Feng Zhi 's existence is not a high-pitched voice. Over the past few decades, the veins he wrote are like a long stream of water, which continues, and gradually converges into a river, presenting a broad and profound appearance. If you are interested in modern new poetry, the poems of this "China's most outstanding lyric poet" (Lu Xun's words) cannot be ignored; if you love Du Fu , Feng Zhi's "Du Fu Biography " and related articles are excellent guidance; if you are obsessed with Rilke, you must have read Feng Zhi's poems and "Ten Letters to a Young Poet "; if you admire Goodge and Schiller, Feng Zhi's translation is also an appropriate choice. In addition, Feng Zhi also wrote novels and essays. Although the novel "Wu Zixu" and the essay collection "Shanshui" are not long, their words are like poetry, with the charming characteristics of contemplation and conciseness.
Feng Zhi, whose original name is Feng Chengzhi , was from Zhuozhou, Zhili (now Zhuozhou, Hebei), a modern poet, scholar, and translator. He has served as professor at Tongji University , Southwest United University , Peking University, and director of Institute of Foreign Literature, Chinese Academy of Social Sciences. The picture shows young Feng Zhi in Heidelberg, Germany, 1930. Photo provided by the publisher.
Behind the different text types are the same spiritual temperament and text standards. Personal creation and translation influence each other, and poetry, novels and prose are in line with each other. As for academic research, it is also a very creative discussion after studying a writer for many years, which is by no means a general statement. Such an overall writing style is both rich and specialized, and it is rare to get many.
Today is the 117th anniversary of Feng Zhi’s birth, and we will commemorate him with this article.
Written by | Ma Mingqian (writer, translator)
Since the epidemic, we cannot go out to visit friends. The alternative is to talk to friends on WeChat, and the topics are mostly related to literature.
There have been two times, and I talked about the relationship between literary translation and native language creation. Looking back at the history of literary translation over the past hundred years, there are so many translations introduced, especially in the past twenty years, which can be said to be overwhelming. However, we still need to ask a key question: What is the purpose of literary translation? This is a topic that I am more interested in.
Every reader is looking forward to a high-quality translation, which depends on the translator's serious attitude and superb bilingual ability. The birth of a good translation requires first finding the translator, and secondly, giving enough time, and there is no other shortcut to find. It is absolutely impossible to find a translator and grab the quick results. In addition, I have another point that I have to mention: first, to nourish the soul and expand the horizon, and second, its ultimate role is to inspire and strengthen our native language creation. If you only focus on translation and interpretation, and have worship without criticism, it is far from enough.
In recent years, the cultural ideals in my heart have gradually become clear, that is, "the ancient and modern times run together, compatible, absorbed and transformed." Among them, literary translation is an indispensable part. And in my work schedule, translation is an important one (of course, the translation goal has been carefully considered).
happened to be the editor’s appointment, so let me talk about the seven types of "Feng Zhiwencun". Mr. Feng Zhi's literary career spans different fields of poetry, novels, literary translation and classical literary research and writings. He is a model for practicing the above cultural ideals and a pioneering example for our generation.
So, if you want to talk about Mr. Feng Zhi, what can you say? Because the schedule of the draft is relatively tight, I have no time to interpret or evaluate his translated works, but at least I can talk about the impression I left before.
"Feng Zhiwencun", written by Feng Zhi, translated by Wenli, read culture· Tianjin People's Publishing House , March 2022 edition.
Translation Introduction Rilke: "Ten Letters to a Young Poet"
Recalling now, in my private reading history, what are the works that Mr. Feng Zhi left a strong mark on me?
Intuitive answers are his translated collection of Rilke's poems and Rilke's letters, "Ten Letters to a Young Poet" (1994, Triad Edition) and "Four Fourteen Lines Collection".
"Ten Letters to a Young Poet"
Check the chronology in "Feng Zhi's Complete Works Volume 12", which shows that Feng Zhi's reading and translation of Rilke began in the third and fourth grades of the undergraduate degree in German Studies at Peking University (he had previously translated some of the works of Goethe, Heine and Halderlin). In the third grade, he had a uncle Feng Wenqian, who studied philosophy and aesthetics at the University of Berlin, Germany, who returned to his country to visit his relatives. Through his uncle's introduction, he learned about Rilke's name and creation for the first time. Then in the fourth grade, he studied Rilke's prose poem "The Song of Love and Death by the Flag Bearer Christoph Rilke" (abbreviated as "Flag Bearer").
At the end of 1930, Feng Zhi went to Germany to study, and his early lyric poetry creation also paused.
While studying in Germany, Feng Zhi's interest in Rilke is increasing day by day. In April 1931, he decided to buy a set of "The Complete Works of Rilke" with forty marks (check the exchange rate ratio at that time, 1 pound = 10 Empire marks, I think the forty marks back then was a huge sum of money), and began to translate between April and August. By the following year, he translated fragments of Rilke's famous work "Leopard", prose "On Landscape" and "Brig's Essays".
In addition to reading and translating Rilke during his stay in Germany, Feng Zhi's academic research direction (doctoral thesis) was initially determined to use Rilke as the title. He participated in Professor Alevin's research class and agreed that the title of his doctoral thesis was Rilke's "Brig's Essay" (also translated as "Malter's Notes"). He began to make a lot of preparations for this and wrote the thesis outline . However, soon after, Professor Alevin was dismissed because of his Jewish identity. His instructor was replaced by Professor Booker, and the title of the thesis was changed to "The Analogy of Nature and Spirit is the Stylistic Principle in Novalis's Creation."
In September 1935, Feng Zhi returned to China. Around 1937, , the outbreak of in the War of Resistance Against Japanese Aggression, began to translate "Ten Letters to a Young Poet" and was published by Changsha Commercial Press the following year (please pay attention to this location in Changsha. The cultural institution published this literary ecclesiastes during the war. This is so strong and meaningful). I don't need to say much about the quality of the translation of this booklet. In the summer of 1994, after getting the version of Sanlian "Reading and Literature Series", I only remember that I was fascinated for the whole summer. It is no exaggeration to say that it is this book that ignited my religious passion for literature and poetry (there will not be too many such books, and I can make a small list in the future).
Feng Zhi's name appears many times in the "Rilke Chinese Translation Year (1929–2012)" compiled by the late legendary translator Dasha (Chen Ning, webmaster of "Rilke Chinese Network", wishing him immortal). It can be imagined that if he had not been affected by the anti-Semitism of Germany and was able to complete the original paper, Rilke's translation and introduction in our country might have been one step ahead.
"Full Works of Translations in Feng Zhi", written by Goethe [German] Heine [Austria] Rilke et al., translated by Feng Zhi, Century Wenjing· Shanghai People's Publishing House , October 2020 edition.
"Fourteen Lines Collection": "As the pace of the steps, I can speak a poem with rhyme"
Feng Zhi's poem creation was paused for ten years, and then it began to restart in Kunming during the war.
In recent years, some enthusiasts have advocated the "Northeast Renaissance", which is probably a marketing gimmick created by publishers who contacted famous scholars. In my mind, there is a modern Renaissance field, that is Kunming. Last year, I reread the complete collection of Mr. Wang Zengqi's short stories, many of which are based on Kunming, and of course Mr. Wang's collection of essays "The Rain of Kunming". There are more works written by other writers in Kunming or written by Kunming ( Shen Congwen , Wen Yiduo, Zhu Ziqing, Bian Zhilin , Qian Zhongshu , Shi Zhecun , Cao Yu ... It is very possible to make a long list). A lot of books about , Southwest Associated University have been published recently, but I really want to have such a book that can well describe the lives and creations of writers on the Kunming literary and artistic stage during the war.Here are two research monographs: Ming Feilong's "Research on "Literature Kunming" during the Anti-Japanese War" and Wang Jia's "Cultural Space and Literary Expression in Kunming during the Anti-Japanese War". In addition, there are three volumes of the newly released supplementary and revised version of "Southwest Associated University, Kunming Memory" (author Yunnan Normal University Professor Yu Bin is 86 years old). Using these three writings as basic materials, you can roughly see the full picture of the Kunming literary and artistic circle at that time.
"Cultural Space and Literary Expression in Kunming during the Anti-Japanese War", written by Wang Jia, China Social Sciences Press, October 2017 edition.
Feng Zhi was in Kunming when he wrote "The Collection of Fourteen Essays".
In August 1939, Tongji University student Wu Xiangguang invited him to visit the Yangjiashan Farm, 15 kilometers outside Kunming. He also provided two "forest farm huts" for teachers to avoid air raids and write. The farm is located in a forest area, with clear springs and pine waves, ridges and walking trails, which are very suitable for quiet living. After that, Feng Zhi often goes to a small stay or invites friends to party.
In October 1940, due to frequent air strikes by the Japanese army in Kunming, Feng Zhi's family moved to Yangjiashan. He went to the city to teach twice a week, and after he came back, he devoted himself to studying. The books read at this stage include Goethe's works, Du Fu's poems, Lu You's poems, Lu Xun's essays, Kierkegaard's diary, Nietzsche's works, and Rilke's poems and letters.
One day in early 1941, Feng Zhi was inspired and wrote the first sonnet . His moment of divine enlightenment began, and a total of twenty-seven poems were written in the following year. Regarding the situation of creation, it is described in the preface of the 1948 edition of "Four Fourteen Lines" by Shanghai Cultural Life Press:
1941 I lived in a mountain near Kunming. I had to go to the city twice a week. It was a 15-mile journey. It was a good walk. When you are alone on the mountain path and among the ridges of the fields, you can’t help but have to look at it. If you want to think about it, you seem to see more than you used to look at, and you think more than you used to think about it. At that time, I was no longer used to writing poetry. - I wrote only a dozen poems in the past 10 years from 1931 to 1940. - But once, one winter afternoon, watching several silver planes flying in the blue sky like crystals, thinking of the ancients' dream of a bird, I said a rhyme poem with ease and wrote it on paper. It happened to be a 14-line variant. This is the 8th song in the collection, the earliest and most awkward song, because I haven't written a poem for so long.
"Four Fourteen Elements" first edition of the book film in 1942.
As for why I used the Fourteen Elements (also called "Shanglai Style"), he later said in the preface of "The Fourteen Elements Collection":
As for what I used the Fourteen Elements, I did not intend to transplant this form to China, but it was purely for my own convenience. I use this form just because it helps me. As Mr. Li Guangtian said in his discussion on the "Four Fourteen Elements Collection", "because it rises and falls layer by layer, gradually concentrates and unravels, and its intricate and neatness, its rhymes come and go", it is suitable for expressing what I want to express. It did not limit my thoughts in activities, but just took my thoughts over and gave me an appropriate arrangement.
Just as Rilke lived in Muzzo Castle and wrote fifty-five songs "Sonnets to Orphus", Feng Zhi also wrote twenty-seven sonnets in Kunming's thatched hut. Many years ago, when I opened the first song of "The Fourteen Elements" to read the opening line, the rhythmic sound of the beginning section was circling in my mind for a long time:
We are ready to deeply appreciate
Those unexpected miracles
In the long years,
comet suddenly appeared, and the storm suddenly blew
On the title page of the early 1942 version of "The Fourteen Elements" also printed Goethe's poem as the inscription:
Whoever wants to be great must concentrate,
can show his skills in the limitations,
only the laws can give us freedom.
This is the sentence that touched Mr. Feng Zhi the most at that time. From a different perspective, it is also the basis for his method of writing the new metrical poem of "Sonnets". This is a way to convey mental experience through Goethe's poems, and it is also a piece of advice that is passed on to us through time and space.
In 1985, in the article "The Past of Kunming", my husband recalled affectionately:
What I can't forget the most is the day and night of the year when we lived in concentrated areas. The clear spring there, the pine forest there, the paths in the forest there, and the ups and downs there all left a deep mark in my life. The collection of poems I wrote in the early 1940s, individual chapters in the collection of prose "Landscapes", and the historical story "Wu Zixu" are more or less related to the life of the forest farm and thatched hut. In other words, if there was no such period of life, these three works might be different, and some of them could not be written.
The above three works that the author himself values are quite important. They are published as a single item in this version of "Feng Zhiwencun", which obviously also understands the author's thoughts.
Due to limited space, I don’t want to discuss the details of Feng Zhi’s poetry and art here (for the article, readers can refer to Brother Konoha’s "Feng Zhi: Give Me a Narrow Heart, a Big Universe"). In short, the translation and introduction of the works of Heine, Goethe and Rilke, three German poets, have effectively shaped Feng Zhi's poetry creation, especially the study and translation of Rilke, which has enabled him to gain continuous motivation in the exploration of new poetry forms. His deliberate management in the sonnet style also fully demonstrates the relationship between "translation" and "writing" in the evolution of new poetry.
Feng Zhi's translation and introduction partially shaped his poetry creation (especially the "Four Fourteen Lines"). On the other hand, he also left his own distinct language mark in Rilke's translation. After careful reading and comparison, it is not difficult to find the similarity between the two styles. Huang Canran has a statement in the article "Feng Zhi: The Awakening of Language", which I think is very accurate:
is Feng Zhi who influenced Rilke - the Chinese Rilke. That is to say, Feng Zhi lent his poetry language to Rilke, a Chinese translation. It is important to remember this when we see that Feng Zhi language is similar or common or echoing to Feng Zhi's translation of Rilke.
Regarding the language characteristics of "Four Fourteen Elements Collection", Huang Canran portrays it as a sculpture:
This is a sculpture-like language, with a sculpture-like calmness, simplicity and sense of space. As for Feng Zhi’s own changes, it is the transition from young vernacular to clear modern Chinese . This is an appropriate European vernacular, or rather, a modern sensibility. This is true for
. However, here I also want to emphasize the auditory side of poetry. Judging from the poem composition text, Feng Zhi consciously transformed the musical components of Rilke's poems into the writing of new Chinese poetry - just like the poet who wrote modern poetry in the early and prosperous Tang dynasties obtained sound technology from the sound and rhythm experiments of Six Dynasties and moved upward. Poetry is not at all musical, as absurd as a fish can walk ashore from the body of water. His sonnets are rigorous metrical poems, each line is equal in length, with the same number of words and the same number of pronunciations. Of course, we can have various post-argument (or even denial) of such poetry. But there is no doubt that Feng Zhi has suggested a possibility of writing. At the same time, in my imagination, he seems to be asking the following questions to the later poets:
What is the difference between poetry and prose?
can "poetry" with only branches and no sound or rhythm content be called poetry?
Should
pay more attention to and study the sound technology of poetry creation?
"Biography of Du Fu" and "Wu Zixu": As a novelist and biographer Feng Zhi
In addition to the translation and creation of poetry, Mr. Feng Zhi has another layer of inspirational significance to me, because he has another identity: a novelist and biographer. In the past few years, I have been preparing for the novel "The Trilogy of the Poets". In the early stages of the creation of the first Du Fu theme "The Conquest and Travel", I studied a large amount of Du Fu's materials, including Feng Zhi's "Biography of Du Fu" and historical novel "Wu Zixu" (originally read the excerpt in "Selected Historical Novels of Modern Chinese Writers"). Therefore, in my personal reading and creative vision, there is another important intersection between me and my husband.
"Biography of Du Fu" and "Selected Historical Novels of Modern Chinese Writers"
Flip through the chronology, it can be seen that the poet Feng Zhi started writing novels very early and wrote the historical novel "The Mourning of Confucius" in April 1925. He was only 21 years old at the time and was in the third grade of the German Department of Peking University. This novel was published in the second issue of the weekly "Shen Zhong" published in October. Together with the poetic prose "Cicada and Evening Prayer", it was listed as a "famous work of You Wan" by Lu Xun and included in "China's New Literature Series·Fiction 2". In 1929, he also wrote another historical novel, "Bo Niu Youjian", published in the 117th issue of "Supplement of North China Daily".
The war of aggression against China launched by the Japanese invaders caused the unrest and shock caused by the nation-state, just like the Anshi Rebellion of the Tang Dynasty, and once again gave birth to the poet's heart for novel creation. In the winter of 1942, Feng Zhi read Rilke's famous work "Flagbearer" translated by Bian Zhilin, and began to write the historical novel "Wu Zixu", which had been brewing for many years, and was written in the spring of the following year.
1943, by chance, Ding Mingnan, a student of the History Department of Southwest Associated University, bought a set of Qiu Zhaoao's "Detailed Notes on Du Shaoling's Poems" from a Kunming old bookstore. From then on, Feng Zhi started his head-to-head study and began to classify and build cards (this is a good way to learn from Heidelberg University ), and compile a collection of materials. By 1948, the written chapters of "Biography of Du Fu" were published in "Literary Magazine". In November 1952, "Biography of Du Fu" was published by People's Literature Publishing House . At about the same time, scholar Hongye who went to the United States also published "Du Fu: China's Greatest Poet" on Harvard University . The parallel comparison is also published by Japanese scholar Yoshikawa Yoshikawa in 1950. These three works can be called the pioneering works of Du Fu's narrative since modern times. I have carefully read the creative materials collection based on the "Biography of Du Fu" by Mr. Chen Yi-ying as the original version, and have also made many comment notes.
In addition to this, Feng Zhi also has other accounts about Du Fu: for example, the preface to "The Biography of Du Fu", which was written for "Selected Poems of Du Fu" by Pujiang Qing and Wu Tian. There are three stories about Du Fu, "Two Aunts", "Gongsun Aunts", and "White Black Silks", the introduction article "Du Fu" (1953, published in " PLA Literature and Art ", "Goethe and Du Fu", the preface of the Japanese version of "The Poet Du Fu", and a dictionary entry, namely the Du Fu entry written for "Chinese Encyclopedia of China" in 1986.
From the writing process of "The Biography of Du Fu", we can also discover the interaction between Rilke's translation, national current affairs and his own native language writing, because Rilke's poetic novel "The Flag Bearer" was written based on Rilke's family historical materials.
is multi-energy and prolific: a real and hard-working person writes above
, which is equivalent to a traceability review.
To write this article, I also specially compared the articles in "Feng Zhiwencun" with "Feng Zhi Complete Works" and "Feng Zhi Translated Complete Works". I feel that its selection criteria are clearer: one is to agree with and follow the author's own judgment, the second is to start from the literary value of the text, and the third is to select works before 1949 (the third point is determined by the first two points). There are many versions of "The Biography of Du Fu" so far, and it is reasonable not to include the full version (several chapters are excerpted). In addition to "The Fourteen Elements Collection" and "Wu Zixu", he also selected the essay collection "Landscape" (the influence of Rilke's essay "On Landscape" from this collection can also be seen). The above three types were once praised by Mr. Qian Liqun as Feng Zhi's "Three Wonders". In terms of poetry, there was also a representative collection of poems, "Song of Yesterday", and in terms of translation, there was a single selection of "Selected Poems of Heine" (in fact, Feng Zhi translated many German poets, so you can compile an optional version of Feng's German poets), and finally there was a book called "Selected Collection of Feng Zhi's Academic Works".
Of course, there are also regrets of being left behind, such as the novels "The Jonnie is about to die" and "Bo Niu is sick". There are also excellent works in the third volume of "Feng Zhi's Complete Works" such as the poetic prose "Cicadas and Evening Prayer" and "The Record of the Rain in the Western Suburbs: Sent to Fei Ming".The latter article was published in the Supplement of North China Daily in July 1929, which records the literary friendship between the two Fengs (Feng Zhi’s real name Feng Chengzhi and Fei’s real name Feng Wenbing), and it is very friendly to read. At that time, Feng Zhi was teaching at the Confucius School in Beijing and had not yet studied in Germany. The two had co-edited a literary journal called "Camel Grass".
There is also a preface to "Wu Mi Academic Symposium Collection" written in September 1990, which is also worth noting. Mr. Feng specially demonstrated the reputation and status of Mr. Wu Mi founding and hosting the magazine "Xueheng", and emphasized the reasonable side of the Xueheng school intellectuals represented by Wu Mi took "revitalizing Chinese traditional culture" as their responsibility, and also gave a peaceful understanding of the position of "Xueheng" resisting the New Culture Movement. In addition, I also recalled several past events during the relationship between the two: for example, in September 1930, they went to Europe via Siberia . After returning to China in 1935, they received the gift of "Wu Mi's Poem Collection". After that, during the Anti-Japanese War, the two of them taught at Southwest Associated University. When they visited Wu Mi in 1943, they were awarded a "Fifty Birthday Poem".
Feng Zhi has always preserved these two books by Wu Mi. In the article, he praised Wu Mi's spirit of "being independent and meticulous in writing", and summarized his friend's lifelong behavior:
He is loyal to his proposition, although his proposition is not completely in line with reality; he is loyal to love, although love encounters setbacks and failures; he is loyal to his ideals, although management is difficult to achieve, but he is consistent, upright and persistent, and has never attached to any power, or changes with the direction of the wind - this character is very valuable.
These days, I was just free to translate the "Wu Mi Poetry Collection". There are a few lines of translation of poems at the beginning of the volume (Wu Mi translated the French poet Jie Nier line 181-184 of the poem "Creation" by the French poet Jie Nier):
picks ancient flowers to brew our honey;
is used to describe our thoughts and borrow the colors of the ancients;
refers to the fire of the ancients' poems, and the strong torches of our peers can ignite;
uses the new and handsome thoughts to form a good chapter in ancient style.
At this point, I suddenly realized that these poems can also be used to describe Mr. Feng Zhi’s "literary heart" to end the article.
He actually made a more formal statement about his "literary heart", which was published in 1943 in the "Life Guide Anniversary Collection". In the article, he used the poem "He waited after ten years of silence, working and waiting" translated by Bian Zhilin as the preface, and used several pages to trace Rilke's life of concentration and enthusiastically praised Rilke's concentration. After that, my pen turned around and I remembered the Russell speech at Peking University in summer 1921:
What Russell said that night, now I can't remember it, but I never forgot some of them, and the more I think about it, the more I feel, the more I make the more meaningful it is. He said that China is so big and has such a large population, as long as there are a thousand people who really work hard, China will have a way. Now, twenty-two years have passed slowly. Most of the young people who attended this party are in their prime at about forty years, scattered in many places in this vast territory. Looking back, there is a little sadness. But the reason why China has today is mostly due to the lack of real hard work in the past twenty years. We just hope that the number of these people will increase.
There is no doubt that Mr. Feng Zhi is one of these "real and hard-working people". Although we already know that the ups and downs of the Republic in the first twenty years have also slaughtered a lot of his talents and wasted his precious time and energy.
Feng Zhi, 1980. Photo provided by the publisher.
In his later years, Feng Zhi still had new expectations: in 1988, his speech at the "Science and Culture Forum" was published in " Science and Technology Daily " and the title was "Revitalizing education is urgent". The fate of his family and country is still what he thinks, which is his perception and appeal after experiencing the turbulence of the times.
In the "Ten New Quatrains" published in the May issue of " Poetry Magazine " in 1985, there is a poem "Give a Child", which can also be regarded as his expectation for the future young generation:
My past, you won't understand.
I can't predict your future either;
We will walk hand in hand today, and
will welcome another New Year together.
The Westerners once had a proverb called "It is easier to let a camel pass through the eye of a needle than to enter the kingdom of God." The original intention was to mock the rich people in the world who could not find the door to heaven.
Here, I want to transform the above proverb into a new metaphor, because there is really such a needle eye in the world: the needle eye of time. It is because whether it is a rich or poor, a famous or an unknown person, a high-ranking person or a person living in a corner of the countryside, whether it is a camel, a mule, a horse, sooner or later, it will pass through this needle hole one day, which is inevitable. If some of us have decided to take literature as our aspirations (other fields will naturally have their aspirations), if we have gone through our lives and are about to pass through this time needle, we should ask ourselves in advance: What can we carry to pass through.
Mr. Feng Zhi, Mr. Feiming, Mr. Wu Mi, Lao She, Mr. 2, Mr. Li Jianwu, Mr. Shi Zhecun, Mr. Bian Zhilin, Mr. Wang Zuolliang, Mr. Jin Kemu, Mr. 2... These predecessors are all versatile and prolific, rich and affectionate, endurable and hard-working. The early days of engaging in literary activities are often very cross-border, and they are involved in poetry, novels, dramas, and literary translations, and they are also familiar with Chinese classical literature (this is one of the reasons why their translations performed well: the immersion of their mother tongue). They have completed their respective life journeys and have given the answer. When time passes a little longer, when we look back at the last century, and we exclude social status, activity energy, and fan bases and measure it purely by literary and cultural achievements, we will see their increasingly prominent cultural status and confirm them as real talents during this period (just like we have known the Tang Dynasty for more than a thousand years, and those who are more concerned about it will be writers, poets, not emperors, generals and ministers).
Their literary poetry fire can still ignite the torch in our hands today. For a long time, I have taken Mr. Feng Zhi and Mr. Shi Zhecun as examples to plan and arrange my writing actions. Feelings and inheritance are not empty and can be practiced.
When I was about to write this article, I was preparing for the final information for the second part of the "Poet's Trilogy" of "The Troubles of Young Li" on the theme of "The Trilogy of the Poets". I plan to choose some of the articles in "Full Works of Feng Zhi" to read, just to better understand his achievements and see his holographic images clearly. I also plan to reread Rilke's "Notes from Mart" (thanks to the translator Cao Yuanyong). I want to use this poetic novel to draw the energy of the stylistic style for my upcoming "The Troubles of Young Li". Similar catalyst readings include Sernuda's "Oknos" (thanks to the translator Wang Tianaijun) and Roland Bart "Lovers' Whispers" (thanks to the translator Wang Yaojin and Wu Peirong).
As I said at the beginning of the article, literary translation is first of all to nourish our hearts, rather than worshiping them. Its ultimate goal is to inspire and strengthen our mother tongue creation. Regarding this, Mr. Feng Zhi and his generation of senior writers have personally practiced and inspired us.
Read, think, translate, and create. We who have already realized need to use the fruits of action - works - to put our own flags on the new literary land that needs to be developed.
September 9
Written by Congrongzhai
/Ma Mingqian
Introduction/ Zhang Jin
Editing/Zhang Jin An Ye
Proofreading/Lu Qian
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