane Yarti）
摩洛哥 / 西班牙作家、诗人、编辑、选编家与翻译家，现居西班牙巴塞罗那。出生于克萨尔·凯比尔，拥有语言学与翻译学荣誉博士学位。任联合国框架下妇女讲席协会荣誉顾问、世界艺术与文学联盟全球大使，并任尼布拉斯文化与艺术协会主席，创办著名的《巴塞罗那文学杂志》。

渴望

记忆的帐篷

有熊熊燃烧的渴望之焰。
脚步将我出卖，
见自己
在一个虚位以待的球门
以一把闲置的镐子
穿开孤寂，
打开默然的笔，
字母沾泪
写下数行诗。
雨天，
寻到一处
满是疑惑的港湾，
独自面对一片
无垠海岸。
灵魂漂浮其上，
似玫瑰，
以墨之芬芳
低吟浅唱。

LONGING…

Inside the tent of memories
there was
a blaze of longing.
My steps betrayed me,
I found myself
within a goalpost of emptiness.
I pierced my solitude
with a pickaxe of neglect,
broke the pen of silence,
and wrote lines
in an alphabet of tears.
On a rainy day
I found a harbour
of questions,
before a shore
with neither beginning
nor end.
And the soul floats,
like a rose that speaks
in ink of fragrance.

云香

雨在何处？
已无法忍受了，
云香入我胸，
像追上她移动的距离，
却惊觉她早已千臂之遥，
地平线上有双影在燃烧。
据说……
以云覆身，可忘雨。
光芒万丈，
洗去每一个晨苦，
你真的离开了……
无感，足足一百分钟
它回眸，
之后没入渴望的呢喃。
她擦身而过，
如行者穿过我的笑，
窥见我内心隐秘的恐惧，
向她掀开一层层灵魂的面纱，
关键时刻，
她倏然改了结局，
笑成哭，
鲜血涌出眼眶。
她如斯震撼……手握刀刃，
以刀锋削梦，
以低沉脉搏迫我沉默，
点燃裸露的灵魂，
并记下一切，
以冰、偶像与风填写文字。
奇迹创造：她以优雅静谧，
诛心，
以爱意绵绵的爱情刺穿盔甲，
及永不消失的残骸，
赐我片刻的死亡……
似旧日回忆的残迹。

THE SCENT OF CLOUDS

Where is the rain?
I can no longer endure,
The scent of white clouds drifts to my ribs,
I try to outpace the distance toward her,
But she recedes a thousand arms away,
And two shadows from the burning horizon.

They told me...
Wrap yourself in clouds and forget the rain.
The light rained down,
Washing away the pain that filled each morning,
Your departure comes...
In the hundredth minute without feeling,
It glances back,
Then retreats behind murmurs of longing.

She passed by,
Like a traveller through my smiles,
And discovered the secrets of fear within me,
I unveiled to her every veil of my soul,
And in that critical moment,
She changed the ending,
The laughter wept,
And from the eyes flowed blood.
How amazed she was... the knife in her hand,
She brushed the dream off the blade,
Her pulse whispered to silence mine,
She ignited the bare soul,
And recorded the incident,
Filling the words,
With ice, idols, and winds.

With quiet grace, she crafted a miracle,
She killed the heart,
armoured with endless tales of love,
And remnants that do not pass by the hour,
Except to grant me some death...
Like the remnants of old memories.

避难所

即使留下来也是徒然--
在一片不能回赠爱情的土地。
在你手中，
夜复一夜的折磨会终结的。
划去我的名字……
以仇恨与我作交易吧，
啊，哭泣之诚。
择你为祖国，
成为我的地，
我的天。
就是这一次机会了
等来守望无数岁月的爱情；
接纳我，
以恋人也好，难民也罢。
啊，你——
拥我入怀，将我满溢环绕。
夜幕降临，
我该如何处置
才能向你证明我的爱、
我的真、
我之归属？
啊，女人，
行走于我之血脉，
我向你而来，
把我自己
与我的祖国一并甩在身后。
夜向我们爬近……
决定了，
我已无家可归，唯有你。
我最后的流亡啊，你，
于我而言……

你就是所有的女人。

REFUGE

In vain I remain
in a land that will not return my love.
By your hands
my nightly torment will end.

Cross out my name…
Trade me hatred,
O cities of weeping.

I chose you as a homeland,
be the earth.
Be my sky.

It is a chance for love
I watch through ages;
so accept me,
lover or refugee.

Ah you..
an embrace that overflows in holding me.

What shall I do
when night comes
to convince you of my love,
my truth,
my belonging?


Ah woman
who travels in my vein,
I come to you,
leaving my self
and my country behind me.

Night crawls toward us…
Decide,
I have no homeland but you.

You are my final exile,
and you are to me…
every woman.

入侵

以为梦已破碎，
以为人生就此悲中过，
而我，有值得欢喜之事。
以为在脚下摔倒的爱情，
其实，不过是呼啸而过我之身，我的朋友啊，
我明白了，它只是姗姗来迟。
于是，爱情——
能在体内
修补破碎之物的妙力，
弯下腰，笑着，
把手伸向伤口。
要明了，我的朋友，
当你坠入爱河，
时间其本身，
……甚至时间！
  ……也会改变。


INVASION

She thought the dream had vanished,
that life had spent itself in sorrow,
yet I was more worthy of joy.
She thought love had stumbled at her feet,
but it stormed through me, my friend,
and I knew it had only been delayed.
It is love, then,
the one who mends within us what has broken,
who bends, laughing,
and reaches out a hand to the wound.
So know, my friend,
when you fall in love,
time itself,
…even time!
  …changes.

诗歌评论：

哈桑·亚尔提这组诗以“渴望”为核心母题，贯穿记忆、爱情、流亡与自我救赎的精神旅程。诗人以火焰、雨、港湾、玫瑰、刀锋、避难所等高密度象征，构建出一个持续震荡的内在世界：灵魂在孤寂中书写，在靠近中受伤，又在失去中觉醒。情感表达强烈而不失控制，爱情被描绘为双重力量——既是温柔的召唤，也是冷酷的入侵，能点燃、撕裂，亦能修补破碎之物，甚至改变时间本身。语言兼具抒情性与戏剧性，意象转换迅疾，呈现出诗人面对命运、身份与归属问题时的深层追问。整体上，这是一组以个体经验映照普遍人类处境的诗作，展现出痛感之中仍指向希望与重生的诗性力量。（佩英）

Editorials：

This sequence of Hassane Yarti's poems takes “longing” as its central motif, unfolding a spiritual journey through memory, love, exile, and self-redemption. Through densely layered symbols—fire, rain, harbors, roses, blades, and refuge—the poet constructs a perpetually trembling inner world: the soul writes in solitude, is wounded in intimacy, and awakens through loss. The emotional intensity is fierce yet disciplined. Love is portrayed as a dual force—at once a tender summons and a ruthless invasion—capable of igniting and tearing apart, yet also of repairing what is broken, even of altering time itself. The language fuses lyricism with dramatic tension, its rapid shifts of imagery revealing the poet’s profound inquiry into fate, identity, and belonging. Ultimately, this body of work transforms personal experience into a reflection of the human condition, affirming a poetic power that gestures toward hope and rebirth from within pain.(by Christine Chen)

穆赫西内·阿尔达（Muhsine Arda）
土耳其诗人、小说家和散文家。旅居海外多年后，她辞去纽约大学的教职，于1997年返回土耳其布尔萨。其作品在土耳其出版，著有七部诗集，以及短篇小说、散文和两部长篇小说

某人

我，一个记不得
自己曾是谁的人，
或许在十年前，抑或一万年前，
冰川覆盖大地，
生存，乃唯一问题，
那时，我是某人，是每一个人。
概念之上，认知之上，
我已不记得，
想象之上
由存在转向“占有”的蜕变，
我的细胞，或所有人的细胞，
染疾。
当孩子成为
某一对特定父母的孩子，
不再是
部落共同拥有的孩子，
一粒变坏的种子，
又或许太多变坏的种子，
启动了这场病变。
大地母亲，她鲜活的灵魂
失去了“存在”的喜悦，
邪恶得胜，
生命忘记幸福的涵义。
不安的灵魂满怀炽热渴望，要揭示——
存在，而非占有，
乃喜悦之源。

SOMEBODY

I am somebody who cannot remember
Who I used to be
Maybe ten, maybe ten thousand years ago
When glaciers covered the earth
When the sole problem was survival
I was somebody or everybody

Beyond the concept, beyond the realization
I cannot remember, beyond my imagination

At the time of transformation
From being to having, my cell or
Everybody's cell caught a disease

When children became
The child of a specific mother-father
When children were
The children of the tribe no longer

One bad seed, maybe too many bad seeds
Started the malady

The living soul of mother earth
Missed the bliss of being
Evil started to win
Life forgot the meaning of happiness

I am the restless soul with burning desire to reveal that

Being, not having, is the real source of joy

被指控为女巫

我被认为是女巫。
当恶行的幻象
云朵般遮蔽大脑、吞噬灵魂时，
我习惯沉默。
无法道出真相，
无法目睹恶人受罚，
只因为——
身为女人。

历经数世纪，
我之困境
成了女性主义命题。
压抑着痛楚
预见灾难，让我之本能愈加敏锐，
我开始理解万物，
拥抱生命。
不再藏起预言，
要醒示他人——
若不揭示，
脑中知识将
熊熊燃烧。
肉身被焚烧，
在宗教裁判所的命令之下。
我知道——
每个女人心中，都有一位女巫；
每个男人心中，都有一名大审判官。
啊！今日的世界……
女巫的坩埚依然沸腾。

ACCUSED OF BEING A WITCH

I was known as a witch
I used to remain silent
when visions of misdeeds
clouded my brain and consumed my spirit

I couldn't tell the truth or see wrongdoers punished
being just a woman
my dilemma, after centuries,
became the feminist cause

suppressing the pain of
foreseeing all these troubles sharpened my instincts
I began to understand everything
I started to embrace life

I no longer hid my prophecies
I wanted to warn the others

if not revealed, my brain
would have burned with this knowledge

Instead my body was burned
by the order of the Holy Inquisition

I know, in her heart, every woman is a witch
In his heart, every man is a Grand Inquisitor
The world today...
oh! It still boils like a witch's cauldron

诗歌评论：

穆赫西内·阿尔达这两首诗以鲜明的思想性与寓言气质展开，对人类文明与性别权力结构作出深刻反思。《某人》从史前共同体出发，追溯“存在”向“占有”的转折，将个体私有化、亲属制度与生态失衡并置，揭示文明病灶的源头，语言冷静而具哲思张力。《被指控为女巫》则将历史迫害与当代处境相连，把女性的直觉、预言与知识转化为被压抑与惩罚的理由，象征意义强烈而直指权力暴力。两诗共同指向同一主题：当恐惧与占有主导世界，生命的喜悦与真理便遭焚毁。诗人以清醒而坚定的声音，重申“存在先于占有”、觉知先于审判，展现出兼具伦理关怀、女性意识与人类命运视野的诗性力量。（佩英）

Editorials：

Muhsine Arda's two poems unfold with a striking sense of thoughtfulness and allegorical power, offering a profound critique of human civilization and gendered structures of power. *Somebody* begins with a prehistoric communal vision, tracing the shift from “being” to “possession,” and juxtaposes individual privatization, kinship systems, and ecological imbalance to expose the roots of civilizational malaise. Its language is restrained yet philosophically charged. *Accused of Being a Witch* connects historical persecution with contemporary realities, transforming women’s intuition, prophecy, and knowledge into the very reasons for suppression and punishment; its symbolism is forceful and unflinchingly confrontational. Together, the poems converge on a shared insight: when fear and possession govern the world, joy in life and truth itself are consigned to the flames. With a lucid and resolute voice, the poet reasserts that being precedes having, awareness precedes judgment, revealing a poetic force that unites ethical concern, feminist consciousness, and a vision of humanity’s collective fate.(By Christine Chen)