诗评:激情浇注下的吟颂(发《世界诗人》48期）

[宣城田斌]

[中国]盛敏

激情浇注下的吟颂

——评田斌先生的诗歌艺术创作





田斌先生赋予诗歌艺术二十余年萦绕的梦想，并且将此化为具体地投入。他对诗歌高度的、整体的追求，源于诗歌魔力和词语的发光内涵，源于在现实生活中诗人将细节具体化，将言语内层里的东西提炼出之后的快感，我们可以称之为创造性的欣悦，或者像罗兰·巴特所云是一种醉。

大学时代对文学艺术的挚爱，奠基了文学之芽的嫩丽与葱郁的希望。当然，诗歌作为一种最早的语言精炼的类别，它的囊括性和艺术性，是学诗、写诗的人始终甩不掉的绚烂的影子，是生活状态中拦阻的力量粉碎不了的挤占，更是后来创造欲望愈来愈烈的田斌先生无法躲避的情绪抢夺。他在诗中反复表述了这种卸不下来的文字之梦。从二00五年开始，作为诗人的田斌真正开始了对艺术的沉溺，就是说用昔日的储备扫描了所有应扫描的区域：无论是社会景致、记忆中的乡村活动、信息社会流通的变化场景、权力所占有下的人性分裂、江南母地的秀丽、劳动和劳动力原始和现代的变化形式、亲情的剖析和眷恋，就像朦胧诗代表诗人梁小斌先生所云田斌是江南细雨中淋湿的诗人，是以春天、草、洁白的雪喂养的灵感，来捕捉诗的因子和诗歌艺术中特别美丽明亮的一部分。这可能是比较中肯的评论，也是江南风雨整体培育的一种喷发的诗人情愫。

我与田斌的认识缘于诗歌并将因诗歌而持续。社会流变的速度是诗歌关注的对象，也是诗歌应反映的具体的分类。田斌先生在宣传部门、教育部门工作多年，面对体制转轨的年代，学者和知识分子内心世界的变化和社会资本的高度膨胀，使诗人田斌从美中醒过来，直视整个扭曲的世界：生命的脆弱性、人的脸的多层次虚拟性和物质对人的迫压，甚至所有的单数意义上的肯定均变异为可理解的多面性，这些更新的信息和形象又从田斌的笔下铺排出来，可以这么说：这是田斌先生诗歌创作的第二次变革，是诗人关注社会惯例发生逆转的新的尝试，这是时代使然，也是诗人不得不发生内心价值重估或重新摄制的再生。

所以说诗人的使命虽然在物品、技术统治时代发生了内容上的转换，但诗人边缘化角色的非确定也是诗人应该承担的社会定位。无论怎样，在我看来，诗人田斌对诗歌最重要的概念的把握始终没有发生动摇：就像他在《中国》这一首诗中所说：“一张嘴/上顶天/下抵地/不偏不移 一颗心/拥有天下美玉/纵成帝王/也走不出樊篱”，珍爱生命、热爱生活永远是诗人藏在骨血里面的生命细胞，那些庸俗细胞、资本细胞、权力细胞都会被一一排斥掉。这是诗人田斌坚持的创作方向。当然多元化的创造路线是诗人应对场景的必然趋势，把所看、所感、所接触的事件统统加以梳理，利用字词的原始冲力和意义的强大召唤，使人这个既是自己又不是自己的能动物体，变得自省和逐步理性，是诗人一次或多次提醒的单元和局部任务。

因此所有的诗人都是时代的募刻者，又是战胜字词原始内涵的操作者。我愿田斌先生在创作的文之悦中，看到中国文字的架构之下所蕴藏的浩大的资源，以及如何整合诗歌所昭示的内容，它们的尖锐性、美质、游戏的寓言效果。田斌先生已出版了3本诗集，其中积累了诗人二十年的观察和情感的陶冶，他是一步一步在诗之途中走动的人，迎面扑来的各色景象和没完没了的情节，将是他的弥足珍贵的生活素描，是诗歌采摘的中心。语言世界充满了能指的喧哗和诗人注入的意义，诗人田斌会在此中阐释一生的情感吗？据我了解，搁在诗人胸口的梦永不会飞去。






[China]Sheng Min

Poems Imbued With Enthusiasm

—A review of Mr. Tian Bin’s poetry writing



Mr. Tian Bin has a dream of poetry art for over twenty years. His seeking for poetry originated in the magic of poetry and the bright connotation of word, originated in the pleasure when the Poet has refined the inner things from words and details from real life, which can be called as “a creative joy”, or a kind of “drunkenness” as Roland Barthes once pointed.

Mr. Tian Bin began to learn to write poems since he was a college student, and this laid a foundation of a green hope of literature. Of course, as a primitive refining sort of language, poetry’s artistry and ability to generalize is a bright shadow that any poet is unable to throw off, and so is Mr. Tian Bin, so he voices this sort of mood again and again in his poems. Since 2005, Mr. Tian Bin, as a poet, really began to indulge in poetry art, in other words, he began to scan all the regions that should be scanned with his reserves in the past: Social problems, the village life in his memory, the changeable scenes of information society, the broken human nature caused by power, the beautiful hinterland of the south of the Yangtze River, labor and the primitive and modern changing forms of labor, affection and love … Mr. Liang Xiaobin, a famous poet once used words as following to appraise Poet Tian Bin and his poetry — “a poet wet by drizzles in the south of the Yangtze River”, “his inspiration in poetry writing is fed up by spring, green grass and white snow” and “he is good at capturing the factors and special bright part of poetry.” I think, Poet Liang Xiaobin’s opinion is sincere and to the point.

Due to poetry, Mr. Tian Bin and I have known each other for years. The speed of the change of society is one of the targets that poetry should concern and also the specific category that poetry should expresses. Mr. Tian Bin has long served in organs in charge of publicity and educational circles. Living in this age of changing of social tracks, Poet Tian Bin has broken up from the dream of beauty and has cast his eyes at this twisted world: Fragility of life, the snobbish ways of the world, desire for material comfort and its press to human nature… These updated information and images keep flowing out of Mr. Tian Bin’s poems. This, I think, can be regarded as the second change of his poetry writing, the revival of the review of value in Poet’s mind that he has to judge again.

In the age ruled by matter and technology, the content of poets’ mission has changed, but poets’ social role is as before; In my view, Mr. Tian Bin has never changed his seizing on the most important conception, just as what he wrote in one of his poems “China” —“A mouth/ towering into the sky / standing firmly on the ground / without leaning to either side / A heart / having all fine jades on the earth / Even an emperor / is unable to step out of this fence” Cherishing life and loving living are always the living cells hiding deep in a poet’s blood and bones. This is the direction and pluralistic line of writing that Mr. Tian Bin has been sticking to. He always rationalizes what he has saw, heard and thought, and then shows them by his poems.

Each true poet is a carver of his age and the operator to defeat the primitive meaning of words. I wish Mr. Tian Bin will further find the boundless resources latent in Chinese letters and how to integrate the content that poetry should declare and its fine quality and the effectiveness of fable of games. Mr. Tian Bin has published three collections of poems, which record his feelings and observation to the society for twenty years. He is on the way to a higher realm of poetry art, and he will surely collect and select the scenes and details he meets, and then turn them into lines. I believe, the dream placed on his chest will never fly away.

(Tr. Yang Zongze )

[杨光]

田斌的诗歌我读过一些,写的不错
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