请选择 进入手机版 | 继续访问电脑版

中国书法在线

 找回密码
注册
查看: 3400|回复: 3

杨炼的诗(剑桥大学徐志摩诗歌节专稿)

[复制链接]
发表于 2015-7-21 12:03:40 | 显示全部楼层 |阅读模式
杨炼的诗
剑桥大学徐志摩诗歌节专稿



e4dde71190ef76c6775479679916fdfaae5167fc.jpg

杨炼


1955年出生于瑞士,成长于北京,曾以长诗《诺日朗》轰动大陆诗坛。九零年代后开始世界性写作。其作品中文诗集十二种、散文集二种,文论集一部。代表作为长诗《 》、《大海停止之处》、《同心圆》、《叙事诗》等。杨炼作品被译成三十余种外文,被誉为“像麦克迪尔米德遇见了里尔克,还有一把出鞘的武士刀!”和世界上当代中国文学最有代表性的声音之一。杨炼和英国诗人W N Herbert共同主编有英译当代中文诗选《玉梯》,及中英诗人互译诗选《大海的第三岸》。杨炼于2008和2011年两次以最高票当选国际笔会理事。他获得的奖项中,包括2012年,杨炼获得由诺贝尔文学奖得主奈保尔任评审团主席的意大利诺尼诺国际文学奖。2014年,杨炼获得意大利著名的卡普里国际诗歌奖。2013年,杨炼获邀成为挪威文学暨自由表达学院院士。

Yang Lian  
Yang Lian was born in Switzerland in 1955, and grew up in Beijing. His poems became well-known and influential inside and outside of China in the 1980s, especially when his sequence ‘Norilang’ was published in 1983.
Yang Lian was invited to visit Australia and New Zealand in 1988 and next year, he started his journey through out the global. Since then, Yang Lian has published twelve collections of poems, two collections of prose and one selection of essays in Chinese. His work has also been translated into more than thirty languages, including English, German, French, Italian, Spanish, Japanese and many Eastern European languages. His most representative works including the long poems such as Yi, Where the Sea Stands Still, Concentric Circles and The Narrative Poem, and have been reviewed as "like MacDiarmid meets Rilke with Samurai sword drawn!", "one of the most representative voices of Chinese literature". Yang Lian and the English poet W. N. Herbert edited Jade Ladder, a new Anthology of Contemporary Chinese Poetry in English (Bloodaxe, 2012), and The Third Shore, the anthology of Chinese – English poets’ mutual translation (Shearsman, 2013).
Yang Lian has been elected a board member of PEN International at 2008 and 2011. Among other awards, in 2012, Yang Lian has won Nonino International Literature Prize in Italy, the juries of the prize were presided by V S Naipaul. In 2013, he won “Tian Duo” (Heavenly Bell) prize for the long poem in China. In 2014, he won The International Capri Prize 2014, an internationally well-known poetry prize in Italy. Yang Lian has been invited to become a member of The Norwegian Academy for Literature and Freedom of Expression in 2013.

 楼主| 发表于 2015-7-21 12:05:13 | 显示全部楼层
一条良渚玉琮上的线


玉要消失 叼着刻成的世界
湖绿的肤色要消失 闪耀的视野

远远横过你眼里 一条线
绘出就在磨灭这家园

笔直 鸟儿像鲨鱼牙切割蓝天
肉体鲜嫩而精确 平行于时间

你穿缝 针有个尖的岁月
一阵海啸声的纷纷石屑

洒落 刺痛一丝米一丝米分泌
浅浮雕的颅骨上绷紧的沟回

硬之刻划 耽溺一种软
手伸进形状 泪滴的香咸

是脆的 珠子都晶亮擎着圆心
裸露给射击 五千年简洁成一天

只一次归去 你仍在飞逝
抛光同一道血槽内的美

血沁的灯火片片渗出 淤积
石头暗夜里石窗帘虚掩着世纪

在最深处 玉是一张脸
要 还要 死过的无限

兽性的珊瑚的 白 泛滥至眉间
家 勒紧修改不了的思念

盯着海啸涌起 磨灭
一条线绘成第一个字


A Line on the Liangzhu Jade Cong
Yang Lian

Jade wants to disappear – the carved world in its grip.
Lake-green skin wants to disappear – a strip

Of distant brilliance across the eye –
The line that depicts home also wipes it away

Straight - birds like shark’s teeth graze the blue sky -
a precise tender body, so birds and hours fly

you’re stitching space – time ‘s needle-tip -
jade dust falls, noise of tsunami, the rip

of pain, of needle –  dust falling grit by grit -
a tight network, the skull’s shallow dip -

hard carving steeped in softness, sulci and gyri       
hand enters shape, the teardrop’s fragrance, now salty

now crispy – beads’ brilliance to hold the circle’s eye -
exposed target – five thousand years crystallised in a day.

returning only once, you’re always about to quit -
like the burnished beauty of the knife’s blood slit

with the light in the jade that leaks and silts up -
stone curtains drawn on centuries, time through a gap,

jade at its core is a face - desiring infinity
but infinity has died, as it must always die -

brute natural coral   whiteness   flooding brow-high-
home – the fixed idea,  increasing intensity

staring as the tsunami rises in one huge fit -
the first character: one line paints it.


translated by George Szirtes



 楼主| 发表于 2015-7-21 12:05:50 | 显示全部楼层
奶奶的船

宫女们拉纤的腰肢和一曲广陵散
沁着水  洇开两岸杨柳的妩媚
小小的子宫也是轮回的 又靠近
这道青石台阶 小脚印温热的内伤
滚着荷叶边 船底 又一个世纪
敲响一只鹤深夜惊飞的叫声

你那只 倒悬于一个词 一八九七年
大人和小姐顺水而来 泊一晚
补足明月和繁华梦 泊两晚
一线蜀岗已映入一生的青山
泊三晚 你在一粒莲子中等我
三岁的戏台上 河上妆卸妆 一轴长卷

正铺开你将去的 来过的 船桅
指着北极星 洞庭之水 沅澧之水
追上花蛇那道闪电 小黑屋无窗
无火押送你咽气时 老佣人的泪
趁夜色偷偷抹掉 香樟木隔扇
荡漾的阴 一种远在加固冷透的骨髓

一道复写的水痕让我能辨认
你泊着的稚气 还笑呢 那蒙古眼神
怀着爸 怀着我 和这行没有你的诗
再背诵一次 一大把晚香玉的口音
拆毁就在搭建女孩儿心里的温柔
船娘们之间一缕倩影最娇嫩

从东圈门进去 一长街告别熙熙攘攘
从片石山房进去 水面的月亮
想圆就圆 让沉溺水下的诗人踱步
从扬州一词进去 雕花窗棂 桥栏
灌满盐味儿 奶奶的船系在码头上
听 三岁的无限大 那骇浪

正拍碎 早拍碎石阶录制的鼻息
我的 来找花事渺茫的你
一次依偎 你为我浮现 病榻上
黄白色的手拢住命运 全世界的水
漏进这一滴 奶奶 刺痛的温暖
仍是温暖 当小身体散开最后的航迹

我已上船了 骨血甜且腥
安顿一个字 眼波在雪中在风中
亡魂的一声轻叹又含着万里外
从哪儿进去都续写一篇粼粼墓志铭
你那么安详的 奶奶 驶出再远
你还在前面 用鹤的翅尖带我航行


Grandmother’s Boat
Yang Lian

YL’S NOTE ON THE POEM:
MY GRANDMOTHER WAS IN YANGZHOU WHEN SHE WAS THREE YEARS OLD, AND I IMAGINED SHE WAS BROUGHT BY BOAT FROM BEIJIJNG TO HERE, STOPED A WHILE, THEN CONTINUED TO SOUTH CHINA. HOWEVER  YOUNG SHE WAS, MY FATHER, MYSELF (MY POEMS) AND CHINESE HISTORY IN 20TH CENTURY WERE ALL INSIDE HER (WOMB), TOGETHER WITH HER OWN SAD LIFE LATER. THIS POEM IS A SMALL BUT EPIC PIECE OF CHINESE HISTORY.

THE FORM OF THIS POEM: THERE ARE 7 STANZAS, EACH LINE-ENDING IN THE FIRST STANZA IN TURN BECOMES THE MAIN RHYME OF ONE OF THE FOLLOWING STANZAS. THIS FORM ECHOES LINKED MEMORY AND HISTORY.   


A tune from Guang Ling1 and the soaking waists of the palace maids towing the                                                                                boats.
The glamour of waterside willows sinking into the Grand Canal.
The tiny reincarnated womb        approaches once more.
Mild internal injuries by small footprints       on this flight of bluestone stairs      
bound curves embroidered                     under hulls                   In another century
the cry of a startled crane is knocked up deep into the night.


That crane of yours                        floated                 above the year 1897.  
The Lord and the little lady arrived with the stream              anchored for a night
answering the bright moon and a vision of splendour        anchored for two nights
the peaks of Shugang Ridge2 gleam through all the green mountains stretched out in your                                                                                        life
anchored for three nights                        you waited for me in a lotus seed,
onstage at three.                Applying and removing its makeup                the river
was spreading a painted scroll.


Destination of your future                        and of your past,                the boat’s masts
pointed to the Pole Star        the waters of Tung-T’ing Lake     the waters of the Yuan                                                                        and Li Rivers,
overtaking the lightning-flash of that flowery snake        in the small dark room with no                                                                            window.
No fire accompanied your last breath,             an old servant’s tears
wiped away without your noticing in the dusk             between the fragrant carved                                                                           camphorwood partitions.
Bleakness signaled from the underworld             distance froze the bone marrow.


From a duplicate water-mark I identify
your naivety at anchor                still smiling.         That Mongolian light in your eyes.
Father          holding me             and the poem of your absence in this one line
gone over by heart once again      in the accent of a handful of tuberose,
building up while tearing down the intrinsic tenderness of a little girl
that casts the finest shadow onto those sculling women.


Stepping through DongQuan Gate3       a long alley crowded with farewells.
Stepping in from the House of Rockeries4       the moon overlooking the water
waxing full whenever it wants              letting the drowned poets stroll underwater.
Stepping in from the word Yangzhou                       full of the smell of salt
through the carved window lattice          through the rails          Grandmother’s boat                                                                        moored at the dock.
Listen      to never-ending three years old.      The wild waves


crush                         and long-ago crushed the breathing recorded by the stone steps.
My breath                          comes looking for you, unreachable in your rare flowering.
Leaning close to you for once               for me you emerge                   on your sickbed
fate gathered in your yellowish-white palms.              The world’s water
leaks into this one drop,                       Granny.               The stinging warmth
remains                         when the wake of your small body has flattened out.


I’m already on board.                      Sweet fishy blood and bone.
A word is settled                   a fluid glance lingers in the snow and wind
the revenant’s faint sigh is contained for thousands of miles
a glistening epitaph returns wherever access is granted.
You remain in such serenity,          Granny.                 No matter how far away I heave out                                                                        the sails
you sail ahead       navigating with your crane wing-tips.

Translated by Yang Lian with Lizhen Liang and Fiona Sampson

Notes

1.        A tune from Guang Ling: A surviving Guqin (literally “ancient stringed instrument”) melody most commonly attributed to the famous essayist and poet Xi Kang ( 223 – 262). It had its source in another title called Nie Zheng Stabs the Han King avenging the murder of his father. Guang Ling is the ancient name of Yangzhou, appeared in Han Dynasty ( 202 BC – 220 AD).

2.        The Shugang Ridge: The three peaks of it traverse the northern suburbs of Yangzhou. The peaks, covered by millions of green pines and verdant cypresses, have the centerpiece of the Daming Temple, dotted with halls, terraces and towers as well as waterside pavilions.

3.        DongQuanGate: A quiet ancient back alley in Yangzhou that contains a host of sites, the main gate of which dates back to the Qing Dynasty ( 1636 – 1912). It thankfully lacks any sense of commercialization though small restaurants and craft shops line the alley.

4.        The House of Rockeries:  The only existing copy of the building works by the great painting master Shi Tao in late Ming Dynasty and early Qing Dynasty, an artificial stone-laid rockery of a marvelous creation excelling nature. There is a man-made moon reflected on the pool water beside the stone house, which is a super secluded place to be away from the summer heat.





发表于 2015-7-21 23:30:20 | 显示全部楼层
这才叫诗!!!
您需要登录后才可以回帖 登录 | 注册

本版积分规则

QQ|时事点击|中国书法全集|小黑屋|松竹书院|养晦书塾|刘正兴画苑|艺术展厅|学术研究|收藏鉴赏|自治社区|休闲社区|Archiver|书法在线 ( 京ICP备17008781号

GMT+8, 2024-3-29 13:25 , Processed in 0.139231 second(s), 19 queries .

Powered by Discuz! X3.4

Copyright © 2001-2020, Tencent Cloud.

快速回复 返回顶部 返回列表