摘要：So small in spring, never chasing the flighty butterflies,
胡杨叶子
胡澄
它们告诉我们确实有一种速度
可以同时到达辉煌的顶点。
就像一百万个快递员
以同样的速度运送黄金到枝头；
太阳君临上空
均匀地分发他的火焰。
安静的火焰
被微风翻动，荡漾着光芒。
曾经，你的心中有过类似的爱情；
曾经，你的生命停驻过这样的枝头。
Poplar Leaves
by Hu Cheng
It’s said there’s a special speed
At which they reach their climax at the same time
Like a million couriers simultaneously
Delivering gold to treetops;
The sun reigns over the sky,
Evenly distributing its flames.
The quiet fire,
Is stirred by breeze and is shimmering with light.
Once, you had such love in your heart
Once, your life stopped dead on such a treetop.
游心泉、Peter Hughes 译
桑粒落在树枝上
谢虹
一枚桑粒会做些什么
春天那么小，它从不追赶说话的蝴蝶
不恋花不戏水
也从不担心尚未发生的事儿
阳光微软，它开始坐在树枝上走神
你看，一把木椅子一杯茶
还应该有一个画画的人
现在椅子是空的，茶杯里的残茶已成流年
人生有些漫长。风一吹，桑粒就落了下来
一只鸟儿飞过来站了一会儿
Mulberries Falling on Branches
by Xie Hong
What do mulberries do?
So small in spring, never chasing the flighty butterflies,
They play with neither flowers nor water,
Nor do they fret about the future.
In soft sunlight, they daydream through their branches.
You see a wooden chair, a cup of tea,
There should also be someone painting.
But now the chair is empty, the last of the tea has gone.
Life can seem long. One gust of wind dislodges mulberries.
A bird flies by, and perches briefly on a branch.
游心泉、Peter Hughes 译
风过野芷湖
——给女儿
丁东亚
游戏并非无中生有。“什么”来了
都有他们诗意的可能，犹如你在白纸上
画出的风物，季节向来不明
“蜜蜂先生来了呢？”
油菜花照样开得明艳与热烈
“布谷鸟小姐来了呢？”
时间从不休息，怀旧是衰老的表征
“我们来了呢？”
野芷湖静水流深，像从不高声的孩子
“火车要开往哪里呀？爸爸。”
我们在湖边草地上暂坐，像盲目飞行的鸟
开始猜度无解的远方
只是你不知道，春风的野有千斤的力
吹开着竹外桃花。红是春风里恒久的暖
Wind over Lake Yezhi
*—For My Daughter*
by Ding Dongya
Games don’t appear out of nowhere. ‘What will happen?’
Games have poetic possibilities, as do your sketches and drawings.
The seasons have never been distinct.
‘Has Mr. Bee arrived?’
The rape flowers bloom with brightness and warmth.
‘Is Miss Cuckoo here?’
Time never rests; nostalgia is a sign of ageing.
“Are we here yet?"
Lake Yezhi’s waters run still and deep, like a quietly-spoken child.
‘Where is the train heading, Daddy?’
We sat on the grassy lake bank, birds flying blind,
Imagining unsolvable distance.
But you don't know the wild spring wind arrives with tonnes of force,
Blowing open the blossom of the peach.
Red is the eternal warmth of the spring breeze.
刘晓晨、Peter Hughes 译
南山枞
张远伦
一群少年的枞木在跑步，暮晚风中
听到他们集体的啸声
从此山头，漫过彼山头
一群老年的枞木颤抖着，杵着自身
弯曲的拐杖，向着霞光走去
渐渐成为了最后的火焰
我在他们的身后，挪不动脚步
害怕歌唱，害怕燃烧
被进山的父亲预定为中堂的立柱
四十年后我去南山看我
满头松油，表情皲裂
内心满是年轮的闭环
我这野生的样子，被指认过
今天我要领走命运的核心
倏忽举起了雪亮的斧头
Nanshan Fir
by Zhang Yuanlun
A stand of young fir trees runs through evening wind
I hear their shared roar
From this mountain, over other peaks.
A copse of old fir trees is trembling, leaning on the bent crutches
Of themselves, shuffling towards sunset
Gradually becoming final flames.
I stand behind them, unable to move,
Afraid to sing, afraid to burn.
Predestined by my father who entered the mountains
to be the pillar of the central hall
Forty years later I visited Nanshan myself,
Annointed with pine resin, my surface fissured,
My heart dense with growth rings
My wild appearance gives me away.
Today I will remove my destiny’s core
Raise the bright and sudden axe.
刘晓晨、Peter Hughes 译
草原即景
刘春
不奇怪，一切都在预料中——
草地，野花，河流，幅度平缓的小土坡
白色的羊群漫铺在绿地毯上
一会儿被风吹拢，一会儿被风吹散
草不高不低，被牛羊吃掉了，又长出来
野花总是恰好被鞋底和牙齿让开
河流的沉默是上天安排的沉默
一只土拨鼠站在土坡最高处翘首
仿佛天边的白云都是它家的
这隔绝了杂念的世界，能想象到的都真实存在
包括近乎停滞的时间，度日如年的美好
旁若无人的辽远与旷阔
我要记下这一切——花草，河流，山坡
在卑微和盲目中自得其乐的生物
我想让一片云飘过大地的头顶
携带这些干净幸福的无知者，到天上去
Prairie Scene
by Liu Chun
No surprises, everything is as expected—
The grassland, wildflowers, river, gently sloping hills,
White sheep spread across the green carpet,
Sometimes assembled by the wind, sometimes scattered.
The grass neither high nor low, grazed by cattle, then regrowing.
The wildflowers just avoid the boots and teeth.
The silence of the river comes from God.
A marmot stands at the top of the slope, looking,
As if it owned all the white clouds in the sky.
In this world without distractions, the imaginary is real
Including almost stagnant time, the beauty of days passing like years
And the vastness of the empty desolation.
I want to record it all —the flowers, grass, river and hills,
And the creatures content in their humility and blindness.
I want a cloud to float over the earth to carry these innocent
Happy, ignorant beings into the sky.
刘晓晨、Peter Hughes 译
译诗导读
这一组诗作以草木为镜，通过娇柔的花瓣、坚韧的根系、轮回变迁的四季歌颂植物生命的神秘与美丽。
胡澄的《胡杨叶子》以优美细腻的笔触描绘了金秋时节胡杨林中万千树叶同时变色的震撼景象，“就像一百万个快递员 以同样的速度运送黄金到枝头”。这一盛景宛如人生暮年骤然顿悟的瞬间。诗歌的结尾则触及生命中某个重要的片刻——或许是爱情，或许是激情，而如今，它已随风而逝：
曾经，你的心中有过类似的爱情；
曾经，你的生命停驻过这样的枝头。
谢虹的《桑葚落在树枝上》刻画出桑树那宁静自足的禅意姿态，仿佛生命本身就是一场阳光下的静谧冥想。它既不费光阴与动物嬉戏，亦不忧心未来，只是静默地履行四季更替的使命。“阳光微软，它开始坐在树枝上走神”。诗歌第二节转而引入生命的无常，一只鸟匆匆掠过，桑葚自枝头坠落，花园的椅子空无一人。有人已离去或早已不在，即便是鸟儿在枝头的停留，也不过是刹那间的驻足。“现在椅子是空的，茶杯里的残茶已成流年。”诗人提醒我们，生命的永恒不过是须臾倒影，时光短暂，且常常支离破碎。但也正因如此，那棵树的宁静才显得弥足珍贵。
丁东亚的《风过野芷湖》是写给女儿的温柔诗篇，童趣的笔触勾勒出春日生机与欢乐。诗中“蜜蜂先生”与“布谷鸟小姐”共同营造了一副明媚春日画面：
“蜜蜂先生来了呢？”
油菜花照样开得明艳与热烈
然而，这份纯真与嬉戏的背后，亦隐藏着对时光流逝、季节无常的淡淡忧伤。春天与童年一样，脆弱而短暂，常被突如其来的巨大力量席卷而去：
只是你不知道，春风的野有千斤的力
吹开着竹外桃花。
张远伦的《南山枞》以枞木为意向，讲述少年和老年枞木的对照，而背后的深层寓意则指向诗人的父亲，以及那挥之不去的对死亡的感知。诗人的父亲已经衰老，而那些老树则不断提醒着我们，万物终将归于凋零：
一群老年的枞木颤抖着，杵着自身
弯曲的拐杖，向着霞光走去
这景象令诗人心生恐惧，而诗的结尾，他决定直面命运：
今日，我将卸下命运的重负，
举起那明亮而决绝的斧。
压卷之作刘春的《草原即景》描绘了辽阔的乡村画卷，“花草，河流，山坡”构成了一片生机勃勃的景象，却又透着一丝空旷与寂寥。日复一日，年复一年，岁月静悄悄地流逝，仿佛从未掀起波澜。然而，诗人渴望将这一切细节永远定格，让所有生灵得以永驻：
在卑微和盲目中自得其乐的生物
我想让一片云飘过大地的头顶
携带这些干净幸福的无知者，到天上去
彼得·休斯（Peter Hughes）
2024年11月于意大利翁布里亚
Introduction to Batch 8, 2024
This group of poems concerns the mystery and beauty of plant life. The texts evoke the delicacy of flowers, the endurance of roots and the changes taking place through the various seasons.
Our first poem is ‘Poplar Leaves’ by Hu Cheng. This work beautifully describes a host of leaves changing colour at the same time in autumn, ‘Like a million couriers simultaneously / Delivering gold to treetops’. This perfectly timed climax is compared to a moment in the history of a person who is getting older. The poem’s conclusion refers to a life-changing moment, perhaps of love or passion, which has now gone forever:
Once, you had such love in your heart
Once, your life stopped dead on such a treetop.
The second poem is Xie Hong’s ‘Mulberries Falling on Branches’. The lines reflect upon the calm self-containment of the mulberry tree, and how its life seems to resemble a quiet, sunlit meditation. The tree doesn’t waste time playing with animals or worrying about the future. It simply is, contentedly fulfilling its seasonal processes. ‘In soft sunlight, they daydream through their branches’. The second stanza, however, references human life, as well as a passing bird. Berries are falling from the tree and the garden chair is empty. Someone has moved away or died. Even the bird’s visit to the branch of the tree is very brief. ‘But now the chair is empty, the last of the tea is gone.’ And we are reminded that life is not an unchanging and sunlit meditation. Our lives are short and disrupted. But perhaps the calm presence of the tree is even more valuable to us for this reason.
Poem number three is ‘Wind over Lake Yezhi’ by Ding Dongya. This is a tender poem of several dimensions. It is written for the author’s daughter and the first sections refer to the kind of games a child might enjoy. We read of ‘Mr. Bee’ and ‘Miss Cuckoo’, the season is spring.
‘Has Mr. Bee arrived?’
The rape flowers bloom with brightness and warmth.
Yet alongside this youthful playfulness there are signs in the poem that time goes by too fast, the seasons unpredictable. And the fragility of spring and childhood can be subjected to vast forces which are not always benign.
But you don't know the wild spring wind arrives
with tonnes of force
Blowing open the blossom of the peach.
The next poem is Zhang Yuanlun’s ‘Nanshan Fir’. The subject is fir trees, young and old. But the theme is much broader and deeper. It concerns the speaker’s father and a strong sense of mortality. The speaker’s father is in his late years and the old trees are a reminder that nothing lasts forever:
A copse of old fir trees is trembling,
leaning on the bent crutches
Of themselves, shuffling towards sunset
This vision strikes fear into the speaker’s heart. The poem ends with an acknowledgement of the speaker’s own mortality:
Today, I will remove my destiny’s core,
Raise the bright and sudden axe.
‘Prairie Scene’, by Liu Chun, is the fifth and final poem of this group. It evokes a wide rural landscape, ‘…grassland, wildflowers, river, gently sloping hills…’ The scene is full of life yet strangely empty and desolate. Each day follows the next, the years go by without major events. Yet the speaker wishes to preserve all the details, and enable all the living plants and creatures to live forever:
I want a cloud to float over the earth to carry these innocent,
Happy, ignorant beings into the sky.
Peter Hughes
November 2024
Umbria, Italy
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。
栏目介绍
“汉诗英译”栏目自2018年10月启动至今，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5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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每日好诗
编辑：王傲霏，二审：曼曼，终审：金石开
来源：中国诗歌网