张依蘋 马来西亚拉曼大学
Tiong, Chantelle, University of Tunku Abdul Rahman
原文Original
汉字汉语之一水天涯——杨牧与北岛作为中文译者
“文学对我来说还是充满神秘的世界，我还在摸索那无穷的世界，也在寻找汉字的真正性格，开创汉文学的无穷潜力”——杨牧
“必须改变背景，你才能够重返故乡”——北岛
一九四九年或是形成海峡两岸文学分水岭之关键的一年。
此后，在文学创作的系统中，传统繁体注音汉字继续在台湾流传，而大陆这边则陆续公布、输入2,238个简体字，实行拼音简体。中国文字的文学道路于焉由一断裂而为二。
六十年代，海峡两岸各有一位诞生四十年代的少年诗人开始了他们的诗歌旅程，一是台湾花莲的叶珊（原名王靖献，诗名杨牧）（1940─ ），二是大陆北京的石默/艾珊（原名赵振开，诗名北岛）（1949─ ），二者如今皆已六十开外，前者明年更迈向七十，诗旅程长达四十多年有余。
在如此漫长的诗路基础上，假说“杨牧现象”与“北岛现象”为两岸汉诗极具象征意义的隐喻，显然具有充份条件：
（一）杨牧与北岛皆视诗为文学生命自始至终的依归。
（二）杨牧与北岛在创作之余，亦为诗歌的翻译者。
（三）杨牧与北岛都有漫长的在异国异语环境生活的经验。
杨牧与北岛的显著区别有二：一，杨牧以繁体汉字书写；北岛以简体汉字书写。二，杨牧受到完整的学校教育、学术训练；北岛在学校受教育的历程于中学时期宣告中断。由此，我们可以说，二者的诗歌历程能折射出两岸文字/语言系统、政治演变的面貌、因果，并投影出诗在时代之中的路向。
本文试图从杨牧、北岛二诗歌典型，诠释中文汉语在二十世纪的路径，以及我们的时代颇具代表的两大诗人如何作为诗的接受者与译者，并最终成为当代中文文学象征的信使。
译文Translation
The Two Shores of the Chinese Word and its Language: Yang Mu and Bei Dao as Chinese Translators
“To me, literature is still a world full of wonders, I am still searching endlessly in it, at the same time looking for the real character of Chinese word, creating the endless potential of Chinese literature.” ─ Yang Mu
“To return to the homeland, you must change the background.” ─ Bei Dao
1949 could be a real deciding year for the literature in both Mainland China and Taiwan.
Since then, the system of Chinese word as well as its literature has split into two. In Taiwan, people continue to write in Traditional (Fanti, zhuyin)Chinese characters, while in Mainland, it’s switched to simplified (Jianti, pinyin)Characters, and particularly 2238 words were made simplified.
During 60s of the last century, there were two born in 40s young poets starting their poetic journey, one of them is Ye Shan (originally Wang Jinxian, reknown as Yang Mu) (1940- ) from Hualian, Taiwan, another one is Shimo or Ai Shan (originally Zhao Zengkai, reknown as Bei Dao) (1949- ) , they have now proceeded their 60 year old, while Yang Mu is actually reaching his 70 by next year, both poets have experienced more than 40 years of their poetic journey.
The hypothesis of “Yang Mu” and ‘Bei Dao” phenomenon as symbolic metaphor for Chinese Poetry in Taiwan and Mainland China is based on the following conditions:
1. Both Yang Mu and Bei Dao are writers who take poetry as their ultimate goal.
2. They are creative writer as well as translator of poetry.
3. They have both experienced living in a foreign country of foreign language for quite a long time.
At the same time, there are two significant differences between Yang Mu and Bei Dao: First, Yang Mu writes in traditional Fanti Chinese characters, while Bei Dao writes in Simplified Jianti Chinese character. Second, Yang Mu has completed formal education and academic training, while Bei Dao’s formal education was interrupted during his high school. We might be able to evaluate the background of their writings, ie. the language systems and the changes of politics in Taiwan and Mainland China, thus projecting the route of Chinese poetry in our time.
In this essay, we aim to interpret the approach of Chinese Poetry in 20th Century according to the poetic models of Yang Mu and Bei Dao, how the two poets of our era act as the receiver and translator of poetry, and thus have become the symbolic messenger of contemporary literature in Chinese.