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译者 | 秦尊璐、游心泉、彼得·休斯
诗评 | 彼得·休斯 Peter Hughes，李玥 译![]()
新一辑的诗歌让我们洞察到生命的脆弱和坚韧，从季节更替中窥见的变化和连续性，以及我们与彼此和地球上其他形式的生命分享生活的方式。第一首诗是康承佳的作品《夏日》。这首诗歌与其说是在欢庆夏季本身，不如说是在提示我们，每个季节都有其独特的特质和情感影响力。作者指出，我们总是沉浸在时间和季节的流逝当中:
夏 日
康承佳
我们太擅长热爱春天，悲悯秋天
太擅长，在冬天做一个满怀希望的人
每一个季节在眼里，都有
各自情绪的天赋，夏天，尤其如此
即使葡萄藤上架满了关于丰收的想象
历经漫无边际的生长后，果实都隶属秋天
蛙鸣和蝉声更像是抱怨
我们对夏天的拒绝，也充满灵感
毕竟，夏日让我们迟钝、警惕、郁结
怀疑其内在的躁动
只有那漫天星辰长久地站着
照耀那晚间，要赶路的人
在这首诗的结尾，星星的出现令人感到安心，预示着一种更为缓慢的变动和更长久的模式。
We’re good at loving spring and mourning autumnwe’re good at keeping hope alive in winterEach season has its own gift for eliciting emotions, especially the summerThe vines are rich and full of imagined harvestsafter boundless growth, their fruit belongs to autumnThe voices of frogs and cicadas sound like lamentationsprompting us to turn away from slowly passing summerFor summer makes us dull and warybrooding on its inner restlessnessOnly the stars maintain their patient vigilancehelping people find their way through night第二首诗也提到了星星，但这一次，它并不能够抚平人们的情绪。在李长瑜的作品《占星辞》的开头，一颗星星不见了，在夜空中留下一块空缺。作者承认，最近他喝了太多的酒，读者也由此推断出了他近来不被命运善待的原因。全诗弥漫着一种失落和迷惘，以及落入圈套的感觉。作者在一棵年代久远的大树周围发现了许多令人摸不着头脑的足迹。他试着用一把土盖住脚印，而这样的行为却让这片区域看起来像是猎人布下的陷阱。同样的，酗酒本身也是一个陷阱，它并不能解决过去的混沌，只会让人感觉更加糟糕。诗中也有给人带来触动的时刻，比如在结尾，作者思索着还有多少人会身陷其中：
占星辞
李长瑜
昨晚夜空少了一颗星星
今天，我的肝部一直在疼
我复盘了最近的几场大酒
并不是试图找出真凶。真凶
往往不可企及
却又在自我之中。可我还是在
一棵大树之下
找到了足迹。大树年代久远
足迹似旧还新
我模仿猎人，撒上虚土
越看，越像一处陷阱
越看，越想知道，还有谁
深陷此生
夜空少了一颗星星，它空出的位置
多像一处陷阱
Last night a star was missing from the sky today my liver has been hurting I reflect upon my recent heavy drinkingnot to apportion blame or guiltsince that's so often difficult to dooften hiding somewhere deep within. Under a great tree I find footprints. The tree is ancient the footprints seem both old and new I imitate a hunter scattering fresh soil around the tree.The more you look, the more it resembles a trap The more I look, the more I want to know who else is trapped this way by lifeThe gap created by the missing star looks increasingly like an entrapment too
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接下来一首诗是林雪创作的《苏子河边的女人》。我们目睹了一个女人慢慢地向山上走去的过程。读者很快便能意识到，她走过的这段路途也是她一生的隐喻。前三行诗让我们愉快地联想到生命的短暂之美:
苏子河边的女人
林 雪
当河水反光。当银币先跳动在她们脸上。
再散落到矮树，和草丛里。
那种无处不在的气息
多么空洞。被什么东西突兀地填充了一下。
是女人故事中的灵感：她的一生
已准备停当。过了河，到山脚
还是赫图阿拉，还是在天上漫步的人群
其中一个女人走在渐渐升高的路上
她渴望的身体就要倒在水流中
那时爱情还没有折磨到她
那打开又闭合的空间已经沦陷。
她走着，深知方向和内幕
她走着，穿过这首诗里的时间
穿过她所能了解和未知的一切
倒影散落一地，但河水还在平稳地流淌，女人不紧不慢地沿着河流行走。她即将走到生命的尽头。她不顾自己逐渐消耗的精力，继续前行。她从这一生中学到了很多，但也有不少她永远无法理解的东西。这首诗赞美了她在面对生活的考验和失望时仍抱有的坚持。
The Women by the Suzi Riverthe reflections of the river send silver dancing coins of light across their faceswhich then scatter through the nearby shrubs and grassThe ever-present emptiness of air seemed suddenly filled with a presence –inspiration from a woman’s life now approaching an end. She’s crossed the river, reached the foot of mountains a member of the crowd still walking towards heavenOne of the women walks on the slowly rising path her thirsting body seems about to slip into the water The vagaries of love haven’t yet tormented herThat space expanded and contracted, slowly closedShe walks on – she knows the way, the inside stories She walks through the duration of this poem through everything she’s known and doesn’t know
第四首诗来自熊焱的作品《自然课》。同样地，诗歌的主题依然是围绕时间和时间的续航期，自然现象的转瞬即逝，以及生命的复原力和坚韧性。
这首诗强调，生物体能存活多久并不重要，重要的是它完成了既定的生命周期，即便短暂也无妨。
自然课
熊 焱
蝉虫在土里啜饮漫长的黑暗
只为追逐光，羽化出最后的飞翔
昙花在夜间开放，刹那的芳华
只为诠释永恒的美学之光
蜉蝣朝生暮死，生命的奥义已超越时间
不在于短长，而关乎于完整
蝌蚪生长为青蛙，蛹破茧成蝴蝶
命运常常在艰难的历程中蕴藏着奇迹
北极蛤活到五百岁以上，百岁兰生存逾千年
活着，是一种隐藏的耐心和坚韧
Cicadas sip the earth’s long darknessto chase the light and reach their final flightThe evening primrose briefly blooms at nightperforming its own interpretation of eternal lightThe mayfly lives a day and night, transcending timenot concerned with duration, but with completenessTadpoles become frogs, the chrysalis breaks into a butterflyFate hides away its miracles in epic journeysThe Arctic clam lives five hundred years the orchid may last a millenniumTo be alive means hidden patience and tenacity
秦尊璐、Peter Hughes 译
本辑的最后一首诗是冉小江创作的《蜻蜓》。与其说这首诗最初的关注点是蜻蜓，倒不如说是成熟的水稻，它因满载谷粒而被自身重量压得有些倾斜。“蜻蜓”在与生态系统的良性协作中找到了自己的主体。我们可以看到，水稻受到动物和降雨的刺激而生长；少许的蒲公英会呈现出邻近物体的颜色，不论一旁是葡萄、荷花还是柳树。赋予生命的淡水井似乎在向蜻蜓讲述万物的关联性、秩序、平等和重要意义。
蜻 蜓
冉小江
草丛没有言语，天空在注视
一支饱满的稻谷，要承载着孕育与羞怯
它在面对隆起的土地时，有弓形的视角
它在飞翔的过程中，要靠近好的天气和脾气
那些认同的声音，蛇、螃蟹还有谷雨
要沿着河流去往远方，那些留下来的蒲公英
和冬雪保持足够的联系，使我们对来年充满希望
如果靠近一串葡萄时，它呈现紫色
那么在靠近荷花和柳树时，它就发生了微妙的变化
一口常年冒泡的井水不会吐露这样的秘密
它对一只蜻蜓许了愿，它和另一只蜻蜓的关系
保持着从下而上的秩序，就像你看见太阳时
万物复苏，我们一律平等
The grass has no words and the sky looks onA ripe rice plant bears the burden of its birth and shynessIt has a curving perspective over the raised earthIt flies towards good weather and maturity and draws encouragement from crabs, serpents and spring rainTo follow the river into distance, remaining dandelionsremember winter snow and carry hope into the coming year becoming purple in the company of grapes and subtly changing hue beside the lotus and the willowThe well that’s always bubbling keeps its secrets It whispers wishes to the dragonflies and their companions it maintains a kind of order, as when you see the sun revive all things, and know that we’re all equal.
Our new selection of poems provides us with insights into the fragility and resilience of life, the changes and continuities glimpsed through the movement of the seasons, and the way our lives are shared with each other and with other forms of life on earth.The first poem is ‘Summer’ by Kang Chengjia. This text is not so much a celebration of summer itself, as a reminder that every season has its special character and emotional impact. The speaker suggests we are always immersed in a sense of time and season passing:We’re good at loving spring and mourning autumn we’re good at keeping hope alive in winterEach season has its own gift for eliciting emotions, especially the summerAt the end of the poem there is a hint of slower change and more enduring patterns in the reassuring presence of the stars:Only the stars maintain their patient vigilance helping people find their way through nightThe second poem invokes the stars as well, but this time the mood is far from reassuring. Li Changyu's ‘Astrological Poem’ begins with a star that has gone missing, leaving a space in the night sky. The speaker admits to drinking too much alcohol, and the reader infers that fate has not been very kind recently. The poem is characterised by a sense of loss, bewilderment and entrapment. The speaker finds many confusing tracks and footprints around an old tree. Trying to cover them up with a handful of soil just makes the scene resemble a hunter’s trap. Similarly the heavy drinking is itself a trap of sorts – it does not resolve the confusions of the past; it just makes them feel worse. There is a moving moment when the speaker wonders how many other people feel this way:The more you look, the more it resembles a trap The more I look, the more I want to knowwho else is trapped this way by lifeThe gap created by the missing starlooks increasingly like an entrapment tooThe next poem is ‘The Women by the Suzi River’ by Lin Xue. We witness a woman slowly making her way towards the mountains. The reader is soon made aware that this journey is also a metaphor for her life. The first three lines give us a delightful evocation of life’s ephemeral beauty:the reflections of the river send silver dancing coins of light across their faceswhich then scatter through the nearby shrubs and grassThe reflections are scattered but the river flows steadily on, and the woman treads patiently beside it. She is approaching the end of her life. Her energy diminishes but she keeps going. There is much that she has learned of life, but also many things she’ll never understand. The poem is a celebration of her persistence in the face of life’s trials and disappointments:She walks on – she knows the way, the inside stories She walks through the duration of this poem through everything she’s known and doesn’t knowPoem four is ‘Nature Class’ by Xiong Yan. Again the theme is time and duration, the transience of natural phenomena, as well as the resilience and tenacity of life.The evening primrose briefly blooms at night performing its own interpretation of eternal lightThe poem emphasises that it doesn’t matter how long an organism lives; what matters is that it completes its given life cycle, however brief.The mayfly lives a day and night, transcending time not concerned with duration, but with completenessOur fifth and final poem is ‘The Dragonfly’ by Ran Xiaojiang. The initial focus of this poem is not so much the dragonfly as the mature rice plant, leaning with the weight of its own ripeness. ‘The Dragonfly’ locates its subjects in benign collaboration with their ecosystems. So the rice is encouraged by animals and rainfall. The modest dandelions take on the colourings of their neighbours be they grapes, lotus or willow. The life-giving well of fresh water seems to speak to the dragonflies of connectedness, order and the equality and the importance of all living things.The well that’s always bubbling keeps its secretsIt whispers wishes to the dragonflies and their companions it maintains a kind of order, as when you see the sun revive all things, and know that we’re all equal.![]()
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。
