走出内卷化：在全球化时代中国诗人应该有能力书写整个世界

互联网加速世界文学的时代形成：从西方中心主义到东西方多中心主义

旋转的通天塔之花向东到波斯印度中国，向东到犹太埃及希腊

（第3届博鳌国际诗歌节论坛发言）

曹谁

在互联网和全球化时代，德国伟大诗人歌德在公元1827年所提出的“世界文学”正在加速形成，世界各国的诗人越来越成为一个整体，在现实中的表现就是“世界诗歌运动”。这是由哥伦比亚杰出诗人、麦德林国际诗歌节主席费尔南多·伦德（Fernando Rendon）在2011年的麦德林诗歌节上跟来自世界各国的诗人共同创立的，他们发表了《世界诗歌运动宪章》，旨在通过诗歌让世界成为一体。我在2017年通过土耳其诗人纽都然·杜门（Nurduran Duman）加入这个运动，通过电子邮件跟世界各国的一百多位著名诗人往来，我们通过创作、翻译、出版、讨论，形成一个“世界诗歌运动”的诗派。今年韩庆成创立《世界诗歌》杂志，我也应邀担任英文副主编，通过《世界诗歌》向世界各国的几十位有影响的诗人约稿，如同刊物宗旨所言：“让世界诗歌走进中国，让中国诗歌走向世界”。我现在也广泛参与国际诗坛，今年在意大利出版的《帝国之花》就获得四个国际奖项：第8届意大利罗马当代国际诗歌艺术学院奖之阿波罗•狄奥尼索斯诗歌奖诗歌奖、第27届意大利《乌贼骨》国际诗歌奖、第8届意大利乔万尼·贝尔塔基国际诗歌奖、2021多伦多国际诗歌艺术节银奖，我翻译俄罗斯诗人瓦迪姆·特里金（Vadim Terekhin）的诗集《透明的时间》获得俄罗斯第12届金骑士奖，这是翻译的最高奖。融入世界文学，要像国内文学一样，跟他们一起写作、评论、发表、出版、获奖，最重要的是在作品的内容和形式上都真正融合了世界文坛。

今天的天下不是汉唐时代的中华，而是全球化时代的地球，中华文化只是世界文明的组成部分，这是我们不得不接受和应对的。当今的文明，是由过去横亘在亚欧大陆地上的七大文明发展来的，从巴比伦，向东到波斯、印度、中国，向西到犹太、埃及、希腊。我们只有追溯到这个根脉上，才能融入到整个世界文明中，然后融合古今，合璧东西，合一天人，创造出独特的文明，才能重新引领世界文明。东西方文明就像跷跷板一样此起彼伏，中华文明曾经在封建时代引领世界文明，但是我们不得不承认现在西方文明成为全球文明的主流，中国诗人应该有能力书写整个世界，我们才能重新将世界文明的跷跷板压到东方。现在国际上普遍分布着西方中心主义，而中国也有人想要以东方中心主义对抗，其实现在是一个多元化的世界，我更主张东西方多中心主义的世界主义。

2018年，我发起了“曹伊之争”，这是由我的一篇文章《中国新诗99%是垃圾，伊沙是垃圾中的垃圾》引起的，为此我们大诗主义诗派跟伊沙后口语诗派进行了三年的论战，现在看来虽然偏激，但是也是我对中国当下不断重复的普遍内卷化的担忧。我们若要超越西方文明，必须先了解西方文明。举个简单的例子，现在许多人学习西方翻译诗写现代诗，由于西方诗歌的押韵，造成断句的磕磕绊绊，许多诗人居然奉为圭臬，以说不清楚话为上，懂外语的人便知道那些诗人在西方的语境都是明白通畅的，我发现海子的诗歌就超越了这种断句，所以我必须要我的诗歌达到这样的要求：一行诗中要讲完一句话或一个意思。

这只是我举的一个例子，我曾经系统思考汉语诗歌的问题，前不久我参与了上海评论家铁舞主持的国家社科基金项目《当代汉诗创新诗体研究》的学术调查问卷，这里分享《曹谁十问中国诗坛》跟诸君共勉：

1.你意识到现代汉语诗坛陷入无法走出的不断重复的内卷化泥潭吗？如何走出？

2.你意识到诗歌分为第一阶段是史诗、第二阶段是格律诗和第三阶段的自由诗吗？你读过《印度史诗》《荷马史诗》《吉美加尔什》及世界主要史诗吗？

3.你意识到从古代格律诗到现代汉语的断裂吗？如何在诗歌中融合古今？

4.你意识到西方各主要语种诗歌的现代意义吗？如何在诗歌中合璧东西？

5.你懂一门主要的西方或东方外国语言吗？你知道现在翻译中断裂的句子是直译西方诗歌押韵造成的吗？

6.你意识到诗歌中内容和形式的关系吗？怎样才能把二者融合起来？

7.你意识到中国和西方文明外，还有广大的巴比伦、犹太、埃及、印度、波斯文明吗？你读过他们的诗歌吗？

8.你知道诗歌的话语权力是如何形成的吗？你认为如何才能打破现在“诗坛的霸权”才能让汉语新诗走向辉煌？

9.你知道2018-2020期间的“曹伊之争”吗？你认为曹谁倡导的大诗主义和伊沙的后口语诗哪个更有意义？是否能够为百年汉语新诗开辟新的道路？

10.你觉得到大诗主义能够引领现代汉语诗歌走出泥潭吗？你了解其核心主张“融合古今”“合璧东西”“合一天人”“随物赋形”“和合阴阳”“整合音义”的主张吗？

最后我讲一个通天塔的故事，人类最初要修筑一座通天塔，上帝知道后害怕影响自己的权威，就变乱人类的语言，于是人们因为不能交流而终止建设，流落到世界各地形成民族。这是一个隐喻，这来自西方的《圣经》记载，中国的《太平广记》中也有类似神话。这个故事对我最大的启示是，当你打通语言之间的隔阂，那么通天塔就自然形成，当今我们通行的英语、汉语、法语、俄语、西班牙语、阿拉伯语，假如能够在思想上互通，那么通天塔就重新建起。这也是我在学习英语过程中的启示，我为什么强调一定要学一门外语，只有这样你才能重新关照母语的意义，这也是通天塔隐含的意义，所以我的号是通天塔主。重建通天塔的梦想也许要五百年实现，但是我们可以通过在文学创作的交融上，去抵达我们所追求的最高秘密。我在最后再次强调：今天是一个全球化的时代，我们住在一个地球村的星球，作为汉语诗人，使用这来自银河系的语言，我们应该有能力去书写世界！

（完）

Out Of Involution: In The Era Of Globalization, Chinese Poets Should Be Able To Write The Whole World

The Internet Accelerates The Formation Of The Era Of World Literature: From Western Centrism To Eastern And Western Polycentrism

The Flower Of The Rotating Tower Of Babel Goes East To Persia, India, China, And East To Judea, Egypt, Greece

(Speech At The 3rd Boao International Poetry Festival Forum)

By Cao Shui

In the era of Internet and globalization, the "World Literature" put forward by the great German poet Goethe in 1827 is accelerating. Poets all over the world are becoming a whole. In reality, the performance is the "World Poetry Movement". It was founded by Fernando Rendon, an outstanding Colombian poet and President of Medellin International Poetry Festival, and poets from all over the world at Medellin poetry festival in 2011. They issued the Manifesto Of the World Poetry Movement, which aims to make the world a whole through poetry. In 2017, I joined World Poetry Movement through the Turkish poet Nurduran Duman, and communicated with more than 100 famous poets all over the world through E-mail. We formed a poetic school of "World Poetry Movement" through writing, translation, publication and discussion. This year, Han Qingcheng founded World Poetry magazine. I was also invited as the deputy editor in chief of English version. Through World Poetry, I invited dozens of influential poets from all over the world. As the purpose of the World Poetry said, "let world poetry enter China and let Chinese poetry go to the world". I am also widely involved in the international poetry circle. The Flowers of the Empire published this year in Italy has won four international awards: the Apollo Dionysus Poetry Award of the 8th International Academy of Contemporary Poetry and Art in Rome, the 27th International Poetry Award of Squid Bone in Italy, the 8th Giovanni Bertacchi International Poetry Award in Italy, The Silver Medal of the 2021 Toronto International Poetry Art Festival. My translation of Russian poet Vadim Terekhin's poetry collection Transparent Time won the 12th Golden Knight award in Russia, which is the highest award for translation. To integrate into world literature, like domestic literature, we should write, comment, publish and win awards together with them. The most important thing is that the content and form of the works are truly integrated into the world literary circles.

Today's world is not China in the Han and Tang Dynasties, but the Earth in the era of globalization. Chinese culture is only an integral part of world civilization, which we have to accept and deal with. Today's civilization is developed from the seven civilizations that used to lie across the Eurasian continent, from Babylon to Persia, India, China to the East, and Judea, Egypt, Greece to the West. Only by tracing back to this root vein can we integrate into the whole world civilization, then integrate ancient and modern civilizations, integrate occidental and oriental civilizations, integrate mysterious and secular civilizations, create a unique civilization, and re-lead the world civilization. Eastern and Western civilizations are like seesaws. Chinese civilization once led the world civilization in the feudal era, but we have to admit that now western civilization has become the mainstream of global civilization. Chinese poets should be able to write the whole world, so that we can press the seesaw of world civilization to the East again. At present, western centralism is widely distributed in the world, and some people in China want to counter with Oriental centralism. In fact, it is a diversified world. I prefer the cosmopolitanism of eastern and Western polycentrism.

In 2018, I initiated the "Dispute of Cao Shui and Yi Sha", which was caused by my article "99% Of China's Modern Poetry Is Garbage, And Yi Sha Is Garbage In Garbage". Therefore, our Great-Poetics school has had a debate with Yi Sha's Post-Oral Poetry school for three years. Now, although it seems extreme, it is also my concern about the repeated general involution in China. If we want to surpass western culture, we must first understand western culture. For a simple example, many people now study western translated poetry and write modern poetry. The rhyme of Western poetry causes stumbling sentences. Many poets actually follow the standard and regard it as the first thing to speak unclear words. People who know a western language know that those poets are clear and fluent in the western context, I found that Chinese poet Haizi's poetry goes beyond this kind of sentence break, so I must make my poetry meet the requirement that a sentence or a meaning should be finished in a line of poetry.

This is just an example. I once thought about Chinese poetry systematically. Not long ago, I participated in the academic questionnaire of the National Social Science Fund Project "Research On Innovative Poetic Style Of Contemporary Chinese Poetry" hosted by Shanghai critic Tie Wu. Here I share Cao Shui Asked Ten Questions About Chinese Poetry with you:

1. Do you realize that the modern Chinese poetry world has fallen into the mire of repeated involution? How to get out?

2. Do you realize that the history of poetry is divided into epic in the first stage, metrical poetry in the second stage and free poetry in the third stage? Have you read the Indian Epics, Homer Epics, Gilgamesh and the world's major epics?

3. Are you aware of the break from ancient metrical poetry to modern Chinese? How to integrate ancient and modern cultures in poetry?

4. Are you aware of the modern significance of poetry in major Western languages? How to combine western and eastern cultures in poetry?

5. Do you know a major Western or Eastern foreign language? Do you know that the broken sentences in translation are caused by the rhyme of literal translation of Western poetry?

6. Are you aware of the relationship between content and form in poetry? How can we integrate the two?

7. Do you realize that besides Chinese and Western civilizations, there are also vast Babylonian, Jewish, Egyptian, Indian and Persian civilizations? Have you read their poems?

8. Do you know how the discourse power of poetry is formed? How do you think we can break the "hegemony of poetry" and make Chinese modern poetry brilliant?

9. Do you know the "Dispute of Cao Shui and Yi Sha" during 2018-2020? Which do you think is more meaningful, the Great-Poeticism advocated by Cao Shui or the Post-Colloquial poetry of Yi Sha? Can it open up a new path for the centennial Chinese modern poetry?

10. Do you think Great-Poetics can lead modern Chinese poetry out of the quagmire? Do you understand its core proposition of "Integration Of Ancient And Modern Cultures", "Integration Of Western And Eastern Cultures", "Integration Of Mysterious And Secular Cultures",  "Integration Of Masculinist And Feminism Cultures", "Write According To The Shape Of Things"And "Integration Of Sound And Meaning In Languages"?

Finally, I tell a story about the Tower of Babel. At first, mankind wanted to build a tower to the heaven, the Tower of Babel. After God knew it, he was afraid to affect his authority, so he disturbed the human language. Therefore, people stopped the construction because they could not communicate, and dispersed around the world to form different nations. This is a metaphor, which is recorded in the Bible, and there are similar myths in China's Taiping Guangji. The biggest enlightenment of this story to me is that when you open up the gap between languages, the Tower of Babel will naturally form. If we can exchange ideas in English, Chinese, French, Russian, Spanish and Arabic, the Tower of Babel will be rebuilt. This is also my enlightenment in the process of learning English. Why do I emphasize the need to learn a foreign language? Only in this way can you look backward the meaning of your mother tongue again. This is also the implied meaning of Tower of Babel, so my another name is the Lord of Tower of Babel. The dream of rebuilding Tower of Babel may take 500 years to realize, but we can reach the highest secret we pursue through the integration of literary writing. Finally, I would like to emphasize once again that today is an era of globalization. We live on the planet of a global village. As Chinese poets, using the language from the Galaxy, we should be able to write the world!

(end)

 曹谁简介：

曹谁，诗人、小说家、剧作家、翻译家，北京师范大学文学硕士，中国民主同盟盟员。原名曹宏波，字亚欧，号通天塔主。曾参加鲁迅文学院第14届作家高研班、中国文联第9届编剧高研班、中国作协第8届青创会。1983年生于山西榆社，2008年去职远游，在西藏、新疆周游数月而返青海，开始职业写作生涯，现居北京。2007年发起大诗主义运动，2017年倡导剧小说运动，2018年发起曹伊之争。著有诗集《亚欧大陆地史诗》《通天塔之歌》《帝国之花》等十部，长篇小说《巴别塔尖》《昆仑秘史》（三部曲）《雪豹王子》等十部，文集《可可西里动物王国》《西藏新疆游历记》等三部，翻译《理想国的歌声》《透明的时间》等三部，电影剧本《昆仑决》《子弹上膛》《功夫小鬼》、电视剧本《孔雀王》和舞台剧本《雪豹王子》等百余部集。作品发表于《人民文学》《诗刊》《作家》等文学杂志，入选上百部权威选本。有多部长篇小说改编为影视剧、广播剧、舞台剧等。有作品翻译为英、法、德、俄、日、韩、印地、意大利、西班牙、土耳其、阿拉伯等20余种文字，在国际诗坛有三十多位著名诗人写作评论，被印度杰出诗人拉蒂·萨克塞纳称为是“领导新世界的年轻一代”的代表诗人。曾获首届中国青年诗人奖、第5届青海青年文学奖之“文学之星”、第4届曹禺杯剧本奖、第8届意大利罗马当代国际诗歌艺术学院奖之阿波罗·狄奥尼索斯诗歌奖诗歌奖、第12届俄罗斯金骑士奖、第5届中国诗歌春晚十大新闻人物等50多项省级以上文艺奖。曾参加第30届麦德林国际诗歌节、第26届哈瓦那国际诗歌节、第14届印度Kritya国际诗歌节、第4届青海湖国际诗歌节等多个国际诗歌节。系中国作家协会会员，中国电影文学学会会员，世界诗歌运动成员，《大诗刊》主编，《汉诗三百首》执行主编，《世界诗歌》副主编，《诗歌周刊》副主编，世界诗歌网副总编，博鳌国际诗歌节常务副秘书长，丝绸之路国际联合会副主席，华语诗歌春晚副总导演。

Bio of Cao Shui

Cao Shui（Chinese: 曹谁;pinyin: Cáo Shuí), also Shawn Cao (born in Jun 5, 1982), is a Chinese poet, novelist, screenwriter and translator. He is a representative figure of Chinese Contemporary Literature. He leads “the Greatpoeticism” movement. In his “Manifesto of Greatpoem”, he aims to integrate sacred and secular cultures, oriental and occidental cultures, ancient and modern cultures in Chinese literature. In 2008, he resigned from a newspaper and traveled around Tibet and Xinjiang, which is the center of Eurasia or the World in his view. His novels Secret of Heaven trilogy tells the whole developing history of human civilization. His most notable works includes Epic of Eurasia, the already mentioned trilogy and King Peacock (TV series). In his works, he extracts elements of various ancient human civilizations, from Babylon to the west to Judea, Egypt, Greece, to the east to Persia, India, China, and uses these elements to reconstruct a new Utopian human homeland, which always described as Eurasia, the Top of the Tower of Babel or Kunlun Mountains (Heaven Mountains). So far twenty books of Cao Shui have been published, including five poem collections, three essay collections, ten novels, three translations and one hundred episodes TV series and films. His works have been translated into English, Italian, Spanish, French, German, Danish, Polish, Russian, Hungarian, Croatian, Slovenian, Turkish, Arabic, Japanese, Korean, Hindi, Nepali, Vietnamese, Tibetan, Mongolian, etc. He has been invited to participate in the 30th Medellin International Poetry Festival, the 26th Havana International Poetry Festival, the 14th Kritya International Poetry Festival in India and the 4th Qinghai Lake International Poetry Festival. He is a member of China Writers Association, China Film Association and China Poetry Society. He is also chief editor of Great Poetry, deputy editor in chief of World Poetry, secretary general of Boao International Poetry Festival and vice president of the Silk Road International Poetry Festival. Currently he lives in Beijing, and works as a professional writer and screenwriter.