本文轉(zhuǎn)自：徐英才 好詩推送
2022-08-20 07:38 發(fā)表于美國
熱烈祝賀
《世界華人三行詩精華集》
硬封和軟封同步出版
(本書面向世界發(fā)行，美國國會圖書館收藏！)
Congratulations to
BEST WORLD CHINESE THREE-LINE POEMS
Hardcover & Paperback
Distributes worldwide and collected
by the Library of Congress
出版信息
“Best World Chinese Three-Line Poems” is another carefully composed Chinese three-line poetry collection published after the “World Chinese Three-Line Poetry.” If we say the former book focuses on domestic readers, this one aims at English readers. This book is to introduce to the world the Chinese three-line poems. Hence this Chinese and English bilingual edition.
Chinese three-line poetry is a new type of poetry developed since the May 4th New Cultural Movement. However, the establishment of this poetic form as fixed poetry is only in recent years. Today, this new form has won the interest of many Chinese poets, and many poets specialize in its creation.
As its name suggests, a so-called three-line poem is a poem written in three lines. In deciding how to break the lines, some poets use the end-stopping method and others, enjambement, but no matter how to break the lines, you must compose it in three lines. In most cases, a three-line poem does not exceed 30 Chinese characters, with the title standing as its own or included in the poem. Its most vital element is terse in language but rich in content. For this, it does not pursue rhyme. One can use three-line pomes to express thoughts, artistic conception, and literary tastes, but no matter what to press, a well-written three-line poem must be as subtle yet as profound as possible. It must have rich meaning beyond words and fertile depth in aesthetic values.
Then, why do Chinese poets regard the three-line poem as a fixed type of poetic form, but not one line, two lines, four lines, or five lines? Following are the reasons:
1. Three lines can complete a writing subject.
One line cannot fully develop a writing subject but can only make one sentence, and a single sentence lacks the flexibility in exploration. Neither can two lines. Two lines can make a pair, which is good at expressing parallel or opposite ideas. On the contrary, three lines are far more capable. From the structural perspective, any article or work, even a masterpiece, has only three levels: beginning, content, and end. And the three lines in a three-line poem can tackle them all. Of course, as for what method a poet would adopt to address them, whether he uses a corresponding technique, disagreeing strategy, etc., it is a matter of creativity.
2. Three lines are the most compact unit for a complete subject exploration.
Poetry stresses brevity, and more so should short poems or micro poems. A three-line poem is the most compact unit for a subject exploration. A poem with more than three lines can also do the job, but it is not the simplest.
3. Three lines are the most flexible.
One line can make a sentence, but a single sentence does not establish any relationship with others. Two lines make a pair, but a couplet is good only at expressing parallel or opposite ideas. That is all there is to it. A three-line poem, however, can establish a direct or indirect relationship between sentences. Therefore, it is more flexible. Of course, a poem composed of more than three lines can form more, but they are not the minimal type of poem. Of course, they are good at more detailed writing, but they need more supporting elements to be a standalone type of poetry.
4. The number “three” is the most fertile.
Lao Zi said, "Dao gives birth to one; One, to two; Two, to three; and three, to all things." For example, Dao gives birth to the human, which is one; in the human, there is the male and the female, which is two; and a male and a female produce children, which is three; And children produce grandchildren, great-grandchildren, and so on so forth. For another example, Dao generates electricity, which is one, the electricity has positive and negative, which is two, and the positive and negative electricity gives birth to computers, and a computer presents a whole new world. So the number “three” is capable of multiplication. Therefore, three-line poetry is the most fertile but smallest unit in writing.
5. The three lines are the most stable.
Many daily necessities that need stability in standing have three legs, like tripods, triangular tables, round cauldrons, etc. In general, the more legs, the more unstable. Therefore, the “three” of the three-line poetry is also the most stable.
These are the main reasons why three-line poems can be a standalone type of poetic format.
Then, what is the difference between Chinese three-line poetry and Japanese haiku or western tercet poetry?
Although an English tercet can be standalone, it is usually a rhyming stanza in a poem. The rhyming configuration can be AAA, ABA, or mixed. However, a Chinese three-line poem is an independent poem. No matter how you write it, it must have the integrity of complete work: beginning, content, and end. You do not repeat the three lines in a poem. If you do, it becomes a Chinese free verse.
Japanese haiku is also composed of three lines. Modern Japanese haiku has broken away from traditional requirements such as 575 onji, Kigo, etc., but its core remains. That is a touching moment in nature, two juxtaposed images, completion in one breath, and emphasis on provoking thoughts. The fundamental differences between Chinese three-line poetry and haiku poetry lie in the following: A Chinese three-line poem is not restricted by any haiku requirements, that is, a touching moment in nature, two juxtaposed images, and completion in one breath. A Chinese three-line poem can write anything and use any technique; It does not haggle about the number of images or the way to break lines. The key is to use any method necessary to acquire profoundness in and beyond the poem. Because of these characteristics, Chinese three-line poetry is a very expressive type of poetry.
Because of its uniqueness and popularity in China, we think it is necessary to introduce this type of poetry to the English world. We hope this book can arouse the English world's interest in Chinese three-line poetry.
序
《世界華人三行詩精華集》，是美國華人詩學(xué)會繼《世界華人三行詩薈萃》后精心打造的另一本中國三行詩詩集。如果說前一本書著眼于漢語讀者，那么，本書則側(cè)重于英語讀者。本書的出版，旨在向世界推介中國的三行詩。為此，我們采用了漢英雙語對照版形式。
中國三行詩，是五四新文化運動以來發(fā)展出的一種新詩型。這種獨特的詩型被正式確立下來，還是近些年的事。如今，這種詩型，已深為廣大中國詩人所鐘愛，很多詩人專門從事這種詩型的創(chuàng)作活動。
所謂三行詩，顧名思義，當(dāng)然就是用三行文字寫出來的詩。其中有按意分行的，也有斷意分行的。但無論怎樣分行，它都必須是三行。三行詩一般不超過三十個字，標(biāo)題可入詩，也可不入。它重在用最簡練的文字表達(dá)最深厚的內(nèi)涵與外延。為了言簡而意豐，它不求押韻。三行詩可以用來表現(xiàn)哲思、意境、趣味等等。但不論表現(xiàn)什么，一首上乘的三行詩，一定是盡精微而致廣大，具有深厚的言外之要素和審美之縱深。
那么，中國詩人為什么把三行詩作為一種固定詩型，而沒有把一行，兩行，四行，五行等等的詩作為一種固定詩型呢？其理由如下：
1、 三行可以成章。
一行不成章，成句，單句缺乏靈活性；兩行不成章，成對，對子善于表達(dá)平行、對立等關(guān)系，卻不擅表達(dá)其他層面的關(guān)系；三行可以成章，任何文章或者著作，哪怕是鴻篇巨著，從結(jié)構(gòu)的角度來看，都是三層：開頭，內(nèi)容，結(jié)尾；這個三層結(jié)構(gòu)，三行詩里的三行文字正好可以涵蓋。當(dāng)然，至于詩人采用什么方法來涵蓋，是采用對應(yīng)還是錯開等等，那是創(chuàng)作手法的事。
2、 三行是可以成章的最小單位。
詩歌講究極簡，小詩、微詩就更應(yīng)該講究精煉。三行是可以成章的最小單位。四行、五行當(dāng)然也可以成章，但它們并不是最小的單位。
3、 三行最具靈活性。
一行成句。單獨一個句子，無法生發(fā)句與句之間的關(guān)系。兩行成對。兩行善于生發(fā)平行或者相對的關(guān)系，大體如此而已。而三行里，句與句之間可以生發(fā)直接或者交錯的關(guān)系，因此三行詩更具靈活性。當(dāng)然，四行、五行之間可以生發(fā)更多關(guān)系，但它們不是可以成章的最小單位。當(dāng)然，三行以上可以寫得更詳細(xì)，但它們還需更多理由才能成為一種單獨詩型。
4、 三行最具繁衍性。
老子說“道生一，一生二，二生三，三生萬物”。比如，道生發(fā)了人這個一，人分男女這個二，男女生出兒女這個三，兒女這個三繁衍不息。又比如，道生發(fā)了電這個一，電有正負(fù)兩極這個二，正電與負(fù)電生成計算機這個三，計算機這個三又呈現(xiàn)一個嶄新的世界?！叭边@個數(shù)字里包含了生機勃勃的繁衍性。因此，相較于其他詩行，三行詩是最具繁衍性且可以完整成章的最小單位。
5、 三行最具穩(wěn)定性。
生活中需要穩(wěn)定的很多用品都是三條腿，比如三腳架、三角桌、
圓形大鼎等等。而腿越多則越不穩(wěn)定。所以，三行詩的這個“三”，也最具穩(wěn)定性。
這些就是為什么三行詩可以單獨成為一種詩型的主要原因。
那么，中國的三行詩跟日本的俳句或者西語的三行詩有什么區(qū)別呢？
英語的三行詩，雖然也有單獨成詩的，但大多數(shù)都是整首詩里一個帶韻的小節(jié)，其中有押AAA韻的，有押ABA韻的，有押混合韻的。而中國的三行詩則只能單獨成詩，不論怎么寫，它一般都必須具有一個獨立的完整性：即開頭、內(nèi)容，與結(jié)尾。它不能被連寫，一旦連寫，就變成了中國的新詩。
日本俳句也是三行?，F(xiàn)代日本俳句已經(jīng)打破575，季語等傳統(tǒng)格式，但其核心仍被保留，那就是大自然的一個感人瞬間，兩個意象并列，一氣呵成，重在聯(lián)想。中國三行詩與日本俳句的根本區(qū)別在于：中國三行詩不受俳句要求的任何限制，具體地說，就是不受大自然瞬間感動、兩個意象并列、一氣呵成的限制；中國三行詩什么都可以寫，什么手法都可以用，無論幾個意象，無論怎樣分行，關(guān)鍵是要調(diào)動一切手法以獲得豐厚的意韻。由于這些特點，中國三行詩具有非常強大的靈活性和表現(xiàn)力。
鑒于中國三行詩的這些特性，以及它在中國的廣泛流行，我們深感有必要把它介紹給英語世界。我們希望本書能夠引起英語世界對中國三行詩的興趣。
Editor's Notes
To let the world know about Chinese three-line poetry, with quality as the sole criterion, we have selected sixty-three poets and over 200 works from a large number of contributions. We have arranged these works in two parts: Those poets who have five poems chosen are in the first part and the rest, the second part. Yet, they are all arranged by their names in pin yin order. All the poems and bios are coupled with English translations. While Yingcai Xu, a senior translator, has rendered all the poems, the Poets' English profiles mostly come with their submitted works. Due to the limited space, we were not able to arrange all the contributors in the book. If you happen to be among them, we hope you understand. Due to the limited time and knowledge, mistakes are inevitable. If so, we hope for your forgiveness.
編者的話
本著把中國三行詩的精華推向世界的愿望，我們以詩歌的質(zhì)量為唯一標(biāo)準(zhǔn)，從眾多的來稿中精選了六十三位詩人的兩百多首作品。這些作品，分兩個部分編排，第一個部分是滿選五首的詩人的作品，按詩人的姓氏拼音排列。第二部分是四首及四首以下詩人的作品，也按詩人的姓氏拼音排列。每首詩都配有英語。詩歌部分由資深翻譯家徐英才翻譯；詩歌作者的個人簡介，英語部分大多隨投稿作品帶來。由于篇幅有限，有些作品未被選錄，希望能夠理解。由于水平與時間的限制，錯誤在所難免，敬請原諒。
TABLE OF CONTENT
殘 文 / Can Wen /2
夾縫的樹 / The Tree in the Crevice /3
鄉(xiāng)愁 / Homesickness /4
夜幕 / Night /5
村夜 / A Village Night /6
老鸛 / The Old Crane /7
非 馬 / Fei Ma /8
沙灘上 / On the Beach /9
這黃昏 / This Twilight /10
城市故事 / Story about the Metropolis /11
晨霧 / The Morning Fog /12
微雨初晴 / When It Clears up from the Drizzle /13
寒山石 / Hanshanshi /14
根 / Roots /15
籠中鳥 / The Caged Bird /16
成長 / Grown up /17
視力 / Vision /18
夕陽 / The Setting Sun /19
蔣 雯 / Jiang Wen /20
詩人 / The Poet /21
友 / Men /22
露珠 / Dew /23
彩云 / Colorful Clouds /24
高升 / High Rise /25
冷慰懷 / Leng Weihuai /26
思念 / The Feeling of Missing Someone /27
婚戒 / Wedding Ring /28
心燈 / The Heart Lantern /29
命運 / Fate /30
桂花 / The Osmanthus /31
劉和旭 / Liu hexu /32
情 / Feeling /33
額頭 / The Forehead /34
吻 / The Kiss /35
佳作 / An Excellent Writing /36
小溪 / The Little Stream /37
饒 蕾 / Lei Rao /38
孤獨 / Loneliness /39
大海 / The Sea /40
河流 / A River /41
瀑布 / The Waterfall /42
堅強 / Unyielding /43
詩 匪 / Shi Fei /44
面對長城 / Facing the Great Wall /45
帆 / The Sail /46
家鄉(xiāng)的炊煙 / The Cooking Smoke in My Hometown /47
瀑布的來由 / The Formation of Waterfall /48
藏歌 / The Tibetan Song /49
唐淑婷 / Tang Shuting /50
父親的背 / Father’s Back /51
熨斗 / The Iron /52
流星 / A Meteor /53
浪 / Waves /54
他鄉(xiāng)年夜 / New Year’s Even in a Foreign Land /55
鐵 帆 / Tie Fan /56
致父親 / To Father /57
貂皮大衣 / The Mink Coat /58
釣 / To Hook Fish /59
牽?；?/ The Morning Glory /60
鸚鵡學(xué)舌 / The parrot /61
王傳順 / Wang Chuanshun/62
夜未央 / The Night Hangs Over /63
一抹鄉(xiāng)愁漂過心田 / A Sense of Nostalgia Drifts over My Heart /64
月亮 / The Moon /65
白月光 / The White Moonlight /66
撞響秋天 / Strike Aloud the Autumn /67
項美靜 / Xiang Meijing /68
橋 / The Bridge /69
立春 / The Beginning of Spring /70
油菜花 / Canola Flowers /71
原野 / Vast Fields /72
無題 / Untitled /73
徐英才 / Xu Yingcai /74
路 / The Road /75
時間的價值 / The Value of Time /76
夜空 / The Night Sky /77
老農(nóng) / An Old Farmer /78
圓規(guī) / A Bow-Compass /79
楊麗娜 / Yang Lina /80
泰山 / Mount Tai /81
詩人 / The Poet /82
根 / Roots /83
飛鴻印雪 / Swan Imprints on Snow /84
秋雨 / Autumn Rain /85
鄭軍科 / Zheng Junke/86
與雪書 / A Letter to Snow /87
春天來信了 / A Letter from Spring /88
消失的雪人 / The thawed Snowman /89
那座山 / That Mountain /90
母親額上的皺紋 / The Wrinkles on Mother’s Forehead /91
阿 丁 / A Ding /92
謊言 / A Lie /93
神奇 / Wonder /94
白 曼 / Bai Man /95
聽潮 / Listening to Tides /96
妃子笑 / The Royal Concubines /97
龍井茶 / The Dragon Well Tea /98
微信好友 / Wechat Friends /99
冰 花 / Bing Hua /100
陽光 / Sunlight /101
綠 / Green /102
愛 / Love /103
波 吒 / Bo Zha /104
空椅子 / The Vacant Chair /105
瀑布 / The Waterfall /106
泥菩薩 / The Earthen Buddha /107
人生 / Life /108
車走直線 / Chezouzhixian /109
樹 / Trees /110
愛情 / Love /111
雷雨 / The Thunderstorm /112
天邊 / The Edge of the Sky /113
陳 林 Chen Lin /114
老師 / The Teacher /115
收獲 / Harvest /116
信號燈故障 / Malfunction of the Signal Light /117
鄧 麗 / Deng Li /118
口罩 / Face Mask /119
手機 / The Cellphone /120
鼎 立 / Ding Li /121
山徑 / The Mountain Path /122
惜紅 / Treasuring the Red /123
大雪 / Big Snow /124
丁偉恒 / Ding Weiheng /125
梳子 / The Comb /126
算盤 / The Abacus /127
獨孤吟 / Dugu Yin /128
月亮 / The Moon /129
墻頭草 / The Grass on the Wall /130
心簾 / The Curtain of the Heart /131
付光渝 / Fu Guangyu /132
牽牛花 / The Morning Glory /133
蒲公英的夢 / The Dream of the Dandelion /134
郜玉萍 / Gao Yuping /135
眼睛 / Eyes /136
年輪 / The Annual Ring /137
無題 / Untitled /138
顧月華 / Gu Yuehua /139
窗的宿命 / The Fate of the Window /140
流星 / The Meteor /141
影子 / The Shadow /142
郭密林 / Guo Milin /143
后窗 / The View from the Rear Window /144
斷橋 / The Broken Bridge /145
也是一種風(fēng)景 / This Also Forms a Scene /146
何 均 / He Jun /147
飲酒帖 / The Invitation Card for Drinking /148
凋殞 / To Wither and Die /149
靜 好 / Jing Hao /150
人 / Man /151
玫瑰 / The Rose /152
草 / Grass /153
康秀炎 / Kang Xiuyan/154
晾衣繩 / The Clothesline /155
初芽 / The Sprout /156
老 厚 / Lao Hou /157
故鄉(xiāng)，我的根 / Hometown, My Root /158
曬太陽的老人 / The Old Man Basking in the Sun /159
夜色 / Night /160
李長空 / Li Changkong /161
雞說 / The Hen Says /162
時代天平 / The Weight Scale of Times /163
蝶戀花 / The Passion of the Butterfly /164
馬建華 / Ma Jianhua /165
又逢端午 / Again, the Dragon Boat Festival /166
青苔 / Moss /167
漫 黎 / Manli /168
往事 / The Past Events /169
鄉(xiāng)愁 / Nostalgia /170
人生 / Life /171
曼 無 / Wu Peiling /172
網(wǎng)路 / The Road on the Network /173
吻別 / Kissing Goodbye /174
夢 雅 / Meng Ya /175
初吻 / The First Kiss /176
白發(fā) / White Hair /177
淚 / Tears /178
暴雨 / The Rainstorm /179
妙 妙 / Kelly Miaomiao/180
靈魂 / The Soul /181
心 / The Heart /182
淚 / Tears /183
希望 / Hope /184
輕 鳴 / Qing Ming /185
妹子 / Sister /186
古劍 / The Ancient-old Sword /187
山鋒 /The Mountain Peek /188
如意萍兒 / Ruyi Ping’er /189
荷花 / Lotus Flowers /190
鷹 / The Eagle /191
十里孤墳 / The Lone Tomb /192
沈革 / Shen Ge /193
沈革 / Shen Ge /194
三月八日：婦女節(jié) / Mar. 8th: Women's Day /195
四月一日：愚人節(jié) / Apr. 1st: April Fools /196
沈競雄 / Shen Jingxiong /197
尊嚴(yán) / Dignity /198
詩人 / The Poet /199
落日 / The Setting Sun /200
盛 坤 / Shengkun /201
臺燈 / The Desk Lamp /202
書 / Books /203
思 鄉(xiāng) / Si Xiang /204
蒲公英 / The Dandelion /205
背影 / The View of Father’s Back /206
青春歲月 / The Time of Youth /207
孫 海 / Sun Hai /208
插秧的女人 / Rice Seedling Transplant Women /209
春風(fēng)遲來時 / When the Belated Spring Breeze Comes /210
天 端 / Tian Duan /211
玻璃 / Glass /212
枕頭 / The Pillow /213
鑰匙 / The Key /214
燈罩 / Lamp Shade /215
天漢屠夫 / Tianhan Butcher /216
犁鏵 / The Plowshare /217
童年 / My Childhood /218
小南風(fēng) / The Southern Breeze /219
天 涯 / Tian Ya /220
油菜花 / Canola Flowers /221
又一春 / Spring Again /222
帆船 / A Sail /223
聞 達(dá) / Wenda /224
橋 / The Bridge /225
挑夫 / The Porter /226
傾瀉 / Pouring /227
文 源 / Wenyuan /228
鋼釬 / The Steel Barv /229
桑椹 / The Mulberry /230
含羞草 / The Sensitive Plant /231
車閘 / The Brake /232
肖益人 / Xiao Yiren /233
夕陽 / The Setting Sun /234
月光 / The Moon /235
玉蘭花 / Magnolias /236
楊留碗 / Yang Liuwan /237
城市誘惑 / The Enticement of the City /238
發(fā)福 / Overweight /239
小滿 / Ripening /240
尹才干 / Yin Caigan /241
帶把傘 / Bring an Umbrella with You /242
燈 / The Lamp Light /243
春雨 / Spring Drizzle /246
磨刀石 / The Whetstone /247
章金海 / Zhang Jinhai /248
古風(fēng)口 / At the Opening of the Quaint Old Wind /249
影 / Shadow /250
圍爐夜話 / Night Talk around the Furnace /251
虛構(gòu) / Fiction /252
張文瑞 / Zhang Wenrui /253
古樹 / The Ancient Old Tree /254
老臘梅 / The Old Wintersweet /255
綠蔭 / The Green Shade /256
張永新 / Zhang Yongxin /257
聽“十面埋伏”主題曲 / Listening to the Song of "Ambush" /258
繪畫 / Painting /259
張玉杰 / Zhang Yujie /260
小鳥 / A Little Bird /261
日子 / Days /262
珍珠 / The Pearl /263
趙希斌 / Zhao Xibin /264
云之兩面性 / The Two Sides of a Cloud /265
繁星 / The Cluster of Stars /266
淚花 / Tears /267
鄭國賢 / Zheng Guoxian/268
與風(fēng)說 / Ask the Wind /269
故鄉(xiāng)的海 / The Sea in My Hometown /270
周道模 / Zhou Daomo /271
碰石頭 / When Hitting the Stone /272
戰(zhàn)爭 / Wars /273
雪梅 / The Plum Tree in Snow /274
周 瀚 / Zhou Han /275
故鄉(xiāng)的紅茶 / The Black Tea from My Hometown / 276
兩只蝴蝶 / The Two Butterflies /277
楓葉 / Maple Leaves /278
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《世界華人三行詩精華集》編輯部
詩集由華人詩學(xué)會會長、中英雙語詩刊《詩殿堂》主編、翻譯家徐英才先生鼎力編選，并親自操刀全文翻譯，是漢語三行詩細(xì)微質(zhì)感和深邃內(nèi)涵的一次完美呈現(xiàn)。
