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(To Simplified Chinese Script)
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(到简体版)
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We hope to publish original poems submitted by Chinese authors, so if you've written some unpublished poetry please feel free to submit them by emailing us at contact@tsoidug.org.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 as vividly as possible some imagery that should evoke an emotive response, 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. As an example, 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 Japanese. 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. |
我們希望能夠刊登一些華人的詩詞原作。如果閣下有尚未刊登的詩詞原作，請電郵寄 contact@tsoidug.org。如果適合的話，我們一定會在本網站上刊登。
在這裡刊登的我所作詩裡，我都試圖把一些應該引發情感反應的意象盡量生動地描繪出來，從而給予讀者一個感官上的“小片段”。讀者如果能夠在腦海中看到、聽到、嗅到或總之獲取到某種感官上的感覺，而且亦獲取到某些情感反應的話，那麼我就成功了。至於詩中有什麼更深奧的意義，那就要憑借讀者們各自的感想了。 字詞我則盡量簡淺，所以我盡量避免罕見難明的僻字僻詞，儘管很多時罕見難明的僻字僻詞能夠令詩句符合律詩的平仄格律。這就意味我很多時採用的詩體並不是比較多具音樂性但平仄格律拘束的律詩而是比較少具音樂性但平仄格律寬松的古詩。為了言詞簡淺，我亦盡量避免不出名的或難明的古字句典故。當然，恐怕這些都只是因為我孤陋寡聞而已。 既然我追求言詞簡淺，那麼為什麼我的詩都使用文言文詩體而不使用白話文詩體呢？首先，文言文詩體絕對可以言詞簡淺，包括李白、杜甫在內的古詩人所作的很多詩都是言詞極為簡淺的。不使用白話文詩體，是因為我認為，現代的白話文詩，好像現代白話文本身一樣，都局限於普通話，沒有見過使用其他方言的，朗誦時必須使用普通話才好聽。相比之下，文言文詩體則好像文言文本身一樣，超越普通話和各種方言，甚至超越非漢語，而這樣就反過來把普通話和各種方言甚至非漢語都包容。日本匯編公元400-700年代詩詞的《萬葉集》就包含很多使用日語寫作和朗誦的優秀文言文詩。而且，文言文詩體並不排除現代話題和現代詞語，是完全可以兼容的。包容性更廣，這就是為什麼我喜愛文言文詩體。 此外，我的詩很多都是使用粵語寫作，遵循粵音韻律的注。有時用粵音讀起來押韻或符合平仄的詩句，用普通話讀起來則不然。 有錯漏之處，請見諒包容，更望能抽閑賜教。 |
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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 the 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 historical Chinese heartland (The 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 ^： 我使用粵音韻律，是因為中華文化並不只是存在於一個以現代普通話及基於普通話的白話文為代表的普遍文化，也存在於各個方言文化、地區文化、和民族文化。這些文化都淵源悠久，非常豐富，而包括了粵語文化，都是寶貴的。剛開始的中華文化復興，也一定將會包含所有這些各個文化的百花齊放。身為粵人，我希望能夠為粵語文化作出一些貢獻，從而為整個中華文化復興作出貢獻。 順便說，我個人認為，其實粵音押韻並不奇特，有些接近最古尚存韻書的押韻，即北宋的《廣韻》和應該是南宋但含有一些唐朝押韻的《平水韻》。這也許跟粵語可能是秦漢或更早期的中原漢語遷徙到了當年跟源地隔離的偏僻粵地而變為了某種的“語言化石”有關。 |
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