《地球之耳》的诗学空间营造

      张立中（澳大利亚）

    《地球之耳》是丝路行吟诗人王芳闻的又一部丝路地理行吟诗集，由“罗布泊行吟”、“喀什噶尔行吟”、“西藏雪域行吟”、“西域行吟”、“秦岭南五台行吟”五辑成集。诗人从丝绸之路起点长安的终南秀峰出发，北至西域楼兰古国，西到雪域青藏高原，沿途所见所闻皆成了诗的韵脚，比如大漠一粒沙，一声驼铃，一朵罗布麻花，一座古城废墟…诗人都能神游千年，隐身于其中，找回古丝绸之路的一丝丝精血和元神，让古道历史活泛生动起来。

     王芳闻擅长于运用通灵和隐喻，把罗布泊这样一个空旷的沙漠死亡之海，却写成了“挂在驼铃上的地球之耳”， 形象而又生动 。人们常常形容骆驼是“沙漠之舟”，做为丝路古道上的运输工具，一路向西，“驼铃”叮噹，象星星一样洒遍万里丝路，永恒的留在了历史的回音壁中。干涸的罗布泊则象一个硕大的地球之耳，时刻顷听捕捉着走过大沙漠的阵阵驼铃声，诗人反其言之，想象着这只硕大的地球之耳是挂在驼铃上的，无论行千山万水，行千年万年，天涯海角都能听见驼铃声，这就是诗句具有了极大的张力和宏大的时空感。

       从巴什拉的《空间诗学》的角度来读这一组《地球之耳》，读者仿佛在一个巨大的空间跟着诗人穿行，浩澣空旷的大沙漠让人变得渺小，象一只在绵延沙丘上缓慢蠕动的小甲虫， 在这样的无人之境的语境中，诗人展开了想象的翅膀在四维时空尽情的飞翔，忽儿穿梭到遥远的楼兰古国，看见太阳城埋在流沙下的楼兰美女正在“窃窃私语”，想与自己对话；怱而到了罗泊人最后的部落，看见那些站在烧烤铁杈上的罗泊鱼睁大眼睛迎接故人；怱而看见敦煌飞天从头顶上飞过，拽着自已一齐飞天…

        诗人深邃的目光穿越千年，越过天地，引领我们看见了常人看不见的事物，听见了常人听不见的声音，沙漠，云朵，一阵小雨，沙暴…让我们感受到了罗布泊粗粝的外表下起伏的柔软呼吸和悲怆的呜咽。最匠心独具的是作者通过生动的细节描写，通过主客观意象群的营造，让自己与罗布泊这巨大的空间融为一体，有一种“念天地之悠悠 ，独怆然而涕下”的古老苍凉之境。

       如何让巨大的空间不空，如何让沉寂的物体生动起来，这是诗人应首先要解决的问题。诗人通过沙漠中具体的动植物作为载体，红柳，沙棘，罗泊麻，骆驼，砾石，沙蜥…等等具有特色的动植物，让空间动了起来，饱满了起来。并通过他们进而感觉到死亡之海生命的苍凉粗旷而又优雅温润的律动，从而升华了自我，成为一个精神上大写的人。至此，作者完成了精神上的万里丝路远征，完成了从物质到精神的一次旅行，到达了诗人想往已久的诗与远方…

（张立中，澳大利亚悉尼大学教育学博士，澳华诗歌艺术联合会主席，百字诗创始人，教育家，诗人，翻译家。）

Poetical Space Creation in The Ears of the Earth

Zhang Lizhong (Australia)

"The Ears of the Earth" is a collection of geographical poems by Silk Road Troubadour Wang Fangwen. It is composed of five parts: "Troubadour of Lop Nur", "Troubadour of Kashgar", "Troubadour of Tibet Snowy Region", "Troubadour of Western Regions" and "Troubadour of South Wutai of Qinling Mountains". The poet starts from the Zhongnan Mountain in Chang 'an, the starting point of the Silk Road, north to Loulan ancient country in the western regions, and west to the Qinghai-Tibet Plateau in the snowy region. What she sees and hears along the way has become the rhyme of the poems, such as a grain of sand in the desert, a camel bell, a wild herb flower, ancient city ruins... The poet can travel for thousands of years, hiding in it, and recover the essence and spirit of the ancient Silk Road, so that the history of the ancient road is vivid.

Wang Fangwen is good at using spirituals and metaphors to write about Lop Nur, such an empty desert sea of death, as "the ears of the earth hanging on the camel bell", which is so vivid. People often describe the camel as a "boat in the desert", as a means of transport on the ancient Silk Road, all the way west, "camel bell", like the stars shining thousands of miles of the Silk Road, eternal left in the history of the echo wall. The dry Lop Nor is like a huge ear of the earth, always listening to catch the sound of camel bells across the desert, the poet contradicts her words, imagining that this huge ear of the earth is hanging on the camel bell, no matter the travel of thousands of years, the camel bells can be heard at the ends of the earth, this is the poem with great tension and grand sense of time and space.

Reading The Ears of the Earth from the perspective of Bachelard's Space Poetics, readers seem to follow the poet through a huge space, as the vast empty desert makes people small, like a small beetle creeping slowly on the rolling dunes. In such a context of no one's land, the poet spreads her wings of imagination to fly freely in four dimensions of time and space. Suddenly as to shuttle to the distant Loulan ancient country, see the sun city buried in the quicksand under the Loulan beauty "whispering", and want to talk to themselves; To the last tribe of the Lubo people, as to see those standing on the barbecue iron fork of the Lubo fish with wide eyes to greet the deceased; To see Dunhuang flying overhead, dragging each other to fly together...

The poet's deep vision traverses thousands of years, across heaven and earth, leading us to see things that ordinary people cannot see, hear sounds that ordinary people cannot hear, such as deserts, clouds, light rain, sandstorms... and let us feel the soft breathing and sad whimper under the rough surface of Lop Nur. The most creative and unique is that the author through vivid detail description, through the creation of subjective and objective image groups, let herself and Lop Nur huge space into one, there is a kind of "longing the heaven and earth, alone sorrowful in tears" under the ancient desolate environment.

How to make the huge space not empty, how to make the silent objects lively, this is the problem that the poet should first solve. The poet uses specific plants and animals in the desert as carriers, such as red willow, sea buckthorn, hemp, camel, gravel, sand lizard... and so on, plants and animals with characteristics make the space move and full up. And through them to feel the sea of death with life of rough cold and elegant warm rhythm, thus sublimating one self, to become a spiritual great person. At this point, the author has completed the spiritual expedition of thousands of miles of Silk Road, completed a journey from material to spiritual, and reached the poem and distance that the poet has wanted to go for a long time.

(Zhang Lizhong, Ph.D., University of Sydney, Australia, President of the Australian-Chinese Poetry and Art Federation, creator of 100-character poetry, educator, poet and translator.)

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张立中简介:

现居澳大利亚墨尔本。悉尼大学教育学博士，曾任悉尼大学中国教育中心项目主任，悉尼大同中文学校创始校长，《英汉双语文摘》主编。百字诗新诗派创始人。现为澳华诗歌艺术联合会主席，《华语诗坛》主编，上海大学中国创意写作中心客座教授，西北大学丝绸之路国际诗歌研究中心高级顾问，CCTV全球爱华诗歌春晚澳洲会场主席。荣获2023年度澳大利亚维多利亚州立图书馆院士职位，主持澳大利亚原住民诗歌汉译项目。