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诗评 | 彼得·休斯 Peter Hughes，李玥 译![]()
本辑的这些诗歌围绕着沉思的主题展开，探寻观察、反思和某些奇观的意义所在，引领着读者去思考空间、距离和时间流逝带来的影响。第一首诗是黑陶的作品《远与近》。诗歌开篇就立刻打开了一幅在浩瀚的夜空里，群星闪烁的图景。诗人思考了这样一个现实情况：这些星群组成的图案，在诗人童年时看来是陌生的。但这些图案又是必须要了熟于心的，得像诗人现在用汉字创作诗歌一样。多年过去了，如今已步入中年的诗人，感觉到星辰图案以及描述它们所用的汉字更加熟悉了，使他回味起了家乡特有的气息和感官感受。这种距离感以非常优美的方式传达了出来:Stars in the blue darkness of night characters unknown to me in childhood glisten in the depths of infinity Now in this quiet middle-aged nighttheir lights converge towards meThey bring the cool familiarityof my hometown back to me韦廷信的诗作《北礵岛的羊》非常吸引人，我们在诗中看到了安静凝视大海的羊群。这首诗以一种巧妙的方式提出疑问——我们身为人类的意义何在。我们是否看到了羊群眼中的东西？我们的视线和思维是完全不同的吗？羊群似乎要比注视着它们和海浪的人类更为平静，且更富有哲理性。但我们知道，这可能只是一种错觉。在诗歌的结尾处，羊群被描述为“周身披满投影 ”，就像“大海遗失的孤儿”。这一出人意料而使人印象深刻的图景，让读者停下来思考这样一个事实：由于早期的进化历史，人类也是“大海的孤儿”。因此，或许我们与沉思默想中的羊有着更多超越我们原本认知的共同点。![]()
The Sheep on Beishuang Island They stand on the rocks gazing out to sea unable to read their emotions as if in the world of a statue locked in time The sheep regarding the sea appear more Zen than the people who contemplate those waves and so the sea seems even more profound and strangedressed in the shadows of the waves 在第三首诗中，我们从羊群和海洋的思索转而陷入对夜间工人归家场景的思考。这首诗歌名为《我愿意傍晚时分看人们收工回家》，是白庆国的作品。诗歌的第一节描述了农业工人的行为活动，使之看起来像是一个自然性的过程。是他们离开田野，还是田野离开了他们？在诗人看来，他们简单的姿态有着与风光景观的自然美相似的魅力。擦去锄刃上的泥土、捡起白天工作时丢在一旁的衣服、收拾东西回家——所有的这些举动都有其诗歌般的意境之美和优雅之处。不再年轻的诗人想象着，一个行动迟缓的工人可能会永远被困在这片景致之中。毕竟，在诗人眼中，同样的场景已上演了六十年。正如诗人所说，“总有一个人最后离开。” 这里暗示着生命的无常，因为诗人意识到，他们也终将有一天永远地从这个场景中消失。![]()
I Like Watching People Returning from Work in the Evening The way they leave makes it lookas though they have been left by the fieldWipe the mud off the hoe with your right foot – the gesture has a certain graceCollect the discarded clothes around youbending and straightening – more graceful gesturesI spend my evenings in this state of indescribable grace There is always someone just about to leave but dusk falls so quicklywhat if the slowest movers get trapped in twilight?This is how it’s been been for sixty years我们的下一首诗来自诗人李南的作品《青春》，也围绕了年岁增长的主题。我们在这首诗的核心中感受到了随着生命中角色的转变而产生的视角变化。诗人回忆起自己曾是一名“学生”、一名“青工”和一名“小记者”的年岁。但诗人明白，那时候各个阶段的他认知还不完整：“那时我们没有见过大海/没有见过海边坚韧而沉默的礁石。” 还尚未充分意识到生活中的机会与危险是并存的。生活上的需求使朋友们渐行渐远，拥有无穷无尽机遇的那种感觉逐渐消失了。如今，只有很少的痕迹遗留下来，用于证明曾经拥有过青春岁月。![]()
In that age of innocence
love didn't happen easily
Flashy young people with bad taste
check shirts and flares that swept the ground
hoping to meet a certain someone
In the library, at night school, but not in the department store
they tested their new words
Their thirst, facing the ocean, grew even deeper
reading, traveling, debating all night
All the masters are illuminated so as to be admired
around greasy tables in little pubs
and meals of bread and beer
Of course, I was there too, one of the students
young workers, unknown journalists
constantly changing who I was
always thinking that I could overturn fate
Back then we hadn't seen the sea
nor the tough, silent reefs along the shore.
Sophora flowers covered the ground under a scent of jasmine
So many friends lost touch around then
It was in the 1980s
I could only retrieve a few fragments
Youth was ground into the rocks of fate
and years later, you can still clearly see a few traces
我们本辑诗歌中的第五首，也是最后一首是西娃的作品《有那么一个人》。这首富有吸引力的诗歌表达了一种被自己所困扰的情绪，或者说是感受到在另一个平行维度里存在着的另一个自我。无论诗人做什么，这个另一个意象中的她都会做出一样的行为。就像从眼角的余光瞥见自己，转过头却发现那里一个人也没有。诗人既是一缕魂魄也是被魂魄困扰的人。![]()
I sit alone in the morningtrying to revise a badly written poem At midnight I skim through diaries that I once loved a man so muchthen I apologise to myselfI take out the clothes I haven’t worn in agestrying them on and throwing them out complaining about the days when I wore themnot one moment worth recallingBut I know there's someone doing the same things as me
秦尊璐、Peter Hughes 译
These poems concern themselves with contemplation. They ask what it means to observe, reflect and wonder. We as readers are invited to consider the implications of space, distance and passing time.The first poem is by Hei Tao and is called ‘Far and Near’. The initial line immediately opens out into the vastness of the sky at night and the glowing patterns of the stars. The poet reflects on the fact that these shapes, the constellations, were unfamiliar to the poet as a child. They had to be learned, as did the Chinese characters with which the poet now composes poetry. Years have passed since childhood. The middle-aged poet now feels that the shapes of the stars, and written characters in which they are described, are more familiar now and bring back the scents and sensations of the poet’s home town. The sense of distance is beautifully conveyed:Stars in the blue darkness of nightcharacters unknown to me in childhoodglisten in the depths of infinity‘The Sheep on Beishuang Island’ is a charming poem by Wei Tingxin in which we regard the sheep as they quietly gaze out to sea. The poem is asking in a subtle way what it actually means to be human. Do we see what the sheep see? Is our sense of vision and contemplation completely different? The sheep seem calmer and more philosophical than the humans who are watching them and the waves. But we know this may be an illusion. At the end of the poem the sheep are described as being ‘dressed in shadows’ like ‘orphans of the sea’. This surprising and effective image makes the reader pause and reflect on the fact that humans, because of their early evolutionary history, are also ‘orphans of the sea’. So perhaps we have more in common with the contemplative sheep than we think.The sheep regarding the sea appear more Zen
than the people who contemplate those waves
and so the sea seems even more profound and strange
In the third poem we move from contemplating sheep and the sea to contemplating farm workers heading home in the evening. Bai Qingguo’s poem is entitled ‘I Like Watching People Returning from Work in the Evening’. The first stanza makes the actions of the agricultural workers seem like a natural process. Are they leaving the field, or is the field leaving them? Their simple gestures have a charm for the poet which is akin to the natural beauty of the landscape. Wiping mud off a hoe, picking up clothes discarded during the working day, packing up and heading home – all these actions have a poetry of their own, a special grace. The poet, who is no longer young, imagines that a tardy worker might remain trapped in this landscape for ever. After all, the same scene has been enacted in the poet’s eyes for sixty years. Someone is always getting ready to leave, says the poet. Here there is more than a hint of mortality as the poet realises that they must also leave this scene for ever one day.There is always someone just about to leavebut dusk falls so quicklywhat if the slowest movers get trapped in twilight?This is how it’s been been for sixty years
Getting older is also a theme of our next poem, ‘Youth’ by Li Nan. At the heart of this poem we have a sense of shifting perspectives as our roles change throughout life. The speaker recalls being ‘one of the students’, then a ‘young worker’ and an ‘unknown journalist’. But the poet knows that back then their knowledge was incomplete: ‘Back then we hadn’t seen the sea / nor the tough, silent reefs along the shore’. The opportunities as well as the dangers of life were still not fully appreciated. The demands of life meant that friends drifted apart and the sense of endless opportunity began to diminish. Now there are just a few traces of that youthful life to be seen.So many friends lost touch around thenI could only retrieve a few fragmentsYouth was ground into the rocks of fateand years later, you can still clearly see a few tracesThe fifth and final poem in our batch is ‘There’s Someone’ by Xi Wa. This fascinating poem conveys a sense of being haunted by oneself, or feeling the presence of an alter ego in a parallel dimension. Whatever the speaker does, this other imagined presence does the same. It is like watching oneself out of the corner of one’s eye, only to turn and find that there is no one there. The speaker is both the ghost and the person being haunted.But I know there's someonedoing the same things as me![]()
国际诗歌评论人 | 彼得·休斯
诗人、创意写作教师，现任英国剑桥康河出版社资深文学编辑、剑桥徐志摩诗歌艺术节编委。2013年，他的诗歌选集与《对特殊事物的直觉：彼得·休斯诗歌评论集》（‘An intuition of the particular’: some essays on the poetry of Peter Hughes）同时由Shearsman出版社出版。他根据意大利经典创作了《十分坦率》（Quite Frankly，Reality Street出版社）、《卡瓦尔康蒂》（Cavalcanty，Carcanet出版社）、《via Leopardi 21》（Equipage出版社）等众多充满创意的作品，广受好评。彼得是剑桥大学英语系朱迪斯·威尔逊诗歌基金获得者、客座专家，剑桥大学莫德林学院在诗歌领域的客座院士。近期出版的作品包括：2019年的《柏林雾沫》（A Berlin Entrainment，Shearsman出版社）、2020年的《毕士大星座》（Bethesda Constellations，蛎鹬出版社）等。
“汉诗英译”栏目自2018年10月启动至今，现已完成第一阶段的翻译工作，与美国同道出版社合作，从《诗刊》和中国诗歌网“每日好诗”中精选800余首诗歌译成英文，推动当代中文诗歌走向世界。
从2022年4月起，中国诗歌网与剑桥康河出版社合作开展汉诗英译工作。
翻译团队为剑桥康河诗社，它是英国剑桥康河出版社(Cam Rivers Publishing) 旗下的诗歌翻译与编辑团队，由英国国家学术院院士、剑桥大学社会人类学教授、剑桥徐志摩诗歌艺术节创始人艾伦·麦克法兰(Alan Macfarlane) 担任主席。团队由英国资深诗人与文学编辑彼得·休斯 (Peter Hughes)、露西·汉姆尔顿 (Lucy Hamilton)，以及其他多位毕业于剑桥大学和其他知名高校的译者与学者组成。
“汉诗英译”每期发布五首汉英对照诗歌，并附国际诗人的点评，同步在中英两国推出，欢迎各位诗友关注和批评！
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英国剑桥康河出版社（Cam Rivers Publishing）位于英国剑桥市，由剑桥大学社会人类学教授、英国国家学术院院士艾伦·麦克法兰与他的同事们于2014年发起，2016年正式创立。作为英国领先的文化创新企业之一，出版社管理着数十位世界级学者、文学家、艺术家和音乐家的知识产权，出版了120余部高质量图书，是促进东西方文化交流与创新的重要纽带。出版社传承了麦克法兰院士及多位英国人类学、历史学前辈们自1930年代收集与创作的大量文字与影像资料，多年来致力于中国和英国在文化、艺术和教育领域的传播与交流，汇聚了来自剑桥大学、牛津大学等英美顶尖学府的学者，以及知名艺术家、文学家和社会活动家。其中，"大师访谈录"项目已访谈300多位世界知名专家学者，包括十余位诺贝尔奖得主及奥斯卡金像奖获得者。作为跨文化交流的推动者，出版社积极开展国际文学交流项目，翻译与收录了欧美和中国的数百位诗人的作品。出版社自创立以来，旗下“康河读者俱乐部”为逾一万名读者在英国、中国和日本等地举办了两百多场图书分享会，持续推动中英两国在学术、教育与艺术领域的深度对话与合作。
