北塔:我与印度文学的因缘—在中印双边诗歌交流会上的致辞-IOTA

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北塔:我与印度文学的因缘—在中印双边诗歌交流会上的致辞

阅读量：3732270 2019-10-24

编者按：2019年10月7日，印度新德里迎来了史上最大的中国诗歌访问团，著名诗人、翻译家、评论家北塔先生率领31人的中国诗歌代表团，如期抵达印度文学院，中印双方诗人、作家、评论家、语言学家以及学者50多人开展诗歌交流活动。交流会上，北塔先生首先代表中国诗歌代表员用英语向交流会致辞，致辞的题目是《我与印度文学的因缘》。

北塔致辞
我与印度文学的因缘
——在中印双边诗歌交流会上的致辞
北塔

我最早接触印度文学，不知道那是印度文学。
由于中印两国之间的文学文化交流特别悠久密切，很多印度文学中的故事和形象早就融入到了中国文学甚至口头文学之中。
比如，在中国有一个很有名的关于宝船的民间童话故事：贫家小孩王小偶得宝船，以此常常救助弱者，后被奸险小人骗走宝船，再后来又在朋友的帮助下重新夺回宝船。现代著名作家老舍先生于1961年把这个故事改编为童话剧，成为中国儿童剧的经典作品。
小时候，我以为这就是一个中国的故事。后来，我涉猎老舍研究领域，才知道，《宝船》故事原型来自于佛经《经律异相》卷十一《现为大理家身济鳖及蛇狐》。再后来，我读印度最古老的典籍《五卷书》，才了解到这个故事的基本情节最初来自《五卷书》第一卷第九个故事《老虎、猴子、蛇和人》。
瞧，这个印度故事几乎成了中国故事，印度故事已经隐藏于中国叙述，让普通读者不知道它还是印度故事。这样的例子其实还有很多。我母亲就跟我讲过不少这样的故事。她虽然不识字，但她是个准佛教徒，脑子里装了许多具有强烈道德寓意的佛教故事。而她给我讲的时候我可没想到那些是印度的故事；因为连佛教都已经成了中国的宗教。
到了中学时代，我开始大量阅读课外书（不是老师引导的，而是自找的），从图书馆里借来读到泰戈尔的一本本薄薄的、小小的诗集，爱不释手，在简陋的笔记本上抄下了许多许多精美隽永的诗行。从此，我没有离开过泰戈尔的诗集，哪怕在不断的流徙和搬迁的过程中，我也始终把它们放在我身边，时不时拿出来翻阅。尤其在我遭受挫折、痛苦绝望的时候，更是从泰戈尔的诗歌中汲取到拯救的力量和安慰的源泉。正如叶芝所感慨的：“每天读一句泰戈尔的诗，让我忘记人世间所有的苦痛。”
泰戈尔的诗歌几乎贯穿我的整个青春。后来，在我即将告别青春的年龄，我觉得我实在亏欠泰戈尔太多，我得有所偿还。2004年，中国历史最悠久也是最有名望的出版社之一中华书局来约我翻译泰戈尔诗歌，选多少首，选哪些，完全由我自己决定。我花费了大半年时间，从泰戈尔的多部诗集中，选译了大约200多首。2005年由本人选译的《泰戈尔诗选》出版后，相当受欢迎。现在已经由河南文艺出版社以新的面目在继续出版。
我曾经在中国最高学府北京大学讲授“外国文学史专题课”，一共就20个单元，其中至少有一个讲的是印度文学。在我的诗、文中时不时会用到印度的文化资源。
2019年1月，我作为中国作家协会派遣的中国作家代表团成员，有幸受邀来印度参加2019年海得拉巴国际文学节。或许是因为我对印度文学有所了解，尤其是因为我是《泰戈尔诗选》之一，我在文学节上受到印度同行尤其是记者的“追捧”，接受了好多次采访。其中最重要的是《新印度快报》诗人记者Saima Afreen女士对我的专访。后以《中国私语》为题，发表于2月4日。
在海得拉巴国际文学节上，我惊喜地遇到神交已久的印度资深诗人Jhaveri.Dileep先生。后来，我回国后，得到他的宝贵帮助，选译了一些当代印度重要诗人的作品，在中国的一些文学报刊上，做了印度当代诗歌的专辑。此次访问结束后，我将再做一个印度诗歌专辑。
印度文学院是印度文学的最高殿堂。2017年，印度文学院组织的印度作家代表团访问中国时，曾经在北京举办了中印文学交流研讨会。主办方中国作家协会请我担任学术主持。于是，我跟印度文学院的诸位高雅而谦逊的文学名流有了亲密接触，印象极好。
我知道，早在18年前，受印度文学院的邀请，中国作家协会曾派出以著名小说家王蒙副主席为团长的中国作家代表团一行5人，于2001年12月5日至16日之间，对印度进行了为期10天的友好访问。在贵院举办了别开生面的交流会。
我们此次来访，应该说是中国有史以来第一个诗歌代表团访问印度，我们团规模之庞大，恐怕后无来者。非常感谢印度文学院院长 Srinivas Rao先生英明而慷慨地接受大诗人K. 萨奇达南丹先生的提议，热忱邀请我们，并主办如此重要的双边诗歌交流会。这将载入史册，将是我们代表团所有成员终身感到荣耀的非凡经历。
我们每个人都将感念印度，书写印度，力争在今后的岁月里，为中印两国的和平交往尤其是文学交流多做贡献。
Causes of the Relationship betweenIndian Literature and I
---Speech delivered at the bilateral communication between Chinese poetsand Indian poets
Bei Ta

When I first came into contact with Indian literature,I didn't know it was Indian literature.
Because of the long and close literary and culturalexchanges between China and India, many stories and images in Indian literaturehave long been incorporated into Chinese literature and even Chinese oralliterature.
For example, in China there is a very famous folk fairytale about “treasure boat”: the poor child Wang Xiao got the treasure boat by chance, withwhich he often helped the weak and poor. Later after being cheated by some baseperson, he lost the treasure boat. Then, with the help of friends here gained it. The modernfamous writer Lao She adapted this story into a pantomime in 1961, which becamea Chinese play classic.
When I was a child, I thought that this was a Chinese story.Later, I dabbled in the research field of Lao She (Mr. ShuYi, Lao She's onlyson is former leader in our institution) and got to know that his “Treasure boat” story was borrowedfrom “The Head of the House Saving Turtle, Snake and Fox”---the story in the 11thvolume of the Buddhist scripture “The Different Phases of Buddhist Laws”.Later,I learned that the prototype(basic plot) of the story was originated from “The Tiger, Monkey, Snake and People” ---theninth story in the first volume of “Panchatantra”, the India's oldest book.
Look, the Indian story has almost become a Chinesestory, or the Indian story has been hidden in the Chinese narrative, so thatordinary readers don't know it was originally an Indian story. There are a lotof such kind of examples. My mother told me some Indian stories in such a way. Thoughshe is illiterate, but she is almost a Buddhist with her mind loaded with a lotof Buddhist stories with strong moral allegories. And when she told me, I couldnot think that those were Indian stories because even Buddhism has become a Chinesereligion.
In high school, I began to borrow from the library and read poetry books byTagore. I was fondle of them admiringly. On the simple note books I wrote downmany many wonderful and meaningful lines of his poems. Later I bought books ofhis poetry. From then on, I have not been separated from those books, even inthe process of floating and relocation. I put them by my side, and take them toread from time to time especially when I am frustrated in despair. I, from RabindranathTagore's poems, get the strength of salvation and the source of comfort asYeats sighed: “Read a Tagore’s poem every day, I forget all the pains in the world.”
Tagore's poetry accompanied me almost throughout mywhole youth, later on when I was to say goodbye to the age of youth, I thought thatI really owed Tagore too much and I had to pay something back. In 2004, ZhonghuaBook Company--- one of China's oldest and most prestigious press came to ask meto translate Tagore’s poetry. It was totally up to mehow and how many poems to choose. I spent more than half a year, from quite afew Tagore's poetry books, selected about 200 poems. In 2005,my translation of Tagorepoems was published and is still quite popular as now it is published by Henan ProvincialCulture & Arts Publishing House in a new face.
I once taught a special course on foreign literaryhistory at Peking University, the top university in China. The course consistedof 20 modules, at least one of which was about Indian literature. In my poetryand prose, I utilized Indian literature as a source now and then.
January of 2019 saw me luckily invited to come toIndia to attend Hyderabad International Literary Festival, as a member of Chinesewriters’ delegation dispatched by Chinese Writers’Association. Maybe because I know something about Indian literature,especially because I'm one of the Chinese translators of Tagore’s poetry, during the literary festival I received warm receptionfrom Indian counterparts especially reporters and got several times of interviews.The most important was done by Saima Afreen the poet reporter from the NewIndian Express and published on February 4 with the title“Chinese Whispers”.
During Hyderabad International Literary Festival, I waspleasantly surprised to meet Mr. Jhaveri Dileep, the senior Indian poet. We twohad known each other’s name. later, when I returned home,with his precious help, I selected and translated the works of some of theimportant contemporary Indian poets and have them published in some Chineseliterary newspapers and magazines as a special column ofIndian contemporary poetry. After this visit, I will do another special column ofit.
Sahitya Akademi is the highest palace in the world of Indianliterature. In 2017, organized by SahityaAkademi, the Indian writers’ delegation visited China. Chinese Writers’Associationheld in Beijing a conference of communication between Indian writers andChinese writers. I was invited to be the academic chairman. So I got intimatecontact with elegant and modest literary celebrities from your great academyand had very good impression.
I know, as early as 18 years ago, invited by theacademy, Chinese Writers’Association sent a delegation of Chinesewriters led by the famous novelist, Mr. Wang Meng. They carried a 10-dayfriendly visit in your beloved country from December 5 to 16 in 2001 andattended a special seminar here in this academy.
It’s thefirst time in the history for a delegation of Chinese poetsto come and visit. I'm afraid that there would be no more delegation of Chinesepoets to come at such a large scale. We have 31 members.
Thank you very much, Dr. K. Sreenivasa Rao, Secretary of Sahitya Akademi, for your wise and generous acceptance of the suggestion of Prof. K. Satchidanandan, eminent poet andformer Secretary of Sahitya Akademi. Thank you very much for warmlyinviting us here and hosting such an important bilateral poetry communication,which will go down in history. Allmembers of our delegation will lifelong honorthe extraordinary experience.
Every one of my delegation will miss India withgratitude, write India with deep emotion, and in the future days, will try ourbest to do more contribution to peaceful intercourse, especially to literaryexchanges between our two greatest countries.

中印双方互赠礼品

交流会前接受印度媒体采访
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《诗人文摘》
《一首》（1）
《一首》（2）
《一首》（3）
《今日诗选》（第1辑）
《今日诗选》（第2辑）
《新诗百年》900家
2018《诗人文摘》年度诗人
2017《诗人文摘》年度诗人
2016《诗人文摘》年度诗人
2015《诗人文摘》年度诗人
2014《诗人文摘》年度诗人（上）
2014《诗人文摘》年度诗人（下）
2018《诗人文摘》最受读者欢迎诗人
2017《诗人文摘》最受读者欢迎诗人
2016《诗人文摘》最受读者欢迎诗人

《诗人文摘》，大型诗歌类网刊，成立于2005年，以报道国内外诗坛新闻、事件及诗歌评论为主。从2014年开始设立《名诗百家》《今日诗选》等栏目，获得广泛赞誉。为纪念中国新诗百年而开辟的新栏目《新诗百年》，于2016年陆续刊出活跃在当今中国诗坛的诗人作品。2017年10月设立《诗杂志》《国际诗人》栏目。2018年开辟永久性精品栏目《一首》，并已成为有影响力的国际交流栏目。
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之道，本名王金祥，笔名甲由、沃慈、夏侯琹等，《诗人文摘》主编，作品见《诗刊》《星星》《中国诗选》等诗歌刊物。作品《行李》展示于中国首列诗歌高铁，作品《雨》展示于北京地铁四号线。著有诗集《我拣到了铜》《一根漂浮的石柱》等五部，主编《长安大歌》（陕西优秀诗歌作品选）。新作有《中国村子》《北纬0.7度》《咖啡园》《甲由的鸡毛诗》等，部分作品被译为英、法、日、韩、印尼等语。参加第32届（以色列）、33届（马来西亚）、36届（捷克）、39届（印度）世界诗人大会。现居西安。
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