原标题：阴阳永久，大爱无疆——序《陈彦雄现代诗英译与赏析》

阴阳永久，大爱无疆

——序《 陈彦雄现代诗英译与赏析》

刘伟

非常有幸能够为陈彦雄先生所做的诗集写序，作为一个对现代诗篇毫无深入研讨之人，我读的仅仅是其品格、情感与胸襟。

结识陈彦雄先生是在2016年秋季他应邀到美国康州百年名校霍奇基斯校园讲学。讲学期间，陈彦雄先生不只同我的学生进行了耐性详尽的攀谈，并且声情并茂地为这群美国的大孩子娓娓道来《易经》。一个半小时的讲座，学生们尽管仅仅浅显地了解易经，可是陈彦雄先生的传达我国民间传统文明的热心与敬业深深地打动了学生。尤其是陈先生的易画艺术给这群学生留下极为深入的形象。下课后他们活跃向我要求开设我国传统绘画课程，学习我国画的“一尺千里”与“意境逼真”。

其实作为一个长时刻在美国进行中文教育与研讨的教师，我每天日常作业不只与现代诗篇相关不大，更与民间传统文明的传达相差千里。 现在中文教育在美国不过是外语教育，很多作业是教会洋学生们开口说话，阅览写作，为他们未来学术研讨或许作业开展打下言语根底。 来霍奇基斯校园任教前，我在美国一流大学哈佛大学任中文讲师已有九年，深知即使是在哈佛大学这所国际最闻名的学府，中文教育大部分时刻也是在练习学生的传闻读写能力。

博学多才的我国民间传统文明对这些外国学生来说是一个“神话”： 云里雾里、不知所云。 陈彦雄先生对霍奇基斯校园的学生说：”西方人知道《易经》是来自东方的我国，但不知道《易经》实在为何物？我要做东西方文明的桥梁，让西方人都来了解《易经》，让洋人都来学习我国的预测学和哲学”。这是多么高远的志趣！ 千里之行始于足下，陈先生于霍奇基斯校园讲学期间的丰盛成效现已践行了他的志趣，咱们等待他开端下一个征途。

在美国作业日子十年，繁忙日子与文明阻隔使我对现代诗篇的了解停步于上世纪八、九十年代汪国真与顾城的朗朗吟唱：“已然挑选了远方，便只管风雨兼程；黑夜给了我黑色的眼睛，我却用它来寻觅光亮”。当陈彦雄先生深切嘱我为其诗集写序这项使命时，深感使命艰巨，因而总想细细品味，深思熟虑。无法素日作业琐碎之事太多，无法进入读诗胜境。 实在坐下来阅览陈彦雄先生诗集时，正值校园放春假。 当繁忙的日子，劳顿的身心寂静下来的时分，阅览诗篇才能够实在阅历心灵的洗刷。 “诗如其人”。他的诗既俭朴又富丽，既纯洁又丰盈，可谓是阴阳南北极的交错与脉动。 本诗集思维活跃健康，体裁广泛，内容丰富，有天然，有人物，有前史，有当下，是个人对国际的倾吐与对话，只要国学精深，才思深沉的人才可做到游历其间，挥洒自如，陈先生便是这样的诗人。

陈彦雄先生在我的讲堂上说：”他最喜欢在夜深人静时作画，似乎画中人物鲜活地与他沟通”。 我想他的诗篇也多半是在深夜所写的，当你凝思阅览每一首美丽的诗篇时，如同来自另一个国际的声响在与你对话，时而侃侃而谈，时而款款厚意，告知你何为爱自己、爱美女、爱亲友；爱故乡、爱异乡、爱国际；爱前史、爱当下、爱未来。 总而言之，陈先生的诗篇中满怀的是对人生的炙热心感，对社会的人文关心以及对国际真理的无限敬畏与探究寻找。

我国闻名翻译家严复先生曾倡议“信、达、雅”的翻译规范。李映蓁女士和陈彦雄先生对这本诗集的翻译基本上遵从上述的翻译规范，翻译精确生动，言语流通，有诗篇的韵律，是一部较好的译作，可见他们是下足功夫的。译者厚实的英语功底和杰出的中西文学素质可见一斑。

陈彦雄先生胸襟广博，勉励高远。 不管研讨《易经》或许创造现代诗篇皆旨在宏扬祖国之丰盛文明遗产，寻求人类情感表达之极致方法 。 而我个人寥寥几笔之序实在浅显，仅为自己实在感触。

阴阳永久，大爱无疆，祝福陈彦雄先生传达中华文明圣火之路愈行愈远。是为序。

2017年3月16日书于霍奇基斯校园

（本文作者系旅美学者，现任霍奇基斯校园中文教师，曾任哈佛大学、布朗大学、卫斯理安大学中文讲师）

Universal Life without end; Humanistic love without boundary

----Preface to Mr. Chen Yanxiong 's Translation and Appreciation of Modern Poetry

I am very lucky to have this opportunity of writing a preface for Mr. Chen Yanxiong’s poetry anthology. As a person who has less in-depth study of China’s modern poetry, I think I only can discuss my understanding of Mr. Chen’s personality, his depth of emotion, and his breadth of wisdom.

I met Mr. Chen Yanxiong in the autumn of 2016, when he came to the Hotchkiss School for a lecture. During his visit, Mr. Chen not only patiently conversed with my students, but also explained the I-Ching in great detail. Through this ninety-minute lecture, although my students could only gain an understanding of a few somewhat superficial concepts of the I-Ching, Mr. Chen’s enthusiasm and dedication to educating them on traditional Chinese culture greatly moved them. In particular, Mr. Chen’s painting of I-Ching left a deep impression. After his lecture, my students eagerly requested we set up a traditional Chinese painting course, to learn the crux of what makes Chinese painting unique.

As a matter of fact, my job here as an instructor and a research fellow in Mandarin Chinese has little to do with modern poetry, let alone the idea of propagating traditional Chinese culture. Presently, the teaching of Mandarin Chinese is regarded simply as a foreign language, primarily ing on improving students’ proficiency in speaking, writing, and reading while establishing the foundations required should they decide to further their studies or career needs. Before being hired by Hotchkiss, I had already been a Mandarin instructor at the university level for nine years; I understand with the utmost clarity that, even in places like Harvard, the majority of time in Mandarin studies is dedicated toward helping students reach a level of fluency. The profundity of traditional Chinese culture remains an unattainable “myth” to these students. When he was visiting Hotchkiss, Mr. Chen once told the students, “The westerners know that the ‘I-Ching’ originated from the east, namely, China, but they do not grasp the true purpose of it. I want to be a bridge between the cultures of the east and west, helping westerners to understand the I Ching, allowing foreigners to learn Chinese philosophy.” A journey of a thousand miles begins with a single step. The enriching experiences that Mr. Chen had during his visit at Hotchkiss have validated his aspiration; we look forward to his next great journey.

In the past decade, rigorous workload and cultural isolation have led me to discontinue my explorations of modern poetry; my recollections of modern poetry merely stop short at the names of two contemporary poets, Mr. Wang, Guozhen and Mr. Gu, Cheng who were very famous in the 1980s and 1990s in China: “Since I have opted to head toward the distant, I have no choice but to bear the storms” “The dark nights have bestowed upon me a pair of oblivious eyes, with which I am destined to discover the light.” When Mr. Chen presented me with the task of writing the preface for his anthology, I was incredibly humbled, ardently wanted to live up to his expectations, and so, wished to spend more time reading his poems in depth. But the minutiae of daily routines have kept me from reaching the level of inner peace that Mr. Chen’s poems call for. It was not until spring break that I finally got the chance to sit down. There is truth in the trite saying that one has to reach a sense of calmness before experiencing the essence of poetry genuinely. Poetry has always been the mirror that reflects its creators. Mr. Chen’s poems are simple yet substantial; they are transparent but elegant. The content of this Modern Poetry is thoughtful and positive with a wide range of topics. Mr. Chen writes about nature and man; he comments on history as well as the present. His poems recount his conversations with the universe. only the truly great ones write with such liberty and precision. Mr. Chen is one of them.

Mr. Chen also said during his visit that he very much enjoys painting in quiet nights, that he feels as though the characters in his paintings come alive and speak to him. I suppose that most of his poems were born of quiet nights as well. When you concentrate and read these poems, it is as if an unworldly voice is speaking to you. The voice is at times direct, at times emotional, telling you what it means to love yourself, your lover, your friends; it also teaches you what it takes to love the fatherland, the foreign land, and the broader world around you; it, too, wants you to learn to accept the past, to cherish the present, and to hope for a better future. In short, Mr. Chen’s poetry is driven by his burning passion for life; it is the embodiment of his humanitarian approach to our society as well as his unquenchable curiosity for the universal truth.

China’s famous translator Mr. Yan Fu advocated translation standards: faithfulness, expressiveness and elegance. Ms. Li Yingzhen and Mr. Chen Yanxiong basically follow the above translation standard and make their translation vivid and fluent with the beautiful poetry rhythm. I grandly appreciate their solid knowledge of Chinese and English literacy.

Mr. Chen Yanxiong has great aspirations. Whether it is his research in the I Ching or his writings of modern poetry, Mr. Chen has always aimed at propagating traditional Chinese culture through his pursuit of the greatest expression of human sentiments. In this sense, my attempt at writing something substantial in these few worlds pale in comparison, but nevertheless, they are my truest feelings. thus can only be seen as chronicles of my personal beliefs

I am hereby wishing Mr. Chen the best of luck for the future as he continues his journey to bring traditional Chinese culture around the world.

Liu, Wei

March 16, 2017 written on the Hotchkiss campus

The author of this preface is a Chinese scholar in U.S.. She currently works at the Hotchkiss School as a Chinese Instructor. Prior to coming to Hotchkiss she worked as a lecturer in Chinese at Harvard University, Brown University and Wesleyan University

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