書訊：徐英才漢英雙語詩
前言
我的詩觀
徐 英 才
做詩的本質(zhì)，簡而言之就是伴著背景音樂用文字繪制具有主題的圖畫。所謂背景音樂，當(dāng)然指節(jié)奏；繪畫，指意象。而繪畫的最高層次，我個(gè)人以為，是營造意境?！耙饩场边@個(gè)中文術(shù)語，最接近它的英語應(yīng)該是artistic mood或者artistic conception。不過，用這兩個(gè)詞來對(duì)應(yīng)其實(shí)有點(diǎn)勉強(qiáng)。所謂意境，簡單地說，就是指當(dāng)詩歌里被描寫的思想情感與自然情景交融為一體后而在讀者頭腦里產(chǎn)生了縈繞鮮活的畫面這個(gè)境界。
當(dāng)然，除了營造意境外，繪畫還可以有其他追求，所以就有了佛羅倫薩畫派、巴洛克畫派、洛可可畫派等等；同理，除營造意境外，寫詩也可以有其他追求，比如中國古代詩歌三大派：神韻，格調(diào)和性靈，神韻派講究“意在不言中，味在酸甜外”；格調(diào)派講究“溫柔敦厚，雄渾高古”；而性靈派則講究“直抒心懷，言辭自然”。但無論哪派，它們?nèi)匀灰誀I造意境為最高境界。這個(gè)境界，中國詩歌追求了上千年，今天的新詩當(dāng)然也應(yīng)該繼續(xù)追求。
既然營造意境是詩歌寫作的最高追求，那么，用艱澀的語言朦朧的意象來寫詩，讀者于理解的層面就已經(jīng)在文字的泥潭里掙扎，在意象的煙霧里喘氣，腦子里怎么還會(huì)浮現(xiàn)意境呢？所以，使用明確的語言，清晰的意象，就有利于讀者直接進(jìn)入你所營造的意境里。
基于這個(gè)認(rèn)識(shí)，我的詩觀是：語言樸實(shí)規(guī)范，優(yōu)美張力；形象鮮明生動(dòng)，詩意盎然飽滿；言自心聲，言之有物；力求營造雋永的意境，努力讓作品閃光。如果要我說我喜歡中國古代詩歌哪一派，我還是比較喜歡神韻派兼格調(diào)與性靈派吧。
My Poetic Philosophy
Yingcai Xu
The nature of poetry writing is, in short, to use language to paint theme-driven pictures rhythmic to the background beat. Here, of course, the beat refers to poetic rhythm and the pictures, imagery. The ultimate in picture painting is, in my opinion, to create yijing, a Chinese word roughly equivalent to the English phrase “artistic mood” or “artistic conception”, although somewhat arbitrary. The Chinese term yijing, to give a brief definition, means that a poem has conjured up in the reader’s mind a lingering picturesque realm vibrant because the depicted feeling and the depicted scene come alive together.
Of course, apart from yijing, there can be other pursuits in painting. Hence the Florentine School, the Baroque School, the Rococo School, etc. By the same token, in addition to yijing, there can be other pursuits in poetry writing. Take for example the three poetic schools of classical Chinese poetry writing: the School of Shenyun (Godly Grace), the School of Gediao (Stylishness), and the School of Xingling (Disposition). Senyun stresses the “embodiment of the intended” and the “the flavor beyond the ingredients of salt and vinegar”; Gediao, the “gentleness and sincerity” and the “vigorous, highly-flavored, and quaint effect”; Xingling, the method of “writing what you feel and wording in what is natural.” But of these three, no matter which school you belong to or which method you use, their highest goal is the same: to achieve yijing. This highest objective Chinese classical poetry has been seeking for over a thousand years, and so should today’s poetry writing.
Since the creation of yijing is the highest aspiration of poetry writing, then, if you use dysphagic language or misty imagery, how can your readers find it easy to come up with any live picturesque realms in their minds while wallowing in the mire of your language and panting in the cloud and smoke of your imagery? Only clear language and imagery would facilitate readers to go directly into the live picturesque kingdom you have created.
This basic understanding defines my poetic philosophy: use simple, appealing, and imagination-evoking language to create vivid and poetic-sense-infused poems that come directly from the heart and the physical world and create a lasting and glittering effect of yijing. If asked which classical Chinese poetic school I belong to, my answer is: I prefer Shenyun with Gediao and Xingling.
Tr. Yingcai Xu/徐英才譯
清代詩論三大派—— 神韻、格調(diào)與性靈
徐 英 才
清代詩詞理論有三大派，它們是神韻派、格調(diào)派，和性靈派。
神韻派
清代神韻派的主要代表是清朝著名詩人、文學(xué)家王士禎。王士禎受唐代司空?qǐng)D、宋代嚴(yán)羽的影響，講究“興寄”和“神趣”。所謂“興寄”，就是詩人要把自己的思想情感不露痕跡地寄托在作品中，讓讀者自己去體悟。要“不著一字，盡得風(fēng)流”。這樣的作品才有詩味，才能令人回味無盡。這就是所謂的“味在酸咸之外”。而不是膚淺直白地表露出來，更不可雕琢太過。要“近之不浮，遠(yuǎn)之無盡，神到不可湊泊”。以此平淡的手法，達(dá)到蕭散、簡遠(yuǎn)的風(fēng)致。到了這個(gè)境界，也就到了神趣的境界，也就是神韻這個(gè)最高境界。
格調(diào)派
清代格調(diào)派的主要代表是清朝重臣沈德潛。沈德潛受明代提倡復(fù)古的李夢陽的影響，認(rèn)為作詩必須注重“溫柔敦厚” 的儒雅詩風(fēng)，講究比興與蘊(yùn)蓄的創(chuàng)造手法，不可“過甚”、“過露”，以致“失實(shí)”。沈德潛并不反對(duì)王士禎的神韻說，也認(rèn)為”沖和淡遠(yuǎn)”之風(fēng)是一種很高的境界，但又認(rèn)為它只是詩之風(fēng)格的一種，”雄渾高古”才是詩之最高境界。“沖和淡遠(yuǎn)”講究含蓄，”雄渾高古”講究沉郁，所以，神韻派推尊王維、孟浩然，而格調(diào)派則推尊漢魏和杜甫。神韻派追求優(yōu)美之境，而格調(diào)派追求的是壯美之境。它們都強(qiáng)調(diào)蘊(yùn)藉而有言外之意。
性靈派
清代性靈派的主要代表是清代詩人和散文家袁枚。該派實(shí)際上是明代公安派的“獨(dú)抒性靈，不拘格套”詩歌理論的繼承和發(fā)展，主張作詩應(yīng)“抒寫胸臆，辭貴自然，非從自己胸臆流出，不肯下筆”。它反對(duì)格調(diào)派的作詩要“溫柔敦厚”的復(fù)古傾向，也反對(duì)神韻派的作詩要“詩貴溫柔，不可說盡”，認(rèn)為詩的本質(zhì)應(yīng)是人之感情的自然流露，所以作詩要直抒心靈，表現(xiàn)真情實(shí)感。袁枚所說的“性靈”，在絕大多數(shù)地方乃是“性情”的同義語。性靈派從自由地表現(xiàn)個(gè)性，率真地表達(dá)感情的要求出發(fā)，在詩詞藝術(shù)上提倡自然清新、平易流暢，反對(duì)雕章琢句、堆砌典故，反對(duì)以學(xué)問為詩，發(fā)現(xiàn)有我。但一般認(rèn)為，性靈派的弱點(diǎn)是，把心靈看作文學(xué)創(chuàng)作的源泉，絕對(duì)化了文學(xué)是感情的表現(xiàn)，認(rèn)為凡是真實(shí)地表達(dá)了感情的便是好作品，局限了作品對(duì)社會(huì)生活的反映。
Three Major Schools of Qing Dynasty’s Poetics
---- Shenyun, Gediao, and Xingling
Xu Yingcai
There were three major schools of poetics in Qing dynasty. They were the School of Shenyun (Godly Grace), the School of Gediao (Stylishness), and the School of Xingling (Disposition).
School of Shenyun (Godly Grace)
The key person of Qing Dynasty’s School of Shenyun was Wang Shizhen, a famous poet and literatus in Qing dynasty. He, influenced by Si Kongtu of Tang dynasty and Yan Yu of Song dynasty, stressed the “embodiment of the intended” and the “godly delight.” That is to embody the poet’s feeling in the poem without leaving any noticeable trace in it, so that readers have to perceive it themselves. That is what is called “being appealing without expressing the appeal directly.” Such is the poem rich in poetic flavor and aftertaste. That is what is referred to as “the flavor beyond the ingredients of salt and vinegar,” so to speak. A poet shouldn’t directly reveal what is intended; nor should he color or polish his poem too much, which is a very shallow way of writing. Comparing poetry writing to anchoring a boat, the poet should moor his boat in such a way that “it shouldn’t look afloat if observed nearby nor should it disappear from the sight if observed from afar. It should be so well moored that no other boat can be berthed the same way.” This unpolished method is the access to the artistic realm of naturalness, leisureliness, and simplicity with a far-reaching effect. When it reaches this realm, it has reached the realm of Shenqu (Godly delight) , which is what is regarded as the highest artistic realm of Shenyun (Godly Grace).
School of Gediao (Stylishness)
The key person of Qing dynasty’s School of Gediao (Stylishness) was Shen Deqian, an important Qing Palace official. Influenced by the idea of restoring the classics advocated by Li Mengyang of Ming dynasty, Shen Deqian stressed the learned and refined style of “gentleness and sincerity” and emphasized the rhetoric methods of “analogizing and metaphorizing” ; “containment and reservation” in poetry writing without overstating or over revealing what was intended, so that the sincerity was lost. He didn’t object Wang Shizhen’s Shenyun Poetics, and also considered the “placid, simple, and far-reaching style a very highly artistic realm to reach, but these he considered just one of the many ways to write poetry. The highest artistic realm, in his opinion, was “the vigorous, highly-flavored, and quaint effect”. While “implicit” was the key to achieve “placid, simple, and far-reaching effect,” “being unstirred up” was the key to acomplish this “vigorous, highly flavored, and quaint effect.” Therefore, Shenyun iconized Wang Wei and Meng Haoran while Gediao, Han Wei and Du Fu. Shenyun seeked the beauty of gracefulness; Gediao the beauty of vigor. Both Shenyun and Gediao underlined what was beyond the expressed by containing and reserving what they would say.
School of Xingling (Disposition)
The key person of Qing dynasty’s Xingling School in poetry writing was Yuan Mei, a poet and prose-writer in Qing dynasty. As an inheritance and development from the theory of “no restrictions, but all for the expressing of one’s disposition” upheld by the Ming dynasty’s Gongan School, this school advocated the method of “writing what you feel, wording in what is natural, and no feeling, no writing” in poetry writing. It believed Gediao’s poetry writing theory “be gentle and sincere” had the inclination to restore the classical and therefore rejected it. It also opposed Shenyun’s theory that “the most treasured element in poetry writing is gentleness and therefore one should write in a reserved manner.” It believed that the true nature of poetry is the natural revealing of human feelings. Therefore, a poet should express his or her disposition directly and reveals his or her true feeling. What Yuan Mei proposed about “Xingling,” in most cases, equates the meaning of “disposition.” To comply with the requirements of freely expressing the poet’s individuality and sincerely expressing the poet’s true feeling, Xingling School advocated naturalness, freshness, plainness, and fluency as its artistic techniques. It opposed polishing and ornamenting poems; stuffing allusions and scholarly knowledge into poems. It emphasized the discovery of selfness. But it is a general believe that Xingling School considers Xingling or disposition as the source of literary creation, absolutizes the idea that literature is to express feelings, and believes that any poem that truly reveals reality is a good art work. These restrict writing from reflecting true social life.
Tr. Xu Yingcai / 徐英才譯
目 錄
TABLE OF CONTENTS
雨后詩意 3
The Poetic Sense of Post Rain 3
1. 繪畫4
1. Painting 5
2. 簡樸6
2. Simplicity 7
3. 拳與詩8
3. Boxing and Poetry 9
4. 金匠10
4. Goldsmith 11
5. 雨后詩意14
5. The Poetic Sense of Post Rain 15
等你，在橋上19
Waiting for You on the Bridge 19
6. 等你，在橋上20
6. Waiting for You on the Bridge 21
7. 楊柳24
7. The Willow 25
8. 臺(tái)燈28
8. Desk Lamp 29
9. 傾訴衷腸30
9. On Express One’s Love 31
10. 我心中的詩32
10. You Are a Perfect Poem to Me 33
11. 樹與藤34
11. The Tree and the Vine 35
12. 荷花38
12. The Lotus 39
13. 你是那月亮，我是那錢塘42
13. You are that Moon and I Am that Qiantang River 43
14. 柳與溪46
14. The Willow and the Stream 47
15. 思念50
15. The Feeling of Missing You 51
16. 打水漂52
16. Skipping Stones on Water 53
17. 耳環(huán)56
17. Earrings 57
那條路59
That Road 59
18. 那條路60
18. That Road 61
19. 不知為什么62
19. I Wonder Why 63
20. 寫給在異鄉(xiāng)的第二十八個(gè)中秋64
20. To the 28th Mid-Autumn Festival 65
21. 那顆星66
21. That Star 67
22. 異國中秋70
22. Mid-Autumn Festival in a Foreign Country 71
23. 鄉(xiāng)愁72
23. Homesickness 73
人生啊，人生75
Life, Oh Life 75
24. 交響曲76
24. Symphony 77
25. 人生啊，人生80
25. Life, Oh Life 81
26. 一條不可逆轉(zhuǎn)的船84
26. An Unreturnable Boating Trip 85
27. 月亮為什么不再跟我走？88
27. Why the Moon No longer Follows Me 89
28. 等待90
28. Waiting 91
29. 鏡子的感嘆92
29. A Mirror’s Lament 93
無形的風(fēng)95
The Invisible Wind 95
30. 人到中年96
30. Middle Aged 97
31. 生與死98
31. Life and Death 99
32. 鷹100
32. An Eagle 101
33. 蝴蝶102
33. The Butterfly 103
34. 生死接力104
34. A Relay Race of Life and Death 105
35. 樹墩106
35. A Tree Stump 107
36. 葡萄藤108
36. Grapevine 109
37. 水110
37. Water 111
38. 無形的風(fēng)112
38. The Invisible Wind 113
胸懷贊117
A Big heart 117
39. 銅雕118
39. The Bronze Sculpture 119
40. 雨珠120
40. Raindrops 121
41. 胸懷贊122
41. A Big Heart 123
42. 高山124
42. Mountain 125
43. 傘126
43. The Umbrella 127
44. 橋128
44. Bridge 129
45. 大雁130
45. Wild Geese 131
46. 紅橡樹贊134
46. Red Oak 135
禪139
Zen 139
47. 蟬140
47. Cicada 141
48. 爬山草142
48. Climbing Grass 142
49. 幽靈144
49. An Apparition 145
夢 147
A Dream 147
50. 夢148
50. Dream 149
51. 地球在吶喊150
51. The Earth Is Roaring a Battle Cry 151
意識(shí)流155
A Stream of Consciousness 155
52. 意識(shí)流156
52. A Stream of Consciousness 157
53. 老山羊158
53. An Old Goat 159
冰島161
Iceland 161
54. 冰島 162
54. Iceland 163
55. 水天古鎮(zhèn)166
55. Ancient old Town in the Blend of Water and Sky 167
詩 選
1. 人到中年
歲月
熔煉過
于是
像燧石般
剛硬靈性
越是敲打
越是迸出
火花
1. Middle Aged
Time
tempered
Therefore
like a flint
hard and intelligent
the more struck
the more it
sparks
2. 葡萄藤
時(shí)光
把它摩成古銅色
風(fēng)雨
把它撕得遍體傷痕
成長的阻力
又把它瘦長的身軀扭曲
別看它形骸鄙陋
那是頑強(qiáng)向上的生命軌跡
待到秋陽高照時(shí)
它定會(huì)結(jié)出
滿架晶瑩剔透的果實(shí)
2. Grapevine
Time
has beaten it into a bronze color
Wind and rain
torn and scarred it all over
Resistance
twisted its thin body a zigzag
Don't despise its shabbiness
That is the growing trajectory of a tenacious life
When the autumn sun shines directly
its trellis will fully bear
translucent and succulent fruits
3. 雨珠
本不舞蹈
也不歌唱
它們用畢生的力氣
劃破長空
哼著雨歌
沖向大地
在生命的最后一刻
方才——
舞出雨花
發(fā)出強(qiáng)音
匯成不息的流淌
3. Raindrops
Not made to dance
or sing
they exert all their strength
to break through the sky
and dive onto the earth
while humming the rain song
Only until the last minute
do they
waltz their way into blossoms
striking loud sound
and then converge into a continuous flow
4. 水
輪回把你化作云
你位居九霄
卻從不驕傲
身輕如棉
憑風(fēng)飄游
輪回把你化作雨
你位落萬丈
卻從不抱怨
潤滋大地
灌溉農(nóng)田
輪回把你化作冰
你位困洼地
卻從不氣餒
居低自潔
面帶微笑
在凌厲寒風(fēng)中
綻放晶瑩剔透的花
在溫暖春風(fēng)里
消融升華
重返太陽與月亮的故鄉(xiāng)
令萬人敬仰
4. Water
When samsara turns you into clouds
you dwell in the heavens
There you never act pretentious
but appear as light as cotton
and flow at the wind’s disposal
When samsara turns you into rain
you fall to the ground
There you never complain
but wet the earth
and irrigate the fields
When samsara turns you into ice
you stay in low areas
There you never feel dejected
but remain stay refined
with smiles
Amid biting coldness
you bloom into crystalline and translucent blossoms
waiting for balmy spring breeze to arrive
when you will sublimate again
into the hometown of the sun and the moon
to be looked up by all on the earth
5. 橋
不論激流洶涌
還是風(fēng)雨交加
哪里斷裂
哪里阻隔
你就在那里
默默地
伸出兩手
蹬出兩腿
或者直直地俯臥著
或者彎彎地?fù)纹鹕?/span>
斂氣屏息
一動(dòng)不動(dòng)
讓萬人踏踩
我不知道
你前世是否無才補(bǔ)天
不能在空中大放異彩
但我知道
你今生附身低就
甘做眾人的鋪墊
從不抱怨
從不喧囂
默默地普渡眾生
讓他們到達(dá)彼岸
5. Bridge
Whether it’s the surge of torrent
or an infliction of wind and rain
where there is a wide gap
where there is a long blockage
there you are----
quietly
stretch out your two hands
kick out your two legs
either lie straight face down
or hold up arched
holding your breath
without any budge or grudge
to let anyone walk across on you
I do not know
if you failed to mend the sky in your past life
or to bloom in the sky
but I know
in this life you lower your body
willing to be a steppingstone
without complaint
without clamor
only to deliver all beings
to the other side
5. 冰島
“有人說世界將毀于火
有人說毀于冰"*
冰島
在冰與火的殊死搏斗中
誕生
冰島
浩瀚汪洋中的
一個(gè)丁點(diǎn)小島
寒冷北極邊
的溫暖潤地
碧綠的海水
黝黑的沙灘
人口極密的
歐洲最小國
曾經(jīng)的沒落
如今的輝煌
一個(gè)
矛盾的結(jié)合
乾坤的統(tǒng)一
注：引言來自羅伯特·弗羅斯特《火與冰》
5. Iceland
“Some say the world will end in fire
Some say in ice”*
Iceland
came into being
through the life-and-death battle between ice and fire
Iceland
a tiny little island
on a boundless ocean
A piece of balmy moist land
at the edge of the cold Arctic
A place with blue lagoons
contrasted with volcanic black sandy beaches
A densely populated
smallest country in Europe
The once declined
yet today’s brilliance
What a combination
of contradictions
What a harmony between Heaven and Earth
* Quote from “Fire and Ice by Robert Frost”
6. 生死接力
薄如絹紙的雙翼
遙如星際的遷徙
似雪片漫天飛舞……
追逐，纏綿，彩翼相擁
為愛精疲力竭后
雄伴悄然離世
起舞，搜尋，伏身乳草
產(chǎn)盡所有卵子后
雌伴悄然離塵
生命的種子
讓生命延續(xù)
成長，狂噬，破蛹
繼續(xù)它們的征程
一對(duì)對(duì)舍生于愛的抉擇
一代代生與死的接力
斑蝶終于飛到了目的地
而等在那里的 ----
是另一場可歌可泣的雄壯遠(yuǎn)徙
6. A Relay Race of Life and Death
Their wings as thin as silk paper
for a migration as far as space traveling
they flutter as if a skyful of snowflakes fall…
Chasing, tangling, hugging with colorful wings
exhausted after love making
the male leaves the world quietly
Dancing, searching, landing amid milkweeds
having given all her eggs
the female leaves the world quietly
The seeds of life
continue the life
Growing, devouring, breaking the chrysalises
the new breakers go on their migration
A decision to die for love chosen by each of them
a relay of life and death from generation to generation
these monarch butterflies finally reach the destination
yet only to begin ----
another epic of heroic migration
作者簡介
徐英才，原中國復(fù)旦大學(xué)英語教師，現(xiàn)在美國德寶大學(xué)教學(xué)，曾主講過古現(xiàn)代漢語、古現(xiàn)代中國文學(xué)、中國電影史、中國書法理論與實(shí)踐、漢英英漢翻譯理論與實(shí)踐等課。他曾赴加拿大麥克馬斯特大學(xué)授課并研讀加拿大文學(xué); 后又赴美國德堡大學(xué)研讀英美文學(xué)，并在那里建立了漢語教學(xué)科目。他翻譯出版過近十部譯著，有些被中國政府用作國禮，有些被大學(xué)當(dāng)作教材。他為自己設(shè)立的翻譯原則是“準(zhǔn)確、傳神、渾然”，在準(zhǔn)確表達(dá)原文意旨的基礎(chǔ)上，追求原文個(gè)性風(fēng)格的傳達(dá)，努力達(dá)到為目標(biāo)語讀者所贊許的高品質(zhì)譯文。他主/合編過近十部譯著。他的詩集包括《詩意江南》、《來自大自然的靈感――徐英才漢英雙語詩集》、以及純英語版的《我們?cè)谶@里繪畫》。他目前正在為一本俳句詩集的出版做準(zhǔn)備。他現(xiàn)任華人詩學(xué)會(huì)會(huì)長與漢英雙語紙質(zhì)詩刊《詩殿堂》的總編。他的詩學(xué)觀是語言樸實(shí)優(yōu)美，詩意盎然形象，言自心聲，言之有物，力求營造雋永的意境，努力讓作品閃光。
Yingcai Xu, a former English teacher of Fudan University, China, now teaches Chinese studies courses at DePaul University, USA. The courses he has offered include classical and modern Chinese languages, classical and modern Chinese literature, Chinese cinema, Chinese calligraphy theory and practice, and translation. He once went to teach at McMaster University, Canada while taking Canadian literature courses there. Later he came to DePaul University to study English and American literature, where he established the Chinese program for the university. He has about a dozen translation books published. Some of them are used as the Chinese government gifts and some as teaching materials. In translation, he has a three-word principle, “accuracy, individuality, and cohesion.” While trying to achieve an accurate rendering of the original text, he pursues the original spirit and a translation highly acceptable by mother-tongue readers. Besides, he has edited and co-edited quite a number of translation books. Yingcai Xu is also a poet. His poetry publications include Poetic South, Inspiration from Nature----Poems by Yingcai Xu in Chinese and English, and We Are Here Painting. He is now preparing to have a collection of Haiku published. Yingcai Xu is also the President of the Chinese Poetry Association and editor-in-chief of Poetry Hall, a Chinese-and-English bilingual journal. His poetic philosophy is: use simple, appealing, and imagination-evoking language to create vivid and poetic-sense-infused poems that come directly from the heart and the physical world and create a lasting and glittering effect of yijing or artistic conception.
發(fā)行國
美國（請(qǐng)點(diǎn)擊原文閱讀）
https://www.amazon.com/dp/B08WK7K9YK
英國
https://www.amazon.co.uk/dp/B08WK7K9YK
德國
https://www.amazon.de/dp/B08WK7K9YK
法國
https://www.amazon.fr/dp/B08WK7K9YK
西班牙
https://www.amazon.es/dp/B08WK7K9YK
意大利
https://www.amazon.it/dp/B08WK7K9YK
日本
https://www.amazon.co.jp/dp/B08WK7K9YK
加拿大
https://www.amazon.ca/dp/B08WK7K9YK
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
