本文转自：徐英才 好诗推送
2022-08-20 07:38 发表于美国
热烈祝贺
《世界华人三行诗精华集》
硬封和软封同步出版
(本书面向世界发行，美国国会图书馆收藏！)
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
《世界华人三行诗精华集》，是美国华人诗学会继《世界华人三行诗荟萃》后精心打造的另一本中国三行诗诗集。如果说前一本书着眼于汉语读者，那么，本书则侧重于英语读者。本书的出版，旨在向世界推介中国的三行诗。为此，我们采用了汉英双语对照版形式。
中国三行诗，是五四新文化运动以来发展出的一种新诗型。这种独特的诗型被正式确立下来，还是近些年的事。如今，这种诗型，已深为广大中国诗人所钟爱，很多诗人专门从事这种诗型的创作活动。
所谓三行诗，顾名思义，当然就是用三行文字写出来的诗。其中有按意分行的，也有断意分行的。但无论怎样分行，它都必须是三行。三行诗一般不超过三十个字，标题可入诗，也可不入。它重在用最简练的文字表达最深厚的内涵与外延。为了言简而意丰，它不求押韵。三行诗可以用来表现哲思、意境、趣味等等。但不论表现什么，一首上乘的三行诗，一定是尽精微而致广大，具有深厚的言外之要素和审美之纵深。
那么，中国诗人为什么把三行诗作为一种固定诗型，而没有把一行，两行，四行，五行等等的诗作为一种固定诗型呢？其理由如下：
1、 三行可以成章。
一行不成章，成句，单句缺乏灵活性；两行不成章，成对，对子善于表达平行、对立等关系，却不擅表达其他层面的关系；三行可以成章，任何文章或者著作，哪怕是鸿篇巨著，从结构的角度来看，都是三层：开头，内容，结尾；这个三层结构，三行诗里的三行文字正好可以涵盖。当然，至于诗人采用什么方法来涵盖，是采用对应还是错开等等，那是创作手法的事。
2、 三行是可以成章的最小单位。
诗歌讲究极简，小诗、微诗就更应该讲究精炼。三行是可以成章的最小单位。四行、五行当然也可以成章，但它们并不是最小的单位。
3、 三行最具灵活性。
一行成句。单独一个句子，无法生发句与句之间的关系。两行成对。两行善于生发平行或者相对的关系，大体如此而已。而三行里，句与句之间可以生发直接或者交错的关系，因此三行诗更具灵活性。当然，四行、五行之间可以生发更多关系，但它们不是可以成章的最小单位。当然，三行以上可以写得更详细，但它们还需更多理由才能成为一种单独诗型。
4、 三行最具繁衍性。
老子说“道生一，一生二，二生三，三生万物”。比如，道生发了人这个一，人分男女这个二，男女生出儿女这个三，儿女这个三繁衍不息。又比如，道生发了电这个一，电有正负两极这个二，正电与负电生成计算机这个三，计算机这个三又呈现一个崭新的世界。“三”这个数字里包含了生机勃勃的繁衍性。因此，相较于其他诗行，三行诗是最具繁衍性且可以完整成章的最小单位。
5、 三行最具稳定性。
生活中需要稳定的很多用品都是三条腿，比如三脚架、三角桌、
圆形大鼎等等。而腿越多则越不稳定。所以，三行诗的这个“三”，也最具稳定性。
这些就是为什么三行诗可以单独成为一种诗型的主要原因。
那么，中国的三行诗跟日本的俳句或者西语的三行诗有什么区别呢？
英语的三行诗，虽然也有单独成诗的，但大多数都是整首诗里一个带韵的小节，其中有押AAA韵的，有押ABA韵的，有押混合韵的。而中国的三行诗则只能单独成诗，不论怎么写，它一般都必须具有一个独立的完整性：即开头、内容，与结尾。它不能被连写，一旦连写，就变成了中国的新诗。
日本俳句也是三行。现代日本俳句已经打破575，季语等传统格式，但其核心仍被保留，那就是大自然的一个感人瞬间，两个意象并列，一气呵成，重在联想。中国三行诗与日本俳句的根本区别在于：中国三行诗不受俳句要求的任何限制，具体地说，就是不受大自然瞬间感动、两个意象并列、一气呵成的限制；中国三行诗什么都可以写，什么手法都可以用，无论几个意象，无论怎样分行，关键是要调动一切手法以获得丰厚的意韵。由于这些特点，中国三行诗具有非常强大的灵活性和表现力。
鉴于中国三行诗的这些特性，以及它在中国的广泛流行，我们深感有必要把它介绍给英语世界。我们希望本书能够引起英语世界对中国三行诗的兴趣。
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.
编者的话
本着把中国三行诗的精华推向世界的愿望，我们以诗歌的质量为唯一标准，从众多的来稿中精选了六十三位诗人的两百多首作品。这些作品，分两个部分编排，第一个部分是满选五首的诗人的作品，按诗人的姓氏拼音排列。第二部分是四首及四首以下诗人的作品，也按诗人的姓氏拼音排列。每首诗都配有英语。诗歌部分由资深翻译家徐英才翻译；诗歌作者的个人简介，英语部分大多随投稿作品带来。由于篇幅有限，有些作品未被选录，希望能够理解。由于水平与时间的限制，错误在所难免，敬请原谅。
TABLE OF CONTENT
残 文 / Can Wen /2
夹缝的树 / The Tree in the Crevice /3
乡愁 / Homesickness /4
夜幕 / Night /5
村夜 / A Village Night /6
老鹳 / The Old Crane /7
非 马 / Fei Ma /8
沙滩上 / On the Beach /9
这黄昏 / This Twilight /10
城市故事 / Story about the Metropolis /11
晨雾 / The Morning Fog /12
微雨初晴 / When It Clears up from the Drizzle /13
寒山石 / Hanshanshi /14
根 / Roots /15
笼中鸟 / The Caged Bird /16
成长 / Grown up /17
视力 / Vision /18
夕阳 / The Setting Sun /19
蒋 雯 / Jiang Wen /20
诗人 / The Poet /21
友 / Men /22
露珠 / Dew /23
彩云 / Colorful Clouds /24
高升 / High Rise /25
冷慰怀 / Leng Weihuai /26
思念 / The Feeling of Missing Someone /27
婚戒 / Wedding Ring /28
心灯 / The Heart Lantern /29
命运 / Fate /30
桂花 / The Osmanthus /31
刘和旭 / Liu hexu /32
情 / Feeling /33
额头 / The Forehead /34
吻 / The Kiss /35
佳作 / An Excellent Writing /36
小溪 / The Little Stream /37
饶 蕾 / Lei Rao /38
孤独 / Loneliness /39
大海 / The Sea /40
河流 / A River /41
瀑布 / The Waterfall /42
坚强 / Unyielding /43
诗 匪 / Shi Fei /44
面对长城 / Facing the Great Wall /45
帆 / The Sail /46
家乡的炊烟 / The Cooking Smoke in My Hometown /47
瀑布的来由 / The Formation of Waterfall /48
藏歌 / The Tibetan Song /49
唐淑婷 / Tang Shuting /50
父亲的背 / Father’s Back /51
熨斗 / The Iron /52
流星 / A Meteor /53
浪 / Waves /54
他乡年夜 / New Year’s Even in a Foreign Land /55
铁 帆 / Tie Fan /56
致父亲 / To Father /57
貂皮大衣 / The Mink Coat /58
钓 / To Hook Fish /59
牵牛花 / The Morning Glory /60
鹦鹉学舌 / The parrot /61
王传顺 / Wang Chuanshun/62
夜未央 / The Night Hangs Over /63
一抹乡愁漂过心田 / A Sense of Nostalgia Drifts over My Heart /64
月亮 / The Moon /65
白月光 / The White Moonlight /66
撞响秋天 / Strike Aloud the Autumn /67
项美静 / Xiang Meijing /68
桥 / The Bridge /69
立春 / The Beginning of Spring /70
油菜花 / Canola Flowers /71
原野 / Vast Fields /72
无题 / Untitled /73
徐英才 / Xu Yingcai /74
路 / The Road /75
时间的价值 / The Value of Time /76
夜空 / The Night Sky /77
老农 / An Old Farmer /78
圆规 / A Bow-Compass /79
杨丽娜 / Yang Lina /80
泰山 / Mount Tai /81
诗人 / The Poet /82
根 / Roots /83
飞鸿印雪 / Swan Imprints on Snow /84
秋雨 / Autumn Rain /85
郑军科 / Zheng Junke/86
与雪书 / A Letter to Snow /87
春天来信了 / A Letter from Spring /88
消失的雪人 / The thawed Snowman /89
那座山 / That Mountain /90
母亲额上的皱纹 / The Wrinkles on Mother’s Forehead /91
阿 丁 / A Ding /92
谎言 / A Lie /93
神奇 / Wonder /94
白 曼 / Bai Man /95
听潮 / Listening to Tides /96
妃子笑 / The Royal Concubines /97
龙井茶 / The Dragon Well Tea /98
微信好友 / Wechat Friends /99
冰 花 / Bing Hua /100
阳光 / Sunlight /101
绿 / Green /102
爱 / Love /103
波 吒 / Bo Zha /104
空椅子 / The Vacant Chair /105
瀑布 / The Waterfall /106
泥菩萨 / The Earthen Buddha /107
人生 / Life /108
车走直线 / Chezouzhixian /109
树 / Trees /110
爱情 / Love /111
雷雨 / The Thunderstorm /112
天边 / The Edge of the Sky /113
陈 林 Chen Lin /114
老师 / The Teacher /115
收获 / Harvest /116
信号灯故障 / Malfunction of the Signal Light /117
邓 丽 / Deng Li /118
口罩 / Face Mask /119
手机 / The Cellphone /120
鼎 立 / Ding Li /121
山径 / The Mountain Path /122
惜红 / Treasuring the Red /123
大雪 / Big Snow /124
丁伟恒 / Ding Weiheng /125
梳子 / The Comb /126
算盘 / The Abacus /127
独孤吟 / Dugu Yin /128
月亮 / The Moon /129
墙头草 / The Grass on the Wall /130
心帘 / The Curtain of the Heart /131
付光渝 / Fu Guangyu /132
牵牛花 / The Morning Glory /133
蒲公英的梦 / The Dream of the Dandelion /134
郜玉萍 / Gao Yuping /135
眼睛 / Eyes /136
年轮 / The Annual Ring /137
无题 / Untitled /138
顾月华 / 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
断桥 / The Broken Bridge /145
也是一种风景 / This Also Forms a Scene /146
何 均 / He Jun /147
饮酒帖 / The Invitation Card for Drinking /148
凋殒 / To Wither and Die /149
静 好 / Jing Hao /150
人 / Man /151
玫瑰 / The Rose /152
草 / Grass /153
康秀炎 / Kang Xiuyan/154
晾衣绳 / The Clothesline /155
初芽 / The Sprout /156
老 厚 / Lao Hou /157
故乡，我的根 / Hometown, My Root /158
晒太阳的老人 / The Old Man Basking in the Sun /159
夜色 / Night /160
李长空 / Li Changkong /161
鸡说 / The Hen Says /162
时代天平 / The Weight Scale of Times /163
蝶恋花 / The Passion of the Butterfly /164
马建华 / 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
乡愁 / Nostalgia /170
人生 / Life /171
曼 无 / Wu Peiling /172
网路 / The Road on the Network /173
吻別 / Kissing Goodbye /174
梦 雅 / Meng Ya /175
初吻 / The First Kiss /176
白发 / White Hair /177
泪 / Tears /178
暴雨 / The Rainstorm /179
妙 妙 / Kelly Miaomiao/180
灵魂 / The Soul /181
心 / The Heart /182
泪 / Tears /183
希望 / Hope /184
轻 鸣 / Qing Ming /185
妹子 / Sister /186
古剑 / The Ancient-old Sword /187
山锋 /The Mountain Peek /188
如意萍儿 / Ruyi Ping’er /189
荷花 / Lotus Flowers /190
鹰 / The Eagle /191
十里孤坟 / The Lone Tomb /192
沈革 / Shen Ge /193
沈革 / Shen Ge /194
三月八日：妇女节 / Mar. 8th: Women's Day /195
四月一日：愚人节 / Apr. 1st: April Fools /196
沈竞雄 / Shen Jingxiong /197
尊严 / Dignity /198
诗人 / The Poet /199
落日 / The Setting Sun /200
盛 坤 / Shengkun /201
台灯 / The Desk Lamp /202
书 / Books /203
思 乡 / Si Xiang /204
蒲公英 / The Dandelion /205
背影 / The View of Father’s Back /206
青春岁月 / The Time of Youth /207
孙 海 / Sun Hai /208
插秧的女人 / Rice Seedling Transplant Women /209
春风迟来时 / When the Belated Spring Breeze Comes /210
天 端 / Tian Duan /211
玻璃 / Glass /212
枕头 / The Pillow /213
钥匙 / The Key /214
灯罩 / Lamp Shade /215
天汉屠夫 / Tianhan Butcher /216
犁铧 / The Plowshare /217
童年 / My Childhood /218
小南风 / 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
闻 达 / Wenda /224
桥 / The Bridge /225
挑夫 / The Porter /226
倾泻 / Pouring /227
文 源 / Wenyuan /228
钢钎 / The Steel Barv /229
桑椹 / The Mulberry /230
含羞草 / The Sensitive Plant /231
车闸 / The Brake /232
肖益人 / Xiao Yiren /233
夕阳 / The Setting Sun /234
月光 / The Moon /235
玉兰花 / Magnolias /236
杨留碗 / Yang Liuwan /237
城市诱惑 / The Enticement of the City /238
发福 / Overweight /239
小满 / Ripening /240
尹才干 / Yin Caigan /241
带把伞 / Bring an Umbrella with You /242
灯 / The Lamp Light /243
春雨 / Spring Drizzle /246
磨刀石 / The Whetstone /247
章金海 / Zhang Jinhai /248
古风口 / At the Opening of the Quaint Old Wind /249
影 / Shadow /250
围炉夜话 / Night Talk around the Furnace /251
虚构 / Fiction /252
张文瑞 / Zhang Wenrui /253
古树 / The Ancient Old Tree /254
老腊梅 / The Old Wintersweet /255
绿荫 / The Green Shade /256
张永新 / Zhang Yongxin /257
听“十面埋伏”主题曲 / Listening to the Song of "Ambush" /258
绘画 / Painting /259
张玉杰 / Zhang Yujie /260
小鸟 / A Little Bird /261
日子 / Days /262
珍珠 / The Pearl /263
赵希斌 / Zhao Xibin /264
云之两面性 / The Two Sides of a Cloud /265
繁星 / The Cluster of Stars /266
泪花 / Tears /267
郑国贤 / Zheng Guoxian/268
与风说 / Ask the Wind /269
故乡的海 / The Sea in My Hometown /270
周道模 / Zhou Daomo /271
碰石头 / When Hitting the Stone /272
战争 / Wars /273
雪梅 / The Plum Tree in Snow /274
周 瀚 / Zhou Han /275
故乡的红茶 / The Black Tea from My Hometown / 276
两只蝴蝶 / The Two Butterflies /277
枫叶 / Maple Leaves /278
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《世界华人三行诗精华集》编辑部
诗集由华人诗学会会长、中英双语诗刊《诗殿堂》主编、翻译家徐英才先生鼎力编选，并亲自操刀全文翻译，是汉语三行诗细微质感和深邃内涵的一次完美呈现。
精华热点 
