You are my abandoned country,
You, my hometown-a wasteland,
This is a pasture where no one is harvesting.
It's forests and monasteries.
The hut leans from east to west,
A few families are dotted;
The morning glow reflects the roof,
Pave the way like a bundle of firewood.
Rafters under wheat straw
After years of planting, it is flat and smooth.
The wind also turns the sun's light point
Rub it on the dark blue mildew spot.
The crow hit the ground with its wings.
Knocking on the window lattice,
The dense plum trees are like a snowstorm.
Shake your sleeves.
Ah, your life and customs,
Has it become a story between willows?
When dusk comes,
What privacy does feather thatch tell pedestrians?
(Translated by Liu Zhanqiu Ruxiangxue)
Simple language, fresh style and sincere feelings make Ye Saining's poems have simple artistic beauty. This immortal aesthetic value has been highlighted in his works with the theme of the motherland. Among nearly 400 poems written in his short life, the motherland has always been the first theme. As the poet himself said, "My lyric poetry only relies on a great love, and that is the love for the motherland. Deep affection for the motherland is the foundation of my creation. " In Russian, motherland and hometown are the same word. Ye Saining's sincere love for the motherland is manifested in his inseparable flesh-and-blood ties with his hometown. The countryside, forest, history and destiny of my hometown all affect the poet's sensitive and melancholy heart. In the poem "You are my abandoned homeland ...", Ye Saining is full of love for his hometown and pours out his sadness about the devastated Russian land trampled by the war.
The first poem has a general visual description of "my native land": "wasteland", "uncultivated grassland" and "forest and monastery"-this is the whole content of my native land. A feeling of bleak and desert arises spontaneously. Followed by a close-up: a small hut, shabby and unkempt roof, moldy rafters; Even with sunshine, the glow of the morning glow can't change the decay and ruin of the countryside. This cold feeling developed further in the fourth quarter: the crow, the messenger of death, beat the windowsill unscrupulously. The stout plum tree with white flowers was the messenger of spring, but now it has become a ruthless "snowstorm" and shook its branches angrily. At this point, the bleak neglect has developed into sadness. The poet created simple and ordinary images such as "wasteland", "grassland", "hut", "rafters", "crow", "snowstorm", "thick plum tree" and "feather thatch", and vividly outlined the image of "abandoning the country". And make the whole poem full of emotion: there are no words such as bleak and desolate, but the meaning is hazy. What is worth mentioning is the poet's metaphor of seeing strange things in all things. Compare the dilapidated roof to "a bundle of firewood paving the way" (including the translator's re-creation), and compare the thick plum with white flowers to "snowstorm"; In particular, "years" make the rafters "smooth and shiny" and "the wind also wipes the sun's light on the dark blue mildew spots", and the faint two strokes outline a trace of desolation: the countryside has long been deserted, only accompanied by years and winds. There is no cynical cry at the end of the poem, and there is no sigh of complaining; The poet expressed his deep attachment to the country and unspeakable sadness with rhetorical devices of "backchat". The whole article seems to be a purely objective portrayal, but it embodies subjective feelings. The use of rhetorical devices makes this poem more touching.
Ye Saining, who was born on a grass bed with singing and grew up in the atmosphere of folk prayer, was deeply influenced by folk oral creation. He collected 4000 ballads, which enabled him to inherit and carry forward the unique musical tradition of Russian poetry. The rare melancholy rhythm in his poems is consistent with the tone of Russian folk songs. In this poem, the deep and slow melody throughout the poem creates a slightly sad musical beauty, which makes us feel the unique poetic beauty of Ye Saining's poems. The rhyme form of the original poem is the interlacing rhyme commonly used in four-line stanzas, and the two-syllable meter method is adopted. This can't be expressed in the translation, but the translator maintains the musical rhythm of the original poem and makes the translation and the original poem unified in style. The use of verbs such as "roof", "firewood paving", "planing" and "wiping" in the poem is re-created by the translator on the basis of retaining the original image. The ending poem of the original translation is: "Ah, your life and customs,/have you become a story in the mouth of a peddler?" /Like dusk,/What privacy does feather thatch tell pedestrians? "The appearance of the word" vendor "here does not conform to the desolate artistic conception of the whole article, and the word" npythk "(willow bush) has no meaning of" vendor "; The literal translation of Liu Cong not only retains the image of the original poem, but also makes the artistic conception of the whole poem natural, coherent and unified. (Wang Jianqing)