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《詩刊》中國詩歌網 x 英國劍橋康河出版社
漢詩英譯·第27輯
譯者 | 秦尊璐、游心泉、彼得·休斯
作者 | 陳翔、王少勇、何不言、蘇仁聰、劉娜
博爾赫斯的月亮
陳 翔
要有多少的黑暗與愛，
才能寫出這樣的詩？
我願意用一生換一個句子①。
今夜，我摘取和分配月亮。
一個在天上，一個在紙上，
一個在眼裡，一個在手裡。
註：①即博爾赫斯的詩句「我給你一個久久地望著孤月的人的悲哀」。
Borges』 Moon
By Chen Xiang
How much darkness and love
does it take to write a poem like this?
I would give my life for just One line.1
Tonight I gather in the moons then share them –
One in the sky, one on paper;
one in the eye, one in the hand.
Poet’s Note: 1. Referring to Jorge Luis Borges』 poem line, 「I offer you the bitterness of a man who has looked long and long at the lonely moon.」
游心泉、Peter Hughes 譯
春夜在山桃樹下
王少勇
微風吹動枝條
滿天的山桃花在頭頂閃爍
白色花瓣照耀著我
仿佛要聽我說話
仿佛已等待我很久
四周的夜那麼黑那麼靜
所有詞語都隱退到黑夜中
我眼睛潮濕，胸脯顫抖
就像曾經在雪山
仰望星空
風從天地間輕輕吹過
Under the Hickory Tree on A Spring Night
By Wang Shaoyong
When a gentle breeze stirs the branches
a sky of peach blossom shimmers overhead
Their white petals shine on me
as if prepared to listen
as if they』ve expected me for years
So dark, so quiet, the surrounding night
all words retreat into the darkness
My eyes are moist, my chest trembling
just as once upon a time in the snowy mountains
I gazed into a night of stars
Gently the wind blows between heaven and earth
游心泉、Peter Hughes 譯
光
何不言
火車安靜地開了很久，窗外
夜色中突然炸開一團光。
一晃而過，無聲無息。
車廂里昏昏欲睡的空氣，
突然熱起來。我在年幼的夜晚
負氣出走，在村口無邊的菜地里亂撞。
青蛙撲通撲通跳進水溝，所到之處
聲音全部停止。
安靜下來，一個窸窸窣窣的聲音
貼著地面向我逼近。
我哭得毫不猶豫。
此時，一個手電遠遠地晃動，母親
大聲叫喚我的名字，
準備和整個黑暗搏鬥。
Light
By He Buyan
Quietly the train continued its long journey
when suddenly a burst of light brightened the night
it vanished in a flash without a sound
The drowsy air of the carriage quickly lost its chill.
One night when I was a child
I ran away in anger, stumbling through
an endless field of crops at the edge of the village
Frogs plopped into ditches
and all sound stopped
Then through the silence a sound of rustling
close to the ground and approaching me
I cried out without thinking
and saw the moving flicker
a shaking flashlight in the distance,
my mother calling out my name –
she would challenge the whole of the darkness
秦尊璐、Peter Hughes 譯
允許有人哭泣
蘇仁聰
允許吉他手哭吧
他的音樂被裝進鐵盒子
允許藝術家在地鐵站賣藝
重新塗刷廣告
允許失眠的人靠著扶杆睡一會兒
他真的好累，還拉著行李箱
這個城市太忙，我來了
見到和上一次完全不同的人群
他們把我拉上高架橋，又把我放在街邊
他們帶著我穿過整個城市
沒有和我說一句話
允許口若懸河的人變成啞巴
允許內心愉悅的人失聲哭泣
Allow Someone to Cry
By Su Rencong
Allow the guitarist to cry
when his music is locked up in a steel box
Allow the artist to perform at the subway station
and to repaint the advertisement
Allow the insomniac to doze against the hand-rails
so exhausted, dragging a suitcase
The city's too busy and here I am
meeting complete strangers
They take me over a flyover and into a street
leading me through the city
saying nothing at all –
Allow the eloquent to fall silent
and allow the joyful to break down in tears
秦尊璐、Peter Hughes 譯
一小片空地
劉 娜
鄉村的春天飽和度如此之高
衝破濃郁的綠色回到玉竹坪我全身是汗
玉蘭花環擁的清水塘前
老屋被修飾，貼上了深藍色牆磚
屋前不再適合跑跳
方磚圍成各種花圃
在一片月見草的旁邊
奶奶，您和我漫無目的地交談
還有一小片空地
您說，那裡可以種點黃芪
到時你帶去，常喝黃芪提氣
奶奶，這個春天我充滿沮喪
命運的風從四個方向吹來
不停歇地推搡和阻攔
那一片空地還在
我現在該種些什麼
A Small Vacant Plot
By Liu Na
Spring saturates the countryside as I return perspiring
through the flourishing greenery to Yuzhuping
There’s the pond of clear water surrounded by magnolias
and the old house spruced up with dark blue tiles
but out front there is now no room to play
with the new raised beds all full of flowers
Next to a patch of evening primrose
Grandma and I chatted away the time of day
There's still another piece of vacant ground
You said, 『I』ll plant some vetch, and you must take some with you,
drink vetch tea to keep your spirits strong』
Grandma, I'm so depressed this spring
The winds of fate blow in from all around
pushing and shoving
The vacant space remains there still
But what should I plant there now
秦尊璐、Peter Hughes 譯
國際詩人評論
Peter Hughes
彼得·休斯
李玥 譯
本輯詩歌探討了光明與黑暗、過去與現在、近與遠的主題。我們也意識到了他人言辭於我們的重要意義，無論是祖母的話語，還是出自過去某位偉大作家的名句。第一首詩作是陳翔的《博爾赫斯的月亮》，在某種程度上，作者恰到好處地向20世紀阿根廷偉大作家豪爾赫·路易斯·博爾赫斯（Jorge Luis Borges）的作品表示了敬意。這首作品的短短六行詩句中囊括了很多內容。它同博爾赫斯的詩句一起，包攬了整個夜空。我們由此而知，詩歌源於文學範本和世界觀感的融合，以及文化和親身的經歷與思考。另外，《博爾赫斯的月亮》也強調了神秘無解是創作和藝術的核心：
要有多少的黑暗與愛，
才能寫出這樣的詩？
我們本輯的第二首詩歌是王少勇的《春夜在山桃樹下 》，仍然以夜晚作為背景。在這裡，第一節中桃花的花瓣和第二節中遙遠的星星之間的美妙反差令讀者感到震撼。詩人表示，在情感強烈的時刻，我們會感受到，宇宙仿佛在等待人類的回應。而這樣一首詩，就是人們給予春天盛開的花朵，以及繁星滿天的夜空的響應。詩歌的節奏變化和第一行描述的「吹動枝條」的微風，將所有事物都聯繫在了一起，繼而全部歸於最後一行所敘的天地的連接當中。
白色花瓣照耀著我
仿佛要聽我說話
仿佛已等待我很久
第三首詩是何不言的作品《光》。在詩歌的開頭，一列火車在黑夜中穿行，突然，一道明亮的光將黑暗驅散開來。此刻，許多年前的童年記憶也被觸發了。詩人負氣從屋子裡跑了出去，迷失在一片廣闊的莊稼地里。陌生的黑暗環境和夜間的各種聲響，嚇壞了迷路的孩子。然而，突如其來的手電光亮，示意著一位憂心的母親的到來，也預示著詩人即將安全舒適地回到家中。這首詩警示了我們童年經歷的重要性，以及這些經歷對於我們未來的影響。
安靜下來，一個窸窸窣窣的聲音
貼著地面向我逼近。
我哭得毫不猶豫。
此時，一個手電遠遠地晃動，母親
大聲叫喚我的名字，
準備和整個黑暗搏鬥。
第四首詩來自蘇仁聰創作的《允許有人哭泣》。這首詩從某種程度上傳達了人們應抱有同理心，並與自己的另一面和解的需求。它也喚醒了我們被陌生人潮推動著，行走在大城市謀生的孤獨感。
他們帶著我穿過整個城市
沒有和我說一句話
允許口若懸河的人變成啞巴
允許內心愉悅的人失聲哭泣
第五首詩，也是最後一首詩，是劉娜的作品《一小片空地》。這是一首關於變化及其帶來的挑戰和機遇的詩歌。萬事萬物的更迭、變化能讓冬天轉變為春天，但也能讓我們感受到這個世界似乎正在失去控制，而我們只能手無寸鐵地接受超脫個人的力量和隨機扭轉的命運帶來的結果：
奶奶，這個春天我充滿沮喪
命運的風從四個方向吹來
不停歇地推搡和阻攔
那一片空地還在
我現在該種些什麼
這個問題置於詩的最後，引發每位讀者的思考與解答。
彼得·休斯
2023年2月於英國畢士達
This selection of poems explores the themes of light and dark, past and present, proximity and distance. We are also reminded of the importance of the words of others, whether they be those of a grandmother or those of a great writer from the past. The first piece, 『Borges』 Moon』 by Chen Xiang, is in part a fitting tribute to the work of the great 20th-century writer from Argentina, Jorge Luis Borges. This poem manages to fit in a great deal in its short six lines. It embraces the night sky together with a text by Borges. The poem reminds us that poetry comes from a blend of literary models and observation of the world; culture as well as direct experience and contemplation. Yet 『Borges』 Moon』 also insists on the mystery at the heart of creation and art:
How much darkness and love
does it take to write a poem like this?
Our second poem, Wang Shaoyong’s 『Under the Hickory Tree on a Spring Night』, stays with the nocturnal setting. This time the reader is struck by the beautiful contrast in scale between the petals of peach blossom in stanza one and the distant stars of stanza two. The poet suggests that in moments of intensified emotion, we feel as if the universe is awaiting a human response. And the response from humanity to the spring blossom and the night sky full of stars is a poem such as this. Everything is connected by the rhythms of the poem, and by the breeze that 『stirs the branches』 of the very first line, then returns in the final line connecting the earth and the heavens.
Their white petals shine on me
as if prepared to listen
as if they』ve expected me for years
The third poem is 『light』 by He Buyan. We begin with a train travelling through the night and then the darkness is suddenly dispersed by a vivid burst of light. This moment triggers the memory of a childhood experience from years ago. The speaker had run from the house in a temper and ended up lost in a vast field of crops. The lost child was frightened by the unfamiliarity of the darkness and nocturnal noises. But then the sudden light of a torch signalled the arrival of a worried mother and the return of safety and comfort. The poem reminds us how crucial childhood experiences are, and how they shape our future.
Then through the silence a sound of rustling
close to the ground and approaching me
I cried out without thinking
and saw the moving flicker
a shaking flashlight in the distance,
my mother calling out my name –
she would challenge the whole of the darkness
Poem number four is 『Allow Someone to Cry』 by Su Rencong. This text is in part a call for empathy and the reconciliation of opposites. It also evokes the loneliness of life in the big city in those moments when we feel swept along on by a tide of strangers.
They take me over a flyover and into a street
leading me through the city
saying nothing at all –
Allow the eloquent to fall silent
and allow the joyful to break down in tears
The fifth and final poem is Liu Na’s 『A Small Vacant Plot』. This is a piece about change and the challenges it brings, as well as the opportunities involved. Change turns winter into spring, but it can also make us feel as though the world is spinning out of control, that we are merely victims of impersonal forces and random twists of fate:
Grandma, I'm so depressed this spring
The winds of fate blow in from all around
pushing and shoving
The vacant space remains there still
But what should I plant there now
The question is left hanging at the end of the poem for each reader to contemplate and answer.
Peter Hughes Bethesda
February 2023
國際詩歌評論人 | 彼得·休斯
詩人、創意寫作教師，現任英國劍橋康河出版社資深文學編輯、劍橋徐志摩詩歌藝術節編委。2013年，他的詩歌選集與《對特殊事物的直覺：彼得·休斯詩歌評論集》（『An intuition of the particular』: some essays on the poetry of Peter Hughes）同時由Shearsman出版社出版。他根據義大利經典創作了《十分坦率》（Quite Frankly，Reality Street出版社）、《卡瓦爾康蒂》（Cavalcanty，Carcanet出版社）、《via Leopardi 21》（Equipage出版社）等眾多充滿創意的作品，廣受好評。彼得是劍橋大學英語系朱迪斯·威爾遜詩歌基金獲得者、客座專家，劍橋大學莫德林學院在詩歌領域的客座院士。近期出版的作品包括：2019年的《柏林霧沫》（A Berlin Entrainment，Shearsman出版社）、2020年的《畢士大星座》（Bethesda Constellations，蠣鷸出版社）等。
欄目介紹
「漢詩英譯」欄目自2018年10月啟動至今，現已完成第一階段的翻譯工作，與美國同道出版社合作，從《詩刊》和中國詩歌網「每日好詩」中精選800餘首詩歌譯成英文，推動當代中文詩歌走向世界。
從2022年4月起，中國詩歌網與劍橋康河出版社合作開展漢詩英譯工作。
翻譯團隊為劍橋康河詩社，它是英國劍橋康河出版社(Cam Rivers Publishing) 旗下的詩歌翻譯與編輯團隊，由英國國家學術院院士、劍橋大學社會人類學教授、劍橋徐志摩詩歌藝術節創始人艾倫·麥克法蘭(Alan Macfarlane) 擔任主席。團隊由英國資深詩人與文學編輯彼得·休斯 (Peter Hughes)、露西·漢姆爾頓 (Lucy Hamilton)，以及其他多位畢業於劍橋大學和其他知名高校的譯者與學者組成。
「漢詩英譯」每期發布五首漢英對照詩歌，並附國際詩人的點評，同步在中英兩國推出，歡迎各位詩友關注和批評！
編輯：王傲霏, 二審：曼曼， 終審：金石開