李元胜：我们要处理的是来自今日中国的个人经验

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。

李元胜

以下为李元胜的发言实录：

诗歌写作，在漫长的中国历史上，虽偶有国器之重，教化之寄托，甚至长歌当哭也是有的，但多数时候，它仍然属于雕虫小技。不过，我看重雕虫，甚于时代重器，东方人的心灵，有一些是玲珑可雕的，这是一件伟大的事情，想起来就美得不行。

《诗经》里，赋比兴，是常用的雕虫术，其中的兴，最有意思，把不相干的事情联系在一起，它们会组合出一种特别新鲜的语感。兴是中国古典诗歌技巧中，最具有现代性的，它给了诗歌一种特别的自由。这种自由让我想起庄子的《逍遥游》，中国先哲中，最有想象力和自由精神的思想。在他的表述中，我们发现物我的界限并不封闭、结实，物我经常处在互涉或互相转化的过程中。

但是庄子的自由，并没有成为中国传统文化的主流，它只是给了一些知识分子隐居和旷达的理由。中国传统文化都有严谨和冷峻的一面，所以同样源自东方的佛教，很容易就在中国大地上扎下根来，它和儒教一样，偏向于克制人性，隐忍负重。

幸好，我们有诗歌。诗歌是制度和理性难以管束的艺术形式，在人类的心智活动中，它最接近闪电，那不期而至的光亮瞬间照亮了人类尚未探索明了的黑暗地带。不管一个写作者，有着多么厚重的教化和逻辑，但是诗歌在写作时，时常突破这一切，那些神奇的闲笔，毫无预计的天外之音，是诗歌最有价值的灵性部分。

我读大学时，学的是工科，每天都在谨慎地学习和探索人类理性的大厦，这样的大厦是建立在坚实的逻辑——反映到具体的学科中它们常常是一系列完美而复杂的方程式。一切必须计划周全，不允许错误的发生，工程学给我的训练就是这样。但是我自己迷上了诗歌，从中国古典诗歌，到外国现代派的作品，带给我的是人在精神大地的自由行走，没有边界，没有错误，一切都可能是新的道路，新的未来。

我经常会忘掉诗歌作者的国藉，诗歌能够被翻译过来的部分，带给我的往往是语言的闪电，那些迷途中，突发的联想与发现，带来新的柳暗花明。我读里尔克的《秋日》，想起的是《诗经》的兴，我读博尔赫斯的时候，时常想起庄子的逍遥。

或许，我们经历的正是一个全社会的高速现代化过程，古今中外的各种思想碎片，通过不同的渠道，汇聚到我们的心灵。我们甚至来不及仔细分辨哪些来源是欧洲，哪些来源于美洲，我们心灵成为紧张工作的熔炉，把这些碎片融化吸收，成为自己的心智的一部分，或者说，它们有的启发着我们，有的则直接成为我们发掘自我的工具。

所以，在我和自己的写作逐渐成长的过程中，我们受到的影响是世界性的，外来文化能够被吸收的都不知不觉中吸收了，不能消化的则是身外之物，或者等待新的机缘。

我相信这正是这个时代写作的常态，深植由幽深而狭窄的单一文化的写作或许有，应该非常稀少，多数的写作则深受各种外来文化的启发和影响。但不管如何，这些启发和影响，只是让我们有更多的角度和方法，来探测我们单个心灵所承受的时代倾轧。我们要处理的，是来自高速城市化进程中的今日中国的个人经验，任何阅读和影响，都无法代替这个经验。它们始终是我们写作最重要的资源，决定着我们写作的面貌和基调。

Writing and Contemporary Oriental Experience in the Communication of Culture

Li Yuansheng

In the long history of China,poetry writing sometimes was as heavy as the national treasure, and was thesustenance of the education and enlightenment, and people even used it toreveal his or her own sorrows. Yet most of the time poetry writing stillremained unknown to fame.  But I alwayspay more attention to the infamous things than the national treasure. It isfascinating to think that the Orientals’ soul could be reformed so exquisitely.

InThe Books of Songs, Fu, Bi and Xing are three of the common techniques.Xing is the most interesting one for its ability to connect many irrelevantthings and their new combination will show out fresh sense of feelings. Xing isthe most modern one among the traditional Chinese poetry skills, because itprovided the poetry with a special sense of freedom. And this kind of freedomreminded me of the Zhuang-zi’s A Happy Excursion, the most imaginativeand free mental wisdom among all the Chinese ancient philosophical works. InZhuang-zi’s description of the nature and human being, we found there were noclear-cut and closed distinctions, but were always connected and transformed.

Yet Zhuang-zi’s free spirits didn’tbecome the main stream of the Chinese traditional culture, since it onlyprovided some intellectuals with a reason to lead a secluded and broad-minded life.Because of the solemnness and coldness of the Chinese traditional culture,Buddhism, who also originated from the Orient, settled down in the Chinesemainland easily for its inclination to restrain the humanity, endurehumiliation and bear a heavy burden as the Confucianism did.

Weare fortunate to have poetry. Poetry is an art form which can’t be controlledby regime and rationality, and poetry is like the lightning, whose unexpectedshining suddenly lightens the dark area where human beings have yet notexplored. No matter how much education and logic are loaded into a writer, whenhe is writing poetry he will always break through himself, and the mostvaluable intelligent parts in the poetry usually existed in the peculiar linesand the unexpected thoughts.

Dated back to my college, I wasmajored in engineering, studying and exploring the mansion of human rationalitymeticulously every day. This mansion was built with sturdy logic, which areincarnated as a set of refined yet complicated equations for each field. I hadlearned that everything needed to be planned perfectly without any potentialmistakes by my engineering education. But I got addicted to poetry, fromtraditional Chinese poetry to the foreign modern poetry. They made me free towalk around the mental spirit of earth, beyond borders and errors, andeverything could turn into a new path or a new future.

I often forget the nationality ofthe poetry writer, and the parts of the poetry which can be translated into mymother-tongue always bring me with the language lightning. The sudden thoughtsand discoveries happenning in the wrong path can always help me find a way out.While I was reading Rainer Maria Rilke’s Autumn, it always reminded meof the Xing in The Book of Songs. While I was reading Jorge LuisBorges, I would always think about Zhuang-zi’s freedom and unfetteredness.

The whole society is experiencing ahasty modernization, and every fragment of thoughts at all times and in allcountries gather in our minds through different kinds of way. Even we don’thave the time to differentiate which thoughts originated from Europe orAmerica, our mind works as the melting pot to recruit these fragments to makethem part of our mind, or we can say these fragments inspire us and some ofthem directly help us find ourselves.

So we are influenced by theworldwide culture during the improvement of my writing and myself. Foreigncultures that can be absorbed by us will be absorbed without people’s noticing.That cannot be absorbed by us just doesn’t belong to us, or might be waitingfor its day.

Maybe there is a single culturethat centers in deep yet narrow writing, but rarely does it exist, because mostwriting are deeply influenced and inspired by various foreign cultures, and Ibelieve it is the status quo of contemporary writing. But these inspiration andinfluence just provide us with more angles and methods to identify the burdenof time on each sole mind. What we need to deal with is the individualexperiences of Chinese in the fast urbanization process, and these experiencescannot be replaced by any reading and influences. They decide our writing’sfeatures and background, and will always be the most important resources of our writing.