施施然，本名袁詩(shī)萍，詩(shī)人，畫家，河北文學(xué)院簽約作家，曾獲河北省政府“文藝振興獎(jiǎng)”、《現(xiàn)代青年》“最受讀者喜歡十大青年詩(shī)人”、三月三詩(shī)會(huì)獎(jiǎng)、中國(guó)作協(xié)重點(diǎn)作品扶持等，部分詩(shī)作被譯為英語、瑞典語、韓語等語言交流，出版詩(shī)畫集《走在民國(guó)的街道上》（臺(tái)灣）、詩(shī)集《青衣記》、《杮子樹》等。國(guó)畫作品多次入選國(guó)際國(guó)內(nèi)畫展并被收藏，現(xiàn)致力于中國(guó)傳統(tǒng)文化“詩(shī)畫合一”的承繼與探索。
SHI Shi-Ran, originally named YUAN Shi-Ping, poetess, painter, signed writer of Hebei College of Liberal Arts, once won the "Literary Revitalization Award" in Hebei province, “March-Third Poet Award” and the key support from “China Writers Association”. She was celebrated as one of "the most ten favorable young poet” by readers of Modern Poet Monthly. She has published her collected poems such as Tsing Yi Notes, and Persimmon Tree as well as her collected album of poetry and painting: Walking on Republic Street of China (Taiwan). Her poems have been translated into English, Swedish and Korean, etc. She is also the Deputy Chief Editor of the magazine The Sea Breezes. She has devoted herself to the inheritance and exploration of "syncretism of poetry and painting" of traditional Chinese culture. Her several painting works have been selected and stored up in the domestic and international exhibitions.
譯者海岸
海岸（1965- ），詩(shī)人、翻譯家，浙江臺(tái)州人。原名李定軍，八十年代就讀于杭州大學(xué)（現(xiàn)并入浙江大學(xué)）外文系，現(xiàn)為復(fù)旦大學(xué)外文學(xué)院副教授兼香港《當(dāng)代詩(shī)壇》（漢英雙語）副主編。著有《海岸詩(shī)選》(2001）、《海岸短詩(shī)選》（2003）、《挽歌》（長(zhǎng)詩(shī)，2012）；譯有《狄蘭?托馬斯詩(shī)選》(2014）、《貝克特詩(shī)集》（2016）；編有《中西詩(shī)歌翻譯百年論集》（2007）、《中國(guó)當(dāng)代詩(shī)歌前浪》（漢英對(duì)照，歐洲繁體版/青海簡(jiǎn)體版, 2009）等。2004年曾參加UNESCO全球和平文化合作研究項(xiàng)目，論文及和平組詩(shī)入選“UNESCO--EOLSS維生系統(tǒng)百科全書”。曾應(yīng)邀出席“第15屆阿根廷-羅塞里奧國(guó)際詩(shī)歌節(jié)”（2007）、“第2屆中國(guó)青海湖國(guó)際詩(shī)歌節(jié)”（2009）、“第48屆馬其頓-斯特魯加國(guó)際詩(shī)歌節(jié)”（2009）、羅馬尼亞米哈伊??艾米內(nèi)斯庫(kù)國(guó)際詩(shī)歌節(jié)“（2014）。
HAI AN (1965-), originally named LI Ding-Jun, Chinese poet and translator, the Council Member of the Shanghai Translator Association (STA), the prize-winner of STA-2011 Translator Prize and the invited author of UNESCO-EOLSS Encyclopedia in 2004. He graduated from the Hangzhou University in the 1980s, currently serving as the Associate Professor at College of Foreign Languages and Literature, Fudan University and the Adjunct Deputy Editor-in-Chief of Contemporary Poetry Quarterly based in Hong Kong. He has published more than ten books of poetry as the author, translator and editor, including Selected Poems by Hai An（2001）, Selected Short Poems by Hai An (2003, Hong Kong), Elegy—Hai An’s First Therapeutic Long Poem (2012, Taiwan), Selected Poems of Dylan Thomas (2014), Collected Poems of Samuel Beckett (2016), A Centennial Collected Papers on Sino-Occidental Poetry Translation (2007), The Frontier Tide: Contemporary Chinese Poetry (Europe / Qinghai, 2009), etc. He was once invited to attend several international poetry festivals, such as the 15th International Poetry Festival in Rosario, Argentina (2007), the 2nd International Poetry Festival at Qinghai Lake, China (2009), the 48th International Poetry Evenings in Struga, Macedonia (2009) and the International Poetry Festival of Mihai Eminescu in Craiova, Romania (2014).(Email: djli@fudan.edu.cn)
《淺草寺》
施施然
冬天我來到淺草寺
白檐紅廊，漢字巾幡
門外的銀杏樹上掛著唐朝的金子
我站在唐朝的建筑前
仿佛我的祖先立在他家門前
他沒有死，在我的眼睛里活過來
我伸出現(xiàn)代的手臂
想撫摸這木頭的墻壁
我看見祖先的虔誠(chéng)和律令
看見祖先的亂發(fā)和歌哭
可是冬天的寒露滲出我的掌心
殘缺的漢字從巾幡跳下來
我看見牌位后的佛佗一團(tuán)和善
但他身著和服面目模糊
冬天我走過淺草寺
冬天我來到淺草寺過門而不入
Shallow-Grass Temple
SHI Shiran
I came to the Shallow-Grass Temple in winter
White eaves flying across a red corridor, prayer flags with Chinese characters
The golden Tang Dynasty hung on a ginkgo tree outside
I stood in front of the building of Tang Dynasty
As if my ancestors standing in front of their house
Undead, he revived in my eyes
I stretched out my modern arms
To touch the wooded wall
I saw the piety and discipline of our ancestors
I saw their wild hair, crying with songs
But my palm exuded its cold dew in winter
Broken Chinese characters jumping off prayer banners
I saw the affable Buddha behind the memorial tablet
But so shadowy in kimono
I walk through the Shallow-Grass Temple in winter
I came to the Shallow-Grass Temple, passing through the gate.
(Tr. by Hai An)
春夜
春夜是靜的，因?yàn)槟懵牪坏叫踊ǔ醢l(fā)的聲音
春夜是暖的，我的親人面色潮紅而我汗水淋漓
換上干凈的薄衫吧
去護(hù)城河邊走走吧。你看
河水像碎玻璃翻動(dòng)著春光
在春夜，如果你辨不清花香和光亮襲來的方向
背后就會(huì)長(zhǎng)出翅膀
春夜也有翅膀，它飛上你的陽臺(tái)
鉆進(jìn)了你的夢(mèng)中
春夜的夢(mèng)，沒有大門
死去的母親像笑聲，在里面進(jìn)進(jìn)出出
Spring Night
At quiet spring night, you can't hear the incipient sound of apricot blossoms
At warm spring night, I sweat dripping wet with my flushed love
Change a clean lightweight sweater
To take a walk at the moat. As you see
The river flipping the spring as the broken glass
At spring night, if you fail to know the direction of fragrance and light
Wings sprout out of your shoulders
Spring night also has its wings, flying at your balcony
And going into your dream
A dream at spring night shows no gateway
Departed mother goes like the laughter, in and out
(Tr. by Hai An)
一個(gè)人的寺院
黃昏與大海如此接近。云幕低垂
閃電將天地縫合
天樂在海浪白色的鍵盤上
彈奏。琉璃瓦的
金光點(diǎn)燃了整座寺院的寂靜
夕陽照亮了佛像。燭淚在芭蕉的氣味中
緩緩滴落
穿過空氣升起了幽遠(yuǎn)的梵音
殿堂空曠。塵世隨海水退去
我在其中。仿佛置身西天的幻境
在海邊的寺院，我心靈的壁壘轟然倒塌
眾神無聲地立滿我身后
One Person's Monastery
Dusk, so close to the sea, cloud curtain drooping further
Lightning sews up the heaven and earth
Waves of white keyboard play the music
Of the paradise. The golden light
Of glazed tile ignites up the silence of the entire temple
The figure of Buddha reflects sunset. In the smell of banana
A teardrop of candle dribbles down slowly
Rising the chanting sound farther from the air
The temple is empty, the mortal world ebbing with tide
Including mine, as if placed in the Buddhist paradise
In the temple of the sea, my heart barrier collapsed
The gods silently stand behind me
(Tr. by Hai An)
印在書上的碼頭
就在今夜，從你的狼毫下滴出的月色
像油紙傘，靜靜張開
張成一首詩(shī)的形狀。光輝
穿越詩(shī)句的隧道。皎潔
一如從前。那個(gè)別離的江岸
汽笛曾用哀怨的詠嘆把江水與遠(yuǎn)天粘貼，把
你飄揚(yáng)的長(zhǎng)衫扯成飛舞的旗幟，帶走
我的脈搏，在夢(mèng)的花海里與我拜堂成親
天各一方。而今，月色重現(xiàn)，櫻花
落滿江面，用絕美
暗示狂亂。重逢的心跳在江邊啟航
遙遠(yuǎn)的碼頭早已是印在我心上的無字書
打開是相逢，合上是別離
The Pier, Printed in the Book
Just tonight, the moonlight dripping from your Chinese brush
quietly opens as an oiled-paper umbrella
as the shape of a poem, its brilliance
crossing the tunnel of verses, bright
as ever. On the riverbank for the separation
whistling chant of sadness once pasted the river with the distant sky
your fluttering gown tore into a flying flag, away with my pulse,
married with me in a dream of flower sea
ever scattered from each other. Tonight with the same moonlight, the river
filled with cherry blossoms, its beauty
drops a hint of frenzy. Heart-throb of reunion sets sail on the riverbank
Remote pier printed already as a wordless book in my heart
Open it as we meet, while closed as we say goodbye
(Tr. by Hai An)
楊保羅的講述
已經(jīng)過了臺(tái)北，公路兩旁
的檳榔樹下，日光
在叢林和水草中游動(dòng)。穿過
低矮錯(cuò)落的防震樓，大巴車平穩(wěn)地
向臺(tái)南駛?cè)??！敖o老爺太太們
請(qǐng)安”。楊導(dǎo)游還在繼續(xù)他，準(zhǔn)確說
是他的母親的回憶：1948年
在“大撤退”潮中作為
一位國(guó)民黨連級(jí)軍官的姨太太
她和丈夫一起，在福建一個(gè)碼頭
登上了開往臺(tái)灣的船——
在我們常見的電影中，她至少是
情感的勝利者。不是嗎？
她取代了大太太。
而她未來的兒子，此時(shí)正大聲地
告訴我們接下來的事情。
是的，她和他待在一起
但現(xiàn)在，限乘750人的船
鐵板一樣豎立著兩千多個(gè)
在密不透風(fēng)的對(duì)峙中
不分男女弱孺，肉緊貼著肉
人們站著嘔吐。
站著哭罵。站著
咽氣。十幾個(gè)風(fēng)雨顛沛的晝夜
她一路上耳聽死去的人被
扔進(jìn)海中。那驚心的
“撲通”聲。是動(dòng)物的
求生本能，使這個(gè)剛踏進(jìn)婚姻的舊式女人
掙扎著，從腳下一片排泄物的汪洋
不，是從一場(chǎng)戰(zhàn)爭(zhēng)中
活下來。像滄海中的一粒砂。
PAUL YANG’S NARRATION
Passing by Taipei, under the betel tree
along the highway, the sunlight
swimming down water grasses in the jungle,
through the shockproof houses, scattered low,
the coach goes smoothly toward Tainan. “Morning,
Ladies and Gentlemen”. Yang, the tour guide, more precisely,
keeps on his mother's memory, in 1948
in the tide of "great retreat",
as the mistress of a KMT junior officer,
She, together with her husband, on a quarside in Fujian
boarded on the ship bound for Taiwan --
In our familiar movie, at least she is
the winner of emotion, isn't she?
She replaced the first wife.
Her future son is now loudly
telling us the following things.
Yes, she stayed with him.
But then, the ship though limited for 750 passengers,
more than two thousand stood in iron cabin,
straight in the impenetrable confrontation,
male or female, weak or young, flesh to flesh.
They stood to vomit,
to scold and to die.
For a dozen of windy, rainy days and nights
She listened to the dead, along the way,
thrown into the sea. What a horrifying
"splash”. It was the animal surviving instincts
made this old woman, just stepping into marriage
struggle to survive from the boundless fecal waste under her feet,
No, to survive from a battle,
as a grain of sand in the sea.
(Tr. by Hai An)
春日
風(fēng)是突然停下的。香氣隱隱從窗外飄進(jìn)來
纖細(xì)如敏感的神經(jīng)?！耙欢ㄊ撬N薇
從靜止的葉片下發(fā)出的”。她披上揉皺了的晨衣
下床，為自己泡檸檬茶。這些年
他持續(xù)保持著對(duì)她身體的迷戀，說不清是
甜蜜，還是額外的負(fù)擔(dān)。就像她常常拿不準(zhǔn)
新寫出的，究竟是一首好詩(shī)，
還是爛詩(shī)。她推開窗，向樓下空地撒下一把米
給等候在法桐上嘰嘰喳喳的小鳥。這種偉岸的樹曾
林立在數(shù)不清的街道兩旁，被她認(rèn)為是這座城唯一的優(yōu)點(diǎn)
但現(xiàn)在，越來越少，因此她懷疑
政府與樹販子有著某種勾結(jié)但立即被家人制止：
“這不可能”。關(guān)上窗，有電話打進(jìn)來，是詩(shī)人。
她告訴他：“很高興沒在海子的詩(shī)歌朗誦會(huì)上
看見你的身影，因此
你仍然是大師”。但大師在聽說“又出事了”
的時(shí)候聲音明顯高了2度：“在哪？在哪？”
這使她在心中把他的位置又微微作了調(diào)整。
掛掉電話，她重新回到床上。她的每一天
都像在虛度，而她試圖從中找到無窮的詩(shī)意。
現(xiàn)在，她脫下晨衣，思忖著這一首該如何開始。
SPRING
The wind stopped suddenly. Aroma came hidden through the window,
faint like the sensitive nerve. "It must be the rose
smelling beneath from the motionless blades. "She put on the crumpled dressing gown,
out of bed, a cup of lemon tea for herself. Over the years
he had kept fascinated in her body, unable to say for sure,
sweet or extra burden, as she often in doubt
what she had written was a good poem or a bad one.
She opened the window, sprinkling a handful of rice down to the stairs
for the chirping birds waiting on the chinar. The gigantic trees, clustering
along countless streets, was regarded as the unique advantages of her city,
but now, less and less, she suspected the government
had some collusion with the tree dealer, immediately stopped by her family:
"It's impossible". Closing the window, she received a call by a poet.
She told him: "Pleased not to find you
in Haizi’s poetry reading, so you're still the master",
but the master, after hearing "another accident",
obviously raised his voice for 2 degree: "Where? Where?"
This made her fine-tune his position in her heart.
Hanging up the phone, she went back to bed. Seemingly
each day slipped idly by, and she tried to find endless poetic.
Now, she took off her dressing gown, wondering how to start the present poem.
(Tr. by Hai An)
在苗寨寫生遇見馬廄里的馬
這是匹剛成年的馬。隆起的肌肉在
漂亮的棕色毛皮下若隱若現(xiàn)——在這里
群山鎖住路，馬廄鎖住野性和美。
它的眼睛大而溫善。眼睫長(zhǎng)而密。
當(dāng)你和它幽深的瞳孔對(duì)視，一縷憂郁
（被禁錮的力量）沉進(jìn)你的心底。
它并不曾記得怎樣離開母親。
它也不感到孤獨(dú)（馬廄里還住著
一頭沉默寡言的牛，和熱情的牛蠅）
它不曾仰望過天空掠過的飛鳥，
流云從樹梢后奔馳過山崗。
不曾留戀過遠(yuǎn)處的峰巒，
和峰巒后通向天邊的路。
（野雛菊和苜蓿草在路旁跳出雌性的“踩堂”舞）
它不曾記得奔跑。
（風(fēng)在耳邊呼嘯）
它不曾了解自由。
（韁繩是與生俱來人類恩賜的禮物）
——哦誰能幫幫我給它以明示？
在神靈與宇宙面前，生命生而平等。
（如果動(dòng)物不能，至少人類可以）
它信賴這焦紅的土地，諳熟吆喝
犁耕，馱運(yùn)，忠誠(chéng)和順從，在主人的鞭子和注視下
交配。在馬蹄狀的糞便中
大聲喘息——
它把所有交付出去，
它還不曾夢(mèng)見宰殺。
（或許，正是它老去的母親的命運(yùn)）
SKETCHING IN THE MIAO VILLAGE TO MEET A HORSE IN THE STABLE
It is just an adult horse. Its uplift muscles
Loom under the beautiful brown fur – the road here
Rocked by the mountains, the wild beauty by the stable.
Its eyes big and mild, its eyelids long and dense,
When you meet its deep eye pupil, a wisp of melancholy
(Imprisoned power) sinks into the bottom of your heart.
It does not remember how to leave its mother.
It doesn't feel lonely, (also in the stable live
A taciturn cow and a gadfly of enthusiasm.)
It does not look up to the birds of the sky.
Clouds run from behind the trees over the hills.
Never miss the distant mountains,
Miss the road overlapping peaks to the horizon.
(The wild Daisy and clover take female "trample dance” on the road.)
It does not remember how to run.
(The wind is wailing in its ears)
It does not understand freedom.
(Reins are the born gift given by the human.)
-- Oh who can help me to declare to it?
Before the God and universe, life lives equal.
(If the animal cannot, at least, the human can)
It trusts in the scorched land, familiar with the urging cry,
Plough, labor, loyal and obedient, mating under the master's whip
And watch. Gasping for breath loudly
In a horseshoe-shaped dung--
It hands over what it owes,
It has never dreamed of killing.
(Perhaps, it is the fate of its old mother.)
(tr. by Hai An)
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