Poems Found in Translation: Modern Chinese
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Wen Yiduo: Dead Backwater (From Modern Chinese)

Deadwater
By Wén Yīduō
Translated by A.Z. Foreman
Click to hear me recite the original in Chinese

This is a dead ditch rank with despair’s backwater.
A brisk wind can’t raise a ripple from its skin.
Why not junk some more scrap tin and copper here,
or dump your rotten dinner leftovers in.

Maybe the copper will turn to an emerald green,
and peach blossoms bloom out of the tin pots’ rust.
Then let the grease weave a layer of silk brocade
where germs brew a mist like twilit clouds at dusk.

Let the dead ditchwater ferment to green liquor
bubbling up floating pearls out of its white foam,
little pearls growing to bigger pearls in chuckles
that burst when liquor-raiding mosquitos come.

And so a dead ditch rank with despair’s backwater
can claim something lively, bright and all its own.
If the frogs here can’t handle the solitude
this stagnant muck can gurgle them up a tune!

This is a dead ditch rank with despair’s backwater.
No place for a Thing of Beauty in its juice.
Let’s just let Hellion Ugliness culture it
and see what kind of world it can produce.

The Original:

死水         Sǐshuǐ

聞一多        Wén Yīduō

這是一溝絕望的死水, Zhè shì yìgōu juéwàngde sǐshuǐ,

清風吹不起半點漪淪。 qīngfēng chuī bùqǐ bàndiǎn yìlún
不如多扔些破銅爛鐵, Bùrú duō rēng xiē pòtóng làntiě,
爽性潑你的剩菜殘羹。 shuǎngxìng pō nǐde shèngcài cángēng.

也許銅的要綠成翡翠, Yěxǔ tóngde yāo lǜ chéng fěicuì,

鐵罐上鏽出幾瓣桃花; tiěguàn shàng xiù chū jǐ bàn táohuā;
再讓油膩織一層羅綺, zài ràng yóunì zhī yì céng luōqǐ,
黴菌給他蒸出些雲霞。 méijūn gěi tā zhēng chū xiē yúnxiá.

讓死水酵成一溝綠酒, Ràng sǐshuǐ jiàochéng yì gōu lǜjiǔ,

飄滿了珍珠似的白沫; piāo mǎnle zhēnzhū shìde báimò;
小珠們笑聲變成大珠, xiǎo zhūmen, xiàoshēng biànchéng dà zhū,
又被偷酒的花蚊咬破。 yòu bèi tōujiǔde huāwén yǎopò.

那麼一溝絕望的死水, Nàme yì gōu juéwàngde sǐshuǐ,

也就誇得上幾分鮮明。 yějiù kuā déshàng jǐfēn xiānmíng.
如果青蛙耐不住寂寞, Rúguǒ qīngwā nàibuzhù jìmò,
又算死水叫出了歌聲。 yòusuàn sǐshuǐ jiàochūle gēshēng.

這是一溝絕望的死水, Zhè shì yì gōu juéwàngde sǐshuǐ,

這裡斷不是美的所在, zhèlǐ duàn bùshì měide suǒzài,
不如讓給醜惡來開墾, bùrú ràng géi chǒu'è lái kāikěn,
看他造出個什麼世界。 kàn tā zàochū gè shénme shìjiè.

Bian Zhilin: Air Force Fighters (From Chinese)

Written some time between 1937 and 1940.

Air Force Fighters
Biàn Zhīlín
Translated by A.Z. Foreman

With lightning and with thunder
Defend the skies of light
Defend the clouds of white
Dark smudges come to plunder

Falcons of liberty
Linked earthward from the skies

To keep our country clear
You have sharp eyes

Lighter than feathers you fly
Weightier than Mount Tai

Freely in your duty and deadly arts
 

Immortals of the sky
Who in five minutes die
In a hundred million worrying hearts

 

Notes:

L9-10: The first two lines (which literally read "lighter than a wildgoose feather, heavier than Mt. Tai"), both proverbial idioms in Chinese, are an allusion to a passage from the famous Letter to Ren An by the Han dynasty historian Sīmǎ Qiān. The passage reads: a man may die but once, and whether death is to him as weighty as Mount Tai, or light as a goosefeather, depends on why he dies and what for. The most important thing is not to disgrace one's ancestors.

L11: literally "free and easy (carefree) within your responsibility." The "free and easy" is a callback to a chapter of Zhuangzi.



The Original:
 

空軍戰士   Kōngjūn Zhànjī
卞之琳    Biàn Zhīlín

要保衛藍天,
 Yào bǎowèi lántiān,
要保衛白雲, yào bǎowèi báiyún,
不讓打污印, bù ràng dǎ wū yìn,
靠你們雷電。 kào nǐmen léidiàn.

與大地相連,
 Yǔ dàdì xiānglián,
自由的鷲鷹, zìyóude jiùyīng,
要山河乾淨, yào shānhé gānjìng,
你們有敏眼。 nǐmen yǒu mǐn yǎn.

也輕於鴻毛,
 Yě qīng yú hóngmáo,
也重於泰山, yě zhòng yú tàishān,
責任內消遙, zérèn nèi xiāo yáo,

勞苦的人仙!
 láokǔde rénxiān!
五分鐘死生, Wǔ fēnzhōng sǐshēng,
千萬顆憂心! qiānwàn kē yōuxīn!

Bian Zhilin: Road (From Chinese)

Road
By Biàn Zhīlín
Translated by A.Z. Foreman

Ah roads oh prolongations of my footprints
Like tunes composed of print notes to a song
That, soundless or resounding, I play over
Like counting rosary beads — threading along

Past the pavilion-stop, the bridge and — stop!
Right here is where I lost something back then:
A tiny little notebook that contained
The addresses of how many real friends?

I can remember somewhere grasping my
Handful of worldly life at fullest flower;
Some ten or twenty paces on, it turned
Out to be nothing but one pretty flower.

Alright then. Bury it amid the weeds
With the silk sash. For all is vanity.  
Stars in the sky streak down as shooting stars;
The white ship's trail reverts into blue sea.

Notes: 

L8: 故舊 really means "old friend, friend of long standing" but I translate this as "real friend" because the implication is that these would be friends who stuck with him. Not ex-friends. How many friends remained of old times? The implication is not many.


L14: in Chinese this line reads literally "tired of 'holding a silk sash in vain'" and contains a classical quotation from a poem by Li Yu, the last ruler of the southern Tang, more competent as a poet than as a ruler. The lines being quoted, in their entirety, are 空持羅帶,回首恨依依 "holding a silk sash pointlessly, I look back with lingering regret." Li when he wrote this had been recently dethroned, and was surveying Nanking, depopulated after a year of siege, and now fallen to Taizong. Along with the passing of spring he has been lamenting the desolation of the town, still treasuring a time when he was possessed of a kingdom. The silk sash was a status symbol in Imperial China. One's station and success in life were displayed in the color and patterning of the sash, and in the sorts of ornaments and accessories one would wear on it. Li Yu's old sash would have been distinctively regal.

An expanded paraphrase of the sentiment behind the passage being quoted might be: "I cling to the trappings in which I continue to invest my identity, even though I intellectually know that it is all ephemeral, that I've lost what I once had, that things like this kingly sash are meaningless outside of a context now forever gone. Yet I go on obsessing over the past, plagued by nostalgia and regret, because that is the only way I am capable of existing. I understand all of this and still I do it. That is how hard it is to let go of the way things were. I keep this sash because of what it still means to me, reminding me of a time when it still meant something to others. I cannot fully reconcile myself to this change even as I know that, like the change of seasons, it is simply the way of things."

Ideas (drawn from Buddhism and Taoism) concerning self-alienation, and the fragmentation and illusory nature of a coherent self, inform quite a few of Biàn's poems.

The Original:


路          
卞之琳        Biàn Zhīlín

路啊,足印的延長,  lù wa, zú yìnde yáncháng,
如音調成於音符,   rú yīndiào chéng yú yīnfú,
無聲有聲我重弄,   wúshēng yǒushēng wǒ zhòng nòng,
像細數一串念珠。   xiàng xì shǔ yī huàn niànzhū.

穿過亭,穿過橋,停! Chuānguò tíng, chuānguò qiáo, tíng!
這裡我丟過東西:   Zhèlǐ wǒ diūguò dōngxī:
一本小小的手冊,   Yīběn xiǎoxiǎode shǒucè,
多少故舊的住址。   duōshǎo gùjiùde zhùzhǐ.

記得在什麼地方    Jìdé zài shénme dìfāng
我掏過一掬繁華,   wǒ tāoguò yījū fánhuá,
走了十步,二十步:  zǒule shí bù, èrshí bù:
原來是一朵好花!   Yuánlái shì yī duǒhǎo huā!……

也罷,給埋在草里,  Yěbà, gěimái zài cǎo lǐ,
既厭了空持羅帶。   jì yànle kōng chí luōdài.
天上星流為流星,   Tiānshàng xīng liú wèi liúxīng,
白船跡還諸藍海。   bái chuánjī huán zhū lánhǎi.

Zheng Min: Death of a Poet #2 (From Chinese)

From Death of a Poet (Poem 2 of 19)
By Zheng Min
Translated by A.Z. Foreman

Songs never sung aloud
Dreams incompletely dreamt
stare down at me from the edge of a cloud
like migrant birds in fog's bewilderment

Here the primordial age is just beginning
but sans the dinosaur's vitality
history wanders lost in the confusion
spring will not arrive so easily

Take away the notes you did not sing
Take away your incompletely painted dream
On that side: sky  and on the other: earth

Already the long long lines carrying
true feelings long ago washed clean
compose our story's sequel going forth

The Original:

没有唱出的歌       Méiyǒu chàng chūde gē
没有做完的梦       Méiyǒu zuò wánde mèng
在云端向我俯窥      zài yúnduān xiàng wǒ fǔkuī  
候鸟样飞向迷茫      hòuniǎo yàng fēi xiàng mímáng

这里洪荒正在开始     zhèlǐ hónghuāng zhèngzài kāishǐ
却没有恐龙的气概     què méiyǒu kǒnglóngde qìgài
历史在纷忙中走失     lìshǐ zài fēn mángzhōng zǒushī
春天不会轻易到来     chūntiān bú huì qīngyì dàolái

带走吧你没有唱出的音符  dàizǒu ba nǐ méiyǒu chàngchūde yīnfú
带走吧你没有画完的梦境  dàizǒu ba nǐ méiyǒu huàwánde mèngjìng
天的那边,地的那面    tiān dì nàbiān dì dì nà miàn

已经有长长的从伍一    yǐjīng yǒu zhǎngde cóng wǔyī
带着早已洗净的真情    dài zhe zǎoyǐ xǐ jìngde zēngqíng
把我们的故事续编。    bă wŏmende gùshì xùbiān

Zheng Min: Death of a Poet # 1 (From Chinese)

From Death of a Poet (Poem 1 of 19)
By Zheng Min
Translated by A.Z. Foreman

Who is it, who is it who's
the one whose mighty fingers break
This winter day's narcissus, make
the white juice ooze

out of jade green and scallion-white stems?
Who is it, who is it
Who is it whose mighty fist
shattered this elegant antique vase to bits?

Who makes the juice of life
gush from the breast?
The narcissus is withering

Destruction of the illusions of a new wife
is the hand that makes a life
taking back a song with more to sing

The Original:

是谁,是谁      Shì shéi, shì shéi
是谁的有力的手指   shì shéi de yǒulì de shóuzhǐ
折断这冬日的水仙   zhéduàn zhè dōngrì de shuǐxiān
让白色的汁液溢出   ràng báisè de zhīyè yìchū

翠绿的,葱白的茎条? cuìlǜ de, cōngbái de jīng tiáo?
是谁,是谁      Shì shéi, shì shéi
是谁的有力的拳头   shì shéi de yǒulì de quántóu
把这典雅的古瓶砸碎  bǎ zhè diányǎ de gǔ píng zá suì

让生命的汁液     ràng shēngmìng de zhīyè
喷出他的胸膛     pēn chū tā de xiōngtáng
水仙枯萎       shuǐxiān kūwěi

新娘幻灭       xīnniáng huànmiè
是那创造生命的手掌  shì nà chuàngzào shēngmìng de shóuzhǎng
又将没有唱完的歌索回 yòu jiāng méiyǒu chàng wán de gē suǒ huí


Zheng Min: One Glance (From Chinese)

One Glance
By Zheng Min
Translated by A.Z. Foreman

Rembrandt: Young girl at a half open door


What's beautiful are those two shoulders sinking

Into shadows locking the orchard-rich chest
Only the radiant face appearing as a dream of a sudden
Corresponds to the slender fingers on the low gate, at rest


And the river of time bears off another leaf from the tree
From her half-lowered riddling eyes flows such a dazzling silence
Her unchangeable calm is headed for a limited life — as she
Casts one long-lived glance at this changeling world in a chance twilight


The Original:

一瞥
郑敏

优美的是那消失入阴影的双肩,
和闭锁着丰富如果园的胸膛
只有光辉的脸庞像一个梦的骤现
遥遥的呼应着歇在矮门上的手,纤长。

从日历的树上,时间的河又载走一片落叶
半垂的眸子,谜样,流露出昏眩的静默
不变的从容对于有限的生命也正是匆忙
在一个偶然的黄昏,她抛入多变的世界这长住的一瞥。


注:此诗有关荷兰画家伦伯朗的一幅画《门口的年轻女子》。