本文轉自：陝西省翻譯協會
國破山河在，
城春草木深
感時花濺淚，
恨別鳥驚心。
——杜甫
讀宇文所安
作者：胡宗鋒
作者系第十一屆民建中央文化委員會委員，陝西省翻譯協會主席，陝西省斯諾研究中心主任，西北大學延安精神與黨的建設研究院研究員，西北大學外國語學院院長、教授，博士生導師。
宇文所安與其翻譯的杜甫詩全集
圖片來源：哈佛大學網站
據說，當年美國給日本扔了兩顆原子彈，一位日本人在看到遭原子彈毀滅性打擊後的情景，想起的第一句話，就是杜甫的“國破山河在”。
前幾天，大家都在談中國詩人杜甫，這是因為英國的BBC推出了一部單集58分鐘的最新紀錄片《杜甫：中國最偉大的詩人》，片中稱，中國的詩歌傳統早於荷馬史詩，唐玄宗治下的中國處於文化最輝煌的時代、詩歌最偉大的時代，當時世界上沒有任何文明像中國那樣優雅、有文化，一下子在全世界引起了關注。
早在2016年，美國的著名漢學家宇文所安，（本名斯蒂芬·歐文Stephen Owen）在經過多年的辛勤耕耘後，就推出了六卷本三千多頁的《杜甫詩全集》英文版，含1400首杜甫詩。宇文所安是全球有名的漢學家，其著述很多，我最早讀到的是他的《中國文論：英譯與評論》（Readings in Chinese Literary Thought），是他早年為耶魯大學比較文學系編著的《中國文論》課程教材，後作為哈佛大學東亞系和比較文學系的權威教材正式出版（英文版1992年；中文版2003年）。是一部專供在美國大學裡學習中文的學生使用的教材。我個人認為，中國大學裡學英語語言文學和翻譯專業的學生也可以讀一讀這本書，所以我也給我的研究生一直推薦這本書。
宇文所安1946年生於美國密蘇里州聖路易斯市，他從小就對詩歌感興趣，在巴爾的摩市立圖書館，宇文所安第一次接觸到中國詩歌，並迅速與其相戀，至今猶然。1972年以博士論文《韓愈與孟郊的詩》獲耶魯大學東亞系文學博士學位，隨即執教耶魯大學，1982年應聘哈佛大學，任教東亞系、比較文學系，是唐詩研究領域首屈一指的美國漢學家。宇文所安，熱愛唐詩、中國古典文學，他連取中文名字都有深意，“宇文”是胡人姓，“所安”則出自於論語的“觀其所由，察其所安”，名跟姓加在一起，也有胡漢融合的意思。他自己也曾經風趣的說，現在“宇文所安”比較有名氣，說起英文字名Stephen Owen，反而知道的人不多。他，是個老外，卻深深愛上了唐詩，在古籍堆裡鑽研了數十寒暑，一般人只知道唐詩三百首，但是他，讀過的唐詩卻已經超過上萬首，被譽為是“為唐詩而生的美國人”，他的《中國文論：英譯與評論》（Readings in Chinese Literary Thought）是美國哈佛大學的權威教程。
宇文所安認為，文學傳統就好像神話裡的寶盒：你把其中寶藏給予越多的人，你就會同時擁有更多別人的寶藏。但是，假如你想把這個寶盒鎖起來，說“是我一個人的！”那麼，它就只是一個空盒。錄幾段宇文所安的譯文，是為記。
國破山河在，
城春草木深。
感時花濺淚，
恨別鳥驚心。
烽火連三月，
家書抵萬金。
白頭搔更短，
渾欲不勝簪。
View in Spring
The state broken， its mountains and rivers remain，
the city turns spring， deep with plants and trees。
Stirred by the time， flowers， sprinkling tears，
hating parting， birds， alarm the heart。
Beacon fires stretch through three months，
a letter from family worth ten thousand in silver。
I’ve scratched my white hair even shorter，
pretty much to the point where it won’t hold a hatpin。
故正得失，動天地，感鬼神，莫近於詩。先王以是經夫婦，成孝敬，厚人倫，美教化，移風俗。 ——《詩大序》
Thus to correct （the presentation of ） achievements and failures， to move Heaven and Earth， to stir the gods and spirits， there is nothing more apposite than poetry。 By it the former managed the relations between husbands and wives， perfected the respect due to parents and superiors， gave depth to human relations， beautifully taught and transformed the people， and changed local customs。
是以一國之事，系一人之本，謂之風；言天下之事，形四方之風，謂之雅。雅者，正也，言王政之所由廢興也。政有大小，故有小雅焉，有大雅焉。頌者，美盛德之形容，以其成功告於神明者也。是謂四始，詩之至也。
——《詩大序》
Thus the affairs of a single state， rooted in （the experience of ） a single person are called Feng。 To speak of the affairs of the whole world and to describe customs common to all places is called Ya。 Ya means “proper”。 These show the source of either flourishing or ruin in the royal government。 Government has its greater and lesser aspects； thus we have “Great Ya” and a “Lesser Ya”。 The “Hynms” give the outward shapes of praising full virtue， and they inform the spirits about the accomplishment of great deeds。 These are called the “Four Beginnings” and are the ultimate perfection of the poems。
人生而靜，天之性也；感於物而動，性之慾也。物至知知，然後好惡形焉。好惡無節於內，知誘於外，不能反躬，天理滅矣。夫物之感人無窮，而人之好惡無節，則是物至而人化物也。人化物也者，滅天理而窮人慾者也。於是有悖逆詐偽之心，有淫泆作亂之事。是故強者脅弱，眾者暴寡，知者詐愚，勇者苦怯，疾病不養，老幼孤獨不得其所，此大亂之道也。 ——《禮記 樂記》
A human being is born calm： this is his innate nature endowed by Heaven。 To be stirred by external things and set in motion is desire occurring within that innate nature。 Only after things encounter conscious knowledge do likes and dislikes take shape 。 When likes and dislikes have no proper measure within， and when knowing is enticed from without， the person becomes incapable of self-reflection， and the Heaven-granted principle of one’s being perishes。 When external things stir a person endlessly and when that person’s likes and dislikes are without proper measure， then when external things come before a person， the person is transformed by those things。 When a person is transformed by things， it destroys the Heaven-granted principle of that person’s being and lets him follow all human desires to their limit。 Out of this comes the refractory and deceitful mind； out of this come occurrences of wallowing excess and turmoil。 Then the powerful coerce the weak； the many oppress the few； the smart deceive the stupid； the brave make the timid suffer； the sick are not cared for； old and young and orphans have no place——this is the Way of supreme turbulence。
學詩先除五俗：一曰俗體，二曰俗意，三曰俗句，四曰俗字，五曰俗韻。
——嚴羽《滄浪詩話·詩法》
In the study of poetry you must first eliminate five kinds of uncouthness： 1） uncouth form， 2） uncouth concepts， 3） uncouth lines， 4） uncouth words， 5） uncouth rhymes。
——Yan YuRules of Poetry
人所多言，我寡言之；人所難言，我易言之，則自不俗，
——楊載（1271-1323）《詩法家數》
What others say in many words， I should say in few words； what others find hard to say， I find easy to say——If this is the case then I will avoid uncouthness。
詩要苦思，詩之不工，只是不精思爾。不思而作，雖多亦奚以為？古人苦心終身，日煉月鍛，不曰“語不驚人死不休”，則曰“一生盡力在於詩”。今人未嘗學詩，往往便稱能詩，詩豈不學而能哉？
——楊載（1271-1323）《詩法家數》
Poetry demands painstaking reflection： if a poem is no good， it’s only because the writer didn’t give it enough reflection， if you write without reflection， what good does it do to write in quantity？ The older poets spent their whole lives in such painstaking reflection， boning and refining their poems for days and months。 If it wasn’t， If my lines don’t startle others， I’ll find no peace in death。 Then it was： For a lifetime the core of my strength has been used up in poetry。 The moderns never study poetry， yet they are always claiming to know about poetry。 How can a person be good at poetry without studying it？
大約才、膽、識、力，四者交相為濟，苟一有所歉，則不可登作者之壇。四者無緩急，而要在先之以識，使無識，則三者俱無所託。無識而有膽，則為妄，為鹵莽，為無知，其言背理叛道，蔑如也。無識而有才，雖議論縱橫，思致揮霍，而是非淆亂，黑白顛倒，才反為累矣。無識而有力，則堅僻妄誕之辭，足以誤人而惑世，為害甚烈。若在騷壇，均為風雅之罪人。惟有識則能知所從，知所奮，知所決，而後才與膽力，皆確然有以自信，舉世非之，舉世譽之，而不為其所搖，安有隨人之是非以為是非者哉？其胸中之愉快自足，寧獨在詩文一道已也？
——葉燮（1627-1703）《原詩》
In short， talent， judgment， courage， and force support one another： if one is lacking， a person cannot achieve the status of a major writer。 None of the four is more urgent than any of the others， but it is essential to begin with judgment。 If a person lacks （the capacity for） judgment， then none of the other three will have anything to rely on。 Courage without judgment leads to error， rashness， and ignorance： such words turn their back on principle， rebel against the Way， and are worthless。 Talent without the power of judgment may yield a deftness and skill in dispute and quickness of thought， but values will be all mixed up， black and white inverted， and one’s talent will catch a person up in problems。 Force ， without the power of judgment leads to writing that is opinionate and misleading——writing that can mislead people and deceive that people of the age-——the harm it can do is extensive。 These are all equally criminals in the world of poetry。
Only the man who possesses the capacity for judgment will know which course to follow， where to exert energy， what must be decided： thereafter talent， courage， and force all have something on which they can depend with confidence。 Whether criticized or praised by the entire world， such a person is not swayed from his course； neither do his judgments depend on the judgment of others。 The joy and satisfaction that come from this do not apply only to the Way of poetry and prose。