灵岩谈诗

文/灵岩放歌（中英双语）

        诗歌美的体验产生是一个从“无”到“有”的过程。诗人在外在世界里不经意地积累着感情储备和形象储备。长期积累使诗人在某些方面形成了特别敏锐的诗美触角。一个偶然的契机，诗人就“感物而动”，诗人的主观心灵与客观世界邂逅了，灵感爆发。于是诗人“有”了心上的诗。这是许多初学写诗人认为的诗，而其实她只是诗的胚胎。

       要表现这个“有”，诗人又面临困窘。诗美的本质就是沉默，所谓“口闭则诗在，口开则诗亡”。这怎么办呢?至言无言。诗美一经点破就会失去生命。所以一般的语言很容易造成直白无味，那样就不是诗了。然而有限的语言，不可能完美地表达无限的言外之意。

        诗的无言的特性带给诗人无限的难题和无限的机会，诗人应能从“有”到“无”，这就要学会用诗的语言来表现，这就是诗歌创作的一般过程。“书形于无象，造响于无声”的精髓是将读者引向诗的世界，从言外、意外、笔外、象外去寻找那无言的诗，这就是借助意象语言。现在的诗歌语言用意象替代比喻，夸张却不形容，不自我抒情。

        我们在创造意境时，首先要明确意境是由艺术形象的隐喻、象征等作用的充分发挥而造成的一种艺术形象，它本身是更加广阔、深远的艺术境界。

        在这个境界里，我们创作的意念、情趣以及心中无用的语言、物象等是具体表达出来的感受、体会、认识，都会得到比艺术形象本身的内容更充分的呈现。 其次要明确意境是实境地与虚境的结合而产生的融切之美。实境中的“实”是艺术的“真”，是经过我们深思熟虑地研究、分析、概括集中而提炼出来的具有典型化了的“实”，而不是任一真实景象或情感所能奏效的。我们只有抓住了现实生活中最具有典型意义的真实生活图景，并对它做出真实而生动的描写之后，使“实境”与“虚境”有机结合才能构成意境。 要明确创造意境是用典型的景物来抒写独特的情思，只有化景物为情思，才能形成生动的艺术意境，这就达到诗歌的绘画美。用平常的哲理来解读诗往往是很平庸的，诗不是哲学。

        在这里这景物就是隐喻，隐喻是意象最普遍的一类。我们常说如诗如画，自古以来诗中有景语，可以说达到诗中有画....比如古代王维的诗。其实意象早就在应用，关键还是在诗歌语言的应用。写诗，不论壮物抒情、言志，诗人对世界的体察和对心灵的揭示无一不是通过语言传递和显现的，很多学诗的人，并没有认识到语言在诗中的地位，他们很随便地、漫不经心地使用语言。 还认为这是自然，以为这才是真正的诗。

        在语言运用上，常见的有两面三种通病，一种是大量捡拾现成的、陈旧的、乏味的词汇、词组或句子，另一种是扭捏作态、滥用词藻、搞出许多“学生腔”来。现在还在所谓陌生化的理由下胡弄乱语，所谓蓝瘦香菇这类话应用在诗歌里是破坏传统文明。

        那些疯言疯语是绝不能在高尚的诗歌里泛滥的，更有的许多所谓追求形式上的陌生化、怪异化、甚至借情色以傅眼球，他们生硬造词、杜撰语法、解构破坏文本。陌生化不是新玩艺，其实就是创新，那些人先把概念搅混，让你捡了石头都 以为都是玉

        创新应在生活体验中得到新的认识、新的感受，不是信囗雌黄，不是闭门造车。所以他们那些所谓的诗不通人性、晦涩难懂，甚至无法懂。这样的诗怎么会有意境?怎么会感人，更谈不上美了。应该明白诗歌语言的新是对生命对世界深度感悟得到的，诗人只有深入生活，才有深刻感悟，才能有好语言。当然意象语言本身并不是很复杂很生疏，甚至更简洁，但此简洁的已不是初始的东西了，他们已在不一个层面。

        诗歌语言应用了现代意象手法产生了陌生化，产生了隽永的诗意。诗人的义务是要把对事物的感受更生动细腻地表现来，所谓"推敲"的故事，也是关于诗语言使用的最典范的例子。好的语言借助隐喻意更好地表达了内涵，用简洁准确的语言表达了更深的含义，甚至有3D甚至4D的效果。这就把平白的语言变成富有内涵和韵味的诗歌。

英文版《从心灵感应到诗歌》

英译：齐风艳

本文在美国华人诗会官方刊物《诗殿堂》发表

From Telepathy to Poetry

By Lingyan Song

Tr./ Qi Fengyan

The aesthetic experience of poetry is a process from “nothing” to “being”. Poets inadvertently accumulate emotional reserves and image reserves from the external world. The long accumulation has made a poet develop in some respects a particularly acute perception of poetic beauty. By chance a poet “senses things and is moved”, thus his subjective heart and the objective world meet, and inspirations burst. So he “has” the poem of the heart. This is what many a budding poet thinks of as poetry, while in fact it is only the embryo of it.

To express this “being”, a poet is faced with embarrassment. The essence of the beauty of poetry is silence, as what’s said in the expression that “when mouth is closed, poetry is alive, when mouth open, poetry dead”. How do you do that? The outmost meaning is conveyed by no words. Once poetry beauty is pointed out, it will lose its life. Very often common language leads to plain presentation which is not poetry. However, it is impossible for limited language to perfectly express the infinite implication outside words.

For a poet, the nature of poetry that its outmost meaning is conveyed by no words brings both infinite problems and infinite opportunities. The poet should have the capability of changing “being” to “nothing”, so the poet must learn poetic presentation, which is the general process of poetic creation. The essence of “depicting without images and playing without instruments” leads the reader to the world of poetry, to find poetry beyond words, meanings, lines and images. This is the use of image language. Today's poets use imagery instead of metaphor, use exaggeration instead of description, and they do not use lyrics.

When we create the artistic conception, we must first make clear that the artistic conception is an artistic image brought by the full play of the metaphor and symbol of the artistic image, which itself is a broader and far-reaching artistic conception.

In this artistic conception, the ideas and interests of our creation, as well as the useless words and images in our hearts, are the feelings, experiences and understandings that are expressed concretely, and can be more fully presented than the content of the artistic image itself. Secondly, we should make clear that the artistic conception is the beauty of the combination of the real situation and the virtual environment. The “reality” in reality is the “truth” of art, the typified “reality” extracted through careful study, analysis, and generalization, rather than what any real sight or emotion can do. Only when we grasp the most typical picture of the real life in the real life and make a real and vivid description of it, can we combine “reality” with “virtual environment” to form an artistic conception. It should be clearly understood that the achievement of artistic conception is to use typical scenes to express unique emotions. Only when scenes are scenes of emotion, can vivid artistic conception be created, which leads to the beauty of painting in poetry. The ordinary way of reading poetry in philosophy sense is often very mediocre, poetry is not philosophy.

Here the scene itself is a metaphor, and metaphor is the most common type of image. We often say a poem is picturesque. Since ancient times, there are scenes in poetic language, namely painting in poetry, such as the poems of Wang Wei of the Tang Dynasty. In fact, imagery has been in use for a very long time, the key is still in the application of poetic language. When writing a poem whether to describe objects, to express emotions or to voice thoughts and wills, a poet's observation of the world and revelation of the mind are all transmitted and revealed through language. Many students of poetry do not realize the position of language in poetry, and they use language casually and carelessly, and take it as granted that it is the real poetry.

In the use of language, there are four problems. One is the use of ready-made, old, boring words, phrases or sentences; the second is the use of girly-girly and irrelevant words; the third is the confusing expression in name of the so-called de-familiarization; and the fourth is the use of network buzzwords in poetry which is a kind of destruction to the traditional civilization.

The rampant use of mad words in poetry, which is noble, should be prohibited, so should the so-called pursuit of formal de-familiarization, strange alienation, and erotic words to appealing readers. In such poems there are awkwardly constructed words, willfully fabricated grammar, destroyed text by deconstruction. De-familiarization is not a new thing at all, and in fact it is a kind of innovation, while some poets confuse concepts so that stones are mistaken as jades.

Innovation is getting a new understanding and new feeling in the life experience, not making irresponsible remarks or writing blindly. So some so-called poems are inhuman, obscure and even incomprehensible. How can such a poem have an artistic conception? How can it be touching or beautiful? It should be understood that the innovation of poetry language results from a deep perception of life and the world. Only when a poet goes deep into life, can he have a deep perception of life and a good language. Of course, the image language itself is not very complicated and unfamiliar, it is simpler, but this simplicity is no longer the original thing, it is in a higher level.

Poetry language uses modern images to realize de-familiarization and poetic beauty. It is the poet's duty to show his feelings towards things more vividly and delicately. The famous Chinese story of word choosing is also the most exemplary example of how to treat poetic language. A good language expresses its connotation better by means of metaphor, expresses deeper meaning with concise and accurate language, and even has the effect of 3D or even 4D. This is turning plain language into poetry full of connotation and charm.