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海因 诗两首:《途中》《致西思翎》(Jan Siesling 翻译)
Hai Yin (China): 《En Voyage》《For Siesling》
杨 劳伦斯 西思翎 (美国)译
Translation by Jan Laurens Siesling (USA)
诗人简介:(Hai Yin)
海因,原名杜光学。1961年生于河南省鲁山,1980年离开故乡成了朝思暮想的城里人,并供职于某高校,任文学写作课老师。上个世纪九十年代发起并编辑民刊《阵地》,然后是北进北京、南下广东,历经近二十年漂泊最终选择了郑州,并开办一家与艺术有直接关系的传媒公司。主要作品有《小尔城》(长诗)、《世纪末措辞》、《在身体中流浪》、《太阳和它的三堆颜料》、《生活日志》、《诗经中的故乡》、《云南纳西风物志》;诗剧《会飞的污点儿》(独幕)、《一囚之歌》(四幕)以及散文随笔集《有狗的童年》、寓言故事集《海因寓言》等,作品涉及诗歌、散文(随笔)、寓言故事、话剧、歌舞剧、电影电视等。
Poet’s profile:
Haiyin, is the pen name of Du Guangxue. Born in 1961 in Lushan, Henan province, he left his hometown in 1980 to become a city dweller he always dreamed of, and be employed at a higher institution to teach creative writing. During the nineties of the last century he founded the folk magazine Position, then he went north, Beijing, and then south, Guangdong. After nearly twenty years of wandering he finally chose Zhengzhou to settle and start an art related media company. His main works include Little Er City (long poem), Words for the End of a Century, Wandering in the Body, The Sun and Its Three Piles of Pigments, Life Log, The Hometown in the Book of Poetry, Records of Yunnan Naxi Sights; poetic drama Flying Little Stain (one act), A Prison Song (four acts); a collection of essays Childhood Dog, and a collection of fables Haiyin Fables. His works involve poetry, prose (essays), fables, theatre, musical, movie and TV.
Jan Siesling 简介:
杨 劳伦斯 西思翎(Jan Laurens Siesling) 是艺术史学者和著有小说和诗歌的作家。他的小说常处理艺术,他的艺术的书是处理诗意灵感。他是一个语言的人,在他的自由时间他喜欢翻译,从一种喜爱的语言到另一种。中文很可能变成他的将来的挑战。他生于荷兰,从阿姆斯特丹自由大学取得博士学位。他在法国生活很多年,他的书大多是用法语写的。现在他半年在欧洲,半年在美国。他最近的书“艺术是更多” (Art is More),是一个非传统的历代的西方艺术史。 这本书的纸质版在 www.artismore.org 和电子版在 www.amazon.com 可找到。
Biographical Note
Jan Laurens Siesling is an art historian and a writer of fiction and poetry. His novels often deal with art and his books on art deal with the poetry behind artistic inspiration. He is a man of languages and in his free time he likes to do translations from one beloved language into another. Chinese is likely to become his future challenge. He was born in the Netherlands and he obtained his degrees from the Free University of Amsterdam. He lived in France for many years and most of his books were written in French. Now he spends half of the year in Europe, the other half in America. His most recent book, Art is More, is an unconventional history of Western art through the ages. It is available as a hard copy www.artismore.org or as an e-book on www.amazon.com
Hai Yin:《En Voyage》
Translation: Jan Laurens Siesling
A man travels and whether his experience
Will connect him with the scenery unfolding on either side,
No time to think about it when he boards,
To say the truth it is impossible to foresee:
Who knows the way things go on the way? As for me,
My neighbor is a youthful female in pale colors, who stepped
So to speak right out of a yellowing photo, “nothing exceptional”,
She is bathing in the greenish light of this springtime, at first sight
One could mistake her for a symbol of spring,
Actually not at all, she is only quietly sitting here
As a delusion of woman, two porcelain eyes that show
Not the slightest trace of sadness, or desire
A man who sees her can’t help feeling some inner turmoil
No need for long observation to recognize
The imprint of a maiden:
She looks eighteen years old, or twenty, thirty…? Possibly
Even older. Is age still important here? ---
The languishing impression emanating from her body and cloths
Becomes beauty, more or less accompanied by spring’s splendor,
Albeit out of tune, these two, in dissonance.
Two different types of beauty, like when ten years ago or more
I had observed the damaged walls of my home,
I looked a long time, indeed, and a striking pattern had emerged
Moving me more than any picture in the world
All luster was gone, no fair image was to be preserved, though
To some extent confirmed
Was the ancient popular saying:
“Ashes to ashes, dust to dust.”
1996.9
附:
海因:《途中》
一个人在途中,他的经历与两侧的
风景是否有密切的联系,这一切
在刚上车时是来不及思考的
准确的说是想象不到:
谁又能知道途中的事情呢?我的临座
是一位刚刚褪色的少女,像一张
发黄的旧照片,与“出众”相去太远了
她被春天的绿光覆盖着,初看时
让人误认为那就是春天的象征
其实不然,她是一位坐在幻觉中的女孩儿
静静地坐在那里,两只瓷眼睛显不出
一点点的忧伤,没有愿望
看到她,人们就免不了身陷某种私情之中
不需要观察即可过目不忘的
少女形象:
她有十八岁、二十岁、三十岁......也许再
多一些,年龄还重要吗---
她的病态通过她的身体、衣着
出落成了美,与春天景象稍有联系
但又格格不入
是两种不同性质的美,就像十几年前
我看我家破损的墙壁,
看久了就有一种惊人的图案出现
比世间的任何画面都要生动
由于它不闪光,也不能有忠实的拓片流传下来
这就在某种程度上
印证了民间正在流行的一句老话:
“转眼就消失在泥土中”
1996.9
Hai Yin:《For Siesling》
Translation: Jan Laurens Siesling
Sunshine all over: a gentle breeze whispers in bamboo bushes and the signs in the skies speak out clearly. Here began a story, when the working of wine had come to its zenith, and when wave after wave Rolled before our eyes, step by step flooding the central plains of old.
This story needed to be looked upon more than once; in fact it needed a faithful recorder, There wasn’t … proper equipment fell terribly short! With my sincere excuses, I made it up myself: our encounter became exotic theater, the flowers that bloom in the grasses of memory Wrapped us in multiple wreathes, our intense emotion grew from pure passion into legend, a tale handed down from ancient times. Then I had reason to speak with you face to face in my mother tongue without blushing.
Like in Tang verse we sat cross-legged chatting in the morning, rain drops dripping, the light hiding, now piercing, Far away mountains were smoking, nearby frogs calling, invading and sacking our poetic mood: I gave you a blessing, you replied with a gesture or by casting a persistent gaze at the green screen of Xiatang hills. At last our lives returned to the classic: Zhang Jie the priest, Beidu the treasurer, and don’t forget the two Ladies lost in thoughts, touching up their eyebrows, dormant in poetry, like the cat in the window of Mount Baixiang
Siesling! That day you projected an image of Holland onto the earth of Lushan, lonesome and playful, Lovely looking little creatures climbing like vines onto your body, questioning the overall direction The misreading of which didn’t harm the tale’s vitality, its impact causing the body’s awakening. So you were the poem, open to inexhaustible interpretation; and I am the obscure word overshadowed By darkness, desperately struggling, merely to capture a man’s deeper intentions.
September 5, 2016 Zhengzhou.
附:
海因:《致西思翎》
一切都在阳光中:那里有微微的风、有竹语、以及满天游弋的天象
故事开始时,酒香已经攀爬到人生的至高点上,不久就从我们的双眼
一波波涌流出去,渐渐铺满了古老的中原
这是一个需要反复回望的故事,或者至少需要有忠实的记录者
但是都没有﹍﹍多么不凑手的人物道具!在深深的歉意中
我对我们的故事做了手脚:让我们的遭遇都退回到远景中,让记忆中的花草
一层层包围着我们,让我们的激情不再只是激情而是那早年理应流传下来的
轶事和传奇。这样我就有理由面对你、并手持我的母语在你的头顶肆意挥舞
我们盘坐在唐诗中整整交谈了一个上午,雨水淅淅沥沥,光明时隐时现
远山的氤氲,邻近的蛙鸣,把我们的诗意搅和得七零八落:
我给你一个祝福,而你把一个手势或者眼神重重的镌刻在下汤的屏幕上
终于,我们的生活回归于古典:张杰是神父、北渡是账房,还有两个
用思想描眉的女士,深深蛰伏在诗歌中,就像白香山窗台上那孤傲的猫咪。
西思翎,那一天荷兰的影像投射到鲁山的大地上,如此的孤独和醒目
一些可爱的小人物像藤蔓攀爬到你的肌体上,打探你的来龙和去脉
这让故事有了小小的误读和活力,让我们的肉体由于撞击而苏醒
于是,你是一首诗,正在接受莫须有的盘查和质疑;而我则是那几经
遮蔽的晦暗语词,拼命挣扎,仅仅是为了捕捉个体的本意
海因
2016年9月5日于郑州
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