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(To Complicated Chinese Script)
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(到繁體版)
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We hope to publish original poems submitted by Chinese authors, so if you've written some unpublished poetry please feel free to submit them by emailing us at contact@tsoidug.org. We will definitely publish them on our website if they are suitable.
In the poems that I have written and published here, I try to depict some imagery that should evoke an emotive response as vividly as possible, so as to give the reader a sensory "snippet". If readers can in their minds see, hear, smell, or somehow feel some kind of sensory sensation from the poem, and also feel some kind of emotive response as well, then I have succeeded. As to what deeper meanings there might be in the poem, that will have to be up to each reader. Furthermore, I try to keep the language as simple and easy to understand as possible. Therefore, I avoid rare and obscure words and phrases, even if using them may make the verse conform to the ping-ze meter scheme of lu shi or "regular verse". This often means foregoing the more musical but restrictive ping-ze meter scheme of "regular verse", and writing in the less musical but less restrictive ping-ze meter scheme of gu shi or "ancient verse". In keeping with simple language, I also avoid allusions to quotes from olden day literature that are not commonly heard or are difficult to understand. Of course, all this could merely be due to my own lack of learning. Since I strive for simple language, then why do I write poems in the classical literary style and not in the modern vernacular style? First of all, simple language is absolutely possible in the classical literary style; poets in the past including Li Bai and Du Fu wrote many poem that had very simple language. As to why not write in modern vernacular, that is because I feel that modern vernacular poems, like modern written vernacular Chinese itself, are limited to Mandarin/putonghua; I have never seen one that is written to another dialect. To recite those poems one must use Mandarin/putonghua for them to sound right. In contrast, the classical literary style of poetry, like classical literary style Chinese itself, transcends Mandarin/putonghua and all dialects, and even transcends different languages, and is therefore inclusive of all dialects and even non-Chinese languages. The Japanese collection of poems from the 400's to 700's A.D., the "Manyoshu", contains many excellent classical literary style poems written to and meant to be recited in a non-Chinese language. Moreover, the classical literary poetry style does not exclude modern topics and modern vocabulary, they are completely compatible. A greater inclusivity, that is why I like the classical literary poetry style. Also, many of my poems are written to Cantonese and use Cantonese rhyme and rhythmNote. Sometimes what rhymes and conforms to the ping-ze meter scheme in Cantonese may not in Mandarin or putonghua. Please forgive any errors and even more importantly, please take time out to enlighten us. |
我们希望能够刊登一些华人的诗词原作。如果阁下有尚未刊登的诗词原作，请电邮寄 contact@tsoidug.org。如果适合的话，我们一定会在本网站上刊登。
在这里刊登的我所作诗里，我都试图把一些应该引发情感反应的意象尽量生动地描绘出来，从而给予读者一个感官上的“小片段”。读者如果能够在脑海中看到、听到、嗅到或总之获取到某种感官上的感觉，而且亦获取到某些情感反应的话，那么我就成功了。至于诗中有什么更深奥的意义，那就要凭借读者们各自的感想了。 言词我则尽量简浅易懂，所以我尽量避免罕见难明的僻字僻词，尽管很多时罕见难明的僻字僻词能够令诗句符合律诗的平仄格律。这就意味我很多时采用的诗体并不是比较多具音乐性但平仄格律拘束的律诗而是比较少具音乐性但平仄格律宽松的古诗。为了言词简浅，我亦尽量避免不出名的或难明的古字句典故。当然，恐怕这些都只是因为我孤陋寡闻而已。 既然我追求言词简浅，那么为什么我的诗都使用文言文诗体而不使用白话文诗体呢？首先，文言文诗体绝对可以言词简浅，包括李白、杜甫在内的古诗人所作的很多诗都是言词极为简浅的。不使用白话文诗体，是因为我认为，现代的白话文诗，好像现代白话文本身一样，都局限于普通话，没有见过使用其他方言的，朗诵时必须使用普通话才好听。相比之下，文言文诗体则好像文言文本身一样，超越普通话和各种方言，甚至超越非汉语，而这样就反过来把普通话和各种方言甚至非汉语都包容。日本汇编公元400-700年代诗词的《万叶集》就包含很多使用日语写作和朗诵的优秀文言文诗。而且，文言文诗体并不排除现代话题和现代词语，是完全可以兼容的。包容性更广，这就是为什么我喜爱文言文诗体。 此外，我的诗很多都是使用粤语写作，遵循粵音韵律的注。有时用粤音读起来押韵或符合平仄的诗句，用普通话读起来则不然。 有错漏之处，请见谅包容，更望能抽闲赐教。 |
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~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Note ^ : The reason that I write to Cantonese rhyme and rhythm is because Chinese culture exists not only in the form of a general common culture represented by modern Mandarin or putonghua and the Mandarin/putonghua-based modern vernacular writing style, but also in the form of various dialect cultures, local cultures, and ethnic cultures. These cultures all have a long history, are all very rich, and, including Cantonese culture, are all very precious. The Chinese Cultural Renaissance, which has just begun, will certainly also involve the flowering of all these cultures. Being Cantonese, I hope to contribute to the flowering of Cantonese culture, and by so doing contribute to the Chinese Cultural Renaissance as a whole. By the way, I personally think that Cantonese rhyme is actually not that strange, but is closer to that in the oldest surviving rhyme books such as the "Guang Yun" of the Northern Song Dynasty and the "Pingshui Yun" of probably the Southern Song Dynasty but contains some rhyming schemes from the Tang Dynasty. This likely has to do with the fact that Cantonese is possibly the language originally spoken in the Chinese Central Plains during the Qin and Han Dynasties or even earlier that migrated to the then remote Guangdong area and, due to isolation from its origins, became a kind of "language fossil". |
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ 注 ^： 我使用粤音韵律，是因为中华文化并不只是存在于一个以现代普通话及基于普通话的白话文为代表的普遍文化，也存在于各个方言文化、地区文化、和民族文化。这些文化都渊源悠久，非常丰富，而包括了粤语文化，都是宝贵的。刚开始的中华文化复兴，也一定将会包含所有这些各个文化的百花齐放。身为粤人，我希望能够为粤语文化作出一些贡献，从而为整个中华文化复兴作出贡献。 顺便说，我个人认为，其实粤音押韵并不奇特，有些接近最古尚存韵书的押韵，即北宋的《广韵》和应该是南宋但含有一些唐朝押韵的《平水韵》。这也许跟粤语可能是秦汉或更早期的中原汉语迁徙到了当年跟源地隔离的偏僻粤地而变为了某种的“语言化石”有关。 |
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