赵野：西方历史已经终结，汉语却有完全不同的命运

个人化写作与外来文化影响

10月21日上午，2016凤凰·鼓浪屿诗歌节第二天，主题为“个人化写作与外来文化影响”的诗歌国际论坛在鼓浪屿举办。诗人赵野，赵四，李少君，树才，李元胜，默默，韩庆成，廖伟棠，林于弘、黄冈、加拿大诗人洛尔娜·克罗奇（Lorna Crozier），英国诗人李道（Richard Bruns），印度汉学学者、诗人普利亚达西·墨普德教授、韩国翻译家金泰成等人在论坛做出精彩又有见地的发言。论坛由诗人、翻译家、评论家汪剑釗和诗人北塔主持。

鼓浪屿拥有“万国建筑博览”美誉，东方文化与西方文化交会于此，闽南文化与外来文化共融于此。“鼓浪屿女婿”林语堂自评“两脚踏东西文化，一心评宇宙文章”。于诗人而言，外来文化将如何影响个人写作？作为“世界人”的诗人，一方面孜孜不倦地从自身文化中汲取养分，另一方面又无时不刻不体会着全球化带来的“文化震撼”，从而形成观念的冲突、矛盾、变形、融合、促进，进而可能形成写作的自我革新。

赵野

我这代诗人，也许也包括上一代和下一代，开始写作时外来文化有着根本性的影响。那是上个世纪八十年代初，中国当代历史上的一个特殊时期，我们从思想和文化的专制与禁锢中走出来，全身心敞开，面向外面的世界，实际上就是西方文明世界。通过翻译，我们读了那时出版的所有西方诗歌，熟悉从荷马、萨福、维吉尔、但丁，一直到当代几乎所有重要诗人和他们的作品。就我们中很多人来说，对西方诗歌地图的记忆，远远大于对中国诗歌地图的记忆。

三十多年后的今天，我们可以反思这种外来影响究竟带给我们什么。诗歌是语言的艺术，我想我们中没有一个诗人，在经验、意识、审美和技艺方面，没有受惠于象征主义、意象派、超现实主义、意识流以及现代和后现代的诸多观念与方法。正是在这种影响下，我们明了了现代审美观念中词与物之间的关系，建立了中国的现代主义诗歌，加入了现代主义的世界大合唱。

但这只是硬币的一面，另一面是我们中的少数人，很早就有纯正的母语意识。我们感悟汉语的历史积淀，深入汉语的文化内核，努力发现这种唯一还在使用的象形文字的特殊质地，从而找到汉语诗歌自身的节奏、气息和音乐性，激活语词在我们的文明里丰富而微妙的象征与隐喻意义，让语言“给那些说不出的事物勾连起来”。经过三十年的劳作，我们中最杰出的一些写作者，为汉语贡献出了成熟的诗歌文本。考虑到现代汉语仅有百年历史，这已经是一个了不起的成就。

当史蒂文斯（Wallace Stevens）豪迈声称，“天堂与地狱的伟大诗篇都已写下”，这也标示着在西方文明里，历史已经终结。汉语却有完全不同的命运。我们身处一个前现代、现代和后现代同时混杂的社会，当下中国问题和经验的复杂性，已经对诗歌提出了强大的挑战。能否处理这些问题和经验，既是汉语诗歌的一个深渊，也是一种巨大的可能性。在《责任的重负》（The Burden of Responsibility）这本书里，托尼·朱特（TonyJudt）陈述过，生活在一个不负责任的时代，我们该如何经历，并反对这个时代。当代中国诗人更应该深思同样的命题，这也是我们继续需要的外来文化影响。

Contemporary PoetryWriting and the Influence of Foreign Cultures

ZhaoYe

Whenpoets in our generation, perhaps also including the previous generation and thenext generation, began to write poems, foreign culture are a fundamental impacton them. The early eighties of last century was a special period of China'scontemporary history. At that time, we walked out from the despotism andlockage of ideology and culture, embracing the outside world, or the westerncivilization more specifically, with an open mind. Through translations, weread all the Western poems that were published at that time and became familiarwith almost all the important poets and their works from Homer, Sappho, Virgil,Dante, to the present. For many of us, the memory of Western poetry map is fargreater than the Chinese counterpart.

Today, after thirty years, we can reflecton what exactly this external influence have brought to us. Poetry is an art oflanguage, I think among us there is no one who did not benefit from theconcepts and methods of Symbolism, Imagism, Surrealism, Stream of Consciousness,and other modern or post-modern trends in terms of experience, consciousness,taste and technique. Thanks to this influence, we can understand therelationship between words and objects in modern aesthetic concepts, establishthe Chinese modernist poetry and join the chorus of modernist world.

But this is only one side of the coin, theother side is a minority of us had a sense of pure mother tongue in very earlytime. We touch the history, penetrate into the culture of the Chinese language,trying to explore the unique logic of the only hieroglyph in use today, andfind the rhythm, breath and musicality of Chinese poerty . The rich and subtlesymbols and metaphors of activated words in our civilization allow the languageto "hook up things that cannot be said". After thirty years of work,some of our most outstanding writers contributed a mature poetry to the Chineselanguage. Considering the fact that modern Chinese only has one hundred yearsold, this is a remarkable achievement.

When Wallace Stevens claimed that "thegreat psalms of heaven and hell have been written down," it also marks theend of history in Western civilization. Chinese has a completely differentdestiny. We are in a society which pre-modernity, modernity and postmodernityare mixed. The complexity of China's current problems and experience has been agreat challenge to poetry. Whether we can deal with these problems andexperiences or not is not only an abyss of Chinese poetry, but also asignificant possibility. In the book The Burden of Responsibility, TonyJudt stated how we should live in an irresponsible world, and how we shouldexperience and oppose it. Contemporary Chinese poets should think deeply aboutthe same proposition, which is also the reason why influences from foreigncultures are still necessary.