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书讯：徐英才汉英双语诗
前言
我的诗观
徐 英 才
做诗的本质，简而言之就是伴着背景音乐用文字绘制具有主题的图画。所谓背景音乐，当然指节奏；绘画，指意象。而绘画的最高层次，我个人以为，是营造意境。“意境”这个中文术语，最接近它的英语应该是artistic mood或者artistic conception。不过，用这两个词来对应其实有点勉强。所谓意境，简单地说，就是指当诗歌里被描写的思想情感与自然情景交融为一体后而在读者头脑里产生了萦绕鲜活的画面这个境界。
当然，除了营造意境外，绘画还可以有其他追求，所以就有了佛罗伦萨画派、巴洛克画派、洛可可画派等等；同理，除营造意境外，写诗也可以有其他追求，比如中国古代诗歌三大派：神韵，格调和性灵，神韵派讲究“意在不言中，味在酸甜外”；格调派讲究“温柔敦厚，雄浑高古”；而性灵派则讲究“直抒心怀，言辞自然”。但无论哪派，它们仍然以营造意境为最高境界。这个境界，中国诗歌追求了上千年，今天的新诗当然也应该继续追求。
既然营造意境是诗歌写作的最高追求，那么，用艰涩的语言朦胧的意象来写诗，读者于理解的层面就已经在文字的泥潭里挣扎，在意象的烟雾里喘气，脑子里怎么还会浮现意境呢？所以，使用明确的语言，清晰的意象，就有利于读者直接进入你所营造的意境里。
基于这个认识，我的诗观是：语言朴实规范，优美张力；形象鲜明生动，诗意盎然饱满；言自心声，言之有物；力求营造隽永的意境，努力让作品闪光。如果要我说我喜欢中国古代诗歌哪一派，我还是比较喜欢神韵派兼格调与性灵派吧。
My Poetic Philosophy
Yingcai Xu
The nature of poetry writing is, in short, to use language to paint theme-driven pictures rhythmic to the background beat. Here, of course, the beat refers to poetic rhythm and the pictures, imagery. The ultimate in picture painting is, in my opinion, to create yijing, a Chinese word roughly equivalent to the English phrase “artistic mood” or “artistic conception”, although somewhat arbitrary. The Chinese term yijing, to give a brief definition, means that a poem has conjured up in the reader’s mind a lingering picturesque realm vibrant because the depicted feeling and the depicted scene come alive together.
Of course, apart from yijing, there can be other pursuits in painting. Hence the Florentine School, the Baroque School, the Rococo School, etc. By the same token, in addition to yijing, there can be other pursuits in poetry writing. Take for example the three poetic schools of classical Chinese poetry writing: the School of Shenyun (Godly Grace), the School of Gediao (Stylishness), and the School of Xingling (Disposition). Senyun stresses the “embodiment of the intended” and the “the flavor beyond the ingredients of salt and vinegar”; Gediao, the “gentleness and sincerity” and the “vigorous, highly-flavored, and quaint effect”; Xingling, the method of “writing what you feel and wording in what is natural.” But of these three, no matter which school you belong to or which method you use, their highest goal is the same: to achieve yijing. This highest objective Chinese classical poetry has been seeking for over a thousand years, and so should today’s poetry writing.
Since the creation of yijing is the highest aspiration of poetry writing, then, if you use dysphagic language or misty imagery, how can your readers find it easy to come up with any live picturesque realms in their minds while wallowing in the mire of your language and panting in the cloud and smoke of your imagery? Only clear language and imagery would facilitate readers to go directly into the live picturesque kingdom you have created.
This basic understanding defines my poetic philosophy: use simple, appealing, and imagination-evoking language to create vivid and poetic-sense-infused poems that come directly from the heart and the physical world and create a lasting and glittering effect of yijing. If asked which classical Chinese poetic school I belong to, my answer is: I prefer Shenyun with Gediao and Xingling.
Tr. Yingcai Xu/徐英才译
清代诗论三大派—— 神韵、格调与性灵
徐 英 才
清代诗词理论有三大派，它们是神韵派、格调派，和性灵派。
神韵派
清代神韵派的主要代表是清朝著名诗人、文学家王士祯。王士祯受唐代司空图、宋代严羽的影响，讲究“兴寄”和“神趣”。所谓“兴寄”，就是诗人要把自己的思想情感不露痕迹地寄托在作品中，让读者自己去体悟。要“不着一字，尽得风流”。这样的作品才有诗味，才能令人回味无尽。这就是所谓的“味在酸咸之外”。而不是肤浅直白地表露出来，更不可雕琢太过。要“近之不浮，远之无尽，神到不可凑泊”。以此平淡的手法，达到萧散、简远的风致。到了这个境界，也就到了神趣的境界，也就是神韵这个最高境界。
格调派
清代格调派的主要代表是清朝重臣沈德潜。沈德潜受明代提倡复古的李梦阳的影响，认为作诗必须注重“温柔敦厚” 的儒雅诗风，讲究比兴与蕴蓄的创造手法，不可“过甚”、“过露”，以致“失实”。沈德潜并不反对王士祯的神韵说，也认为”冲和淡远”之风是一种很高的境界，但又认为它只是诗之风格的一种，”雄浑高古”才是诗之最高境界。“冲和淡远”讲究含蓄，”雄浑高古”讲究沉郁，所以，神韵派推尊王维、孟浩然，而格调派则推尊汉魏和杜甫。神韵派追求优美之境，而格调派追求的是壮美之境。它们都强调蕴藉而有言外之意。
性灵派
清代性灵派的主要代表是清代诗人和散文家袁枚。该派实际上是明代公安派的“独抒性灵，不拘格套”诗歌理论的继承和发展，主张作诗应“抒写胸臆，辞贵自然，非从自己胸臆流出，不肯下笔”。它反对格调派的作诗要“温柔敦厚”的复古倾向，也反对神韵派的作诗要“诗贵温柔，不可说尽”，认为诗的本质应是人之感情的自然流露，所以作诗要直抒心灵，表现真情实感。袁枚所说的“性灵”，在绝大多数地方乃是“性情”的同义语。性灵派从自由地表现个性，率真地表达感情的要求出发，在诗词艺术上提倡自然清新、平易流畅，反对雕章琢句、堆砌典故，反对以学问为诗，发现有我。但一般认为，性灵派的弱点是，把心灵看作文学创作的源泉，绝对化了文学是感情的表现，认为凡是真实地表达了感情的便是好作品，局限了作品对社会生活的反映。
Three Major Schools of Qing Dynasty’s Poetics
---- Shenyun, Gediao, and Xingling
Xu Yingcai
There were three major schools of poetics in Qing dynasty. They were the School of Shenyun (Godly Grace), the School of Gediao (Stylishness), and the School of Xingling (Disposition).
School of Shenyun (Godly Grace)
The key person of Qing Dynasty’s School of Shenyun was Wang Shizhen, a famous poet and literatus in Qing dynasty. He, influenced by Si Kongtu of Tang dynasty and Yan Yu of Song dynasty, stressed the “embodiment of the intended” and the “godly delight.” That is to embody the poet’s feeling in the poem without leaving any noticeable trace in it, so that readers have to perceive it themselves. That is what is called “being appealing without expressing the appeal directly.” Such is the poem rich in poetic flavor and aftertaste. That is what is referred to as “the flavor beyond the ingredients of salt and vinegar,” so to speak. A poet shouldn’t directly reveal what is intended; nor should he color or polish his poem too much, which is a very shallow way of writing. Comparing poetry writing to anchoring a boat, the poet should moor his boat in such a way that “it shouldn’t look afloat if observed nearby nor should it disappear from the sight if observed from afar. It should be so well moored that no other boat can be berthed the same way.” This unpolished method is the access to the artistic realm of naturalness, leisureliness, and simplicity with a far-reaching effect. When it reaches this realm, it has reached the realm of Shenqu (Godly delight) , which is what is regarded as the highest artistic realm of Shenyun (Godly Grace).
School of Gediao (Stylishness)
The key person of Qing dynasty’s School of Gediao (Stylishness) was Shen Deqian, an important Qing Palace official. Influenced by the idea of restoring the classics advocated by Li Mengyang of Ming dynasty, Shen Deqian stressed the learned and refined style of “gentleness and sincerity” and emphasized the rhetoric methods of “analogizing and metaphorizing” ; “containment and reservation” in poetry writing without overstating or over revealing what was intended, so that the sincerity was lost. He didn’t object Wang Shizhen’s Shenyun Poetics, and also considered the “placid, simple, and far-reaching style a very highly artistic realm to reach, but these he considered just one of the many ways to write poetry. The highest artistic realm, in his opinion, was “the vigorous, highly-flavored, and quaint effect”. While “implicit” was the key to achieve “placid, simple, and far-reaching effect,” “being unstirred up” was the key to acomplish this “vigorous, highly flavored, and quaint effect.” Therefore, Shenyun iconized Wang Wei and Meng Haoran while Gediao, Han Wei and Du Fu. Shenyun seeked the beauty of gracefulness; Gediao the beauty of vigor. Both Shenyun and Gediao underlined what was beyond the expressed by containing and reserving what they would say.
School of Xingling (Disposition)
The key person of Qing dynasty’s Xingling School in poetry writing was Yuan Mei, a poet and prose-writer in Qing dynasty. As an inheritance and development from the theory of “no restrictions, but all for the expressing of one’s disposition” upheld by the Ming dynasty’s Gongan School, this school advocated the method of “writing what you feel, wording in what is natural, and no feeling, no writing” in poetry writing. It believed Gediao’s poetry writing theory “be gentle and sincere” had the inclination to restore the classical and therefore rejected it. It also opposed Shenyun’s theory that “the most treasured element in poetry writing is gentleness and therefore one should write in a reserved manner.” It believed that the true nature of poetry is the natural revealing of human feelings. Therefore, a poet should express his or her disposition directly and reveals his or her true feeling. What Yuan Mei proposed about “Xingling,” in most cases, equates the meaning of “disposition.” To comply with the requirements of freely expressing the poet’s individuality and sincerely expressing the poet’s true feeling, Xingling School advocated naturalness, freshness, plainness, and fluency as its artistic techniques. It opposed polishing and ornamenting poems; stuffing allusions and scholarly knowledge into poems. It emphasized the discovery of selfness. But it is a general believe that Xingling School considers Xingling or disposition as the source of literary creation, absolutizes the idea that literature is to express feelings, and believes that any poem that truly reveals reality is a good art work. These restrict writing from reflecting true social life.
Tr. Xu Yingcai / 徐英才译
目 录
TABLE OF CONTENTS
雨后诗意 3
The Poetic Sense of Post Rain 3
1. 绘画4
1. Painting 5
2. 简朴6
2. Simplicity 7
3. 拳与诗8
3. Boxing and Poetry 9
4. 金匠10
4. Goldsmith 11
5. 雨后诗意14
5. The Poetic Sense of Post Rain 15
等你，在桥上19
Waiting for You on the Bridge 19
6. 等你，在桥上20
6. Waiting for You on the Bridge 21
7. 杨柳24
7. The Willow 25
8. 台灯28
8. Desk Lamp 29
9. 倾诉衷肠30
9. On Express One’s Love 31
10. 我心中的诗32
10. You Are a Perfect Poem to Me 33
11. 树与藤34
11. The Tree and the Vine 35
12. 荷花38
12. The Lotus 39
13. 你是那月亮，我是那钱塘42
13. You are that Moon and I Am that Qiantang River 43
14. 柳与溪46
14. The Willow and the Stream 47
15. 思念50
15. The Feeling of Missing You 51
16. 打水漂52
16. Skipping Stones on Water 53
17. 耳环56
17. Earrings 57
那条路59
That Road 59
18. 那条路60
18. That Road 61
19. 不知为什么62
19. I Wonder Why 63
20. 写给在异乡的第二十八个中秋64
20. To the 28th Mid-Autumn Festival 65
21. 那颗星66
21. That Star 67
22. 异国中秋70
22. Mid-Autumn Festival in a Foreign Country 71
23. 乡愁72
23. Homesickness 73
人生啊，人生75
Life, Oh Life 75
24. 交响曲76
24. Symphony 77
25. 人生啊，人生80
25. Life, Oh Life 81
26. 一条不可逆转的船84
26. An Unreturnable Boating Trip 85
27. 月亮为什么不再跟我走？88
27. Why the Moon No longer Follows Me 89
28. 等待90
28. Waiting 91
29. 镜子的感叹92
29. A Mirror’s Lament 93
无形的风95
The Invisible Wind 95
30. 人到中年96
30. Middle Aged 97
31. 生与死98
31. Life and Death 99
32. 鹰100
32. An Eagle 101
33. 蝴蝶102
33. The Butterfly 103
34. 生死接力104
34. A Relay Race of Life and Death 105
35. 树墩106
35. A Tree Stump 107
36. 葡萄藤108
36. Grapevine 109
37. 水110
37. Water 111
38. 无形的风112
38. The Invisible Wind 113
胸怀赞117
A Big heart 117
39. 铜雕118
39. The Bronze Sculpture 119
40. 雨珠120
40. Raindrops 121
41. 胸怀赞122
41. A Big Heart 123
42. 高山124
42. Mountain 125
43. 伞126
43. The Umbrella 127
44. 桥128
44. Bridge 129
45. 大雁130
45. Wild Geese 131
46. 红橡树赞134
46. Red Oak 135
禅139
Zen 139
47. 蝉140
47. Cicada 141
48. 爬山草142
48. Climbing Grass 142
49. 幽灵144
49. An Apparition 145
梦 147
A Dream 147
50. 梦148
50. Dream 149
51. 地球在呐喊150
51. The Earth Is Roaring a Battle Cry 151
意识流155
A Stream of Consciousness 155
52. 意识流156
52. A Stream of Consciousness 157
53. 老山羊158
53. An Old Goat 159
冰岛161
Iceland 161
54. 冰岛 162
54. Iceland 163
55. 水天古镇166
55. Ancient old Town in the Blend of Water and Sky 167
诗 选
1. 人到中年
岁月
熔炼过
于是
像燧石般
刚硬灵性
越是敲打
越是迸出
火花
1. Middle Aged
Time
tempered
Therefore
like a flint
hard and intelligent
the more struck
the more it
sparks
2. 葡萄藤
时光
把它摩成古铜色
风雨
把它撕得遍体伤痕
成长的阻力
又把它瘦长的身躯扭曲
别看它形骸鄙陋
那是顽强向上的生命轨迹
待到秋阳高照时
它定会结出
满架晶莹剔透的果实
2. Grapevine
Time
has beaten it into a bronze color
Wind and rain
torn and scarred it all over
Resistance
twisted its thin body a zigzag
Don't despise its shabbiness
That is the growing trajectory of a tenacious life
When the autumn sun shines directly
its trellis will fully bear
translucent and succulent fruits
3. 雨珠
本不舞蹈
也不歌唱
它们用毕生的力气
划破长空
哼着雨歌
冲向大地
在生命的最后一刻
方才——
舞出雨花
发出强音
汇成不息的流淌
3. Raindrops
Not made to dance
or sing
they exert all their strength
to break through the sky
and dive onto the earth
while humming the rain song
Only until the last minute
do they
waltz their way into blossoms
striking loud sound
and then converge into a continuous flow
4. 水
轮回把你化作云
你位居九霄
却从不骄傲
身轻如棉
凭风飘游
轮回把你化作雨
你位落万丈
却从不抱怨
润滋大地
灌溉农田
轮回把你化作冰
你位困洼地
却从不气馁
居低自洁
面带微笑
在凌厉寒风中
绽放晶莹剔透的花
在温暖春风里
消融升华
重返太阳与月亮的故乡
令万人敬仰
4. Water
When samsara turns you into clouds
you dwell in the heavens
There you never act pretentious
but appear as light as cotton
and flow at the wind’s disposal
When samsara turns you into rain
you fall to the ground
There you never complain
but wet the earth
and irrigate the fields
When samsara turns you into ice
you stay in low areas
There you never feel dejected
but remain stay refined
with smiles
Amid biting coldness
you bloom into crystalline and translucent blossoms
waiting for balmy spring breeze to arrive
when you will sublimate again
into the hometown of the sun and the moon
to be looked up by all on the earth
5. 桥
不论激流汹涌
还是风雨交加
哪里断裂
哪里阻隔
你就在那里
默默地
伸出两手
蹬出两腿
或者直直地俯卧着
或者弯弯地撑起身
敛气屏息
一动不动
让万人踏踩
我不知道
你前世是否无才补天
不能在空中大放异彩
但我知道
你今生附身低就
甘做众人的铺垫
从不抱怨
从不喧嚣
默默地普渡众生
让他们到达彼岸
5. Bridge
Whether it’s the surge of torrent
or an infliction of wind and rain
where there is a wide gap
where there is a long blockage
there you are----
quietly
stretch out your two hands
kick out your two legs
either lie straight face down
or hold up arched
holding your breath
without any budge or grudge
to let anyone walk across on you
I do not know
if you failed to mend the sky in your past life
or to bloom in the sky
but I know
in this life you lower your body
willing to be a steppingstone
without complaint
without clamor
only to deliver all beings
to the other side
5. 冰岛
“有人说世界将毁于火
有人说毁于冰"*
冰岛
在冰与火的殊死搏斗中
诞生
冰岛
浩瀚汪洋中的
一个丁点小岛
寒冷北极边
的温暖润地
碧绿的海水
黝黑的沙滩
人口极密的
欧洲最小国
曾经的没落
如今的辉煌
一个
矛盾的结合
乾坤的统一
注：引言来自罗伯特·弗罗斯特《火与冰》
5. Iceland
“Some say the world will end in fire
Some say in ice”*
Iceland
came into being
through the life-and-death battle between ice and fire
Iceland
a tiny little island
on a boundless ocean
A piece of balmy moist land
at the edge of the cold Arctic
A place with blue lagoons
contrasted with volcanic black sandy beaches
A densely populated
smallest country in Europe
The once declined
yet today’s brilliance
What a combination
of contradictions
What a harmony between Heaven and Earth
* Quote from “Fire and Ice by Robert Frost”
6. 生死接力
薄如绢纸的双翼
遥如星际的迁徙
似雪片漫天飞舞……
追逐，缠绵，彩翼相拥
为爱精疲力竭后
雄伴悄然离世
起舞，搜寻，伏身乳草
产尽所有卵子后
雌伴悄然离尘
生命的种子
让生命延续
成长，狂噬，破蛹
继续它们的征程
一对对舍生于爱的抉择
一代代生与死的接力
斑蝶终于飞到了目的地
而等在那里的 ----
是另一场可歌可泣的雄壮远徙
6. A Relay Race of Life and Death
Their wings as thin as silk paper
for a migration as far as space traveling
they flutter as if a skyful of snowflakes fall…
Chasing, tangling, hugging with colorful wings
exhausted after love making
the male leaves the world quietly
Dancing, searching, landing amid milkweeds
having given all her eggs
the female leaves the world quietly
The seeds of life
continue the life
Growing, devouring, breaking the chrysalises
the new breakers go on their migration
A decision to die for love chosen by each of them
a relay of life and death from generation to generation
these monarch butterflies finally reach the destination
yet only to begin ----
another epic of heroic migration
作者简介
徐英才，原中国复旦大学英语教师，现在美国德宝大学教学，曾主讲过古现代汉语、古现代中国文学、中国电影史、中国书法理论与实践、汉英英汉翻译理论与实践等课。他曾赴加拿大麦克马斯特大学授课并研读加拿大文学; 后又赴美国德堡大学研读英美文学，并在那里建立了汉语教学科目。他翻译出版过近十部译著，有些被中国政府用作国礼，有些被大学当作教材。他为自己设立的翻译原则是“准确、传神、浑然”，在准确表达原文意旨的基础上，追求原文个性风格的传达，努力达到为目标语读者所赞许的高品质译文。他主/合编过近十部译著。他的诗集包括《诗意江南》、《来自大自然的灵感――徐英才汉英双语诗集》、以及纯英语版的《我们在这里绘画》。他目前正在为一本俳句诗集的出版做准备。他现任华人诗学会会长与汉英双语纸质诗刊《诗殿堂》的总编。他的诗学观是语言朴实优美，诗意盎然形象，言自心声，言之有物，力求营造隽永的意境，努力让作品闪光。
Yingcai Xu, a former English teacher of Fudan University, China, now teaches Chinese studies courses at DePaul University, USA. The courses he has offered include classical and modern Chinese languages, classical and modern Chinese literature, Chinese cinema, Chinese calligraphy theory and practice, and translation. He once went to teach at McMaster University, Canada while taking Canadian literature courses there. Later he came to DePaul University to study English and American literature, where he established the Chinese program for the university. He has about a dozen translation books published. Some of them are used as the Chinese government gifts and some as teaching materials. In translation, he has a three-word principle, “accuracy, individuality, and cohesion.” While trying to achieve an accurate rendering of the original text, he pursues the original spirit and a translation highly acceptable by mother-tongue readers. Besides, he has edited and co-edited quite a number of translation books. Yingcai Xu is also a poet. His poetry publications include Poetic South, Inspiration from Nature----Poems by Yingcai Xu in Chinese and English, and We Are Here Painting. He is now preparing to have a collection of Haiku published. Yingcai Xu is also the President of the Chinese Poetry Association and editor-in-chief of Poetry Hall, a Chinese-and-English bilingual journal. His poetic philosophy is: use simple, appealing, and imagination-evoking language to create vivid and poetic-sense-infused poems that come directly from the heart and the physical world and create a lasting and glittering effect of yijing or artistic conception.
发行国
美国（请点击原文阅读）
https://www.amazon.com/dp/B08WK7K9YK
英国
https://www.amazon.co.uk/dp/B08WK7K9YK
德国
https://www.amazon.de/dp/B08WK7K9YK
法国
https://www.amazon.fr/dp/B08WK7K9YK
西班牙
https://www.amazon.es/dp/B08WK7K9YK
意大利
https://www.amazon.it/dp/B08WK7K9YK
日本
https://www.amazon.co.jp/dp/B08WK7K9YK
加拿大
https://www.amazon.ca/dp/B08WK7K9YK
华语诗学会理事会组织机构
会 长：徐英才
副会长：冰花、张庭、颜海峰
秘书长：李莉
成 员: (按拼音排列) 冰花、焦海丽、李莉、 虔谦、徐英才、薛凯、颜海峰、张庭
华语诗学会专刊《诗殿堂》编委成员
总 编：徐英才
副总编：张庭
内容总监：冰花
主编：虔谦（新诗部）
主编：天端（古诗部）
主编：焦海丽（评访部）
主编：魏建国（诗论部）
主编：李莉（配音部）
副主编：焦海丽（新诗部）
副主编：耿慧、申美英（古诗词）
副主编：李莉（评访部）
编辑：(按拼音排列) 达文、李玥，欧路行、释圣静、无定河、西鹰、杰福瑞张
英语诗歌编辑部
主任：薛凯
主编：Sylvia Cavanaugh
副主编：Lisa Vihos
编辑：Gerry Brauer, James Burton, Danny Fahey, Cheryl Hamann, Scott Mills, Judy Rowe, Sheryl Slocum (按字母顺序排列)
翻译部
翻译主编：李正栓、史潘荣、张智中(按拼音排列)
执行主编：丁立群、段冰知、吴伟雄、任诚刚、石永浩、解斌、颜海峰、叶如钢、杨秀波、杨中仁、于元元、张琼、张俊锋、张紫涵、赵宜忠（拼音排序）
文宣拓展部
部长：薛凯
微信微刊分部
主任：焦海丽
副主任：耿慧、邓玉兰、星星
中国文宣拓展分部
主任：无定河
副主任：释圣静
国际文宣拓展分部
主任：Scott Mills
副主任：李玥
