SH36翻譯：說木葉 (林庚)

SH36翻譯：說木葉 (林庚)

Translation: Discussion on Wood』s Leaves (Lin Geng)

(translated by: alexcwlin; edited by: Adam Lam)

「裊裊兮秋風，洞庭波兮木葉下。」 ( 《九歌》 )

「Dongting Lake ripples and wood』s leaves fall under wafting autumn breeze.」 (Source: 「Nine Odes」).

自從屈原吟唱出這動人的詩句，它的鮮明的形象，影響了此後歷代的詩人們，

Since Qu Yuan chanted such heartfelt verses, the distinctive visages that he projected have influenced poets in history after him.

許多為人傳誦的詩篇正是從這裡得到了啟發。

Many poems that have been on people』s lips were inspired by those verses.

如謝庄《月賦》說：「洞庭始波，木葉微脫。」

An example is 「Prose on Moon」 by Xie Zhuang which reads, 「When Dongting Lake starts to ripple, slowly wood』s leaves begin to fall.」

陸厥的《臨江王節士歌》又說：「木葉下，江波連，秋月照浦雲歇山。」

「Linjiang Exalted Wang』s Ode」 by Lu Jue also says, 「When wood』s leaves fall, river and waves merge, autumn moon shines on water, and clouds stay stagnant on mountaintop.」

至於王褒《渡河北》的名句：「秋風吹木葉，還似洞庭波。」則其所受的影響更是顯然了。

Note also in the renowned verses of 「Crossing North of Yellow River」 by Wang Bao which reads, 「Wood』s leaves blown off by autumn wind resemble waves on Dongting Lake」, influences by the aforementioned verses are even more pronounced.

在這裡我們乃看見「木葉」是那麼突出地成為詩人們筆下鍾愛的形象。

Here we can see the expression 「wood』s leaves」 is a remarkable image favored by poets.

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「木葉」是什麼呢？

What are 「wood』s leaves」?

按照字面的解釋，「木」就是「樹」，「木葉」也就是「樹葉」，

Literally speaking, 「wood」 is 「tree」, and 「wood』s leaves」 is 「tree leaves」.

這似乎是不需要多加說明的；

It seems no further expounding is necessary in this regard.

可是問題卻在於我們在古代的詩歌中為什麼很少看見用「樹葉」呢？

A question is: Why then in ancient Chinese poems, use of the expression 「tree leaves」 is seldom seen?

其實「樹」倒是常見的，

On the other hand, the word 「tree」 is often encountered.

例如屈原在《橘頌》里就說：「後皇嘉樹，橘徠服兮。」

For example, in 「Ode to Tangerine」, Qu Yuan said, 「Among all the distinguished trees in the world, tangerine trees are naturally adaptive to local environments.」

而淮南小山的《招隱士》里又說：「桂樹叢生兮山之幽。」

In 「Recruiting Hermit Talents」 by a group of advisers under Emperor of Huainan, it states: 「Osmanthus trees flourish in secluded valleys」.

無名氏古詩里也說：「庭中有奇樹，綠葉發華滋。」

An ancient poem from an anonymous writer says, 「On a rare tree in the garden, copious blooming flowers are set off against green leaves.」

可是為什麼單單「樹葉」就不常見了呢？

But what is the reason that the expression 「tree leaves」 nonetheless does not regularly appear in ancient poems?

一般的情況，大概遇見「樹葉 」 的時候就都簡稱之為「葉」，

Normally 「leaves」 is 「tree leaves」 for short.

例如說：「葉密鳥飛礙，風輕花落遲。」 ( 蕭綱《折楊柳》 ) 「皎皎雲間月，灼灼葉中華。」( 陶淵明《擬古》 )

Examples are 「Dense leaves get in the way of flying birds, and light breeze delays falling momentum of leaves」 (Source: 「Snapped Willow」 by Xiu Gang), and 「Moon amid clouds is brightly white, and flowers among leaves are exquisite」 (Source: 「Imitation of Ancient」 by Tao Yuanming).

這當然還可以說是由於詩人們文字洗鍊的緣故，

Of course you can argue such was the result of streamlining words by poets.

可是這樣的解釋是並不解決問題的`，

But this explanation does not resolve the question at issue.

因為一遇見「木葉」的時候，情況就顯然不同起來；

Because once you run into the expression 「wood』s leaves」, the situation is definitely different.

詩人們似乎都不再考慮文字洗鍊的問題，

Poets did not seem to consider the issue of word economy.

而是盡量爭取通過「木葉」來寫出流傳人口的名句，

Instead, they strived to produce widely-popular classic verses through inclusion of the expression 「wood』s leaves」

例如：「亭皋木葉下，隴首秋雲飛。」( 柳惲《搗衣詩》 ) 「九月寒砧催木葉，十年征戍憶遼陽。」 ( 沈佺期《古意》 )

Examples are 「Wood』s leaves fall at waterfront land. Autumn clouds float at Longshou Mountain top.」 (Source: 「Laundry Pounding Poem」 by Liu Yun), and 「In the ninth month, pounding laundry sounds seemingly urge wood』s leaves to fall. With the husband border-guarding for ten years, the wife dearly misses hometown at Liaoyang.」 (Source: 「Reminiscing of Old Times」 by Shen Quanqi).

可見洗鍊並不能作為「葉」字獨用的理由，

As we can see, economizing word count could not be a justification in using the word 「leaves」 standing alone.

那麼「樹葉」為什麼從來就無人過問呢？

But then why haven』t people bothered with using the expression 「tree leaves」?

至少從來就沒有產生過精彩的詩句。

Or, at least nobody has ever come up with an overwhelming poetry line with that expression.

而事實又正是這樣的，

However, such is the cold hard fact.

自從屈原以驚人的天才發現了「木葉」的奧妙，此後的詩人們也就再不肯輕易把它放過；

Since Qu Yuan exercised his ingenuity to uncover wonder of the expression 「wood』s leaves」, poets that came after him would not easily let that expression slip out of their grasp.

於是一用再用，熟能生巧；

They kept using it time and again and eventually practice made perfect.

而在詩歌的語言中，乃又不僅限於「木葉」一詞而已。

In the language of poetry, however, there are other expressions similar to 「wood』s leaves」.

例如杜甫有名的《登高》詩中說：「無邊落木蕭蕭下，不盡長江滾滾來。」

Take for example, Du Fu』s famous poem 「Mountain Hiking」 says, 「In boundlessly vast forest falling woods whistle down. On endlessly long Yangtze River waves roar forward.」

這是大家熟悉的名句，

These are familiar choice verses.

而這裡的「落木」無疑的正是從屈原《九歌》中的「木葉」發展來的。

The 「falling woods」 here undoubtedly were derived from 「wood』s leaves」 in 「Nine Odes」 of Qu Yuan.

按「落木蕭蕭下」的意思當然是說樹葉蕭蕭而下，

In the context 「falling woods whistle down」 of course means 「falling leaves whistle down」.

照我們平常的想法，那麼「葉」字似乎就不應該省掉，

According to what we normally would think, the word 「leaves」 should not have been deleted.

例如我們無妨這麼說：「無邊落葉蕭蕭下」，豈不更為明白嗎？

For instance, we may just as well phrase the verse as 「In boundlessly vast forest, falling leaves whistle down」, and wouldn』t that be more lucid?

然而天才的杜甫卻寧願省掉「木葉」之「葉」而不肯放棄「木葉」之「木」，

And yet the gifted Du Fu would rather drop the word 「leaves」 than to abandon the word 「wood」 in applying element of the expression 「wood』s leaves」 in this case.

這道理究竟是為什麼呢？

Exactly what is the rationale behind it?

事實上，杜甫之前，庾信在《哀江南賦》里已經說過：「辭洞庭兮落木，去涔陽兮極浦。」

The fact is before Du Fu, Yu Xin in 「Ode to Lament for the South」 already said, 「Like falling woods, we bid farewell to Dong Ting Lake, and head towards the distant shore of Cen Yang」.

這裡我們乃可以看到「落木」一詞確乎並非偶然了。

Here we can see use of the expression 「falling woods」 was not a happenstance.

古代詩人們在前人的創造中學習，

Ancient poets learned from creations of their predecessors.

又在自己的學習中創造，

Then they came up with their new versions from what they learned.

使得中國詩歌語言如此豐富多彩，

From here we can see the richness and colorfulness of the language in Chinese poetry.

這不過是其中的小小一例而已。

However, this is only a small sample in a myriad of others.

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從「木葉」發展到「落木」，其中關鍵顯然在「木」這一字，

In evolving from 「wood』s leaves」 to 「falling woods」, it is evident the key word in both cases is 「wood」.

其與「樹葉」或「落葉」的不同，也正在此。

Its dissimilarity to 「tree leaves」 or 「falling leaves」 is along that line.

「樹葉」可以不用多說，在古詩中很少見人用它；

We don』t need to say more about 「tree leaves」 because it is seldom seen in ancient poems.

就是 「落葉」，雖然常見，也不過是一般的形象。

Even though 「falling leaves」 is often encountered, yet it is merely a mundane image.

原來詩歌語言的精妙不同於一般的概念，

It turns out subtleties of poetry language differ from common linguistic concepts.

差一點就會差得很多；

A small difference could mean the world.

而詩歌語言之不能單憑藉概念，也就由此可見。

It can be seen in these illustrations that poetry language cannot solely depend on notions.

從概念上說，「木葉」就是「樹葉」，原沒有什麼可以辯論之處；

From the viewpoint of conceptualization, 「wood』s leaves」 is 「tree leaves」 and there is no argument about that.

可是到了詩歌的形象思維之中，後者則無人過問，前者則不斷發展；

But when it comes to consideration of images in poetry, the latter has been completely overlooked in use while the former continues to prosper.

像「無邊落木蕭蕭下」這樣大膽的發揮創造性，難道不怕死心眼的人會誤以為是木頭自天而降嗎？

Like the bold and expressive creation of 「in boundlessly vast forest falling woods whistle down」, wouldn』t the writer be concerned that stick-in-the-mud minded people could interpret that as logs falling from the sky?

而我們的詩人杜甫，卻寧可冒這危險，創造出那千古流傳形象鮮明的詩句；

Yet our poet Du Fu would rather take that risk to come up with the immortal and image-vivid verse.

這冒險，這形象，其實又都在這一個「木」字上，

In reality, the gamble and image are focused on the word 「wood」.

然則這一字的來歷豈不大可思索嗎？

As such, wouldn』t that word be food for thoughts?

在這裡我們就不得不先來分析一下「木」字。

Here we feel obliged to provide an analysis of the word 「wood」.

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首先我們似乎應該研究一下，古代的詩人們都在什麼場合才用「木」字呢？

To start, it seems we should delve into occasions where ancient poets used the word 「wood」.

也就是說都在什麼場合「木」字才恰好能構成精妙的詩歌語言；

In other words, in what circumstances would the employment of the word 「wood」 fittingly become integral parts of stupendous poetry language.

事實上他們並不是隨處都用的，

The fact is they could not be applied randomly anywhere.

要是那樣，就成了「萬應錠」了。

Otherwise it would become a 「cure-all medicine」.

而自屈原開始把它準確地用在一個秋風葉落的季節之中，

Initially Qu Yuan accurately applied it at a time of the year with autumn winds and falling leaves.

此後的詩人們無論謝庄、陸厥、柳惲、王褒、沈佺期、杜甫、黃庭堅，都以此在秋天的情景中取得鮮明的形象，

Poets thenceforth such as Xie Zhuang, Lu Jue, Liu Yun, Wang Bao, Shen Quanqi, Du Fu, and Huang Tingjian, in applying the term, came up with distinctive images against fall-time scenery as backdrop.

這就不是偶然的了。

Those instances could not be happenstance.

例如吳均的《答柳惲》說：「秋月照層嶺，寒風掃高木。」

Take for example Wu Jun』s 「Reply to Liu Yun」 states, 「Autumn』s moon shines on stacks of mountains; chilly winds sweep clean tall woods」.

這裡用「高樹」是不是可以呢？

Could 「tall trees」 be used here instead of 「tall woods」?

當然也可以；

Of course it could.

曹植的《野田黃雀行》就說：「高樹多悲風，海水揚其波。」

Cao Zhi in 「Yellow Cardinal』s Activities in Wilderness」 stated, 「Tall trees are subject to wind』s torments; seawater is kicking up waves.」

這也是千古名句，

These are also immortal famous verses.

可是這裡的「高樹多悲風」卻並沒有落葉的形象，

In 「tall trees are subject to wind』s torments」, there is no image of falling leaves.

而「寒風掃高木」則顯然是落葉的景況了。

Yet 「chilly winds sweep clean tall woods」 obviously portrays scene of shedding leaves.

前者正要借滿樹葉子的吹動，表達出像海潮一般深厚的不平，

The former case counts on wind-driven movements of trees full of leaves to project profound wave-like unevenness.

這裡葉子越多，感情才越飽滿；

Here the plentiful leaves reflect richness of sentiments.

而後者卻是一個葉子越來越少的局面，

The latter case, however, is a situation where leaves dwindle progressively.

所謂「掃高木」 者豈不正是「落木千山」的空闊嗎？

Wouldn』t the so-called 「sweep clean tall woods」 be exactly as spaciously empty as 「on thousands of mountains, woods are bare of fallen leaves」?

然則「高樹」則飽滿，「高木」則空闊；

However, 「tall trees」 are lush in growth, yet 「tall woods」 are spaciously empty.

這就是「木」與「樹」相同而又不同的地方。

Those are the areas where 「woods」 and 「trees」 are similar yet different.

「木」在這裡要比「樹」更顯得單純，

Here 「woods」 are more straightforward than 「trees」.

所謂「枯桑知天風」這樣的樹，似乎才更近於「木」；它彷彿本身就含有一個落葉的因素，

Trees which are the like of 「withering mulberry trees sense wind in the sky」 seem to be close to 「woods」 because an element of falling leaves is inherent.

這正是「木」的第一個藝術特徵。

This is precisely the first artistic characteristic of 「wood」.

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要說明「木」它何以會有這個特徵，就不能不觸及詩歌語言中暗示性的問題，

To expound on why 「wood」 would have such a trait, we have to touch on the suggestive nature of poetry language.

這暗示性彷彿是概念的影子，常常躲在概念的背後，我們不留心就不會察覺它的存在。

Seemingly the suggestiveness element always hides behind concept as a shadow and we would not notice its existence if we don』t pay attention.

敏感而有修養的詩人們正在於能認識語言形象中一切潛在的力量，

Sensitive and cultured poets have the knack to recognize latent powers in linguistic imaging.

把這些潛在的力量與概念中的意義交織組合起來，於是成為豐富多彩一言難盡的言說；

Then they weave these latent powers with meanings in concepts to form an enriched, colorful and intricate lingo that requires lengthy explanations.

它在不知不覺之中影響著我們；它之富於感染性啟發性者在此，它之不落於言筌者也在此。

The lingo influences us through our subconscious mind, and it is infectious, inspirational, and non-technicality-laden.

而「木」作為「樹」的概念的同時，卻正是具有著一般「木頭」「木料」「木板」等的影子，

At the same time the word 「wood」, in projecting the concept of 「tree」, still retains shadows of the notions in commonplace 「log」, 「lumber」 and 「plank」.

這潛在的形象常常影響著我們會更多地想起了樹榦，而很少會想到了葉子，因為葉子原不是屬於木質的，

These underlying images steer us to associate 「wood」 more with tree trunks than leaves because leaves do not fall under the classification of wood by nature.

「葉」因此常被排斥到「木」的疏朗的形象以外去，

As such, 「leaves」 are routinely dispelled from the crisp image of 「wood」.

這排斥也就是為什麼會暗示著落葉的緣故。

This exclusion is why there would be allusion that leaves are falling off.

而「樹」呢？

What then is 「tree」 all about?

它是具有繁茂的枝葉的，它與「葉」都帶有密密層層濃陰的聯想。

In our mind, we associate tree with leaves for the dense growth in both cases.

所謂：「午陰嘉樹清圓。」 ( 周邦彥《滿庭芳》 ) 這裡如果改用「木」字就缺少「午陰」更為真實的形象。

In the verse 「In an afternoon, a lush tree casts a distinctly round shadow」 (Source: 「Garden Filled with Fragrance」 by Zhou Bangyan), if the word 「wood」 is substituted for 「tree」, then the words would fall short of bringing more realistic images for 「afternoon shadow」.

然則「樹」與「葉」的形象之間不但不相排斥，而且是十分一致的；

Yet the pictures projected by 「tree」 and 「leaves」 are not mutually exclusive but fairly consistent.

也正因為它們之間太多的一致，「樹葉」也就不會比一個單獨的「葉」字多帶來一些什麼，

Since there is too much consistency between them, employment of the expression 「tree leaves」 would not have added new elements compared with the lone word of 「leaves」.

在習於用單詞的古典詩歌中，因此也就從來很少見「樹葉」這個辭彙了。

In classic poetry where single words are customarily used, the diction of 「tree leaves」 therefore is seldom encountered.

至於「木葉」呢，則全然不同。

However, when it comes to 「wood』s leaves」, it is a completely different story.

這裡又還需要說到「木」在形象上的第二個藝術特徵。

Here we have to talk about the second artistic characteristic of 「wood」 in imaging.

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「木」不但讓我們容易想起了樹榦，而且還會帶來了「木」所暗示的顏色性。

「Wood」 not only reminds us of tree trunk, it also brings along a color implicated by 「wood」.

樹的顏色，即就樹榦而論，一般乃是褐綠色，

The color of tree, which is in terms of that of tree trunk, is normally brownish-green.

這與葉也還是比較相近的；

This color is relatively close to the color of leaves.

至於「木」 呢，那就說不定，

As far as 「wood」 is concerned, the color is hard to define.

它可能是透著黃色，

It could have a tint of yellow.

而且在觸覺上它可能是乾燥的而不是濕潤的；

Also its feel could be dry and not moist.

我們所習見的門栓、棍子、桅杆等，就都是這個樣子；

Bolts, sticks, and masts which we regular see are of that nature.

這裡帶著「木」字的更為普遍的性格。

Anything here which carries the word 「wood」 would even have more ordinary traits.

儘管在這裡「木」是作為「樹」這樣一個特殊概念而出現的，而「木」的更為普遍的潛在的暗示，卻依然左右著這個形象，

Even though here 「wood」 emerges as a special concept of 「tree」, yet the more common implications of wood still dictates this image.

於是「木葉」就自然而然有了落葉的微黃與乾燥之感，

As such, 「wood』s leaves」 naturally has the yellowish color and desiccated feel of fallen leaves.

它帶來了整個疏朗的清秋的氣息。

Also that expression carries the crisp flavor of autumn.

「裊裊兮秋風，洞庭波兮木葉下。」這落下絕不是碧綠柔軟的葉子，而是窸窣飄零透些微黃的葉子，

In 「Dongting Lake ripples and wood』s leaves fall under wafting autumn breeze」, what fall down are not green and soft leaves, but rustling shed leaves with a touch of yellow.

我們彷彿聽見了離人的嘆息，想起了遊子的漂泊；

Seemingly we could hear sighs of departing hometown-men and be reminded of the lonesomeness with drifters in reading those verses.

這就是「木葉」的形象所以如此生動的緣故。

That is why the image of 「wood』s leaves」 is so vivacious.

它不同於：「美女妖且閑，採桑歧路間；柔條紛冉冉，落葉何翩翩。」 ( 曹植《美女篇》 ) 中的落葉，

These 「wood』s leaves」 are different from those falling leaves in 「The gorgeous and reticent maiden is picking mulberry leaves at a divided-road intersection. The tender branches are shaking gently and the plucked leaves are wafting slowly down.」 (Source: 「Article on Beautiful Maiden」 by Cao Zhi).

因為那是春夏之交飽含著水分的繁密的葉子。

Those are densely grown leaves loaded with moisture at a time when spring meets summer.

也不同於：「靜夜四無鄰，荒居舊業貧；雨中黃葉樹，燈下白頭人。」( 司空曙《喜外弟盧綸見宿》) 中的黃葉，

They are also different from the yellow leaves in 「It is a quiet night and no neighbors are around me. I live in a desolate area and have long been impoverished. In rain, wilted yellow leaves are on trees. Lamp light is shining on a white-haired man.」 (Source: 「Joy to See Visiting Cousin Staying Overnight」 by Sikong Shu).

因為那黃葉還是靜靜地長滿在一樹上，

It is because those yellow leaves still quietly grow all over a tree.

在那蒙蒙的雨中，它雖然是具有「木葉」微黃的顏色，卻沒有「木葉」的乾燥之感，

In drizzling rain, even though those leaves are slightly yellow like 「wood』s leaves」, yet they do not have the dry feel of 「wood』s leaves」.

因此也就缺少那飄零之意；

As such, there is no suggestion of lonesomeness in abandonment.

而且它的黃色由於雨的濕潤，也顯然是變得太黃了。

Furthermore, its yellowish color is evidently too yellow amidst the moistening of rain.

「木葉」所以是屬於風的而不是屬於雨的，屬於爽朗的晴空而不屬於沉沉的陰天；

「Wood』s leaves」 are associated with wind but not rain, as well as with crisply clear sky and not oppressively overcast firmament.

這是一個典型的清秋的性格。

Those are typical traits of a cloudless autumn atmosphere.

至於「落木」呢，則比「木葉」還更顯得空闊，它連「葉」這一字所保留下的一點綿密之意也洗凈了：

As for 「falling woods」, they are more open and spread-out than 「wood』s leaves」, and have been wiped clean of the inherent intimacy associated with the word 「leaves」.

「日暮風吹，葉落依枝。」 ( 吳均《青溪小姑歌》 ) 恰足以說明這「葉」的纏綿的一面。

The poem 「At sunset with wind blowing, fallen leaves are heartbroken to have left mother-branches」 (Source: 「Song of Little Maiden at Blue Creek」 by Wu Jun) adequately demonstrates the cozy aspects of 「leaves」.

然則「木葉」與「落木」又還有著一定的距離，

And yet there is a considerable discrepancy between 「wood』s leaves」 and 「falling woods」.

它乃是「木」與「葉」的統一，疏朗與綿密的交織，

「Wood』s leaves」 is the unification of 「wood」 and 「leaves, as well as the interwoven of crispness and intimacy.

一個迢遠而情深的美麗的形象。這卻又正是那《九歌》中湘夫人的性格形象。

It is a distant yet deeply-felt beautiful image, which is exactly the trademark persona projected by Madam Xiang in 「Nine Odes」.

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「木葉」之與「樹葉」，不過是一字之差，

There is only one word in difference between 「wood』s leaves」 and 「tree leaves」.

「木」與「樹」在概念上原是相去無幾的，

Conceptually there is no marked difference between 「wood」 and 「tree」.

然而到了藝術形象的領域，這裡的差別就幾乎是一字千里。

But when it comes to the domain of artistic imaging, this one-word difference is like day and night.

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