《三原色》
冷慰懷漢英雙語(yǔ)新詩(shī)集
起名初衷
“新出版的詩(shī)集取名為《三原色》，寓意人生三大元素：情、欲、志，三者彼此關(guān)聯(lián)又相互滲透，恰似繪畫的三原色調(diào)制出變化無窮的大千世界。收入的76首作品，是從我創(chuàng)作的幾千首詩(shī)中挑選出來的，也是近40年寫作跨度和風(fēng)格變化的代表。”
作者簡(jiǎn)介
冷慰懷 男，1945年生于江西宜春，編輯職稱，退休前任職于洛陽(yáng)軸承集團(tuán)宣傳部。1983年開始寫作，1995年加入中國(guó)作家協(xié)會(huì)，已在海內(nèi)外報(bào)刊發(fā)表作品350多萬字，獲得過《光明日?qǐng)?bào)》《詩(shī)刊》等舉辦的征文大賽獎(jiǎng)勵(lì)30余項(xiàng)，出版新詩(shī)、散文、評(píng)論、紀(jì)實(shí)文學(xué)等個(gè)人作品共9部約200萬字。
Leng Weihuai (1945-), male, born in Yichun, Jiangxi province, has retired as an editor. Before his retirement, he worked in the publicity department with Luoyang Bearing Group. He started his writing career in 1983 and joined Chinese Writers Association in 1995. He has published at home and abroad writings over 3.5 million words; and has won over 30 awards in writing contests held by Guangming Daily and Poetry. Additionally, he has authored 9 anthologies of about 2 million words in the forms of modern Chinese poetry, prose, literary criticism and documentary writing as well.
內(nèi)文選登
膽小的男子漢
還記得那條石凳嗎
那條與我們一同
保持緘默的石凳
還記得那棵雪松嗎
是它善意地伸出手臂
捂住了滿天眨巴的眼睛
我想抬起頭來
仔細(xì)看看那顆痣
又害怕莽撞的心跳
會(huì)走露風(fēng)聲
草叢里
蟋蟀們?cè)诟叱楦?/span>
我暗暗咒罵自己
——竟不如小小昆蟲
（寫于1986年2月15日，載1986年6月《飛》）
A hesitant admirer
Do you still remember the bench of stone?
The one that stood beside us alone
remained silent as a mate forlorn.
Do you still remember that snow pine?
The one that extended its arms to atone
And shielded us away from a sky awash with blinking eyes
My eyes cannot stop
From gazing closely at that beauty spot
But I quit for fear that my heart beats helplessly
Would shame me for revealing that I beg for it secretly.
In the tall grasses
As crickets shout out their love song,
I blame myself in a manner so crass,
For lack of courage to let my love asound.
(written on February 15, 1986, in Flying in June 1986)
（英譯：魏建國(guó)）
熔
路邊
一叢玫瑰舉著尖刺
一只只手
伸過來，又縮了回去
深情染紅了每一片花瓣
尖刺不是她的本意
伸過來的手猶豫了一下
又縮回去了
尖刺扎疼了許多手——
有輕佻的
也有真誠(chéng)的
滴血殷殷
紅得和花瓣一樣驚心
美麗的玫瑰舉著憂郁
憂郁不是她的本意
是少女未曾衰老的等待
渴望有一雙熾熱的手
能熔化所有尖刺
（寫于1997年1月16日，載1997年5月11日《中國(guó)青年報(bào)》）
Melting out
There on the roadside
Bush of roses with their thorns sticking out grew hither
One after another
Reach for the roses and retract their hands
Deep passion colors every single petal’s charm
Sharpness of the thorns does not mean as they are supposed to harm
Hands come hesitantly
And then retract in calm
The thorns have pricked more than one palm.
Some flirting
Some adoring
Blood is remarkably scarlet
Paintakingly the same as the petals
The roses are revealing their true blue
But their blue does not mean their thorn’s sharpness
It is the not-yet-aging waiting of florescent girls
Yearning for a pair of determined hands
Relieves her passion and melts out all the thorns.
(Written on January 16, 1997, contained in "China Youth Daily" on May 11, 1997)
（英譯：魏建國(guó)）
末班車
公路是一條長(zhǎng)長(zhǎng)的拉鏈
路邊，整整齊齊嵌著鏈牙——
兩行朦朧交錯(cuò)的樹影
末班車是游動(dòng)的鎖鼻兒
正把一個(gè)深沉的夜
嚴(yán)嚴(yán)實(shí)實(shí)從腳下鎖緊
女司機(jī)，是一位魔術(shù)大師
將站牌邊急切的等待遣散、隱遁
為一覺醒來的丈夫們
悄悄找回妻子的柔情
讓一張張?jiān)抑嗉獾男∽?/span>
在甜夢(mèng)中再次銜住失落的笑聲
遠(yuǎn)處的樓層里
一間閃亮的窗格悄然熄滅
忙碌的都市
終于閉上最后一只眼睛
汽缸的轟鳴漸漸微弱
靜夜枕著月色發(fā)出了均勻的鼾聲……
（寫于1986年1月9日，載1992年11月9日《人民日?qǐng)?bào)》
入選人民文學(xué)出版社1988年出版的《未名詩(shī)人》）
The Last Bus
The highway is a long zipper
Lined neatly with metal teeth --
Two rows of hazy shadow of the trees
The last bus is a sliding tab
That is fastening tightly together a night deep
Where the feet have been
A woman driver is a great magician
Who makes an anxious wait at a bus stop dispersed and concealed
Who silently brings back, for these husbands just awaking
The tenderness of a wife
And who lets the little mouths smacking the lips
Again have the lost laughter in the sweet dreams dangling
In the distance from a building
A glimmering window goes out quietly
At length a city so bustling
Has shut its last eye
The tumbling of the cylinder is away fading
And the silent night regularly snoring on a pillow of moonlight
(Written on January 9, 1986, published on November 9, 1992, "People's Daily" was selected as "Unknown Poet" published by People's Literature Publishing House in 1988)
（英譯：詹楊娜）
跋涉
真想成為一首詩(shī)
讓每個(gè)日子都讀出韻律
春雨霏霏時(shí)，邀幾個(gè)朋友走入意境
與那個(gè)年過千歲的牧童
共訪杏花村沉醉的舊址
而命運(yùn)專愛同我們作對(duì)
失望如魔鬼糾纏不休
一封信盼了很久
捧在手里卻不敢啟封
生怕退稿簽又來板著面孔
重復(fù)那些冰冷的訓(xùn)詞
炒菜老忘放鹽，燒飯總是糊底
急急去赴約會(huì)
又偏偏趕上一場(chǎng)暴雨
背得爛熟的箴言
竟然不知道出在何處
過了三十歲，我們才漸漸懂得——
在生活這首詩(shī)里
靈感，并非全是警句
（寫于1988年8月2日，載1988年10月13日《人民日?qǐng)?bào)》
編入中國(guó)和平出版社1991年出版的《當(dāng)代中青年抒情詩(shī)選》）
A Trek
If only I were a poem
Everyday would be read in rhythm
In spring drizzles, I would invite several friends to the imagined scene
And with that a-thousand-year-old shepherd boy
Visit the intoxicating old hamlet nestling amidst apricot blossoms
But fate is always going against us
And disappointment haunting us like Satan
A letter that has been expected for long
I hold in my hands but dare not break the seal
For fear that another rejection slip would scowl
To repeat those cold admonitions
I am always burning rice and forgetting to salt dishes
And hurrying to keep an appointment
But caught in a terrible storm
A proverb learned by heart
I do not even know where it comes from
After thirty years old, it dawns on us --
In the poem of life
All the inspirations are not an epigram
(Written on August 2, 1988, published on October 13, 1988, "People's Daily", compiled into "Selected Poems of Contemporary Young People" published by China Peace Press in 1991)
（英譯：詹楊娜）
凡人
凡人活得很拘謹(jǐn)
腳下沒有鮮花，頭頂沒有祥云
每一步都要踮起腳尖
每一夜都要拴緊房門
泥濘在旅途糾結(jié)
笑聲在夢(mèng)里藏匿
直到望見生命的終點(diǎn)
才知仍未走出困境
凡人活得很痛快
說話不怕走火，感情不拍外露
酒逢知己便可稱兄道弟
話不投機(jī)也敢逐客出門
掙一個(gè)花一個(gè)
窮得明白干脆
家無隔夜糧
反倒免除了鼠類的窺測(cè)
凡人不長(zhǎng)野心
凡人不信鬼神
既然赤身裸體投入凡胎
何必披金戴銀告別人世
（寫于1991年2月22日載1991年冬季號(hào)《海內(nèi)外新詩(shī)選萃》）
Mortals
Mortals live with restraint
There are no flowers under our feet, noclouds overhead
We stand on our toes every step
We tighten the door every night
The muddy road is tangled
Our laughters are hidden in dreams
Until we see the end of life
We don't know we are in trouble
Mortals lives happily
We talk without fear of trouble or exposureof emotions
We become bosom friends when we drink andclick
We can drive our guests away if they arenot to our taste
We spend all we earn
We are poor and penniless
With no overnight food
For the mice to miss and covet
Mortals have no ambition
Nor belief in gods and ghosts
Now that we're naked,
Why need we wear gold and silver?
(Written on Feb. 22, 1991, published in thewinter issue of Selected New Chinese and Foreign Poems in 1991)
（英譯：張俊鋒）
名字
偉人的名字是一面旗幟
英雄的名字是一座豐碑
凡人的名字雖然沒有那么鮮艷挺拔
卻也不失為一道風(fēng)景
長(zhǎng)輩的名字是家訓(xùn)也是路標(biāo)
時(shí)刻都在提醒你不許偷懶
更不要走入岔道
倘若出門遇到了風(fēng)雪
它也能搭成一頂帳篷
讓你在此暫時(shí)躲避
兒孫的名字是一把得心應(yīng)手的水煙袋
時(shí)常被老人含在嘴里
那美滋滋的呼嚕聲
總要在嗓子眼進(jìn)進(jìn)出出
撓得享用者喜形于色
朋友的名字是一股清泉
為你消暑解渴，洗滌疲憊煩惱
愛人的名字是一扇小窗
只需兩指輕叩
神秘的禁區(qū)便會(huì)豁然洞開
（寫于1991年12月27日，載1992年9月7日《洛陽(yáng)日?qǐng)?bào)》）
Name
A great man 's name is a flag
A hero's name is a monument
A mortal man 's name is not so bright
It is a landscape
An elder's name is family instruction andsignpost
Always reminding you not to be lazy
Not to walk into the fork
If you go out in a snowstorm
The name will set up a tent
For you to stay at for a while
A child's or grandchild's name is a handy hookah
Often held in the mouth
That sweet snore
Always in and out of your throat
Will Tickle you, making you beaming withdelight
A friend's name is a spring
To quench your thirst, to wash away yourtired troubles
Love's name is a small window
Just a tap with two fingers
The mysterious forbidden zone will open to you
(Written on Dec. 27, 1991, published in LuoyangDaily on Sept. 7, 1992)
（英譯：張俊鋒）
詩(shī)如其人
—— 序冷慰懷詩(shī)集《三原色》
葉 櫓
作為一個(gè)經(jīng)常讀詩(shī)也寫點(diǎn)詩(shī)評(píng)的人，我雖然在27年前為冷慰懷的一本詩(shī)集寫過一篇序，但歲月流逝記憶消失，我?guī)缀跻呀?jīng)完全忘記了這回事。想不到近些時(shí)他竟因此而不遠(yuǎn)千里從洛陽(yáng)來?yè)P(yáng)州看我，這不僅令我感動(dòng)，也讓我周圍一些朋友對(duì)此嘖嘖稱奇。大家都認(rèn)為在當(dāng)今的社會(huì)，如此重情義的人實(shí)在不多了。
我雖然因?yàn)閷懶蚨猿?，但至今不悔，因?yàn)槲掖蟮侄际菫橐恍┎簧踔脑?shī)人寫序，初心在于鼓勵(lì)他們。所以我寫的序不會(huì)夸大其辭以防誤導(dǎo)。像冷慰懷這樣的詩(shī)人雖屬罕見，但有此一例已使我不忘初心矣。
現(xiàn)在冷慰懷要出版他的雙語(yǔ)詩(shī)集，依然要我為他寫序，我更不能推辭了。仔細(xì)地讀了他這本經(jīng)過自己精心挑選的詩(shī)集，我對(duì)他的為詩(shī)為人似乎有了更進(jìn)一步的認(rèn)識(shí)。
我經(jīng)常在讀到一些留下印象的詩(shī)時(shí)，會(huì)回想一下詩(shī)人的形象。這種玄想純屬一種習(xí)慣，沒有任何科學(xué)性。這次再讀冷慰懷的詩(shī)，因?yàn)橛兄苯拥挠|目其人的印象，便不免有了“詩(shī)如其人”的結(jié)論了。
縱觀冷慰懷的這些詩(shī)，你讀不到什么特別奇幻的詩(shī)句，更不會(huì)有那些基于追求新潮刻意打扮的裝腔作勢(shì)。但是他的詩(shī)呈現(xiàn)出一個(gè)普通人的真實(shí)而善良的靈魂。它也許不那么時(shí)尚或先鋒，可是卻值得信賴和尊重。
在冷慰懷的筆下，人的生命過程，始終是一種在不斷地追求和思考的過程。他的一些特別精短的詩(shī)，大都具有一種觸手可及的詩(shī)性哲思。這類詩(shī)，你如果把它的主題抽象化，變成枯燥的教條，那就成了被抽去靈魂的干尸。但是你如果始終沉浸在它的詩(shī)境之中，便會(huì)獲得一種溫馨情懷的浸潤(rùn)。像《遠(yuǎn)方》：
遠(yuǎn)方其實(shí)并不遙遠(yuǎn)
看不見
卻能摸著
只須把手掌貼在胸口
遠(yuǎn)方便會(huì)駕著列車
呼隆隆
駛進(jìn)生命的站臺(tái)
以一種非常淺俗的語(yǔ)言方式，表達(dá)了許多深邃而不易說清的哲理，是他這一類詩(shī)的一大特色?！吧畛巳粘５钠埱?，還有詩(shī)和遠(yuǎn)方”，這種話語(yǔ)表達(dá)的固然是一種浪漫的理想，可是它似乎把詩(shī)和遠(yuǎn)方同日常生活拉開了距離。而冷慰懷的詩(shī)要表達(dá)的，卻是遠(yuǎn)方會(huì)“駛進(jìn)生命的站臺(tái)”，而且“只須把手掌貼在胸口”，如此一種相反相成的道理，在不同的語(yǔ)言方式中，顯出了詩(shī)性和詩(shī)境的具象化構(gòu)成的藝術(shù)魅力。
詩(shī)人對(duì)于生活和生命價(jià)值的認(rèn)知和理解，往往不在于終結(jié)價(jià)值的結(jié)論，而是在于他能夠進(jìn)入一種詩(shī)性的境界。冷慰懷的詩(shī)性情懷，往往體現(xiàn)在他在自己玄想構(gòu)制成的詩(shī)境，讓讀者能夠進(jìn)入其中并由此聯(lián)系發(fā)揮。他的《云》是一首只有六行的短詩(shī)，但卻充分體現(xiàn)了他的聯(lián)想力之突兀和美妙：
風(fēng)把思念撕成了一綹一綹
遠(yuǎn)處的家園隱隱可見
站得那么高
還聽得清灶膛里干柴的笑聲
握住炊煙
便握住了母親皴裂的手指
細(xì)細(xì)琢磨此詩(shī)，就能體察到冷慰懷詩(shī)思的跳躍性思維方式。幾乎很少有人能夠從云的聯(lián)想中體味“握住了母親皴裂的手指”這種感覺。但是從這首以“云”命題的詩(shī)中，我們卻渾然不覺地被他的詩(shī)性聯(lián)想所牽引而進(jìn)入它的詩(shī)境。從那“一綹一綹”的云到炊煙，又到“母親皴裂的手指”，似乎繞了一個(gè)很大的圈子，而這首短詩(shī)的空間卻因此而顯得遼闊寬廣。這就是詩(shī)人營(yíng)造的詩(shī)境顯示的藝術(shù)魅力。
僅僅從語(yǔ)言的表達(dá)方式上看，冷慰懷的詩(shī)似乎是通俗易懂的，但是在他有些詩(shī)里，卻深藏著一些不被一般人感知的哲思。他寫的那首《亮斑》，就頗具這種意味?！耙豢|光/從云隙中射下/如一支锃亮的箭/落點(diǎn)變幻/令大地斑駁迷離/來去無蹤的風(fēng)/成了幸運(yùn)的主宰”，這看似寫景的文字，又隱若地蘊(yùn)涵著一些言外之意。在這一節(jié)詩(shī)后面，突兀地出現(xiàn)了一句“猜不出弓手藏在何處”，好像是為了總結(jié)前一節(jié)詩(shī)。接下來，詩(shī)的寫景又轉(zhuǎn)入了另外一種場(chǎng)景：“烈日當(dāng)空時(shí)/光明便不再珍貴/擁擠的燦爛貶值為災(zāi)禍/陰霾被奉若神靈/每一瓣慘淡的浮云/都將以華蓋的身份出現(xiàn)/黑影在人們眼里/已輝耀成新的亮斑”。同是寫景，但價(jià)值取向似乎截然相反，對(duì)于這種景色變幻帶給人們的不同感受，恐怕是每一個(gè)人都或多或少地體驗(yàn)過的。但是很少有人會(huì)想到，“主宰幸運(yùn)的依然是風(fēng)”。這種聯(lián)想，是基于對(duì)許多生活現(xiàn)象而得出的結(jié)論，冷慰懷卻在人人所“有”的感受中，得出了一個(gè)大多數(shù)人所“無”的結(jié)論。他在詩(shī)的最后寫道：
無形的手隨處可見
隱身者
總想把亮斑當(dāng)金幣拋撒
在冷慰懷的詩(shī)中，像這樣寫出人人心中所有的現(xiàn)象，而又是大多數(shù)人心中所無的哲思的詩(shī)篇，不能說俯拾即得，但的確是并不罕見。
冷慰懷是一個(gè)在詩(shī)中見其真性情的人。他是生活中的普通人，但在詩(shī)中，他卻常常顯示出不甘庸俗的氣質(zhì)。他的不少詩(shī)都可以歸為詠物詩(shī)，而在這些詩(shī)中之物里，則寄托了他對(duì)人的品格的追求和理想。像《瓷器》中對(duì)“以終身的緘默/站立成潔身自好/從容面對(duì)過烈焰的威逼/何懼沸湯滾水”的頌揚(yáng)；在《齒輪》中對(duì)“齒輪繞著軸心旋轉(zhuǎn)/我們繞著信仰旋轉(zhuǎn)”的比喻；在《風(fēng)中的蘆葦》中傲然地吟誦：“折斷的同伴紛紛仆倒/長(zhǎng)夜里/我是唯一不肯就范的家伙”；如此等等。我在同他唯一的一次接觸中，深感到其“詩(shī)如其人”的品格，所以我深信他詩(shī)中那種樸實(shí)而堅(jiān)定的風(fēng)格，是符合他為人做事的言行的。
冷慰懷之所以將其詩(shī)集命名為《三原色》，既是他對(duì)生活和生命本色的一種認(rèn)同，也是他把詩(shī)同自身的生命本色轉(zhuǎn)成一種理想的追求。生活中的人可以是平凡普通的一員，但他的詩(shī)，必須是有品位有氣質(zhì)的藝術(shù)品，從這個(gè)意義上說，冷慰懷實(shí)現(xiàn)了自己的人生信念和追求，我為有這樣的同道者而感到幸福。祝福他依然寶刀不老地繼續(xù)寫出更好的詩(shī)！
2019.10.28.揚(yáng)州
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葉櫓，原名莫紹裘，1936年出生于江蘇南京，1957年畢業(yè)于武漢大學(xué)中文系。大學(xué)期間開始評(píng)論寫作，1956年在《人民文學(xué)》發(fā)表《激情的贊歌》《關(guān)于抒情詩(shī)》等文，預(yù)見了聞捷、公劉等詩(shī)人的重要性。1957年，剛大學(xué)畢業(yè)的葉櫓卻被錯(cuò)劃為“極右”，被迫輟筆，在湖北勞改隊(duì)和江蘇高郵的農(nóng)村生活中度過23載。1980年復(fù)出，先后擔(dān)任江蘇省高郵師范學(xué)校教師、揚(yáng)州大學(xué)文學(xué)院教授，研究生導(dǎo)師。著有《艾青詩(shī)歌欣賞》《現(xiàn)代哲理詩(shī)》《詩(shī)弦斷續(xù)》《葉櫓文集》等，在中國(guó)現(xiàn)代主義詩(shī)歌評(píng)論界享有權(quán)威地位。
Poetry, such as the man
—— Foreword Leng Weihuai poetry anthology " Three primary colors"
Ye Lu
As one who often reads poems, and writes reviews on some of them, I almost totally forgot that 27 years ago, I wrote a foreword for a poem collection by Mr. Leng Weihuai. Though the passage of time erases memories, his recent visit from his hometown, the city of Luoyang to mine, Yangzhou, impressed me deeply. It was also unexpectedly welcomed and praised by my friends, as in today’s society, fewer and fewer people still value friendship and demonstrate their gratitude.
Although sometimes I ridiculed myself for writing prefaces, I have not had cause to regret it until now. I mostly wrote these for lesser-known poets, and my original intention was to encourage them. So the preface I wrote will not exaggerate the words, in order to prevent misleading. Although a poet like Leng Weihuai is rare, but this case has re-affirmed this original intention of mine.
Now on the eve of the publication of the bilingual version of the new collection of his poems, he has again invited me to write a foreword. Naturally, I am very delighted to accept! Afterwards, I carefully read through the book, in which everything had been well-chosen by himself; the art of his poetic writing and character anew in my mind.
It is my habit when I am reading poems that the composer’s image leaves impression on my mind. This is a mere habit without reason. This time when I read his poems, his imagery came into my mind naturally. Not only because we met merely once before, but also it impressed me so much that his writing embodied his personality so fully.
Within his poems, one can feel the truth and kindness of a common soul, perhaps not that fashionable or pioneering, nor so much pretentious or fancy rhetoric. These poems manifest a sincerity worthy of respect.
His pen unfolds the journey of a heart, namely, the process of his pursuit and meditation. Some of his short poems especially spark a sort of philosophical thinking with his characteristic poetic romance. If one wants to conceptualize the themes of them, these would turn out to be merely dull doctrines, the dry corps free of their souls. Yet, if one remains indulging in his poetic contexts, they may be immersed in kind of tender warmth. Take the poem “Distance a heart feels” for example,
Distance a heart feels
The future isn't actually far away
You can’t see it
Yet you can touch it
Just put the palm of your hand on your chest,
Your distant future will ride the freight train
roaring towards you
Until it enters the platform of your life
One facet of his art of writing is that he is gifted at interpreting some philosophical subtlety in a seemingly simple and plain expressions. “Apart from managing to acquire one’s subsistence, one still have a chance to have a glimpse of poetry and some places afar”, this expression is undoubtedly of sort of romantic ideal, but, it seems to be leaving a gap between the ideal and the reality. What the poet would like to express is that: the future will head into the platform of one’s life as long as one put their hand on their chest and feel it. This expressive architecture creates a cognitive effect of contradictory harmony, boasting his artistic imagination for combining and embodying the context with the nature of poetry itself.
Poets’ comprehension about their living and values of life lies in their creating these sort of poetic contexts rather than pursuing the ultimate conclusions of them. Mr. Leng’s talent lies so much in creating charming contexts that coax readers into them and associate their cognitions from the contexts that may result. Take his poem ”Cloud” for instance, which has only six lines, but it manifests his imagination for relevance scenario by simile and metaphor.
Wind is tearing nostalgia into strips
While home remains dim away in the distance.
Standing so tall,
I can even hear the brisk cracking in the brick oven
My eyes embrace the cooking smoke scattering up above the roof
As if relieving my mum’s blistered fingers in my palms.
If you sip the flavor of his poems, you can perceive his jumpy mindset being free-spirited as linking “cloud” to the image of mum’s fingers. Yet, by the theme “cloud”, readers are driven naturally and unconsciously and willingly to follow his pace of imagining to enter the particular context. From the “strips” of clouds to the cooking smoke, and to mum’s blistered fingers seem to circle around widely, the architecture of his writing allows vast possibilities for free association with the sentiment a particular poem implies. That is the artistic cognitive charm created by his poetic context.
His poems imply some philosophical epiphanies that are subtle and tiny for people to perceive and notice. His poem Bright Spot” should be assumed as one such case: ”A beam of light/ shot from the gaps of clouds/like arrows polished to a dull shine/the points where the rays fall change constantly/mottling the landscapes gloriously/and make the wind the Lord of Luck coming and going without a trace. This seems a part of text about scenery, but it has connotations. In the latter part of the poem turns out abruptly a line ”No way to guess where the archer hides” which seems to serve as a summary of the previous stanza. After that, the poem drives into another scene: ”When the baking sun hanging up there/light is not precious/crowded beams of ray reduce into disaster/haze is worshipped as the Deities/ each and every petal of cloud/serves as part of the glorious canopy/Shades and shadows in people’s eyes/have become popular as the new bright spots. The poem seems to demonstrate a pair of the contradictory frames of reference of social value here by the changes of scenes. It leaves the different feeling for readers to perceive; and to some extent, the feelings are familiar to all of them. Yet, at this moment, few could recall potentially that it is still “the wind that is the Lord of Luck.” This cognitive description of the poem draws largely from everyday experiences. Though they are common, they have inspired the poet to understand something different. By the end of the poem, he wrote:
Intangible hands can be seen everywhere
Invisible people
Always want to throw void bright spots around as gold coins.
If it is not all, it is not rare in this collection in which his poems are of philosophical inspiration drawing from the common phenomena.
Mr. Leng Weihuai is the kind of person who loves revealing his heart in his works. What comes from his mind generates different visual and vivid symbols of his character, pursuit and ideal. We can see this in what is praised in his poem “Porcelain”: By a lifelong silence it has made/ Standing like a wholesome individual/ That endured intimidation of flames/ Has no way to fear the scald of boiling water. The simile he wrote in the poem “The Gear”: the gears swivel around the axis rod/we work with our creed at its core. What is proudly expressed in “Reed in the Wind” is that “my companions are broken and flung themselves on the ground/while I am the only one who refuses comply/in this long dark night/it is one of the cases in this collection that describe the human precious character by simile or metaphor of the scenery or plant in the particular context. I felt the gravitas of his quality and character when meeting him in person. Though only a single meeting, he impressed me with his quality and character just like the reading of his poems from time to time.
The reason why he named this collection “Tricolor” is not only because of his recognition towards the human life and its nature itself but also because of his pursuit of combining his works with his life into a noble ideal. As a member in a society, one may be one of the most common, but his poems should be of artistic value with his quality and flavor. It is in this sense that I am bold enough to say that Mr. Leng’s endeavor for this goal has been materialized and rewarded. I feel so glad to have such an equal like him. Here, I wish his penmanship will offer more great poems in the future!
Yangzhou 28.10.2019
人生三原，情為上
（代后記）
人生取向不外乎情、欲、志三原色，倘若溫飽有了著落，便會(huì)因側(cè)重不同而軌跡各異：三色相融互染，則百態(tài)紛呈，萬象齊生。重情者多不明貪道、不諳官術(shù)，短短幾十年光陰，常會(huì)沉溺在喜怒哀樂的濃情里難以自拔。
學(xué)詩(shī)36年，結(jié)識(shí)了眾多師友，每每流連并欣喜于他們的精彩篇章和睿智警句，創(chuàng)作沖動(dòng)也因此而被激發(fā)。然而，凡生命個(gè)體都難避自身的短處，同是習(xí)詩(shī)者，許多長(zhǎng)處畢竟是緣自他人的智慧，所謂取長(zhǎng)補(bǔ)短不過是一廂情愿而已。這部詩(shī)集收選了76首短詩(shī)，內(nèi)容大抵為閃念間的奇思異想，若能給讀者些許愉悅溫潤(rùn)或振奮欣喜，筆者也便知足無憾了。
德高望重的葉櫓教授，27年前就曾高屋建瓴對(duì)我的詩(shī)歌創(chuàng)作指明了要義，今又以84歲高齡為學(xué)生慨而作序，足見其情之篤誠(chéng)、愛之綿長(zhǎng)。受惠于情動(dòng)于中的體恤扶持，比起獲利于輜珠必較的生意賣場(chǎng)，實(shí)乃天壤之別！
已上詩(shī)路，勢(shì)必勤勉為之，頌真情，歌大善，揚(yáng)高德。故學(xué)詩(shī)得益有三——怡情，斂欲，礪志。陰晴圓缺旦夕禍福，悲歌笑淚摧肝裂膽，幾多豪情壯志濯我肺腑！既攀詩(shī)峰，三十年后更覺山高路遙，唯有三原齊備相攜互補(bǔ)，才有望不虛此行。
漢英雙語(yǔ)詩(shī)集《三原色》的出版，得到眾多師友的襄助和支持，在此特向初期排版期間給予大力協(xié)助的趙小江先生致謝，向策劃組稿的華人詩(shī)學(xué)會(huì)徐英才會(huì)長(zhǎng)，傾力譯文的魏建國(guó)、張俊鋒、詹楊娜三位老師，以及殷殷寄語(yǔ)的葉櫓老前輩深深鞠躬。
冷慰懷
2020年6月2日于洛
譯者簡(jiǎn)介
01
魏建國(guó)，1967年出生，北京人，漢族?，F(xiàn)為中國(guó)人民大學(xué)外國(guó)語(yǔ)學(xué)院英語(yǔ)專業(yè)博士生。中國(guó)翻譯協(xié)會(huì)會(huì)員。《英語(yǔ)沙龍》特約譯稿人。譯著有《關(guān)鍵時(shí)刻的英語(yǔ)演講》等。
Wei Jiangiio, born in 1967, is a Beijing native. He is a Doctorate Candidate in the College of Foreign Languages Of RUC, a member of Translators Association of China, and a freelance translator who has published more than 30 translations in the magazine "English Salon." His other publication is: Famous Speeches at the Critical Moments.
02
詹楊娜（Nadya Zhan),南京大學(xué)英語(yǔ)語(yǔ)言文學(xué)碩士，翻譯學(xué)專業(yè)。偏愛中英語(yǔ)言的姿態(tài)與韻律勝于舞蹈與交響樂，偏愛在短篇與詩(shī)歌中神秘的漫游勝于長(zhǎng)篇與散文，偏愛漫游中的彷徨、善意與永恒，以及自身發(fā)出的孩童般的驚嘆，偏愛與同道者越過山丘，摘采太陽(yáng)的金蘋果。
Zhan Yangna (Nadya Zhan) graduated from Nanjing University with a Master’s degree in English Language and Literature, majoring in Translation Studies. She prefers the posture and the rhythm of Chinese and English language to dances and symphonies, and prefers the mysterious wandering in short stories and poetry to that in novels and essays. In this wandering, she prefers the misty, the tender, the immortal and her childlike amazement. And she prefers to cross hilly lands with the like-minded to pluck the golden apple of the sun.
03
張俊鋒，字墨驪，號(hào)雪梅堂主，畢業(yè)于解放軍外院、上海外國(guó)語(yǔ)大學(xué)，上海理工大學(xué)教師，外文協(xié)會(huì)和上?？萍甲g協(xié)會(huì)員，中國(guó)國(guó)學(xué)雙語(yǔ)研宂會(huì)理事，《世界詩(shī)人》客座總編、《詩(shī)殿堂》副主編。2010年借調(diào)上海世博局，負(fù)責(zé)接待國(guó)際VIP (政要高管名流等）。2017年上海國(guó)際馬拉松達(dá)標(biāo)國(guó)家一級(jí)。韓素音青年翻譯大賽連續(xù)兩次獲獎(jiǎng)，譯有《列車上的陌生人》等，詩(shī)譯載《世界詩(shī)人》《人民日?qǐng)?bào)》《譯原》《譯詩(shī)》《中詩(shī)網(wǎng)》《廣場(chǎng)詩(shī)刊》《詩(shī)殿堂》《南極星》等。
ZHANG Junfeng, styled Moli (Ink Steed), alias Master of Snow Plum Hall, graduated from PLA Foreign Languages University and Shanghai International Studies University, now working in USST.
He is a member of Foreign Languages Association, and of Shanghai Science and Technology Translation Association, councilor of Chinese Classics Studies Bilinguals' Association, guest editor-in-chief of the World Poets Quarterly, deputy editor-in-chief of Poetry Hall. He worked at Shanghai Expo Bureau in 2010, receiving international VIP guests, and marked national 1st class in 2017 Shanghai International Marathon, He's won the Han Suyin Award for Young Translators twice. His translated works include Strangers on a Train, poems and translated poems are seen in The World Poets Quarterly, People Daily (Overseas), Square Poetry Journal, Poetry Translation, Yiyuan Translation Journal, Poetry Hall, etc.
華詩(shī)會(huì)譯叢
“華詩(shī)會(huì)譯叢”是華語(yǔ)詩(shī)學(xué)會(huì)發(fā)起的雙語(yǔ)叢書出版項(xiàng)目，致力于把先鋒的、優(yōu)秀的華語(yǔ)詩(shī)作譯介為英語(yǔ)，以漢英雙語(yǔ)的方式呈現(xiàn)給英語(yǔ)世界國(guó)家，讓華語(yǔ)詩(shī)歌走向世界，讓更多的歐美詩(shī)人了解華語(yǔ)詩(shī)歌。譯叢在歐美各主要國(guó)家的亞馬遜和大型實(shí)體書店出售，如美國(guó)最大的實(shí)體書店Barnes&Noble。譯叢第一期項(xiàng)目計(jì)劃出版10本漢英詩(shī)集，第二期項(xiàng)目正在火熱征稿，欲在美國(guó)出版雙語(yǔ)詩(shī)集并在亞馬遜出售的詩(shī)友，請(qǐng)聯(lián)系華詩(shī)會(huì)。
華語(yǔ)詩(shī)學(xué)會(huì)理事會(huì)組織機(jī)構(gòu)
會(huì) 長(zhǎng)：徐英才
副會(huì)長(zhǎng)：冰花、張庭、顏海峰
秘書長(zhǎng)：李莉
成 員: (按拼音排列) 冰花、焦海麗、李莉、虔謙、徐英才、薛凱、顏海峰、張庭
華語(yǔ)詩(shī)學(xué)會(huì)?？对?shī)殿堂》編委成員
總 編：徐英才
副 總 編：張 庭
內(nèi)容總監(jiān)：冰 花
主 編：虔 謙（新詩(shī)部）
主 編：天 端（古詩(shī)部
主 編：焦海麗（評(píng)訪部）
主 編：魏建國(guó)（詩(shī)論部）
主 編：李 莉（配音部）
副主編：焦海麗（新詩(shī)部）
副主編：耿 慧、申美英（古詩(shī)詞）
副主編：李 莉（評(píng)訪部）
編 輯：(按拼音排列) 達(dá)文、李玥，歐路行、釋圣靜、無定河、西鷹、杰福瑞張
英語(yǔ)詩(shī)歌編輯部
主 任：薛 凱
主 編：Sylvia Cavanaug
副主編：Lisa Vihos
編 輯：Gerry Brauer, James Burton, Danny Fahey, Cheryl Hamann, Scott Mills, Judy Rowe, Sheryl Slocum (按字母順序排列)
翻譯部
翻譯主編：李正栓、史潘榮、張智中(按拼音排列)
執(zhí)行主編：丁立群、段冰知、吳偉雄、任誠(chéng)剛、石永浩、解斌、顏海峰、葉如鋼、楊秀波、楊中仁、于元元、張瓊、張俊鋒、張紫涵、趙宜忠（拼音排序）
文宣拓展部
部長(zhǎng)：薛凱
微信微刊分部
主任：焦海麗
副主任：耿慧、鄧玉蘭、星星
中國(guó)文宣拓展分部
主任：無定河
副主任：釋圣靜
國(guó)際文宣拓展分部
主任：Scott Mills
副主任：李玥
本期編輯：鄧玉蘭
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