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本世纪二十年代,法国诗坛曾流行了一阵子超现实主义。超现实主义作为诗歌的一个流派虽已不复存在,但在诗歌创作中留下的影响仍很明显。超现实主义把诗歌从格律的约束中解放了出来,使诗歌的比兴不再停留在风、花、雪、月、山、水、鸟、兽等自然现象上,而是表现出诗人丰富的联想。由于国情和生活的不同,西方现代诗人们的这种比兴和联想,有些确使我们感到费解,但也有不少并不难懂。战后法国几位著名的诗人如雅克·普雷韦尔(1900—1977)、诗能入乐,这一向是诗人们所追求的荣誉之一,也是诗歌成功的一个标志。这里选译的鲍里斯·维扬的四首诗,不知能否验证笔者的这点粗浅的想法。
Twenties of this century, the French poetry has prevailed for a while surrealism. Surrealism as a genre of poetry no longer exists, but the impact left in the poetry creation is still obvious. Surrealism liberates the poetry from the restraint of the law, so that the poetry is no longer on the natural phenomena of wind, flower, snow, moon, mountain, water, bird, beast, Lenovo. Due to the differences in national conditions and living conditions, some of these modern and prospective Western poets have really puzzled us, but quite a few of them are hard to understand. After the war several well-known French poets such as Jacques Prever (1900-1977), poetry can be fun, this is one of the poets who seek the honor, but also a symbol of the success of poetry. The four poems of Boris Weyen, translated here, can not be verified for the author’s superficial idea.