《詩殿堂》詩論001期
說說俳句
作者-徐英才 簡介
徐英才，原復(fù)旦英語教師，現(xiàn)美國德寶大學(xué)漢學(xué)老師，華人詩學(xué)會(huì)會(huì)長，漢英雙語紙質(zhì)詩刊《詩殿堂》總編，有多部譯著出版，其中漢英譯著《英譯唐宋八大家散文精選》和《英譯中國經(jīng)典散文選》曾由中國贈(zèng)送美國林肯中學(xué)。
Xu Yingcai, a former Fudan English teacher, now a teacher of Chinese Studies in DePaul University, President of Chinese Poetry Association, and Editor-in-Chief for Poetry Hall – A Chinese and English bilingual journal, has multiple translation books published. His translations Selected Translation of Eight Tang & Song Prose Masters and Selected Translation of Chinese Prose Classics were once the gifts Chinese government gave to Lincoln High School USA.
說說俳句
從日俳說到英俳，再說漢俳
文 / 徐英才
一、日語俳句
俳句最初雖然可能源自中國的古詩詞，但它產(chǎn)生與定型于日本，并從那里傳到世界各地。
日本俳句究竟長什么樣？有人說，它全長17個(gè)音，分三行，分別是5-7-5（第一行5個(gè)音，第二行7個(gè)音，第三行5個(gè)音）。這種說法沒錯(cuò)，但是，日俳的 17音并不等于其他語言的17音，因?yàn)槿照Z計(jì)音方法比之英語和漢語還要細(xì)膩。17個(gè)音的日俳，大體相當(dāng)于英語或漢語的12個(gè)音左右。比如就拿haiku這個(gè)單詞來舉例吧。Haiku，在英語里算兩音節(jié)：hai-ku；在漢語里也算兩個(gè)音節(jié)：hai-ku；而在日語里，它是三個(gè)音：ha-i-ku。再拿日本首都名 Tokyo這個(gè)詞來說吧，它在英語里是兩個(gè)音：To-kyo；在漢語里也是兩個(gè)音：To-kyo；但在日語里卻算作四個(gè)音：Toe-oh-kyo-oh。難怪全美俳句創(chuàng)作月打出的旗號(hào)是一個(gè)5-7-5的停車符號(hào)，旨在敦促俳句詩人明白，俳句并不就是17個(gè)音5-7-5形式。
除此之外，日本俳句并不要求押韻，或者說根本就不押韻，更無需說平仄。日俳為何不講究押韻呢？這跟它的追求有關(guān)。除5-7-5外，傳統(tǒng)日俳追求三個(gè)要素：季語，切字，客觀寫生（為節(jié)省篇幅，這里就不詳述了）?，F(xiàn)代日本俳句，或者說世界俳句，已不再拘泥於這傳統(tǒng)的三大要素，轉(zhuǎn)而追求俳句的靈氣。何為俳句的靈氣？那就是瞬間感觸。俳句追求的，是時(shí)空中某一極短的感動(dòng)了詩人的瞬間，
詩人用最短小的形式把它記錄下來。東西短小，一旦有了靈氣，就會(huì)精致玲瓏，讓人愛不釋手。如果短而小，卻缺乏靈氣，那就不會(huì)可愛。程式一旦再老套固定化，短短三行里還要韻律不斷，那就很有可能是一首在節(jié)奏上千篇一律的老調(diào)重彈。如果再缺乏點(diǎn)新意，就只能是順口溜了。
二、英語俳句
現(xiàn)代英語俳句，真正地抓到了日俳的精髓。它最忌諱17音，5-7-5，押韻的固定模式，因?yàn)橛?7音來寫英俳，會(huì)使英語行文拖沓；押韻，會(huì)破壞俳句的清新感；固定模式再加押韻，會(huì)使所有俳句都陷入同一種節(jié)奏?，F(xiàn)代英俳也以凸顯靈氣為首要任務(wù)。為了達(dá)到這個(gè)效果，英俳寫作課程，首先強(qiáng)調(diào)學(xué)生學(xué)會(huì)使用短語和獨(dú)立成分來寫詩，而不用完整的句式。俳句在意象和意念上必須要有跳躍，要有想象空間。比如下面這首榮獲2014年英俳博物館大獎(jiǎng)賽的俳句：
air show . . .
the ice cream girls
compare nail polish
Anne L.B. Davidson, Saco, Maine, Frogpond
航空表演 ......
賣冰淇淋的少女
比看指甲油
(2014 英語俳句博物館獲獎(jiǎng)作品)
全詩三行，11個(gè)音節(jié)，不押韻，第一行詩用獨(dú)立成分寫出，最后一行在意象和意念上有個(gè)跳躍，給人以突然感。正因?yàn)檫@個(gè)突然感，整首小詩就躍然紙上，神采奕奕。
下面這首是愛爾蘭的詩人Michael Facherty的著名俳句:
in the woodpile
the broken ax handle
柴堆里
一把脫落的斧柄
俳句協(xié)會(huì)對(duì)它的解說是：
“愛爾蘭詩人Michael Facherty選擇用兩行來寫這首詩，第一行給出背景，暗示季節(jié)（將要用柴火取暖的季節(jié)—譯者注）。該詩遣詞質(zhì)樸，旨在造型，沒有任何表示判斷的文字，沒有為了音節(jié)而湊字，也沒有強(qiáng)迫讀者如何思考。形象生動(dòng)，留白處有一個(gè)帶有諷刺意味的轉(zhuǎn)折（雖然諷刺只是當(dāng)代俳句眾多技巧之一）?！?/span>
三、漢語俳句
中國俳句（姑且使用這個(gè)名稱，其實(shí)不是俳句）走了一條與日俳和英俳截然不同的道路。漢俳不僅追求17個(gè)音節(jié)，也即17個(gè)漢字（比日本俳句多了幾個(gè)），5-7-5形式，還要求平仄與押韻。這使我們的俳句節(jié)奏單調(diào)、千篇一律，拖泥帶水、老氣橫秋。如果在意象和意念上再無新意，不能激發(fā)想象，真的是毫無靈氣可言。
中國俳句之所以走上這條與眾不同的道路，在很大程度上是因?yàn)樵缙诘馁骄湓娙硕季哂猩詈竦闹袊旁娫~功底，他們寫出的俳句深受中國傳統(tǒng)詩歌的影響。下面這段來自百度的文字，很能說明問題。
“1980年5月30日，(在接待日本俳人協(xié)會(huì)訪華團(tuán)時(shí))， 趙樸初老先生詩興勃發(fā)，參考日本俳句十七音，依照中國詩詞傳統(tǒng)的創(chuàng)作聲法、韻法、律法等特點(diǎn)，即席賦詩一首，共三章（即三首組詩）?！毕旅媸瞧渥詈笠皇祝?/span>
綠蔭今雨來
山花枝接?；ㄩ_
和風(fēng)起漢俳
于是，漢俳創(chuàng)作者，就以趙樸老這首詩最后一句為準(zhǔn)，將中國詩人創(chuàng)作的俳句體定名為漢俳，并效仿了他的格式。而當(dāng)時(shí)日本客人究竟是因?yàn)槌鲇诙Y貌，還是因?yàn)檎Z言不通沒有發(fā)現(xiàn)問題，致使錯(cuò)誤的漢俳形式流傳至今就不得而知了。但是，這個(gè)錯(cuò)誤，最終還是于2012年被瞈望 (Shingo) 指了出來，他直接了當(dāng)?shù)卣f，中國俳句不是俳句。
四、結(jié)語
不過，可喜的是，當(dāng)代漢語俳句已經(jīng)開始出現(xiàn)不受限于17音，5-7-5形式、免押韻，免平仄，重意象與突發(fā)感的靈性短詩。
俳句體積小，非常適合反映在時(shí)空中獲得的瞬間感觸，這就是為什么它會(huì)出現(xiàn)并流傳到世界各地的原因。俳句體積小，但容量要大，因?yàn)槿绻畞韨€(gè)字僅表達(dá)十來個(gè)字的表層含義，那這詩就沒什么可讀性了。這個(gè)容量來自于文字的張力，來自于不言中，來自于意象或意念的突然跳躍。有了跳躍，就能給讀者留出想象空間。為了激發(fā)讀者的想象，俳句詩人又常常極力避免對(duì)詩進(jìn)行評(píng)論性的描寫，因?yàn)橐坏┰u(píng)論，你就代替了讀者去思考，你就為讀者指出了應(yīng)該怎樣去思考?？偠灾?，俳句體積雖小，但意象要豐，內(nèi)涵要大，要神采奕奕。
希望中國的俳句愛好者能夠不懈努力，融入世界，寫成符合世界俳句共性的適合中國俳句個(gè)性的真正俳句。
About Haiku
Haiku in Japanese, English, and Chinese
Text / Xu Yingcai
I. Japanese Haiku
Although at the very beginning, the haiku could originate from classical Chinese poetry, it emerged from Japan and was shaped in Japan, and then from there spread to the world.
What does Japanese Haiku look like? It is said that it consists of 17 sounds broken down into three lines in the format of 5-7-5 (5 sounds for the first line, 7 for the second, and 5 the last). Although nothing is wrong with this assertion, the 17 sounds in Japanese Haiku does not necessarily equal 17 sounds in other languages. This is because Japanese tends to break down its sound elements into smaller parts than English or Chinese does. 17 sounds in Japanese Haiku approximates 12 syllables in English or Chinese. Take the word “haiku” for example: The word “haiku” is considered two syllables in English: hai-ku, also two in Chinese: hai-ku, but in Japanese, it is three: ha-i-ku. Take the name of Japanese capital “Tokyo” for another example. It is considered two syllables in English: To-kyo, and two in Chinese: To-kyo, but 4 in Japanese: Toe-kyo-oh. No wonder the logo used for the American National Haiku Writing Month was a 5-7-5 stop-sign. This logo was designed to advocate that the haiku is not necessarily 17 syllables broken down into the format of 5-7-5 when converted into another language.
Apart from this misunderstanding, Japanese Haiku does not require rhyming, or put it in a different way, no rhyming at all, and of course, no requirement for the level-and-oblique tone alternatives. Why so? This has something to do with what it seeks. In addition to the 5-7-5 format, traditional Japanese Haiku sought the fulfilment of three elements: Kigo, kireji, and subjectivity (To save space, I will not elaborate on these topics here). Modern Japanese Haiku or the world haiku, however, no longer seeks these three elements as its core. They instead emphasize the achievement of the spirit of the poem. What is the spirit of the haiku then? It is a touching moment, the moment in time and space that has moved the poet, and the poet uses the most economic form to write it down. When anything is petite, once it possesses spirit, it will be exquisitely vibrant and vital, and hence adorable. If anything is short and small but lacks spirit, it can hardly be cute. If such a poem is inlaid in a stereotyped format, along with rhyming within the size of a poem as short as three lines, it is likely, in rhythm, a “harp on the old tune.” If such an impotence is short of new sense, then it could be nothing but a jingle or a doggerel.
II. English Haiku
Modern English Haiku has truly grasped the essence of Japanese Haiku. The biggest taboo in writing English Haiku is the stereotype format of 17, 5-7-5, and rhyming. This is because using 17 syllables to write haikus in English would retard the English rhythm; rhyming would damage the freshness of the poem, and the stereotype format plus rhyming would synchronize all English haikus into one tune. Modern English Haiku also takes as its prime role the emphasis of spirit. To help students achieve this goal, the first thing an English haiku class emphasizes is to train students to use phrases and independent elements, instead of complete sentences, to write the poems. English Haiku must have a sense of surprise in both imagery and meaning to give readers enough imagination. The following 2014 Haiku Museum Winning poem is a good example to illustrate this.
air show . . .
the ice cream girls
compare nail polish
Anne L.B. Davidson, Saco, Maine, Frogpond
航空表演
賣冰淇淋的少女
比看指甲油
(2014 英語俳句博物館獲獎(jiǎng)作品)
The entire poem consists of 11 syllables with no rhyming. The first line beings with an independent phrase, and the last line, in image and sense, is a leap from the previous two, forming a surprise. It is this surprise that brings the little poem alive and vibrant on paper.
Below is a haiku written by an Ireland poet Michael Facherty:
in the woodpile
the broken ax handle
柴堆里
一把脫落的斧柄
Here is the comments given by The Haiku Foundation:
“The poet, Michael Facherty of Ireland, chooses two lines, with the first line establishing the context and suggesting the season. Again the diction is image-based and straightforward, without words that indicate judgment, or that pad out the syllable count, or that tell the reader what to think. The image is vivid, and the conclusion given an ironic twist (though irony is only one of dozens of poetic strategies that contemporary haiku employ).”
III. Chinese Haiku
Chinese Haiku has taken a completely different route from that of Japanese and that of English. Chinese Haiku instead seeks not only 17 syllables, which means 17 Chinese characters , a few more than those of Japanese, and 5-7-5 format, but also the level-and-oblique tone alternatives and rhyming. This makes our haikus dull in sound, a thousand pieces on one tune, retarded in rhythm, and old fashioned in format. If such a poem lacks fresh images and senses and fails to provoke enough imagination, then it will be completely spiritless.
How did we get on this road has a lot to do with some of our early veteran haiku poets who were deeply conversant with our classical poetic conventions. As a result, the haikus they wrote were greatly influenced by our classical poems. The following quote from Baidu will explain the ins and outs.
“On May 30, 1980, (in entertaining the visitors of Japanese Haiku Association), Mr. Zhao Puchu, inspired for poetic creation, using the 17- syllable format of Japanese Haiku as a reference and following the conventions of the meter and rhyme of Chinese classical poetry, extemporized a group of three haiku poems.” Below is the last one:
In green-shade-lured rain
Home blooms grafted to th’ abroad
Breezed into Hanpai (Chinese Haiku)
Since then, Chinese Haiku writers, using the haikus, so to speak, Mr. Zhao wrote, named what they wrote “Hanpai” and began to follow his pattern. But it remains an enigma whether it’s because of courtesy or of a language barrier that the Japanese visitors didn’t point out the mistakes. The mistakes, however, have persisted even to this day. But it was pointed out in 2012 by Shingo. He straightened it out by saying: Hanpai is not the haiku.
IV. Conclusion
However, what’s fortunate is that contemporary Chinese haikus free from the restrictions of 17 Chinese syllables, 5-7-5 format, rhyming, and level-and-oblique tone alternatives for the emphasis of spirit sprung from the imagery created and the sense of surprise formed have begun to emerge.
The haiku is petite in size, which can serve as the very form to express an aha-moment flashing past in time and space. That is exactly why it has emerged, and then spread to the world. The haiku is petite in size, but it must be rich in volume. This is because if the approximate dozen syllables express just their peripheral meaning, then, there is nothing wondrous to read. This voluminous richness comes from the tensile force of the language used, from what’s unexpressed, and from the leap in image and sense. Once there is leap in image and sense, then there is space for readers to imagine. To provoke readers’ imagination, haiku writers try very hard to avoid comments in their poems. This is because if you do, you are thinking for the readers or you are forcing a way for the readers to think. All in all, the haiku is petite, but it has to be rich in image and voluminous in sense. It has to possess spirit.
Hopefully, Chinese haiku lovers could make a continuous effort to integrate themselves into the world and compose more and more authentic Chinese haiku poems that reflect the universality of the world haiku and the individuality of the Chinese haiku.
Translated by Xu Yingcai / 徐英才譯
徐英才(漢語俳句十二首)
自然與情愛
1.
夜空
孤雁劃破了
那輪圓月
2.
暮色穹蒼下
湖心一垂柳
顧影自憐
3.
柵門虛掩
一朵紅玫
探出頭來
4.
平靜夜空
蘭花一現(xiàn)
頓時(shí)風(fēng)雨交加
5.
垂柳
傾身輕撥池水
撩起了漣漪
6.
初升旭日
海鷗
鳴叫著爭相入巢
7.
豪宅窗外
三、五枝杏花
探頭窺視
8.
屋外
一朵隔夜薔薇
被棄在地
9.
朦朧煙雨
橋上撐傘情侶
橋下鴛鴦戲水
10.
一天鵝
凝望車板里
自身的映影
11.
扯得太猛
風(fēng)箏斷了線
從他院后飛走了
12.
17年日食
百年愛之旅
終于戴上鉆戒
注：2017年8月21日，美國出現(xiàn)了99年以來第一次全境可見的超級(jí)日全食。這次超級(jí)日全食最終形成了一個(gè)如同鉆石婚戒的形狀。
徐英才
原復(fù)旦大學(xué)英語教師，現(xiàn)在美國德寶大學(xué)工作，主教漢學(xué)課程。愛好新詩、舊詩，以及英語詩歌。
Xu Yingcai (Twelve Chinese Haikus)
Nature and Love
1.
night sky
a lone goose passing the moon
eclipsing its fullness
2.
dusk sky
a willow at the heart of a lake
sways in its shadow
3.
fence door ajar
a red rose
pops out its head
4.
tranquil night sky
an orchid flashes open
stirring up wind and rain
5.
willow strings
lean to brush the pool
rippling the water
6.
the rising sun
seagulls
scream, trying to fly into the nest
7.
window of an elite house
a few apricot blossoms
peep in
8.
outside the house
an overnight rose
abandoned on the ground
9.
mizzle
on the bridge, umbrella-screened lovers
down, ducks frolic
10.
a goose
gazes at her own image
reflected from a car panel
11.
a sharp jerk
the kite breaks away
from over his backyard
12.
eclipse ‘17
a hundred-year dating trip
ends in a crown ring
Note: On August 21, 2017, United States experienced its first coast-to-coast solar eclipse in 99 years. The complete solar eclipse climaxed in the shape of a crown ring.
Translated by Xu Yingcai / 徐英才譯
Xu Yingcai
An English teacher from Fudan University, now works in DePaul University, teaching Chinese studies courses. He loves new Chinese poetry, classical Chinese poetry, and English poetry.
華語詩學(xué)會(huì)理事會(huì)組織機(jī)構(gòu)
會(huì) 長：徐英才
副會(huì)長：冰花、張庭、顏海峰
秘書長：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
華語詩學(xué)會(huì)?？对姷钐谩肪幬蓡T
總 編：徐英才
副總編：張庭
內(nèi)容總監(jiān)：冰花
主編：虔謙（新詩部）
主編：天端（古詩部）
主編：焦海麗（評(píng)訪部）
主編：魏建國（詩論部）
主編：李莉（配音部）
副主編：焦海麗（新詩部）
副主編：耿慧、申美英（古詩詞）
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
英語詩歌編輯部
主任：薛凱
主編：Sylvia Cavanaugh
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：薛凱
微信微刊分部
主任：焦海麗
副主任：耿慧、鄧玉蘭、星星
中國文宣拓展分部
主任：無定河
副主任：釋圣靜
國際文宣拓展分部
主任：Scott Mills
副主任：李玥
請(qǐng)關(guān)注《詩殿堂》漢英雙語紙刊在全球發(fā)行
往期精彩回顧：
“華詩會(huì)詩叢”書訊001期 《世界抗疫詩精選》 (徐英才、冰花主編)隆重出版
詩殿堂網(wǎng)站：
http://www.poetryh.com/index.htm
感謝關(guān)注并轉(zhuǎn)發(fā)華詩會(huì)《詩殿堂》微刊
https://mp.weixin.qq.com/s/4RGpM0BsY_SntD5XVABNOg
