2 _8 J4 ]. h, m8 _' f$ x" Atitle：The height of thought determines the height of poetry. $ D$ G; d" f2 Y8 S$ R, W ; j/ V* M5 ?5 B i. K3 i请允许我在这里借用一下“思想”这个概念。因为，不管人们怎么认为，佛教以及其它的任何宗教，说到底都是一种思想的结果，是关于人和世界以及永远无法看到和把握的灵魂的思维活动。所谓思想，就是人对于外在和内心两个世界的思考与想象，是人的一种智力行为。3 l; `/ U. `' i3 A* a1 K6 _
; m7 o# e% w. XI will use the concept of "thought" in this article to explain my opinion. Regardless of people's different ideas, Buddhism and any other religions are the result of thought. They are mental activities concerning human being, the world, and the soul that can never be seen or grasped.Thought refers to human thinking and imagination about the external and inner world, and it is a kind of human intellectual behavior." R0 w# E p4 I# Q9 a+ i4 w
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而所谓思想者，也就是对人生、对世界、对现实生活有自己独到见解并形成一个相对完整概念体系的人。佛陀是一个思想者。并且毫无疑问，历代有所建树的高僧大德、禅门祖师，无不是能破除旧习，开一代新风的思想者。+ E& F" u. c# r( _# S
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A philosopher in essence is someone who has unique insight regarding life, the world, and reality, and has developed a relatively complete system of concepts. The Buddha is a philosopher. Without a doubt, throughout history, all the monks,great masters, and patriarchs of the Zen school who have made significant achievement were philosophers,they are capable of breaking away from old habits and initiating a new trend.3 L7 u- H2 u0 A+ z) p" U" }
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思想者不一定是诗人，诗人也不一定是思想者。但一个伟大的思想者，必定同时是一个诗人。同样，一个伟大的诗人，也一定会同时是一个思想者。在这一点上来说，诗歌与思想就有着不解之缘。或者说，诗是思想的一种表达形式。诗歌虽然是语言的艺术，但它更是思想的结晶。因为人们的一切行为，包括研究、探讨和表达，都是思想的结果。这甚至不单单是人类。其它动物也在某种程度上具有这种思想的能力。 \' D: `+ |$ I1 g5 M* u" z3 [& d% q3 ^" N# i- u* J! l4 P+ M
Philosopher is not necessarily poet, and poet is not necessarily philosopher. However, a great philosopher must also be a poet. Similarly, a great poet is surely a philosopher as well. In this sense, poetry and thought are inextricably linked. Or,poetry is a expressing form of thought. Although poetry is an art of language, it is even more a crystallization of thought. This is because all human behaviors, including research, exploration, and expression, are the results of thought. And this is not exclusive to human being. To some extent, other animals also possess this ability of thinking. " ~9 E, R/ v: f4 X 4 `" a z( ?+ m7 W9 ~! }语言或者文字，仅仅是一个外壳，是符号，人们借助它，来完成内心思想的表达。有人会说，诗歌的主要功能是抒情。是的，这没有错。但有一点应该明白的是，抒情也是一种想象思维的结果。倾诉和表达绝对不能是废话的堆积，不能是毫无意义的宣泄。表达和倾诉本身就是思想之后的行为。 ( `& a: h3 v* T9 V: R $ k* }# `8 J& `+ RLanguage or words are merely an outer shell, symbols through which people complete the expression of their inner thoughts. Some people may say that the main function of poetry is to express emotions. Yes, that's correct. However, there is a fact that we should understand is that expressing emotions is also the result of imaginative thinking. Expression and communication should not be a pile of nonsense or a meaningless outburst. Expression and communication are behaviors after thought. - Q3 b' E' W: r , B$ L: P) `, m6 b9 H' a1 E或者说佛教不是宗教，禅更不是宗教。我赞成这样的定义。它们是一种思想，是关于生命，关于现实生活，关于世界，关于痛苦和快乐等等问题的思考与探究。那么，现代禅诗其实更是一种思想的结果。禅借助现代诗歌的形式，来完成它的表述使命。诗歌借助禅的精神，来提升其内在美的境界。诗歌的高度是境界的高度。境界是由美来完成的，而思想正是一种大美。/ _! ?; d: `" H" l
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Maybe we can say that Buddhism is not a religion, and Zen is even less so. I approve of such a definition. They are a kind of thought, involving reflections and explorations on issues such as life,reality, the world, pain and happiness. In that case, modern Zen poem is actually more of a result of thought. Zen utilizes the form of modern poetry to fulfill its mission of expression. Poetry, on the other hand, draws on the spirit of Zen to elevate the realm of its inner beauty. The height of poetry lies in the height of its realm. The realm is achieved through beauty, and thought is precisely a kind of grand beauty. 4 q0 \/ \+ R) S* _( t. ^
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我们看到那些平庸的诗歌，它们不是完全失败在语言和形式上，而是失败在思想的平庸上，失败在“头上安头”的重复上。说到底，是失败在做人的失败上。古人其实早就懂得了这个道理，所以告诫我们“功夫在诗外”。诗人若没有过“读万卷书，行万里路”的漫长阅历，没有过苦难艰辛的重重磨砺，没有敢于“呵佛骂祖”的批判权威的勇气，是断不可能写出引发人们心灵震撼的作品来的。所谓的“国家不幸诗家幸”和“置于死地而后生”，其义大概在此。When % A( ~9 \3 G8 D
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we review those mediocre poems, their failure doesn't lie entirely in language and form. Instead, it is the mediocrity of thought and the redundant "superfluous addition" that lead to their downfall. Ultimately, it is a failure in being a person. The ancients actually understood this truth long ago, which is why they warned us that "the real skills for writing poetry exist beyond poetry itself." If a poet lacks the extensive experience of "reading extensively and travelling far and wide",the numerous trials and hardships, and the courage to "criticize the Buddha and curse the patriarchs" (challenge authority), it is impossible to create works that can make readers deeply shocked. The old saying ,"when the country suffers, poets thrive" and "only when pushed to the brink of death ，can one be reborn" ,probably convey a similar meaning. : ]9 j" o4 w2 c6 _, r L- l% O; T( K5 r4 Z
所以，一个诗人，其思想的高度就决定了其诗歌境界的高度，也就是决定了其诗歌的高度。要想取得诗歌上的独立成功，首先就要取得思想上的独立成功。说到底，是取得做人的成功。一个平庸的人，不可能成为一个真正的诗人，更不可能成为一个成功的诗人。这与他写诗不写诗，写了多少诗，以及在俗世的声名，都基本没有关系。 ; V4 j8 Q2 j @4 w# d" G4 R& _) U$ m 1 c4 d5 N& j7 u: STherefore, for a poet, the height of his or her thought determines the height of the realm of his or her poem, which in turn determines the height of the poetry itself. To achieve independent success in poetry, one must first achieve independent success in thought. Ultimately, it comes down to achieving success as being a person. An ordinary person can't become a true poet, let alone a successful one. This has little to do with whether he writes poem, how many poem he writes, and his reputation in this mundane world. (translated by Moon,in Shenzhen,2025.11.2,15:00pm)0 w l& C0 O7 d& ?/ Z e
: `" ^6 m2 i! G* y. [8 v0 i- end -作者: 林荣 时间: 2025-11-3 10:19
读汪岚诗8首 5 r' Z: p" U2 } K- }7 p' L * n* s6 K, n/ J1 W; E. P ; X1 C- k$ N. B7 @+ O, t
住在朴舍- F) J( n2 g$ J7 c+ z
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兜兜转转到朴舍的时候+ ?; @. M' i8 K6 S
时间缓得异乎寻常 + T; ~' p: G# G) g$ [) S我不知道这是不是幻觉 + J4 Q D3 f: y/ \7 r+ d# C. }% [6 I ! x( A6 c% p+ D- ?朴舍的女人5 U9 C. E1 @" x: c
翘起的嘴角很慢很慢地收拢: s; V3 n/ S2 {1 L" d& f1 H
她花一天的时间 1 O4 I7 f7 i: w; U4 q9 a* O收捡十平方米的屋前小院 / P* r( m: V( X 1 `8 {! A' ]2 k+ \
鱼在缸里游，云在鱼边飘 - p# s* k" B% x" u& V9 J" U窗台上的花在我走神的罅隙4 w2 T" _6 f6 a8 ^: z4 F5 }
开了一朵又凋谢了一朵% J$ G6 g; f! w& W4 I" r
似乎在回放躲不过的结局 3 o3 w9 Y) B2 {9 L ( f3 P2 {% i- P" Q9 J( }离开时她依然在种花7 w& z. |! y1 p. g9 n8 W7 k/ `
我随身带走了一段时间7 ^$ }- ^" @* ?1 W2 t/ H7 \
还有一粒种子' O" l: G% [, J" L2 Y7 ?# @
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林荣读诗笔记：一首很富有艺术感染力的诗作，看似平实的语言隐含着诸多耐人咀嚼品咂的东西，令我从中享受着文字之魅、语言之美。“翘起的嘴角很慢很慢地收拢”，“云在鱼边飘”，这样的诗句读来令人心生美好的联想，也让我想起了朱光潜关于诗的一段话：1 o* v' l# h6 y4 F3 d3 T2 L9 z
9 N7 O! u: v# c/ F* D; T9 E a4 b' D“诗是一种对于生活的体验与玩索。无情趣（这就无异于说无生活）不能有诗，有情绪者却也不一定就有诗。许多人自以为有‘诗意’，只欠一副表现的本领。其实那‘诗意’还是一种幻觉，至多也只是一种依稀隐约的萌芽。要它真正成为诗，必定要经过意匠经营使它明朗化。这明朗化就是具体的情趣见于具体的意象。”我对先生这段话颇有认同感，觉得诗人汪岚的诗作正合乎朱先生对于诗和诗写的见解。 * ^# R- s* ^$ h) i# Z% p : R* Y5 g4 X0 t4 d5 @/ j
这首诗并不难懂，其思想性却有着很强的现实意义。能够慢下来，走走神，静看花开花落，在当下这样一个快节奏的时代似乎已成奢侈。诗人汪岚是幸运的，因为她能以一颗静安之心享受这样一段“住在朴舍”的慢生活。! F( W, n8 A3 d% ?, A
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其实，深层意义上的慢生活并不是逃避，而是一种淡泊处世的心态，是对贪欲和诱惑的有效拒绝，少欲知足是多少现代人所缺少的，而贪欲，又正是滋生烦恼的根源。愿这人间，更多一些像朴舍女人一样的人，常常用好心情种花，一所仅仅“十平方米的屋前小院”就足以让嘴角翘起。朴舍的女人欢喜，自在，她的日子缓慢、充实，简单而富有。静心想想，从某种意义上说，朴舍女人的生活不就是一种禅意生活么？ % ?% a1 D) ~, d- ~7 C# t/ Q% K; @ ' L0 A% l- U$ s, \7 t
诗人说从这里带走了“一粒种子”，这是一粒少欲知足的种子，一颗“采菊东篱下”的种子。祈愿这颗种子在诗人和更多人的心中生根发芽，随顺着自然本性活下去。2 J' U2 u H3 |" q( c. w5 p# R( B
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愿我们每个人能于此时、此地，身心灵合一。 7 i$ Z2 _+ A( U8 Y ' R- U4 t0 d0 U% F
0 C$ K& F7 n# E4 B' W+ D4 l / s' v7 ^% D$ q神的孩子都住在草丛下面. K5 y+ F/ X1 T6 Y$ _- \' ]$ W) N# p
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起风了，所有的草倒向一个方向 * \) Q1 t5 R3 V. Y一棵胖胖的草有点惊慌失措 / S7 s9 S. u' c8 T1 O; E5 L一只蚂蚁从它身上吹起来 $ L$ U2 u7 R7 M+ w1 D! w一棵瘦草惊叫着想接住% ?7 g7 S; Q- d3 n) K
蚂蚁打了几个滚掉下来 3 O/ U6 m/ a+ |/ c3 H它开始慢慢向前走 # g' L6 D( c+ V/ X2 o$ B# h遇到自己的伙伴碰碰头. ^8 ~+ E5 Y: E! y& M( x% f
有的一起向前走 4 |2 ~1 }" o; v% ^/ ]6 j有的分开" _" _6 u( p$ T- p7 f
风向另一个方向吹 ! X8 U7 T1 F" @6 N% c+ V4 Q% m I _9 f所有的草又倒向另一个方向 / c! S- R }; H9 ]小蚂蚁继续慢慢向前走, g( `* w7 W2 Q% U6 E" [- p4 T
神的孩子，都住在草丛下面; C. S' ]" o) T$ \: J, p
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