荷马诗歌艺术奖获得者/乔曼.卓根布鲁特新作《宁静的全景图》
惠 风 文 学
Pretty breeze literature
全球诗歌精选总147期
、
希腊查尔基斯第二届国际诗歌节
颁奖
荷马奖章
德尔斐阿波罗神庙合影
Dear friends, dear reader,
I am back from my journey in Greece, participating at the 2nd International Poetry Meeting in Chalkida, with such famous poets like Amir Or, Kornelijus Platelis, Dariusz Lebioda, the Chinese Anna Keiko and Lee Kuei-shien, Lee and others. I even signed travel reports as “Odysseus” and received there the “HOMER” medal.
II wrote also handful of new poems. The enclosed is one of them. A poetic salute
Germain Droogenbroodt
宁静的全景图
窗户的另一边
有橘子树的花园
花朵的芳香
醉人
没有人
没汽车
天空也无云
只有一只黑鸟
在颂扬寂静的
完美。
2019．4．19希腊塞利亚尼提科缪斯花园
原 作：比利时 乔曼·卓根布鲁特
汉 译：中 国 周道模 2019.5.3
Peaceful Panorama
On the other side of the window
a garden with orange trees
Intoxicating
the perfume of the blossoms
No people
no cars
a cloudless heaven
Only a blackbird
praising the perfection
of silence.
Germain Droogenbroodt
Garden of Muses, Selianitiko, Greece, 19.4.2019
*****
Vredig panorama // Aan gene zijde van het venster / een tuin met sinaasappelbomen //Bedwelmend / het parfum der bloesems //Geen mensen / geen auto’s / wolkeloos de hemel //Alleen een merel /
die van de stilte / de volkomenheid bezingt.
Germain Droogenbroodt, was born 11 September 1944 in Rollegem, the Flemish part of Belgium. In 1987 he moved to the Mediterranean artist village of Altea and integrated in Spanish literary life.
Germain Droogenbroodt is an internationally appreciated poet, translator, publisher and promoter of modern international poetry. He wrote short stories and literary reviews, but mainly poetry, so thirteen poetry books, published in 28 countries. He translated – he speaks six languages - more than thirty collections of German, Italian, Spanish, Latin American, English and French poetry, including anthologies of Bertolt Brecht, Mahmud Darwish, Reiner Kunze, Miguel Hernández, José Ángel Valente, Francisco Brines, Albert and rendered Arabic, Chinese, Japanese, Persian and Korean poetry into Dutch.
As founder and editor of the Belgian publishing house POINT Editions (POetry INTernational) he published more than eighty collections of mainly modern, international poetry. In 1996 he set up a new poetic movement, called neo-sensacionismo with the famous Chinese poets Bei Dao and Duo Duo
Germain Droogenbroodt organised and co-organised several international poetry festivals in Spain. He is vice president of the Academy Mihai Eminescu, organizing the International Poetry Festival Mihai Eminescu in Craiova, Romania, co-founder and advisor of JUNPA (Japan Universal Poets Association), artistic advisor of the Italian movement Poetry & Discovery, and founding president of the Spanish cultural foundation ITHACA. He also collaborates with the Italian poetry publication Margutte.
His poetic oeuvre is many-sided. After his début with “Forty at the wall” (1984), defined as neo-romantic poetry, he published “Do you know the country?”, Meditations at Lake Como (Italy), a collection of nature poems. In 1995 he was awarded a Hawthornden Fellowship (Scotland) where he wrote “Conversation with the hereafter”, poems about death, awarded in Belgium with the P.G. Buckinx-Prize and “Palpable absence”, a bilingual (Dutch-Spanish) collection of love poems. A critic of the Dutch Information Office for Libraries described his love poems as “virtuoso poetry”. At the end of 1998 appeared “Between the silence of your lips”, his collected love poems.
During his sojourn at the Palace-Fortress “Neemrana” in Rajasthan he completed the poetry cycle “The Road”, (read TAO) a poetic bridge between the East and the West, inspiring the Flemish artist Frans Minnaert and the Indian painter Satish Gupta, who enriched “The Road” with their drawings. This rather philosophical, mystical poetry is so far his most popular book, published already in 25 countries, translated by such famous poets as Bei Dao (Chinese), Fuad Rifka (Arabic), Jana Stroblova and Josef Hruby (Czech), Milan Richter (Slovak), Emilio Coco, Luca Benassi and Tiziana Orrù (Italian), Ganga Prasad Vimal (Hindi)…In 2001 he wrote in Spanish “Amanece el cantor” (The Singer Awakes), a homage to the deceased poet José Ángel Valente, followed by “Counterlight” written in Ronda (Southern Spain) in 2002, published in Spain by Calima Ediciones, in Romania by ex Ponto, in Belgium by POINT Editions, in both Mongolian languages by GCompress Co., Ltd. Ulaanbaatar, in Arab by Albayat (Morocco), in Hong Kong by “Contemporary Poetry”, and in Taiwan by Poet Culture. Corp. The latter publication includes also “Counterlight“.
Biography Germain Droogenbroodt – 2 -
His poetry book “In the Stream of Time, Meditations in the Himalayas”, was published in 2008 in Belgium and as part of “Selected Poems by Germain Droogenbroodt”, 2008 in Shanghai by the Shanghai Literature & Art Publishing Group and in Spain, laureate of the XXIX Premio de Poesía Juan Alcaide 2008. Struga Poetry Evenings also published “In the Stream of Time” in their prestigious “Pleiades” in 2010. The book was also translated in Japanese and launched at the Kyoto City International Foundation in Kyoto, Japan in 2010 and in Gaelic (Irish) in 2012. A selection of his poems was also published in Bengal in Bangladesh (2012 and 2015). “Unshadowed Light”, was launched end 2012 in a bilingual Dutch-Spanish publication at the Book Fair in Antwerp and in several Belgian towns and in Spain.
“In the Stream of Time, Meditations in the Himalayas” was published in Romania in 2015.
The anthology “The Dewdrops of Dawn”, a selection from 11 poetry books, was published with illustrations by Satish Gupta in German, in Dutch and in Croatian (2014). “Dewdrops”, a selection of 100 haiku in Japanese, English, Spanish and Dutch was published by JUNPA, Kyoto, and launched in Japan end 2016. His latest poetry book, “The Ephemeral Flower of Time” was published end 2016 in Dutch and Spanish and in English (2017).
Several famous artists made paintings and sculptures inspired by his poetry as international composers composed music to poems, such as the Dutch composer Bart Bakker who composed the “Germain Droogenbroodt cycle”, 12 pieces for flute.
Germain Droogenbroodt is yearly invited to give recitals and conferences at universities and at the most prestigious poetry festivals around the world. He was nominated for the Nobel prize of Literature 2017.
Awards (selection)
In Belgium: P.G. Buckinx Prijs with his poetry collection “Conversation with the Hereafter”
In Egypt “Doctor honoris causa”, as poet and promoter of International poetry, 1990
In Spain: Premio de Poesía Juan Alcaide, with his poetry book “In the Stream of Time,
Meditations in the Himalayas”
In Mongolia: the “Pegasus Prize” by the Mongolian Academy of Cultura and Poetry
In Macedonia: the Prize Best Poem of the Festival” at the International Poetry Festival in Tetovo
In Lebanon: Laureate of the Naji Naaman's Literary Prizes, 2013
En Bangladesh: the Kathak Literary Prize 2015.
In Romania: “The Grand Prix Mihai Eminescu Prize” for his poetry and the Poesía Mihai Eminescu 2015 + 2017 medal as promoter of international poetry.
In China: “Internationally best poetry translator” by the International Translation and Research Centre
In Japan: the JUNPA Legend Award (2017)
In Italy; the Premio Speziale Don Luigi di Liegro 2017 at the Museum of the Capitol in Rome, 2017
In France: Prix de Poésie EASAL (European Academy of Sciences Arts and Literature) 2018
In China: Certificate of Honor for his paper “The Road” at the 3rd YiJing Summit Forum in Wuxi, 5th June 2018
试论杰曼的长诗《道·逆光》
杨宏声
在杰曼的全部作品中，他的长诗《道路·逆光》无疑标志着其诗歌创作的一个重要的阶段，并已取得很大的成功。这种成功我们可以从中国道家与西方现代诗歌和哲学的相关性的意义上展开探讨。长诗《道》的灵感之一,源于中国道家之道，尤其是老子《道德经》之道，两个文本在形式和构架上的类似并非是表面性的。按照我们的读法，《逆光》不仅可以看作是《道》的续篇，还可以从构成两首长诗的整体的结构来重新加以理解和阐释。犹如《道德经》分为“道经”和“德经”上下篇，《道》一篇相当于《道德经》的“道经”，《逆光》一篇则相当于《道德经》的“德经”。就象诗人在《道》的“简序”中所提示的，我们“可把其中的诗以阴阳分类”，一阴一阳之谓“道”。这种“类似”或“相应”也许一开始并不明确，但随着《逆光》的完成，其整体性的结构和意义就显现出来了。我们不必刻板地去理解这种结构性的“相应”的表现，但仍然可以把它看作是当代一位西方诗人对中国先哲倡言之“道”的富于新意的创造性的回应。因此，我们有理由认为，杰曼长诗的创意来自道家之道，来自中国的一部陈述道的书《道德经》，它给了诗人以一首诗的理想的形式结构。最重要的那是精神上的契合，才能发现“道”的普遍性的意义，才能发现道的跨文化特性如何在世界上所有的文明那里一一体现出来。
《道·逆光》这首长诗，你可以按诗集编排的程序读，也可以任意从其中的任何一节开始，它们都会把你引入其诗境。这或许与《道·逆光》的空间结构铺展的特点有关。诗人运用了戏剧、绘画、电影等诸多的艺术手法，其探索从许多层面展开。
《道·逆光》是一位西方诗人的“咏道诗”。西方的咏道诗缘起于西方诗人对中国道家的接受和吸取。《道》既包含了希腊、印度的神话、宗教和哲学的宇宙观，也参照了道家和禅宗的根本观念和思想。这些不同的传统的思想观念和意象既从其独特的美感上来加以呈现，同时又从“道”的立场来化解其界限，通于道而归之于“一”（ONE）。因此，心灵（the Mind ）的作用是巨大的，体道或达道（reach the Road）者就走上了一条道路，那也是宇宙之道或”行星“之道。由此看来，诗人所谓的“行星意识”根本上就是“道”的意识。
《逆光》则有更多的禅趣，这种禅趣更多地接纳了希腊的和波斯-阿拉伯的自然主义因素。如果说《道》的时空结构庞大，融贯古今，放眼未来，将东西方文明整个地纳入自己的视域；那么，《逆光》则写晨昏之变，写一天的时间里事物和内心感受的微妙变化，其空间则以“伊萨卡”为场景或背景，而以历史性的记忆敞开当下的世界。从诗艺的观点看，杰曼从鲁米那里学到许多东西。例如，他们同样向自然倾诉内心对美好之物的热爱，和自然同欢乐共忧患。他们对自然的感觉深刻细腻，能最大程度地了解被他们描写的事物，并超越直观的现象而抵达隐蔽的奥秘。当然，这只是形成《逆光》风格的一种可能的成因。杰曼描写事物的特点是感官的警觉，他将其长诗纳入史诗性的视界，这就大大超出鲁米个人性抒情的范围，将之展开为史诗性的抒情。
进一步的讨论：杰曼诗歌及其诗歌中的哲理的希腊化的背景是值得留意的。通过鲁米，一条穿越波斯阿拉伯文明而抵达希腊——西方文明的源头——的道路敞开了。对于一位西方诗人，若欲更源始地表达“道”的主题，必须就地取材，从本土素材中发现路径。“道”的跨文化的道路是这样开辟的：既走向他人，又回到自己。
杰曼是诗歌国际主义的积极倡导者，是一位活跃在国际诗坛的杰出诗人和诗歌活动家。杰曼和北岛、多多发起的“新感觉主义”运动既体现了诗人的诗学观念，同时也体现了诗人的国际主义路线。《道·逆光》本身就是富于国际主义精神的新感觉主义诗歌的出色样本。由此看来，诗人体验的“道”所获得的不限于一些题材（取材），而是一种新观照、新语言。《道·逆光》具有前瞻性，其前瞻性体现在长诗中的“行星意识”。所谓“行星意识”所考虑的文明现状不仅仅是人类的全球化，而是我们所居住的这颗星球的总体状况。
当代诗歌的国际主义，实质上就是人文主义。杰曼坚持一种博大的人文主义立场：老子、鲁米、佩索阿，还有荷马、印度的圣人等等，构成杰曼认同的人文主义的背景。由“新感觉主义”体现的诗歌的国际主义表明，体现国际主义精神的诗歌一定是风格化的，精微的，富于个性的。个性是诗人间交往和诗歌交流的起点。
长诗《道·逆光》的戏剧性和史诗性，我们在初读时就留意到了。仅就叙述和情节而言，其戏剧性和史诗性似无从谈起。它的戏剧性和史诗性建立在观念性架构的层面上。其观念的角色化或角色的观念化，是这首长诗的基本手法，富于宇宙学的含义。《道·逆光》是一首浓缩的史诗。这是一首呈现并探讨人类的历史和现状及其未来命运的长诗。作为长诗《道·逆光》的主题的“道”，并非一个抽象的词语，而是一个从许多层次上而展开的陈述：道-宇宙-人-语言。所有的疑问和陈述，所有的事实及其隐含的事件和过程都建立在它的上面。
这首长诗的史诗风格赋予它针对整个文明的瞭望，看来这种风格正是我们的时代所需要的。我们生存于一个基本价值论选择的时代，面临着对的不同领域作出价值判断的任务。为了履行这个文明的伦理性的价值论，我们需要一种超越所有领域的细节的瞭望。一首长诗所能完成的可能比我们所估计的还要多。一首长诗的远眺或瞭望一旦深透了命运性的历史或命运性的历史，就是史诗性的。
在一首史诗性的作品中（我们将艾略特的《荒原》，庞德的《诗章》，杰曼的《道·逆光》都纳入史诗性作品的范畴），我们不仅看到史诗的长度、结构作为致变之因，其标准也在发生变化。我们一方面看到以往的艺术经验依然发挥其效力，另一方面则是断裂、变化、失效。因此，老子的史诗性的叙述方式在每一位现代诗人那里经历了令人惊奇的变异。史诗一端与历史结伴（叙述历史性的事情），另一端则与神话为伍（或借用神话）。诗史性、神话、历史性、记忆、宇宙起源论与演化论经常相互渗透。在《道·逆光》一诗中所发生的从抒情诗向哲学诗、教育诗、史诗转化的情形，是值得细细留意的。若进一步讨论，向史诗和哲学诗的回归，或许是自现代以来世界转歌发展的最值得留意的动向之一。杰曼的长诗最有意思的地方也许就在这里。
A Brief Study on Germain Droogenbroodts
”The Road” and “Counterlight”
By Dr. Yang Hongsheng
at the Shanghai Social Sciences Academy
In all his works, Germain Droogenbroodt (1944- ) has made a great success by writting his long poem of The Road & Counterlight, which represents a significant period of his poetry writting. Here we would like to develop my paper with respect to relativity of Chinese Daoism and modern Western poetry and phylosophy. Apparantly, Road is derived, mostly not least, from the spirit of Chinese Daoism, especially from Lao Zi: Tao Te Ching, a main classic of the Taoist school. The Road and Counterlight are not superficial identical in form and construction, the latter can not only be regarded as the continuation of the former, but also restated on the basis of the integrated structure. Just as Tao Te Ching can be divided into “the Classic of the Way and Its Virtue”, The Road is something like “the Way” and Counterlight is equivalent to “its Virtue”. Germain Droogenbroodt once mentioned in the preface of The Road, “The title of the present book might be regarded as a reference to Taoism and one could classify some of the poems as yin and others as yang”. Such a “reference” and “classification” might be not definite and incomplete from the very beginning, but with the publication of Counterlight, it is apparent to present their similar structure and significance. Surely, “it is, more than anything else, the road of poet himself, a lyrical record of his personal experience”. It is his creative response, as a western contemporary poet, to the Chinese Taoism. Therefore, we have more reason to discover Germain Droogenbroodts originality from Chinese classical philosophy, in harmonious coincidence with oriental value from Tao Te Ching, which offers the poet an ideal structure, more importantly, a kind of spiritual correspondence show a universal significance of “Tao” and its trans-cultural identity within different civilizations worldwide.
Road and Counterlight can be read chronologically or randomly from any stanza of the long poem. The spatial structure will freely guide you into the poetic territory with poet’s various artistic techniques borrowed from drama, painting and film.
The Road and Counterlight can be classified as a kind of poem on Tao, which derived from the Western poets’ reception and assimilation of Chinese Taoism. The Road, “contains references to Greek mythology, to Hinduism” as well as “reference to Taoism and to ZEN Buddhism”. All these different ideology traditions and images present their unique aesthetic feeling on the basis of “Tao”, which breaks up the boundary of various perceptions and guides them back to “One”. Therefore, the Mind plays a vital function for a Taoist to go all their ways to reach the Tao, which is also “the road of mankind, of universe: its past, its present and its unpredictable future”. Counterlight presents much more interests of ZEN, which contains more naturalistic factors from Greece, Persia or Arab. If we regard Road as a comprehensive structure to bring the West and East, the past, present and future into its own vision, then Conterlight focuses on changes of the morning and dusk, on daily life and subtler changes in heart, but the poetic space taking Ithaca as the background to extend the historic memory and present world.
Poetically thinking, German Droogenbroodt learns a lot from Maulana Rumi, for example, they have the same heart to confide their love for natural beauty and worry for the future of nature. They have the same slender and profound perception of nature, its rendering details and ulterior mystery, which probably leads to the formation of the unique style of Counterlight. Germain Droogenbroodt is very alert to depict his world and tries his best to sets his poems in an epic vision, which greatly goes beyond Rumi’s personal expression of emotions. Further discussion on Droogenbroodts poetry should be focused on its Greek mythological background. Rumi leads him going through Persian-Arabian civilization to reach Greece—the origin of Western civilization. As for a western poet, if he wants to express his original idea of “Tao”, he has to absorb local information and finds his personal path into his national materials. Thus trans-cultural road to “Tao” opens widely and extends further and further: leading to others and back to oneself.
Germain Droogenbroodt is a distinguished international poet who advocates poetry internationalism. He once initiated “neo-sensitivity” movement with Bei Dao and Duo Duo, which reinforced his international poetic vision. As a matter of fact, The Road and Counterlight are a perfect sample of his neo-sensitive poetry filled with international spirits, further disclosing his new language and deep insight into his personal experience of “Tao”. His long poem also possesses a kind of prospective identity in its “planet consciousness”, which takes the civilization not only for a global humanity, but also for an ecological one.
Virtually, internationalism of contemporary poetry lies on the humanism. German sticks to a position of broad humanism, Lao Zi, Rumi, Pessoa as well as Homer and other Indian saints constitute his identified background of humanism. Germain Droogenbroodt neo-sensitive internationalism embodies his stylistic personality in poetry, which is the jump-off point for intercommunication worldwide.
The epic theatricality of The Road and Counterlight can be found at our initial reading, which is not shown by narration and plot, but based on notional frame. The notional character, as a basic means of the long poem, embodies cosmographic meanings. The Road and Counterlight is a condensed epic, which present a deep insight into human history with regard to the current situation and future tendency. Tao, as the theme of the long poem, is not an abstract expression, but a statement expanding from different levels: Tao-universe-human-language, on which all the questions and statements, all the facts and its implied processes are based.
The indispensable style of epic endows The Road and Counterlight an outlook of the whole civilization. We are living in a multi-valued era, facing with the judgment of values in different fields. We need an outlook of the whole world, even covering the details in different fields. A long poem has more possibility to do than our expectation. A long poem respectfully presents its epic tendency, once it outlooks the fate of history or the history of destiny.
In an epic works, such as TS Eliot’s Wasteland, E. Pound’s Cantos and Germain Droogenbroodts The Road and Counterlight, not only the structure and length of epic, but the standard to judge as an epic, have been changing tremendously. On the one hand, the past experience still plays its artistic role; on the other hand, it is experiencing shift, rupture and lapse. Therefore, Lao Zi’s epic narration experienced amazing variation under the pens of contemporary poets. An epic links the history on the one end by narrating historic affairs and connects the myth on the other end, presenting a blend of mythology, history, human memory and cosmographic originality. It is worth while to study on the transformation from lyrics to philosophic poem, educational poem and further to epic in Droogenbroodts Road and Counterlight. Or we might say, regression to epic and philosophical poem is the most important inclination for contemporary world poetry to evolve, which exactly presents the brilliant point of Germain Droogenbroodts poetry writing.
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