中英双语《我的诗观与汉诗发展方向》

作者：季俊群/巴西

前言：我曾经根据多年来的创作经验，写了《浅谈诗歌创作“九技法” 》和《浅谈微诗创作》，今天再次就汉诗创作着重谈谈自己的诗观和诗歌发展方向，取题《我的诗观与汉诗发展方向》，每个观点都配有与诗歌实践的互证赏析。这样我关于诗歌的论述形成了一套自己的完整主张，在这俗称为 “诗歌论述三部曲”。往后，我还想写一篇关于微组诗创作的心得，作为延伸理论。

这里说的“汉诗”，并非专指古典旧体诗，而是以汉语为创作载体、承载中华文化根脉的所有诗歌形态——旧体是汉诗，白话新诗也是汉诗；生长在故土的是汉诗，漂洋过海在异乡扎根的，依然是汉语开出的花。这是我对“汉诗”二字的基本定义，也是我所有创作的底色。

诗歌俗称“贵族文学”，它是语言拧出来的精华。

不论写乡愁、爱情、言志、光阴故事的，我的诗观都是“以意象呈现，以情绪升华，以朦胧致远”，忌平铺直叙，忌口号化口水化。我主张诗风要软，诗骨要硬，诗魂要纯，诗意要浓，诗境要美。从立意，取题，构思，选意象，组织语言，铺展画面，提升意境或留白给遐想，都要反复打磨抛光，最终努力达到“澄澈、高古、绮丽、含蓄、缱绻”的崭新境界。【作品佐证 · 意象与朦胧的艺术实践】《阴影》（微组诗片段）“那些烙印，正将脊背铸成铁。一堵斑驳试图拦截风暴，去拓印骨骼。”……“继续点亮火把，与万物和解，将风暴还给天空。我已是，接纳敌人的旷野。”文本赏析：此诗完美印证了“隐于朦胧”的艺术主张。我没有直接、平铺直叙地宣泄孤独或痛苦，而是提炼出“斑驳”、“火把”、“旷野”等极具古典美感与现代通感交织的纯粹意象。然而在缱绻、澄澈的文字包裹下，隐藏着“脊背铸成铁”、“拦截风暴”的傲然风骨，将私人的创伤情绪，升华为接纳敌人的广袤胸襟。《寒蝉》（微组诗片段）“疏枝悬钟，敲醒霜晨。声波荡开——整个秋天的寂静，碎成涟漪。”文本赏析：这首诗是其“语炼千华”的绝佳例证。无形的声波与抽象的寂静，在自己的反复打磨下，通感为“碎成涟漪”的视觉图像。无一字追求口号，却通过极致的意象捕捉，达到了他追求的“高古、含蓄、朦胧致远”的崭新境界。

我主要在江南诗群里写作，推崇的是江南新感觉微诗和微组诗。江南新感觉诗歌是浙江嘉兴等地的诗人们提倡的新流派，他们继承了上世纪新感觉派的一些精华，加上自己“以情绪来升华内涵”的理念，吸引了不少诗歌爱好者和读者粉丝。我喜欢用词精准精彩，特别是动词的使用上“陌生化，以新奇出彩”，句子跳跃有张力，喜欢托情于景，喜欢有画面感，有感染力，尾句提升或留白（给读者留下足够想象空间，甚至成为作品的主人公）。另外，对于我们在异国的游子来说，长年和老外一起，接受外来文化，但母语、中华文化是我们的根和本。怎样把这一根本融到实际生活，这就是所谓的“混血创作”。我倡导的就是把故园的江南意象、楚辞文化、中华文化，和大洋彼岸的亚马逊文化、南美文化交融在一起，提升作品质量和境界。因此，部分读者和诗评者称我是“混血诗歌”或者“新楚辞派”的代表诗人。【作品佐证 · “混血创作”下的地缘美学撕裂与缝合】《异国端午》“1. 长剑，蓑衣——桑巴疑惑。止步/不禁问天，汨罗江有多远？2. 艾草，一直入群不了雨林/黄昏返潮。一杯乡愁/喝出藏在心尖尖上的那粒月光。”文本赏析：这是我在文中所倡导的“混血创作”的最典型范本。在这首诗里，极具中华古典与楚辞文化符号的“长剑、蓑衣、汨罗江、艾草”，与南美巴西本土符号“桑巴、雨林”产生了剧烈的时空碰撞。“桑巴疑惑”、“艾草一直入群不了雨林”传神地勾勒出海外游子在面对外来文化时的边缘感与撕裂感；而最后，黄昏与乡愁一同化为入喉的烈酒，成功将大西洋彼岸的异国雨林与大洋此岸的故园月光完美地缝合在了一起。

我把自己的诗观概括成这样一句话：“诗承五脉，语炼千华。立足意象，隐于朦胧。其外风柔，其内骨傲；其魂至纯，其情至盛。于澄澈中见高古，于绮丽中纳含蓄。执笔缱绻，语向远方。”【作品佐证 · 追求生命高度的“诗承五脉”】《教师礼赞》（微组诗片段）“明亮，从不独属于灯塔。更因礁岩上——千万次撞碎的浪，化作星标。”诗评家夸张的赏析：这首短诗字字精华，在冷峻与温润并存的语境中，将海浪的主动粉碎升华为夜航的“星标”。它不仅体现了“于澄澈中见高古”的境界，更是用执笔缱绻的手法，向着远方精神家园进行的一场跨洋致敬。

不过，这仅仅是我自己的爱好、审美、核心价值，即写诗的诗观。从《诗经》《楚辞》《唐诗》《宋词》发展到如今的白话诗。仅仅白话新诗就包括长诗、中诗、短诗、微诗，微组诗，涌现出朦胧派、新月派等等，有人喜欢意象诗，也有人喜欢口语诗，有人喜欢散文诗，也有人喜欢三行诗。对整个诗歌领域来说，那就得统筹兼顾，着眼未来。诗歌创作不仅考虑艺术性，更得考虑到读者，其实读者才是决定诗歌创作方向的主人。写得太含蓄，纯粹靠意象说话，诗歌的欣赏性，当然棋高一招，对于一部分有文化底蕴的读者和探索、研究文学的人，更是如鱼得水；可许多普通的读者就难以理解，感觉门槛太高了。所以也要提倡可读性、通俗性、大众性，这样口语诗、稍微直白的诗歌就不能放弃。总之“百家争鸣，难易互衬”成为诗歌发展的最佳趋势。【作品佐证 · “难易兼顾”的叙事探索】《父亲》（片段）“他的眼睛总是往下看/百姓喜爱/上级只喜欢他的才华/父亲总是那么乐观/尽管只有两袖清风/他总是自己安慰/我们比下有余”文本赏析：与《寒蝉》、《阴影》中极力追求意象折射的手法不同，在这首写给大众读者的《父亲》里，主动降低了美学门槛。我还引入了“眼睛”、“往下看”、“两袖清风”、“比下有余”等高度平实、通俗且具有可读性的生活化口语性语言。这种处理方式，让不从事文学创作的普通读者，也能在瞬间被拉入海外游子那种想念亲人的亲近感。我想：这正是诗歌所践行的“百花齐放、难易兼顾”的文人格局与时代担当。

【诗人简介】又名裘俊群、季（或裘）军群，浙江青田县裘山人，旅居巴西，中国诗歌学会会员，凤凰美洲总社社长。作品散见于《人民日报》《中国诗歌》《中国诗人生日大典》《中国当代诗歌大辞典》《东北亚新闻》《世界日报》等。获2017年度程丽娥写作联盟云帆群星大赛十大文学银星奖；获2022年第九届星际诗人奖（十佳华语诗人）。

Bilingual (Chinese-English) "My Poetic Views and the Development Direction of Chinese Poetry"

Author: Ji Junqun/Brazil

Foreword: Based on years of creative experience, I previously wrote "A Brief Discussion of the 'Nine Techniques' of Poetry Creation" and "A Brief Discussion of Micro-Poetry Creation." Today, I will again focus on my poetic views and the development direction of Chinese poetry, titled "My Poetic Views and the Development Direction of Chinese Poetry." Each point is accompanied by mutual verification and appreciation with poetic practice. In this way, my discourse on poetry forms a complete set of my own propositions, commonly known as the "Poetic Discourse Trilogy." Later, I also intend to write an article on my experiences in creating micro-poems, as an extension of this theory.

The "Chinese poetry" I refer to here does not specifically refer to classical Chinese poetry, but rather to all forms of poetry that use the Chinese language as their creative medium and carry the roots of Chinese culture—classical poetry is Chinese poetry, and modern vernacular poetry is also Chinese poetry; what grows in our homeland is Chinese poetry, and what takes root overseas is still a flower blooming in the Chinese language. This is my basic definition of "Chinese poetry," and it is the underlying tone of all my creative work.

Poetry, often called "aristocratic literature," is the essence extracted from language.

Whether writing about nostalgia, love, aspirations, or stories of time, my poetic philosophy is "to present through imagery, to elevate through emotion, and to achieve a sense of distance through ambiguity," avoiding flat narration and slogan-like, superficial writing. I advocate for a gentle style, a strong core, a pure soul, rich meaning, and beautiful imagery in poetry. From conception, topic selection, structure, imagery selection, language organization, visual development, and the elevation of imagery or the leaving of blank space for contemplation, every step must be repeatedly polished and refined, ultimately striving to reach a new realm of "clarity, antiquity, elegance, subtlety, and tenderness." 【Evidence from the Works: The Artistic Practice of Imagery and Obscurity】 "Shadow" (Excerpt from a Micro-Poem Series): "Those imprints are forging the spine into iron. A mottled wall tries to intercept the storm, to imprint the bones."... "Continue to light the torch, reconcile with all things, return the storm to the sky. I am now, the wilderness that accepts the enemy." Text Analysis: This poem perfectly embodies the artistic principle of "hidden in obscurity." I did not directly and plainly vent my loneliness or pain, but instead refined pure images such as "mottled," "torch," and "wilderness," which are full of classical beauty and modern synesthesia. However, beneath the tender and clear words lies the proud spirit of "forging the spine into iron" and "intercepting the storm," sublimating personal trauma into a broad mind that accepts the enemy. "Cicada" (Excerpt from a Micro-Poem Series): "Sparse branches hang bells, awakening the frosty morning. The sound waves ripple—the silence of the entire autumn, broken into ripples." Text Analysis: This poem is an excellent example of its "refined language." The invisible sound waves and abstract silence, through repeated refinement, synesthetically manifest as a visual image of "shattered ripples." Without a single slogan, he achieves his desired new realm of "lofty antiquity, subtlety, and hazy, far-reaching beauty" through the ultimate capture of imagery.

I primarily write within the Jiangnan poetry group, advocating for Jiangnan New Sensational Micro-Poems and Micro-Poetry Series. Jiangnan New Sensational Poetry is a new school promoted by poets from Jiaxing, Zhejiang, and other places. They inherit some of the essence of the New Sensationalist school of the last century, adding their own concept of "using emotion to sublimate connotation," attracting many poetry lovers and readers. I like precise and brilliant word choice, especially in the use of verbs, "defamiliarizing and highlighting novelty," sentences that are lively and dynamic, I like to imbue scenes with emotion, I like vivid imagery, and I like emotional impact. The concluding sentence often elevates or leaves room for the reader's imagination (leaving enough room for the reader's imagination, even making them the protagonist of the work). Furthermore, for us, wanderers abroad, spending years with foreigners and absorbing foreign cultures, our mother tongue and Chinese culture are our roots and foundation. How to integrate this fundamental concept into real life is what is known as "hybrid creation." What I advocate is the fusion of the imagery of my hometown's Jiangnan region, the culture of Chu Ci (Songs of Chu), and Chinese culture with the Amazonian and South American cultures from across the ocean, thereby elevating the quality and artistic realm of my works. Therefore, some readers and poetry critics call me a representative poet of "hybrid poetry" or the "New Chu Ci School." [Evidence from the Work: The Tear and Stitching of Geographical Aesthetics under "Hybrid Creation"] "Dragon Boat Festival in a Foreign Land" "1. Long sword, raincoat—Samba doubt. Stop/Can't help but ask the heavens, how far is the Miluo River? 2. Mugwort, never able to join the rainforest/Dusk returns to dampness. A cup of homesickness/Drinking out the moonlight hidden in the tip of my heart." Text Analysis: This is the most typical example of the "hybrid creation" I advocate in the text. In this poem, the symbols of classical Chinese culture and Chu Ci (Songs of Chu) – "long sword, straw raincoat, Miluo River, and mugwort" – collide dramatically with the native Brazilian symbols of "samba and rainforest." The lines "Samba's doubt" and "Mugwort can never truly enter the rainforest" vividly depict the sense of marginalization and alienation felt by overseas Chinese when facing foreign cultures. Finally, the twilight and homesickness transform into a strong, visceral drink, successfully stitching together the exotic rainforest across the Atlantic with the moonlight of their homeland on this side of the ocean.

I summarize my poetic philosophy in this sentence: "Poetry inherits the five traditions, language is refined into a thousand splendors. It is grounded in imagery, hidden in ambiguity. Outwardly gentle, inwardly proud; its soul pure, its emotion abundant. It reveals antiquity in clarity, and contains subtlety within beauty. With tender strokes, its language reaches towards the distance." [Work Evidence: The Pursuit of a Higher Level of Life through "Poetry Inheriting the Five Traditions"] "Ode to Teachers" (a fragment of a micro-poem series): "Brightness never belongs solely to the lighthouse. It is also due to the waves—thousands of times crashing against the reefs—that become star markers." A critic's exaggerated appreciation: This short poem is every word a gem, elevating the active shattering of the waves into a "star marker" for night navigation within a context of both austerity and warmth. It not only embodies the realm of "revealing antiquity in clarity," but also, with tender strokes, pays homage across the ocean to a distant spiritual homeland.

However, this is merely my own hobby, aesthetic, and core value—my poetic philosophy. From the *Classic of Poetry*, *Songs of Chu*, Tang poetry, and Song lyrics, to today's vernacular poetry, modern vernacular poetry alone encompasses long poems, medium-length poems, short poems, micro-poems, and micro-series poems, giving rise to schools like the Misty School and the Crescent Moon School. Some prefer imagery poetry, others colloquial poetry, some prose poetry, and still others three-line poems. For the entire field of poetry, a holistic approach is necessary, with a focus on the future. Poetic creation must consider not only artistry but also the reader; in fact, the reader is the true master in determining the direction of poetic creation. Writing that is too subtle, relying solely on imagery, certainly has a higher level of appreciation, especially for some readers with cultural background and those who explore and study literature; however, many ordinary readers find it difficult to understand, feeling the threshold is too high. Therefore, readability, accessibility, and popular appeal must be promoted, meaning colloquial poetry and slightly straightforward poetry cannot be abandoned. In short, "a hundred schools of thought contending, with varying levels of difficulty complementing each other" has become the best trend for the development of poetry. [Evidence from the Work: A Narrative Exploration that Balances Difficulty and Ease] "Father" (excerpt): "His eyes always look down / The people love him / The superiors only like his talent / Father is always so optimistic / Even though he has only clean hands / He always comforts himself / We are better off than those below us." Text Analysis: Unlike the imagery-driven approach in "Cicada" and "Shadow," this poem, "Father," written for a general audience, actively lowers the aesthetic threshold. I also introduced highly plain, colloquial, and readable everyday language such as "eyes," "looking down," "clean hands," and "better off than those below us." This approach allows ordinary readers, even those not involved in literary creation, to instantly feel the closeness of an overseas traveler longing for family. I think this is precisely the "letting a hundred flowers bloom, balancing difficulty and ease" approach that poetry embodies—a literary vision and a sense of responsibility to the times.

[Poet's Biography] Also known as Qiu Junqun, Ji (or Qiu) Junqun, a native of Qiushan, Qingtian County, Zhejiang Province, residing in Brazil, a member of the China Poetry Society, and the president of Phoenix America. Her works have appeared in publications such as *People's Daily*, *Chinese Poetry*, *Chinese Poets' Birthday Celebration*, *Dictionary of Contemporary Chinese Poetry*, *Northeast Asia News*, and *World Journal*. She received the 2017 Cheng Li'e Writing Alliance Yunfan Qunxing Competition Top Ten Literary Silver Star Award and the 2022 Ninth Interstellar Poet Award (Top Ten Chinese-Language Poets).