Teacher Wang Zhihuan was my benefactor and mentor. During my undergraduate years, when qualified instructors were scarce, we were fortunate to have Miss Wang join the faculty.
I still remember a joke from my university days. Once, Miss Wang had a bad cold and came to class despite it, sneezing uncontrollably. Unable to help herself, she muttered under her breath, "Such nuisance!" Sitting in the front row, I softly replied, "It's really not a new-sance. It's an old 'sance'. You've caught cold for days now." Miss Wang finally couldn't help but laugh. Some classmates who heard it laughed along; those who didn't were baffled.
Many years ago, I received from Miss Wang a copy of the bilingual Chinese-English poetry anthology she had compiled and translated, A Collection of Patriotic Lyric Poems, Ancient and Modern. Busy with work, I carried it with me and read a few poems whenever I had a spare moment, finding them quite distinctive. The anthology was compiled and published after she had survived nineteen years of unjust imprisonment, in her twilight years past sixty and seventy. Her translations are faithful to the spirit, language, and cadence of the originals — flowing and musical, demonstrating the profound mastery of this venerable teacher. The selection ranges from Qu Yuan in antiquity down to the Tiananmen Poems. Alongside well-known masterpieces, there are also lesser-known works she was particularly fond of — more obscure but rich in poetic sentiment, such as Shi Hanke's "Questioning the Stone Man." Running through it all is a somber, deep-felt concern for the nation and its people, inseparable, I suspect, from her own life experience.
After the anthology was published, I told Miss Wang: now that we are in the Internet age, I could create a Teacher's Collected Works column online to introduce her poetry and other writings. She was pleased, but also had misgivings about copyright. As a first attempt, she suggested we could begin by introducing her "Verses from the Ashes." She wrote:
Wei,
Hello!
Is there a way, whatever, any such,
in all the world existing, to unlade,
unlock, unlatch, enliven by a touch
magical the long-lonely weighed-
down soul, that, waking like an apple tree
frost-fettered, now reviving, trembling,
with wind and rain rollicking in glee,
it brightens to a loveliness of spring?
Yes, there is one, one only, one alone –
not love uncomprehending, singeing, blind,
self-happy-seeking; but there is a known
way, thing, fine thing, consoling, gracious, kind –
What? Sympathy! Reverberating wide
and wider, when the asking is replied.
This is a sonnet written sixty years ago by a university junior, which was once highly praised by several professors of English literature from the five Christian universities then gathered in Chengdu. Then, in 1967, before an assembly of female prisoners at the labor reform farm, it was committed to the flames — along with my other original works, translations, personal letters, photographs, and everything else — reduced to ashes in a single blaze. This time, when you read aloud over a transoceanic phone call Yang Zhenning's revised version of Weng Fan's English poem, it unexpectedly touched a nerve in me that had grown nearly numb, jolting me awake: both of us were Chinese university students (albeit in vastly different times, spaces, and circumstances) attempting to express poetic feeling in English — and yet how vastly different our two fates have been, to the point of such extremes! At the same time, small stories connected to my university poetry-writing days came vividly back to life in my mind. So I thought, if I could recall some verses still worth reading, they might be of interest. I racked what remains of my brain — already moderately eroded by dementia — and after several days of effort, miraculously retrieved from vanished ashes a few charred, shattered pages of verse. The above is the only poem I was able to reconstruct in its entirety. At the same time, I thought I would follow the current fashion of "poetry with illustrations" by pairing it with related little stories, serving as "sketches."
In 1942, I transferred into the English Department of Jinling Women's College. By then, Jinling, Yenching, Nanjing, and Cheeloo — four Christian universities — had successively relocated to the spacious campus of West China Union University in Chengdu. English majors from any of these schools could attend specialized courses offered by English professors from any of the institutions — "resource sharing," as we would say today. The courses "Introduction to English Poetry" taught by Dr. William P. Fenn, chair of the Nanjing University English Department, and "Modern Poetry" taught by Yenching professor Grace Boynton were both brilliantly taught. This ignited the impulse to write poetry that had been stirring in me since middle school — a "foolhardy audacity" — and, modeling my work on the linguistic styles of poets I particularly loved, I gradually wrote several dozen poems in my spare time. Later, I selected sixteen sonnets as my graduation thesis (with Dr. Fenn as my advisor), which surprisingly attracted the attention of many foreign faculty members across the West China campus.
However, "everything is hardest at the beginning." One small episode remains vivid and evergreen in my memory. Besides teaching "Modern Poetry," Miss Boynton also offered an English composition course. One day in 1943, after class, I approached her with a few of my poems and asked for her guidance. She accepted them with a smile, then said, unhurriedly and gently: "Oh dear, it's already an accomplishment if you Chinese students can write a decent English sentence — and now you're writing poetry!" But since the pages were already in her hands, I could hardly ask for them back. And so my "maiden works" entered her reading gaze. The next time we met after class, Miss Boynton's attitude had completely transformed — she offered a few words of delighted appraisal. After that, she invited me once or twice to her cottage for afternoon tea, to chat and talk about poetry. In composition class, she would often read my prose aloud to the entire class. Later, words of excessive praise for my work — which was in fact quite immature, especially in meter and rhyme — circulated among the foreign faculty at West China, remarks like "She'll burst into print any time"…
What I could never have imagined was that this would turn out to be the only period of original English poetry writing in my entire life! As for "bursting into print" (or rather, struggling into print), at least where English poetry was concerned, that would not come until a full half-century later — after enduring nineteen years as a prisoner, and at last living to see the wrongs of the past set right. That is to say, it came with the publication of the Collection of Patriotic Lyric Poems Ancient and Modern that you helped introduce online.
In raising this topic again today, I am doing no more than revisiting, in these waning years of little to commend, one of the relatively pleasant stretches of my adult life, and offering to an amateur poetry enthusiast such as yourself a few anecdotes of life in the old Christian university.
Wang Zhihuan
February 10, 2005, Beijing
That summer at the teachers' college, I would often have breakfast with Miss Wang and listen to her recount the hardships and legends of her life. What she missed most was her university days and the English poems she wrote then — at the time, she was outstanding, brimming with talent, and highly regarded by the foreign professors and President Wu Yifang. The poem above was a fragment she recalled and recorded for me back then. I still remember Miss Wang explaining the line "He sits and reads the pool" to me — she said that "sits" is a short vowel and "reads" is a long vowel, and their interplay gives the line its rise and fall. She even mimed the expression of a bird studying the pond with rapt attention, as a demonstration of the line.
Another of Missx Wang's early poems, a fragment:
"The Kingfisher"
He is a flame of emerald,
With a shining ruby breast,
Of all things most beautiful,
By Mother Nature drest;
Inhabits the deep woodland green,
By some water calm and cool,
And on a wayward stretching bough,
He sits and reads the pool.
Then darts he like a light'ning flash
With winning fleeting grace,
Dips his winglets in the pool,
And wrinkles its halcyon face.
Then the flame of emerald
Has vanished out of sight.
After Miss Wang was rehabilitated, she was reassigned to Beijing and spent her remaining years in the cramped dormitory apartment assigned to her by her old work unit, Xinhua News Agency. Small though it was, it was in the heart of Beijing — the downstairs restaurant was quite good, and it was close to the market and the subway. When I used to visit her, she would always send me to the market to buy some vegetarian chicken and to the Xinhua canteen to pick up some staples, and we would have dinner together. No matter how much humiliation and resentment she had endured at Xinhua, it was her final anchorage — the last manifestation of "the superiority of socialism." This was especially true for a retired veteran cadre who had made her way to Yan'an, a woman with no family by her side.
During my time in Beijing, several ladies in my Esperanto circle grew quite close to her at one point and offered help in daily matters, but in the end, her suspicious nature drove them away. Her paranoia and mistrust were likely the scars of many years of prison life — she suspected nearly everyone around her, and this determined the loneliness of her final years. When she later hired hourly help, she was always suspicious and excessively critical, with the result that her own life suffered all the more. Once, when she was hospitalized, she suspected the hospital of scheming against her, of possibly doing her harm, and insisted on being discharged before she had recovered. Her deepest grievance centered on the sister-in-law of Chen Qixia, who had been some kind of leader at Xinhua. Before the Ding-Chen Anti-Party Clique incident, Miss Wang had once raised criticisms of Chen — criticisms that were, to some degree, exploited, though Miss Wang maintained she had nothing to do with the Ding-Chen political affair. She believed the Chen family bore a grudge (indeed, Chen Qixia's later self-defense statement did accuse Miss Wang's criticisms of being one of the triggers), and she was convinced this sister-in-law had been making life difficult for her ever since — directly leading to her later suicide attempt, her "defection" (seeking out her father in Hong Kong), and ultimately ten years of imprisonment followed by nearly twenty years of inhuman existence in labor reform farms. This old score was branded too deeply into her heart, so much so that even after returning to Xinhua, she still suspected people there of persecuting her. I said to her, "Your adversaries are all dead — who are you afraid of anymore?" She replied, "Just because they're dead doesn't mean their faction has been purged." If she was going to think that way, living every step in fear, of course life would not be easy. A few days after returning from the hospital, she would insist that someone had gone through her belongings and that objects had been stolen. And so it went — every time I visited her, she would pour out her grievances at length, and I could only listen.
In her later years, although Miss Wang did not write memoirs or an autobiography, for a couple of years she did find something meaningful to occupy herself with: translating classical Chinese poetry into English. This was her forte. She truly spent years polishing a single sword, committing everything to heart. After completing the translations, she spent several more years struggling to get them published — in the process seeking help from elders such as Chen Baichen and Ye Junjian, and even contacting American writers and UNESCO. In the end, the book was published, and it did leave its mark in the field of poetry translation. After this achievement, however, she became constantly worried that someone would infringe upon her copyright, that someone would steal her work. She could not understand that stealing the work was simply impossible — there was, after all, an official publication. As for copyright, poetry translation is a money-losing enterprise; there is no motive for infringement. (To be honest, if piracy helped with additional print runs and wider distribution, wouldn't that be a good thing?) But she could not take in these arguments. And so, in my interactions with Miss Wang, I could basically only listen — only agree or chuckle along. I could not speak my mind. If I expressed a different view, it would arouse her suspicion.
— Recorded on September 22, 2006
朝华午拾之十三:灰烬中的诗篇
王知还老师是我的恩师。本科阶段,师资紧缺,幸亏有王老师的加入。
还记得在我大学时期的一个笑话。有一次,王老师重感冒,带病上课,打喷嚏不止,忍不住小声咕哝道:"Such nuisance!" 我坐前排,轻声回应道: "It's really not a new-sance. It's an old 'sance'. You have caught cold for days now." (顺便一提,在西方,别人打喷嚏时最合适的话应该是,"Bless you!")王老师终于忍俊不住笑了。同学中有听到的跟着笑, 有没听见的觉得莫名其妙。
多年前,我曾收到我的英文老师王知还寄赠的她选编翻译的汉英对照诗集《古今爱国抒情诗词选》。因为工作繁忙,便随身携带,有空阅读几首,觉得颇有特色。诗集编译出版于她从19年冤狱幸存出来、于花甲古稀衰迈之年。译作忠实于原作的精神、语言、气韵,琅琅上口,表现出她老人家的深厚功力。编选的范围上自屈原,下迄《天安门诗抄》。除去脍炙人口的名篇之外,也不乏她情有独钟的,较冷僻,但诗意浓郁的,比如释函可的"问石人"等篇什。贯穿始终的是一种沉郁的忧国忧民情怀,这大概与她本人的经历是密不可分的吧。
译作出版以后,我跟王老师说:现在是网络时代,我可以在网上开办一个《老师文集》专栏,介绍您的诗作和其他作品。她很高兴,但也有顾虑,怕侵权。作为第一次尝试,她提到可以从介绍她的《灰烬中的诗篇》开始。她写道:
立委:你好!
Is there a way, whatever, any such,
in all the world existing, to unlade,
unlock, unlatch, enliven by a touch
magical the long-lonely weighed-
down soul, that, waking like an apple tree
frost-fettered, now reviving, trembling,
with wind and rain rollicking in glee,
it brightens to a loveliness of spring?
Yes, there is one, one only, one alone –
not love uncomprehending, singeing, blind,
self-happy-seeking; but there is a known
way, thing, fine thing, consoling, gracious, kind –
What? Sympathy! Reverberating wide
and wider, when the asking is replied.
这是60年前一个大三学生创作的"十四行"(sonnet,又译《商籁体》),曾被当时聚集于成都的五所教会大学几位英国文学教授所激赏。而后,1967年,在劳改农场的女犯面前,和我的其他原作和译作,以及私人信件、照片等等,统统在点燃的火苗中灰飞烟灭。这一次,你在越洋电话中,为我朗读扬振宁校改过的翁帆英文诗,不竟触动了我一根接近麻木的神经,令我猛醒:同为中国大学生(尽管是在迥异的时空和境遇中)用英文尝试表达诗情,二者的命运何其悬殊一至于此!同时,与我大学时期写诗相关的一些小故事,也鲜活地再现脑际。于是,我想,只要想起一些尚有可读性的诗句,可能会引起兴趣。便绞尽已被痴呆症中度侵蚀的脑汁,集数日之努力,竟从消失了的灰烬中,又神奇地拣回几片焦黑的破碎诗页。上列是唯一能完整地复述出来的一首。同时,也想学着时下流行的"诗配画"的风气,以相关的小故事,权当"速写",与之相配。
1942年,我插班进入金女大英文系。当时,金女大、燕京、南京、齐鲁四所教会大学,已先后迁至位于成都的华西大学宽阔的校园内。各校英文系的学生都可选听任何一校英文教授开的专业课,"资源共享"。南大英文系主任 Dr. William P. Fenn 开的"英诗概论"和燕大教授 Grace Boynton 开的"现代诗歌"课(注:2003年11月3日《中华读书报》所载章开沅的"教会大学在中国"文中,曾评价并引用过 Fenn 的言论。Boynton 的名字也曾在几年前"博览群书"某文中被提起过),都讲授得十分精彩。这就引发了我自中学始即跃跃欲试的"大胆妄为"的写诗冲动,照着我特别喜爱的一些诗的语言风格,"依样画葫芦",课余逐渐写了几十首。后来,精选出16首十四行,作为我的毕业论文(Dr. Fenn 就是我的导师),居然引起华西大校园中许多外籍教师的瞩目。
不过,"万事开头难"。一个小插曲至今留在记忆中,鲜活常青。Miss Boynton 除教"现代诗歌"外,还开过英文作文课。1943年某日,下课后我拿着自己的几首诗请她指教。她微笑着接过去,却不紧不慢、温和地说:"呀,你们中国学生能把英文句子写通就不错了,还写诗呀!"但诗页既已递到她手,我也不便再要回来。这样,我的"处女作",就进入了她的审读视线。再次课余见面,Boynton 态度大变,她惊喜地评说了两三句。此后,她曾邀请我到她独居的小楼去喝过一二次午茶,谈天、说诗。作文课上,她常向全班朗读我写的散文。再后,华西大各校外籍教师中曾传来过对我实际上很幼稚(尤其在意韵方面)的作品的溢美之辞,比如说,"She'll burst into print any time"……
想不到的是:那竟成了我此生仅有的一段原创性英文诗写作的实践了!至于"burst into print" (应该说, struggle into print) ,至少在有关英诗方面,那是在整整半个世纪以后,当陪衬"运动员"和沦为囚犯19载、最终幸逢拨乱反正以后的事了。--也就是你帮忙上网介绍的那本《古今爱国抒情诗词选》的出版之时的事了。
今天重提这个话题,不过是在乏善可陈的衰迈余年里,重温一下成年以后少有的较为舒畅的岁月,并为你这样的业余诗歌爱好者,提供旧时教会学校生活的一点逸闻罢了。
王知还
2005年二月十日,北京
当年暑假在师院,我常跟王老师一起吃早饭,听她谈她一生的坎坷和传奇。她最怀念的是大学时代和她大学时代所写的英诗,当时出类拔萃,才气横溢,极受外籍教授和校长吴贻芳的器重。这一篇小诗就是当年她给我回忆记录下来的片断。还记得王老师跟我讲解诗句"He sits and reads the pool"时,说sits是短元音,reads是长元音,相互配合使得诗句抑扬顿挫。并做出鸟儿神情专著盯着池塘的神态,作为此句的演示。
王知还老师早期的另一首诗(片段):
"The Kingfisher"
He is a flame of emerald,
With a shining ruby breast,
Of all things most beautiful,
By Mother Nature drest;
Inhabits the deep woodland green,
By some water calm and cool,
And on a wayward stretching bough,
He sits and reads the pool.
Then darts he like a light'ning flash
With winning fleeting grace,
Dips his winglets in the pool,
And wrinkles its halcyon face.
Then the flame of emerald
Has vanished out of sight.
王老师平反以后落实政策回到北京,在原单位新华社分配的窄小宿舍里,度过了余生。房子虽然不大,但那是北京的心脏地带,楼下餐厅很不错,离菜市场和地铁都很近。以前去看她,总是差我去菜市场买一些素鸡,去新华社食堂买一些主食一起吃晚饭。无论她在新华社曾有多少屈辱和怨恨,新华社是她最后的归宿,这是"社会主义优越性"的最后体现了。对于一个投奔延安的离休老干部,一个身边没有任何亲人的她,更是如此。
在北京的时候,我的世界语朋友圈子中很有几位女士曾一度跟她走得近,也在生活方面提供了一些帮助,但最终还是由于她的多疑,疏远了。她的多疑和猜忌可能是很多年的牢狱生活的苦难造成的,她几乎怀疑过身边每一个人,这就决定了她最后岁月的孤苦。后来请钟点工,她也总在怀疑,太过挑剔,结果自己的生活就更加受苦。其间生病住院,她也怀疑医院有阴谋,会谋害她,身体没复原就坚持出院。她最大的心病是陈企霞的弟媳,当年是新华社的什么头儿。由于丁陈被打入反党集团之前,王老师曾经提过陈的意见(这些意见多少被利用了,虽然王老师坚持她与丁陈政治事件无关),她觉得陈家怀恨在心(后来看到陈企霞自辩词,确实指控了王老师的意见是导火索之一),所以王老师觉得这个弟媳一直给她穿小鞋,直接导致了她后来的自杀和"叛逃"(去香港找父亲)等事件,最终是10年徒刑,近20年劳改农场的非人生活。这笔旧账在她心中烙印太深,以至于后来回到新华社,她还总在怀疑新华社有人在迫害她。我说,你的对手都死光了,你还怕谁呢?她说,死了并不等于其党羽都清除了。她要这样想,步步惊心,日子自然不好过。她住院几天回来,就坚持说她的东西被人翻过,有物件被偷。诸如此类,每次我去看她,她都要唠叨很多,我也只能听着。
王老师晚年虽然没写回忆或自传,有两年还是找到了一件有意思的事情做,就是翻译中国古典诗词到英文,这是她的长项。那真是几年磨一剑,烂熟于心。翻译完,为了出版折腾了好几年,其间找过陈白尘、叶君健等老人帮忙,也曾联系美国作家和联合国科教文。最终是出版了,也确实在诗歌翻译领域留下了印记。这项成果之后,她就老在怀疑有人要侵犯她的版权,盗窃她的成果。她不明白,盗窃成果是根本不可能的事情,因为有正式出版物在。至于版权,诗歌翻译是赔本的买卖,没有侵权的动机(说老实话,要是有盗版帮助加印分销,流传更广,不是更好么)。但这些道理她是听不进去的。所以,跟王老师交往,基本上只能听,只能附和或打哈哈,不能说。说了不同看法,就会引起她的疑心。
记于2006年九月二十二记
From 朝华午拾 (Morning Glory, Afternoon Harvest). Original Chinese: 《朝华之十三: 灰烬中的诗篇》.


