诗人非马(William Marr)的英文诗集《Autumn Window》赏析

[博弈]

诗人非马(William Marr)的英文诗集《Autumn Window》赏析


本论坛有两位大诗人, 非马与洛夫(以注音符号或拼音序)先生.我常觉得一个社会的伟大与否在于她能不能出现具有深刻思想的诗人（有人说诗人都该是自己的哲学家，我觉得不须那么僵硬，有深刻思想的不一定要弄到严谨无笑的哲学去，但非马诗人的诗，我发觉以哲学的角度去看，也受益良多）。我本身是学理工科学的，年轻时一头栽进科学的崇拜，看看现在，什么都是科学，人文科学，社会科学，哲学科学，艺术科学，政治科学，经济科学等等，难怪有哲学家要说除了科学没有第一哲学。科学可能的危害，逐渐是我心里的隐忧，题外话。诗使人类心灵 寻回自我，借着所有诗人的眼睛。

非马先生经常上网与诗友交流， 这和他同辈的的诗人比起来，特别随和, 大概在美国住久了有关,人相互直称名字,而不加头衔. 亚洲还是喜欢加头衔. 后生的爱诗者其实是非常珍惜这样的交流的,诗人不是那么高不可攀,无法触摸的. 网络互动是与过去时代一个很大的不同.如同一位这里的朋友私下跟我说,他放着现成的大诗人不研究,到处求索,笨啊.

一个月前取得非马先生的英文诗集Autumn Window,本想一个月内写一点读后感,越读越多,不是那么容易, 到后来读至“IV DIALOGUE” , 竟至可惊疑出汗的地步，先生的诗，越读越深. 所以改变策略,把这本诗集分次阅读,分次贴上感想,也希望有兴趣的人,一起来读读与 交流.更希望能从这过程中，向非马先生挖出更多的宝贝；哈哈。有疑问或读不懂的地方，也请先生指点。英文诗集用中文来赏析，合适吗？合适合适；解说的，后设的，最好用另一种语言，免得陷入语言循环解释的谬误，这可是语言哲学家说的（用英文也是可以的，诗的表意不受语言哲学束缚，因为这里使用中文的人多，这样好交流）。闲话表过，这里我想谈我看到非马诗的 1）诗的呼吸与诗的笔画；2）走向意象的另一种可 能性；3）形式与内容的贯穿两种语言别。 《Autumn Window》内的诗自是超越上述所可援用，而理论也不见得套得上；当理论不能解释，这才是有趣的地方，才能看到创新。这就是某些评家带了学派的脑筋来看诗时 转不过来，或在某些评见上相去甚远，（比如古添洪说的形式上千篇一律），但多重读法对诗是好的，笼统归纳以偏概全就无助益。我主要来探讨因读非马先生诗而产生的问题思考，亦尽量用一些我的观点，表 示我赏读的角度，与大家交流，也希望诗人非马先生随时指导。

大概一个星期发一个主帖；中间欢迎随时加入讨论。http://home.comcast.net/~wmarr9/autumn.htm 含有部分诗选，这篇文章以书版本内的诗为范围。
_________________
（在不斷的審醜裡終將建立起新的審美）

[hepingdao]

我非常喜欢网络,一方面因为它是一个平等和开放的学习和交流的平台, 另一方面, 因为我自己是一个诗歌的爱好者, 作为一个后进者, 自然非常希望能和其它成名或非成名的诗人和诗歌爱好者一起, 在平等的前提下, 以文会友, 共同切磋, 讨论和学习, 以达到相互促进和共同提高的目的.

非马先生是我所知道的唯一一位诗歌届前辈, 能在网络这个平台, 以平等的姿态, 和众多诗歌爱好者一起交流, 讨论, 给予适当的指点. 能做到这一点的人不多, 虚怀若谷, 说起来容易, 做起来极其困难. 文人大多相轻, 而能像非马先生这样, 放下身段, 与晚辈打成一片的, 独此一人.

独此一举, 便令我肃然起敬!

请诗友们多多参与讨论!
_________________
为网友服务: 端茶倒水勤打扫!

[非马]

非常感谢博弈花时间精力研读我的英文诗集并写出中文评论。几乎所有的的中文评论者都是根据我的中文诗，而根据我的英文诗写出的评论又都用英文。难得碰到这样一位精通中英文的评论者。

多年前我曾应邀到大陆访问，接待我并陪伴我去各地同核能界交流的是一位年轻人。他说我是他接待过的最不摆架子的归国学人。我笑说那是因为我没架子可摆呀！说实在的，我颇不喜欢那些自以为高高在上，或虚张声势的人，所以尽量不去做那样的人，并非曲意放下身段。希望博弈放心批评，也希望诗友们多提意见。

也问和平岛好！
_________________
欢迎访问<非马艺术世界>
http://feima.yidian.org/bmz.htm

[博弈]

我喜欢这本诗集，自中也学到许多东西，评论谈不上，但分享读感。
我也希望有更多的诗人来美,加后，写出当地语文的诗集。
现在来贴第一篇。
_________________
（在不斷的審醜裡終將建立起新的審美）

[南闽老茂]

先来阅读！问好楼主！
_________________
[新浪博客]http://blog.sina.com.cn/nmlm

[Lake]

谢谢分享读后感。
_________________
the trouble with poetry is that it encourages the writing of more poetry -- Billy Collins

[博弈]

<1> 詩的呼吸与诗的笔画


<1.1> 非马诗式之呼吸

一个形式的成熟,是经过许多人许多代的重复与努力。非马诗的形式一路走来，看来简明却又与众不同。非马诗式已成非马诗中的一个最明显的结构母题（ｍｏｔｉｆ）。中国律绝，日本俳句，英式十四行韵文诗（莎士比亚的对十四行诗的改良）也都是不断淬炼而得。一些形式主义的死忠者，或许认为除了形式没有内容，除了形上没有意义。我想，不需要 那么极端。如同律绝是古人的诗呼吸，新诗是今人的呼吸，非马先生的诗呼吸是自由的，不受音节数或韵的牵制，但自由里又有他的律动，这个律动有时长（一个完 整的句子），有时短（一个片语形式的组成），有时只是一点声音（单音节字），有时又有解构的分行(拆句拆片语)，而这所有的全部，就像一片片鳞片构成一只灵动的鱼；而一 篇篇短诗，在诗集里合起来构成一池活水。试看一例；

At the Clock Shop

Oblivious of time
the clocks on the wall
just keep ticking
busily going
their own
ways

6-5-4-5-2-1的音节数，6-5-4渐少，5-2-1渐少，就如同一个递减波，而不是单调的直线递减。而busily 的多音节，回应因为墙上有许多钟。

“Bird Cage”是一个短的诗呼吸；“Dialogue” 一诗的长短是另一个极，十音节左右长的问句，接着单字, 粗体大写，对比交接着。

厚重一点就有“Picasso Died This Morning”,”Vietnam War Memorial”.
http://home.comcast.net/~wmarr9/autumn.htm#PicassoDiedthisMorning
http://home.comcast.net/~wmarr9/autumn.htm#VietnamWarMemorial

这本书里没有韵的绑脚，对于韵，写新诗现代诗的人多半认为那是一个不自由的象征，自 Blank Verse 的去韵，到后来的 Open Forms，都是一种自由‘解放’的过程与象征吧。

这里只先举在节奏上的运用，诗内的意义留在下文再看。<1.1> 这样采用，为了方便以后援用例子时指引。


<1.2> 非马诗式之笔画

非马先生也画画。如绘画一笔一笔画出来，每一行诗句就像是一触画笔，一个形象，一叶花瓣。花瓣几乎就是‘诗人的片语’，这‘诗人的片语’含有不同的词性，文法，对照等 等，形成一朵花。读某些诗，过程中几乎可以感受到画面就在眼前，心里产生了图像。诗集里一朵朵花构成一座花园。例如，在“Bosnian Winter”这首诗 (原诗是收录于关于战争与和平之内 On War and Peace），每一行就像是一画（局部），到结束时，整个画面呈现，而这画面是在心里的。然后，这画面不止于写实画面了,把它放在战争与和平的时空下,那就到了严肃深沉的诗后意旨了。这首诗的写作原因我并不知道,但已感受到力量的强大,而诗中的a blackened limb, 竟让我将人的肢干与树的枝干作了联想, 又是什么使它烧黑或熏黑的呢?.

Bosnian Winter


Shielding an old man
from the streaming bullets
the dying tree
watches with pity
the dying man
chop down
a blackened limb
and drag it
into another ash cold
night

做个比喻，借哲学家Wittgenstein的 picture theory of language 为类比，每一行都是诗人的一个原子基本图像。(Wittgenstein 的论说著作在本文里以类比的方式来看待，而非以之检验。语言哲学在厘清语义，但在语义之外的，比如诗意，艺术，神秘等是不在分析的范围内的。) 之所以这么联想, 因我发觉非马先生的诗文，或许因为科学训练的影响，精简到有语言原子化的现象，我的意思是说，诗人基本构成的，分行的‘行句’为原子语句，这些原子语句构成诗人写这一诗的基本单位或元素。我若用论说 Tractatus Logico-Philosophicus 里的命题逻辑分析来看诗是不对的，但把它当一个工具如梯子, 以类比的模式来比喻，可发掘一些有趣的现象，比如产生意象的另一种解说的可能性（后面再叙述）. 换个场景,看” 枯藤老樹昏鴉，小橋流水人家，古道西風瘦馬。夕陽西下，斷腸人在天涯。”这首古诗,名词有指涉,行行有画面, 亦是原子语句构成.两相比较, Bosnian Winter 意象力量较集中, 《天淨沙‧秋思》就松了一点,名词多了些,画面分散(鸡蛋里硬挑骨头，个见咯). 从 Bosnian Winter 的意境里, 也可看出非马是一个兼带中国文化眼睛的诗人，虽在海外定居.

这诗笔画的感觉, 再例如在 ＂Ａ Ｆｌｏｗｅｒ Ｄｒｏｐｐｉｎｇ Ｉｔｓ Ｐｅｔａｌｓ＂ 诗里的分行就很有意思，前三行有三片不同的’词性’，‘音节’，中间四行头韵，再接上第三 段只有一句＂ｔｏｔｈｅ ｌａｓｔ ｐｅｔａｌ＂，除了隐喻了二段的片语为一片片的ｐｅｔａｌ(把不同的词性命名后再对等)，这一行另也可看做是两段都可用的接句（count即物不及物都可）。另外，我个人的看法，这分行切开的一行行 ‘free form 诗文法隐喻’ 亦切合诗题ｄｒｏｐｐｉｎｇ，整首语言透明但亦是紧紧相扣，文字到达‘一个也不能少’的精简。这诗也有几个读的角度(或是三个场景可以适用),一是有你我花,我看着你数着花瓣,最直觉的读法; 一是花看着持花的人一瓣一瓣数落着它的花瓣, 一是我看着花独自一片一片落下花瓣仿佛听见它的数声;直到最后一片. 花是一个实体, 或一个 conceptual flower that can be repeated in the 2nd and 3rd case, therefore, there is no conflict in words 'never' and 'last' in the poem.

Ａ　Ｆｌｏｗｅｒ　Ｄｒｏｐｐｉｎｇ　Ｉｔｓ　Ｐｅｔａｌｓ

ｎｅｖｅｒ
ｃａｎ　Ｉ　ｌｉｓｔｅｎ　ｃａｌｍｌｙ
ｔｏ　ｙｏｕ　ｃｏｕｎｔｉｎｇ

ｆｏｒｇｅｔ　ｍｅ
ｆｏｒｇｅｔ　ｍｅ　ｎｏｔ
ｆｏｒｇｅｔ　ｍｅ
ｆｏｒｇｅｔ　ｍｅ　ｎｏｔ。。。

ｔｏ　ｔｈｅ　ｌａｓｔ　ｐｅｔａｌ

诗笔画再例；

Autumn Window


Now that she is middle-aged, my wife
likes to stand before the window
and comb her hair
Her only makeup a trace of cloud
the landscape of a graceful
poised maturity


<1.3> 符号象

诗意借文字的极致追求除了

ａ）字里行间，言外意旨，喻式，意象等等, 这些与诗语言直接关联的内涵外延的演申
之外， 还有

ｂ）总和的符号象（不局限于文字排列图像， 含文法象，喻象）。
举一例，在 “Portrait” 诗的第一段

They kept enlarging his image
until its every pore
became a great
hollow

说的是 enlarging 但整段由大渐缩至小的分行长度，1，3行的enlarge, great 的语义对应, 2,4 行的pore, hollow 声音对应(非严密押韵)；由 enlarging 到 hollow, 诗的内容亦配合整个符号象。在符号象的使用上，非马似乎偏爱意象的对称中有形式上的不对称（联想起这一届的物理诺贝尔奖就是颁给不对称原理），对称为美，整齐为美，数大为美，这在中国的古时的审美，在非马的诗里，反其道而行。比如 “Autumn Leaves”的’.’号. (见下)。

对称是美，对称中的不对称是活（动了起来），完全无规律则较难以审美。这在人事，科学的观察亦是如此。上面的<1.1>也得同样的观察, 连续中的递减波动.


<1.4> 对文字符号的‘吝啬’；整本诗集几乎达到没有标点符号。

一般比较简白的文字，语言密度易小，用的字词就易多，多了就要分行加上运用标点符号。整本诗集几乎达到没有标点符号，有标点符号的大概不超过五首，出现的 时候，都有它的功能，比如“Autumn Leaves” 象征落下的动作。这样保持书面的干净，除了是觉得书面清爽外，也似对读诗的人说：不浪费你的时间，每一个字带给你每一个字的诗功能。非马诗式从某个角度来说，已经有效解构了文法上的段落习惯而又未落入一般句读不明的古老毛病，或句意模糊的分行毛病。 读者在读的时候自然进入结合的心理过程（文绉绉一点来说，重构），形成一个阅读的过程。

有所谓一画胜千言万语。非马对于诗文排列想必也有画的直觉与暗藏随诗伴生。这些呈现了文字所未说出的视觉，心象。 比如 ＂ＡｕｔｕｍｎＬｅａｖｅｓ＂，＂ＢｉｒｄＣａｇｅ＂，＂Ｄａｎｄｅｌｉｏｎ＂，＂Ｍｏｕｎｔａｉｎ＂, “Ｎｅｃｋｔｉｅ＂等。也就是说，这样的诗文挂在墙上，读完文字后离开，再看她们，或先看到图像的感觉，再趋近细辨文字，都可以得到另一个诗意的体 会，加深。另如＂SHARING AN UMBRELLA＂，伞尖与足尖之间藏匿的爱，读完后心里有一幅图像，语言形成的心理图象，而非视觉形似的。 Ｔｉｐｔｏｅ除了有俏皮的感觉，它的声音是轻快温暖的（唇齿音加喉音）。

<1.5> 一些例子

　　Chicago Winter

　　 even steel trembles
　　　　so do teeth
red lights burn in turns
　　　at each icy corner
　　　　the eyes don't
　　　　　warm
　　　　　　　　　　　　＜──人
　　　　on two feet
　　　with two hands
　　 pulling down a hat
　 and tightening the scalp
　　you greet the wind

诗形成一个沙漏的形状，人站在漏口，仿佛风集中吹来，自身边过，再散开地吹走。这种冷也让我想起住在纽约的那段时间，在曼哈顿的街口，仿佛所有的风都集中后往我身上挤着吹，相信在寒带都市居住过的人会有类似的感觉，都市的路口不就是风的沙漏么？

Ａｕｔｕｍｎ　Ｌｅａｖｅｓ

Ｅｖｅｒｙ　ｌｅａｆ
ｈｅｌｐｓ
ｔｈｉｃｋｅｎ
ｔｈｅ　ｃａｒｐｅｔ
＆
ｓｏｆｔｅｎ　〈――ｓｔａｒｔ　ｔｈｅ　ｆａｌｌｉｎｇ　ｍｏｔｉｏｎ　ａｎｄ
.
．
．
ｔｈｅ　
．　　　　〈――３　ｄｏｔｓ　ｂｅｃｏｍｅ　２，　ｖｉｓｕａｌ　ｔｈｉｃｋｅｒ　ｅｆｆｅｃｔ
．
ｆａｌｌ

这里为什么不是3点接着3点？我认为是‘蓄意’，我把他归为<1.3> b 的“意象的对称中有形式上的不对称”的运用。这个原则在其他的诗里以其他的形式也出现。


Bird Cage


open
the
cage

let the bird fly　　　《―――若直排为笼，这里则突出鸟笼

away

and
give
the cage
back
its
freedom




Dandelion


The horizon is so far away
that the dandelion makes its roaming
dream
a relay event

from
　　generation
　　　　　　to
　　　　　　　generation　　　　　〈―――ｒｅｌａｙ




MOUNTAIN


It's still there
for me to
climb

Looming from my childhood　　＜―ｆａｔｈｅｒ＇ｓ　ｂａｃｋ　ａｓ　ｍｏｕｎｔｉａｉｎ
my father's
back




　　　　Necktie　　　 ＜―neck with a tie that is symmetric below

　　　Before the mirror
　 he carefully makes himself
　　　　a tight knot
　　　 to let the hand
　　　 of civilization
　　　　 drag him
　　　　 　 on




SHARING AN UMBRELLA　＜―umbrella and toe with semantic hint of tip points

Sharing an umbrella
I suddenly realize the difference between us

Yet bending over to kiss you
give me such joy
as you try to meet me halfway
on tiptoe



这些诗文的安排是含蓄的；不似后现代大胆无遮的图像诗，敢爱敢恨，其容易在’ａ’的比重上缺乏，在‘<1.3> b‘的文字排列图像比重过重而导致阅读习惯的改变（比如陈黎的图象诗）。我总觉得既然是诗，语言文字为主，图象为选择性的（optional），辅的，不宜颠倒，否则就偏艺术图像作品而非诗品了；其搭配应视诗事而选择。


〈1.6〉　重叠应用

学过力学的人大概都知道　superimposition，横梁上的受力可以分解为不同的力的因素来作工程分析，但所有的力重叠合成，造成对梁的影响。若把上述三项分解开的因素，来解读非马的诗，这些力在诗里重叠合成，施回给读诗的人，影响留在你的心里。读诗后，你就不必记得这些各自的影响力了。

这是就 诗集中我目前所看到的非马诗式 而言。
_________________
（在不斷的審醜裡終將建立起新的審美）

[博弈]

[赵福治]

非马先生经常上网与诗友交流， 这和他同辈的的诗人比起来，特别随和,.....学习。

[非马]

我喜读评论自己作品的文章，原因之一是能够让自己站在不同甚至陌生的角度，来客观地看待自己熟悉至极的作品。经由评者的分析，有时会惊喜地发现，一些未经预设规划，却暗合某种理论的形式结构，以及弦外之音的深层意义。我常说，一首诗必须经过作者、读者与评者的共同努力，才得以真正完成。谢谢博弈对拙作所做的努力。
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欢迎访问<非马艺术世界>
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[博弈]

"What is the figure? What is the figure?" -- Shakespeare
"The figure a poem makes. It begins in delight and ends in wisdom. The figure is the same as for love." --Robert Frost

Though this is often used as a casual way to joke about the figure a poem makes. But I see the 'figure'.

Attached is an article Robert wrote, could be worthwhile reading;

The Figure a Poem Makes by Robert Frost

Abstraction is an old story with the philosophers, but it has been like a new toy in the hands of the artists of our day. Why can't we have any one quality of poetry we choose by itself? We can have in thought. Then it will go hard if we can't in practice. Our lives for it.

Granted no one but a humanist much cares how sound a poem is if it is only a sound. The sound is the gold in the ore. Then we will have the sound out alone and dispense with the inessential. We do till we make the discovery that the object in writing poetry is to make all poems sound as different as possible from each other, and the resources for that of vowels, consonants, punctuation, syntax, words, sentences, metre are not enough. We need the help of context- meaning-subject matter. That is the greatest help towards variety. All that can be done with words is soon told. So also with metres-particularly in our language where there are virtually but two, strict iambic and loose iambic. The ancients with many were still poor if they depended on metres for all tune. It is painful to watch our sprung-rhythmists straining at the point of omitting one short from a foot for relief from monotony. The possibilities for tune from the dramatic tones of meaning struck across the rigidity of a limited metre are endless. And we are back in poetry as merely one more art of having something to say, sound or unsound. Probably better if sound, because deeper and from wider experience.

Then there is this wildness whereof it is spoken. Granted again that it has an equal claim with sound to being a poem's better half. If it is a wild tune, it is a Poem. Our problem then is, as modern abstractionists, to have the wildness pure; to be wild with nothing to be wild about. We bring up as aberrationists, giving way to undirected associations and kicking ourselves from one chance suggestion to another in all directions as of a hot afternoon in the life of a grasshopper. Theme alone can steady us down. just as the first mystery was how a poem could have a tune in such a straightness as metre, so the second mystery is how a poem can have wildness and at the same time a subject that shall be fulfilled.

It should be of the pleasure of a poem itself to tell how it can. The figure a poem makes. It begins in delight and ends in wisdom. The figure is the same as for love. No one can really hold that the ecstasy should be static and stand still in one place. It begins in delight, it inclines to the impulse, it assumes direction with the first line laid down, it runs a course of lucky events, and ends in a clarification of life-not necessarily a great clarification, such as sects and cults are founded on, but in a momentary stay against confusion. It has denouement. It has an outcome that though unforeseen was predestined from the first image of the original mood-and indeed from the very mood. It is but a trick poem and no poem at all if the best of it was thought of first and saved for the last. It finds its own name as it goes and discovers the best waiting for it in some final phrase at once wise and sad-the happy-sad blend of the drinking song.

No tears in the writer, no tears in the reader. No surprise for the writer, no surprise for the reader. For me the initial delight is in the surprise of remembering something I didn't know I knew. I am in a place, in a situation, as if I had materialized from cloud or risen out of the ground. There is a glad recognition of the long lost and the rest follows. Step by step the wonder of unex pected supply keeps growing. The impressions most useful to my purpose seem always those I was unaware of and so made no note of at the time when taken, and the conclusion is come to that like giants we are always hurling experience ahead of us to pave the future with against the day when we may Want to strike a line of purpose across it for somewhere. The line will have the more charm for not being mechanically straight. We enjoy the straight crookedness of a good walking stick. Modern instruments of precision are being used to make things crooked as if by eye and hand in the old days.

I tell how there may be a better wildness of logic than of inconsequence. But the logic is backward, in retrospect, after the act. It must be more felt than seen ahead like prophecy. It must be a revelation, or a series of revelations, as much for the poet as for the reader. For it to be that there must have been the greatest freedom of the material to move about in it and to establish relations in it regardless of time and space, previous relation, and everything but affinity. We prate of freedom. We call our schools free because we are not free to stay away from them till we are sixteen years of age. I have given up my democratic prejudices and now willingly set the lower classes free to be completely taken care of by the upper classes. Political freedom is nothing to me. I bestow it right and left. All I would keep for myself is the freedom of my material-the condition of body and mind now and then to summons aptly from the vast chaos of all I have lived through.

Scholars and artists thrown together are often annoyed at the puzzle of where they differ. Both work from knowledge; but I suspect t ey differ most importantly in the way their knowledge is come by. Scholars get theirs with conscientious thoroughness along projected lines of logic; poets theirs cavalierly and as it happens in and out of books. They stick to nothing deliberately, but let what will stick to them like burrs where they walk in the fields. No acquirement is on assignment, or even self-assignment. Knowledge of the second kind is much more available in the wild free ways of wit and art. A schoolboy may be defined as one who can tell you what he knows in the order in which he learned it. The artist must value himself as he snatches a thing from some previous order in time and space into a new order with not so much as a ligature clinging to it of the old place where it was organic. More than once I should have lost my soul to radicalism if it had been the originality it was mistaken for by its young converts. Originality and initiative are what I ask for my country. For myself the originality need be no more than the freshness of a poem run in the way I have described: from delight to wisdom. The figure is the same as for love. Like a piece of ice on a hot stove the poem must ride on its own melting. A poem may be worked over once it is in being, but may not be worried into being. Its most precious quality will remain its having run itself and carried away the poet with it. Read it a hundred times: it will forever keep its freshness as a petal keeps its fragrance. It can never lose its sense of a meaning that once unfolded by surprise as it went.
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（在不斷的審醜裡終將建立起新的審美）

[nobody]

好贴。可谓是诗与评交相辉映。读来过瘾，学到很多。

先不说诗，写诗的出身理工的不少，达到非马老师造诣的不多。威斯康辛的工程博士，不是混的。现在排名大概至少前15吧。我在麦迪逊1年半，冬天不提，夏天极美。memorial union 百走不厌。也有几次想到，非马老师在这里钓过鱼哩 （他提起过）

说到诗，个人浅见，最大特点是“简单而深刻”。
手法上，跟很多人的“散手”形成鲜明对比，即，异常集中。每次就make one point （当然这个point本身可能会引发多重思考），完了扭头就走。 上面博弈引的bird cage就很有代表性。
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I'm nobody! Who are you?

[白水]

哈，周末的感觉真好，可以静下心来读点自己喜欢的东西了。博士，谢谢分享， 辛苦了。

[上城]

消化不容易。非常好，得认真读几回。期待博弈先生更多的point
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每个诗人都很重要

[博弈]

转打一些文字, 这是台湾的九歌文库出版的《新诗三百首》中对非马诗人的简单鉴评语：

“他的诗惯以平实的语言，浓缩的短句和富于张力的意象，十分机智地表现对现实社会的关切和批判。作者对人性的观察以及富有同情心，不时在诗作中不露痕迹的呈示，给与读者留下颇为深刻的印象。“

诗人北岛，芒克，舒婷，梁小斌，海子，顾城等也在选集内。在这本选集内（上下两册），诗人非马编排在‘海外诗人’部。这个评语提供大家作参考，虽是根据过去（1995之前）中文的作品而言的。‘95之后，两岸，海外的汉语诗人都起了很大的变化，尤其在网络诗人这一部分，等待以后怎么看吧。
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（在不斷的審醜裡終將建立起新的審美）

[上城]

[冰花]

博弈老师读得细致,评的认真, 读后受益匪浅! 许多观点深有共鸣和同感! 这样的学术态度让人感动, 更令人钦佩!

读到这篇好文, 就快注册进来留个言~~~

致敬!

问好!

冰花
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http://blog.sina.com.cn/binghuablog

[杯中冲浪]

博弈兄文字自如，评说真诚，不矫饰、不玄虚，不媚，朴拙如己。非马先生的确如文字所言，睿智而拙真，能让人亲近的人。
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杯中冲浪.披履而行
http://blog.sina.com.cn/shoutao006

[William Zhou周道模]

先占位子。先生的英语诗正在研读中，读完我再来说点体会。
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诗歌是灵魂的歌唱.
周道模

[Lake]

诗如其人，非马先生的诗如其本人，是清癯的， no fat, but bare bones.

有人说，诗如同装在漂流瓶中的信，我欣赏博弈以他独特的方法来译解。
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the trouble with poetry is that it encourages the writing of more poetry -- Billy Collins