中美詩人相約艾青故里，開啟詩歌對(duì)話

葉星辰?徐賢飛

詩歌是一種世界語言，讓人類靈魂相通。

9月17日，十位來自中國與美國的詩人齊聚金華金東區(qū)，走進(jìn)艾青故鄉(xiāng)，進(jìn)行第二屆中美詩學(xué)對(duì)話。這是詩歌領(lǐng)域的文化碰撞，中美兩國詩人從自身生活背景、寫作的心得體會(huì)等方面共同討論兩國詩歌現(xiàn)狀與歷史，促進(jìn)兩國詩歌的交流互動(dòng)。

中美詩學(xué)對(duì)話由中國詩歌學(xué)會(huì)發(fā)起，由中國和美國學(xué)術(shù)機(jī)構(gòu)定期組織?；顒?dòng)通過兩國詩歌對(duì)話，用詩歌的語言，向美國詩人、學(xué)者及美國社會(huì)講好中國故事。

中美詩學(xué)對(duì)話每年舉辦一次，第一屆在美國俄克拉荷馬大學(xué)舉行。今年是第二屆，邀請(qǐng)了包括漢芝·庫克、貝內(nèi)特·沃頓、勞拉·穆倫、金詠梅、石江山在內(nèi)的美國主流詩人，以及王光明、王小妮、孫曉婭、黃亞洲、臧棣在內(nèi)的中國著名詩人。

美國詩人看上“中國式”養(yǎng)老

為走近艾青、紀(jì)念艾青，主辦方在詩學(xué)對(duì)話之前，特意組織10位中美詩人參觀艾青家鄉(xiāng)畈田蔣村，并把詩學(xué)對(duì)話的地點(diǎn)放在該村，讓詩人們有更多的時(shí)間感受艾青的故鄉(xiāng)以及艾青詩里的土地、人物、草木。

艾青故居是一座坐北朝南五開兩廂的樓房，門口還立著艾青的半身雕像，滿臉滄桑卻目光炯炯，嘴巴微張著，似乎正對(duì)著廣場(chǎng)、對(duì)著河塘、對(duì)著滿山的松林吟誦詩歌：“打開你的窗子吧，打開你的板門吧，讓我進(jìn)去，讓我進(jìn)去，進(jìn)到你們的小屋里……”

看著當(dāng)年的土木家具上陳列著的艾青著作，以及艾青生前活動(dòng)和寫作的圖片、資料，美國詩人庫克激動(dòng)地表示：“I love it（我愛這里）！”

當(dāng)天，詩人們還走入畈田蔣村的居家養(yǎng)老中心。美國詩人石江山和金詠梅看著老人們?cè)谶@悠閑地聊著天、吃著香噴噴熱騰騰的午飯，連連感嘆，“我希望這是我的家?！痹谒麄兊纳砗?，低矮、局促的艾青保姆大堰河的故居依然保留著，“一家六口人擠在一張床上”的介紹，讓兩位美國詩人印象深刻。

“變化太大了！大堰河那首詩和她的家都是那樣讓人悲傷。而現(xiàn)在村里的老人跟朋友在一起吃飯、聊天，環(huán)境這么好，我們都羨慕了?！笔秸f。

行走在艾青家鄉(xiāng)的小巷里，美國詩人時(shí)常會(huì)被這里的老人拉住，或是問句“你好”，或是直接拉住他們的手，要求合影留念。

72歲的傅素云拉著美國詩人勞拉·穆倫拍照，她說：“艾青是我們的驕傲，有客人來了我們當(dāng)然要熱情接待?！备邓卦圃谕诵萸笆且晃焕蠋?，以前在課堂上她也曾教過學(xué)生艾青的詩歌，每當(dāng)這時(shí)，她總是會(huì)特別驕傲的對(duì)學(xué)生說，“艾青就是我們村中的人?！?/p>

當(dāng)美國詩人來到保存下來的大堰河家，回顧著百年前的中國，再到如今的村居家養(yǎng)老中心，感受老人們的幸福生活，他們感慨萬千?！斑@樣的生活，是每個(gè)人的夢(mèng)想?！笔秸f，每個(gè)人都希望有個(gè)很好的老年生活。

詩人王光明說，艾青故居的獨(dú)特之處，就是把詩人和詩作的主人公結(jié)合在一起，一同紀(jì)念，這讓讀者更好地了解艾青以及他創(chuàng)作詩歌的情境。

中美詩人探討詩歌的現(xiàn)代性

“春眠不覺曉，處處蚊子咬”。美國詩人勞拉·穆倫一開始便說出了一句改編自中國古詩《春曉》的詩句，讓在場(chǎng)詩人會(huì)心一笑。就這樣，在一片融洽的氛圍中，第二屆中美詩學(xué)對(duì)話開始了。

在這場(chǎng)對(duì)話中，詩人們圍繞新詩，從歷史語境、詩歌創(chuàng)作、中美詩歌的互相影響等多個(gè)維度，暢所欲言，深入研討。

中國詩人代表孫曉婭首先圍繞詩人奧登對(duì)19世紀(jì)40年代的九葉派詩人杜運(yùn)燮的影響進(jìn)行闡述，并從歌唱無名英雄、開闊的生命意識(shí)、諷刺中的悲憫三個(gè)方面進(jìn)行佐證，“正是對(duì)奧登的學(xué)習(xí)，使杜運(yùn)燮成為奧登詩歌在國內(nèi)最大的實(shí)踐者?！?/p>

因?yàn)樵妼W(xué)對(duì)話中涉及到很多學(xué)術(shù)性的專業(yè)用詞，在場(chǎng)的翻譯們偶爾會(huì)停頓一下。不過來自美國的詩人石江山順便說起了詩歌的翻譯問題，化解了這小小的尷尬，“其實(shí)詩歌的翻譯不僅僅是簡單地將中文翻譯成法文，或者將英文翻譯成中文，這其中有很多文字的纏繞，有文字的韻味在其中，要把文字的含義都要表現(xiàn)出來?！?/p>

這個(gè)說法讓著名文學(xué)評(píng)論家王光明非常贊同，他說：“詩歌的翻譯是很特殊的，也叫作譯寫，詩歌的翻譯也是一個(gè)再創(chuàng)作的過程?！?/p>

詩人王小妮說，自己寫詩的時(shí)候不會(huì)特別去設(shè)計(jì)，跟守株待兔一樣，等著它自己上門，而且會(huì)選擇最先沖進(jìn)腦海中的意象，因?yàn)樗堑谝荒铑^，“以前寫詩的時(shí)候，從來沒有想過現(xiàn)代性的問題。不過現(xiàn)在回想起來，過去30年、20年、10年，我們把詩歌一首一首寫出來。其實(shí)在這個(gè)過程中，有一個(gè)社會(huì)變遷的過程。一個(gè)生命的過程，都是自然而然發(fā)生的，詩歌的現(xiàn)代性也是一樣?！?/p>

美國詩人貝內(nèi)特·沃頓也提到了現(xiàn)代性這個(gè)說法，他說：“現(xiàn)代性是一個(gè)時(shí)代的標(biāo)記，將來也會(huì)有比現(xiàn)在的現(xiàn)代性更現(xiàn)代性的東西。”

美國詩人勞拉·穆倫緊隨其后，就杜運(yùn)燮及當(dāng)時(shí)的詩歌互譯，討論了中國詩歌的運(yùn)用以及中國年輕人如何玩轉(zhuǎn)古典詩歌。勞拉說，“春眠不覺曉、處處蚊子咬”，是中國網(wǎng)絡(luò)上對(duì)于古詩的一次改編，從她的角度來看，這樣改編古詩其實(shí)也是挺好玩的，“年輕人如何玩轉(zhuǎn)古詩，也是我們現(xiàn)在需要探討的一個(gè)問題。”

她還提到了現(xiàn)在詩歌中的一個(gè)意象的問題，“很多人在寫詩的時(shí)候，關(guān)注的都是比較‘大的東西，但是我覺得我們寫詩的時(shí)候，也可以從小處入手，比如昆蟲，一些身邊比較容易忽視的小東西……”

詩言志，歌詠言，美妙的詩歌，能夠跨越時(shí)間，跨越國界。雖然雙方的語言不通，但是因?yàn)樵姼?，讓兩個(gè)國家的詩人可以坐下來，一起暢談詩學(xué)。即使隔洋相望，也彼此深深地眷顧和影響著，這就是詩歌的生命與意義。

Chinese and America Poets meet in Home Village of Ai Qing in Jinhua

By Ye Xingchen， Xu Xianfei

On September 17， ten Chinese and American poets met in Jinhua and visited Fantianjiang Village where Ai Qing （1910-1996）， a famous 20th-century Chinese poet， was born and brought up. The China-USA dialogue on poetry is an annual event jointly organized by academic institutions in China and USA to promote poetry and cultural exchanges. The first dialogue was held in 2017 at University of Oklahoma. This event is also an opportunity to expose China to American poets and for American poets to hear stories China tells in poetry and beyond.

The ten poets engaged at the second dialogue were Hedge Coke， Berrett Watten， Laura Mullen， Myong Mi Kim， Jonathan Stalling and their Chinese counterparts Wang Guangming， Wang Xiaoni， Sun Xiaoya， Huang Yazhou and Zang Di.

The poets visited the village and did sightseeing around before they sat down and started a dialogue on poetry.

The former residence of Ai Qing is a two-story house. In front of it stands a bust of Ai Qing. The house is like a museum displaying photos and objects which combine to relate the life story of the poet. During the sightseeing trip around the village， the poets visited the center for senior villagers and saw people having lunch at the dining hall. At the back of where these old people were sitting stands the former residence of Dayanhe， a nanny who took care of Ai Qing until the boy was 7 years old and went to school. Ai Qing wrote a long poem about the woman while he was in jail in 1933 for taking part in revolution. The poem made the poet and his nanny famous. Jonathan Stalling commented that the nannys house there reminded him of the long poem in which Ai Qing said the family of the six slept on the same bed because the poor family had only one bed. “What a change！ The poem describes Dayanhe and her family in a bad sad situation. Now the seniors have dinner at the center and chat with friends. Such a beautiful village makes us envious！” said Stalling.

While strolling through lanes， the American poets were frequently approached by senior villagers to pose for a photo. Some senior villagers simply said Ni Hao.

Seventy-two-year-old Fu Suyun， a retired teacher in the village， posed for a picture with Laura Mullen. Before her retirement， she was a language teacher. She taught Ai Qings poems to her students and proudly announced that Ai Qing was from her village.

Wang Guangming commented that the former residence of Ai Qing was unique because it memorialized both the poets works and the poet， which made it possible for a reader to understand the poet and his inspiration.

At the dialogue， the poets addressed a series of issues about the new poetry， a new style adopted by Chinese poets in the early 20th century， when the vernacular Chinese became the mainstream of the written form. The poets explored the historical context， creativity， mutual influence of Chinese and American poetries.

Sun Yaoya， a Chinese poet， talked about W. H. Audens influence on Chinese poet Du Yunxie in the 1940s. She discussed the influence and concluded that Du became the biggest follower of Audens poetry in China.

As many academic terms and phrases popped up in the dialogue， interpreters were having a hard time. While interpreters were bogged down in some key words， Stalling talked about the translation of poetry. His comment on the challenges translators faced and the standard that should apply to translations led to another discussion. Wang Guangming agreed with Stalling， saying that translating a poem was rewriting the source poem in nature.

The poet Wang Xiaoni said that she didnt have any plan to follow while composing a poem. She would wait for a poem to appear by itself. “When I first wrote poems， I even never thought about modernity. Now looking back how poems came out one by one in the last 30 years， last 20 years， last ten years， they just kept coming. This process goes with the evolution of the society. A life happens in a natural way. So does the modernity of poetry，” reasoned Wang.

Berrett Watten observed that modernity was just a mark of an era and that the modernity of the future would be more modern than the modernity of today.

Laura Mullen discussed how a poet would handle topics. “Many poets concern themselves with big things， but I feel we may as well start with something small. An insect， for example. Small things around us often go unnoticed，” said the poet.