汉英双语诗集《三原色》，由诗歌评论家叶橹老前辈作序。收入的76首短诗，选自作者历年创作的数千首作品，也是作者近40年写作跨度和诗风变化的见证。书名《三原色》，寓意人生三大元素：情、欲、志，三者彼此关联又相互渗透，一如绘画所用的三原色调制出变化无穷的大千世界。     
　　本书亚马逊网购链接（复制到浏览器打开）
　　https://www.amazon.com/dp/B08B2M4Z58/ref=sr_1_10dchild=1&keywords=by+Weihuai+Leng&qid=1591920839&sr=8-10 
 
　　作为一个经常读诗也写点诗评的人，我虽然在27年前为冷慰怀的一本诗集写过一篇序，但岁月流逝记忆消失，我几乎已经完全忘记了这回事。想不到近些时他竟因此而不远千里从洛阳来扬州看我，这不仅令我感动，也让我周围一些朋友对此啧啧称奇。大家都认为在当今的社会，如此重情义的人实在不多了。
　　我虽然因为写序而自嘲，但至今不悔，因为我大抵都是为一些不甚知名的诗人写序，初心在于鼓励他们。所以我写的序不会夸大其辞以防误导。像冷慰怀这样的诗人虽属罕见，但有此一例已使我不忘初心矣。
　　现在冷慰怀要出版他的双语诗集，依然要我为他写序，我更不能推辞了。仔细地读了他这本经过自己精心挑选的诗集，我对他的为诗为人似乎有了更进一步的认识。
　　我经常在读到一些留下印象的诗时，会回想一下诗人的形象。这种玄想纯属一种习惯，没有任何科学性。这次再读冷慰怀的诗，因为有直接的触目其人的印象，便不免有了“诗如其人”的结论了。
　　纵观冷慰怀的这些诗，你读不到什么特别奇幻的诗句，更不会有那些基于追求新潮刻意打扮的装腔作势。但是他的诗呈现出一个普通人的真实而善良的灵魂。它也许不那么时尚或先锋，可是却值得信赖和尊重。
　　在冷慰怀的笔下，人的生命过程，始终是一种在不断地追求和思考的过程。他的一些特别精短的诗，大都具有一种触手可及的诗性哲思。这类诗，你如果把它的主题抽象化，变成枯燥的教条，那就成了被抽去灵魂的干尸。但是你如果始终沉浸在它的诗境之中，便会获得一种温馨情怀的浸润。像《远方》：

　　远方其实并不遥远
　　看不见
　　却能摸着

　　只须把手掌贴在胸口
　　远方便会驾着列车
　　呼隆隆
　　驶进生命的站台

　　以一种非常浅俗的语言方式，表达了许多深邃而不易说清的哲理，是他这一类诗的一大特色。“生活除了日常的苟且，还有诗和远方”，这种话语表达的固然是一种浪漫的理想，可是它似乎把诗和远方同日常生活拉开了距离。而冷慰怀的诗要表达的，却是远方会“驶进生命的站台”，而且“只须把手掌贴在胸口”，如此一种相反相成的道理，在不同的语言方式中，显出了诗性和诗境的具象化构成的艺术魅力。
　　诗人对于生活和生命价值的认知和理解，往往不在于终结价值的结论，而是在于他能够进入一种诗性的境界。冷慰怀的诗性情怀，往往体现在他在自己玄想构制成的诗境，让读者能够进入其中并由此联系发挥。他的《云》是一首只有六行的短诗，但却充分体现了他的联想力之突兀和美妙：
　　
　　风把思念撕成了一绺一绺
　　远处的家园隐隐可见
　　
　　站得那么高
　　还听得清灶膛里干柴的笑声
　　
　　握住炊烟
　　便握住了母亲皴裂的手指
　　
　　细细琢磨此诗，就能体察到冷慰怀诗思的跳跃性思维方式。几乎很少有人能够从云的联想中体味“握住了母亲皴裂的手指”这种感觉。但是从这首以“云”命题的诗中，我们却浑然不觉地被他的诗性联想所牵引而进入它的诗境。从那“一绺一绺”的云到炊烟，又到“母亲皴裂的手指”，似乎绕了一个很大的圈子，而这首短诗的空间却因此而显得辽阔宽广。这就是诗人营造的诗境显示的艺术魅力。
　　仅仅从语言的表达方式上看，冷慰怀的诗似乎是通俗易懂的，但是在他有些诗里，却深藏着一些不被一般人感知的哲思。他写的那首《亮斑》，就颇具这种意味。“一缕光/从云隙中射下/如一支锃亮的箭/落点变幻/令大地斑驳迷离/来去无踪的风/成了幸运的主宰”，这看似写景的文字，又隐若地蕴涵着一些言外之意。在这一节诗后面，突兀地出现了一句“猜不出弓手藏在何处”，好像是为了总结前一节诗。接下来，诗的写景又转入了另外一种场景：“烈日当空时/光明便不再珍贵/拥挤的灿烂贬值为灾祸/阴霾被奉若神灵/每一瓣惨淡的浮云/都将以华盖的身份出现/黑影在人们眼里/已辉耀成新的亮斑”。同是写景，但价值取向似乎截然相反，对于这种景色变幻带给人们的不同感受，恐怕是每一个人都或多或少地体验过的。但是很少有人会想到，“主宰幸运的依然是风”。这种联想，是基于对许多生活现象而得出的结论，冷慰怀却在人人所“有”的感受中，得出了一个大多数人所“无”的结论。他在诗的最后写道：
　　
　　无形的手随处可见
　　隐身者
　　总想把亮斑当金币抛撒
　　
　　在冷慰怀的诗中，像这样写出人人心中所有的现象，而又是大多数人心中所无的哲思的诗篇，不能说俯拾即得，但的确是并不罕见。
　　冷慰怀是一个在诗中见其真性情的人。他是生活中的普通人，但在诗中，他却常常显示出不甘庸俗的气质。他的不少诗都可以归为咏物诗，而在这些诗中之物里，则寄托了他对人的品格的追求和理想。像《瓷器》中对“以终身的缄默/站立成洁身自好/从容面对过烈焰的威逼/何惧沸汤滚水”的颂扬；在《齿轮》中对“齿轮绕着轴心旋转/我们绕着信仰旋转”的比喻；在《风中的芦苇》中傲然地吟诵：“折断的同伴纷纷仆倒/长夜里/我是唯一不肯就范的家伙”；如此等等。我在同他唯一的一次接触中，深感到其“诗如其人”的品格，所以我深信他诗中那种朴实而坚定的风格，是符合他为人做事的言行的。
　　冷慰怀之所以将其诗集命名为《三原色》，既是他对生活和生命本色的一种认同，也是他把诗同自身的生命本色转成一种理想的追求。生活中的人可以是平凡普通的一员，但他的诗，必须是有品位有气质的艺术品，从这个意义上说，冷慰怀实现了自己的人生信念和追求，我为有这样的同道者而感到幸福。祝福他依然宝刀不老地继续写出更好的诗！
　　
2019.10.28.扬州 


　　 叶橹，原名莫绍裘，1936年出生于江苏南京，1957年毕业于武汉大学中文系。大学期间开始评论写作，1956年在《人民文学》发表《激情的赞歌》《关于抒情诗》等文，预见了闻捷、公刘等诗人的重要性。1957年，刚大学毕业的叶橹却被错划为“极右”，被迫辍笔，在湖北劳改队和江苏高邮的农村生活中度过23载。1980年复出，先后担任江苏省高邮师范学校教师、扬州大学文学院教授，研究生导师。著有《艾青诗歌欣赏》《现代哲理诗》《诗弦断续》《叶橹文集》等，在中国现代主义诗歌评论界享有权威地位。



 
As one who often reads poems, and writes reviews on some of them, I almost totally forgot that 27 years ago, I wrote a foreword for a poem collection by Mr. Leng Weihuai. Though the passage of time erases memories, his recent visit from his hometown, the city of Luoyang to mine, Yangzhou, impressed me deeply. It was also unexpectedly welcomed and praised by my friends, as in today’s society, fewer and fewer people still value friendship and demonstrate their gratitude.
Although sometimes I ridiculed myself for writing prefaces, I have not had cause to regret it until now. I mostly wrote these for lesser-known poets, and my original intention was to encourage them. So the preface I wrote will not exaggerate the words,  in order to prevent misleading. Although a poet like Leng Weihuai is rare, but this case has re-affirmed this original intention of mine.
Now on the eve of the publication of the bilingual version of the new collection of his poems, he has again invited me to write a foreword. Naturally, I am very delighted to accept! Afterwards, I carefully read through the book, in which everything had been well-chosen by himself; the art of his poetic writing and character anew in my mind.
It is my habit when I am reading poems that the composer’s image leaves impression on my mind. This is a mere habit without reason. This time when I read his poems, his imagery came into my mind naturally. Not only because we met merely once before, but also it impressed  me so much that his writing embodied his personality so fully.
Within his poems, one can feel the truth and kindness of a common soul, perhaps not that fashionable or pioneering, nor so much pretentious or fancy rhetoric. These poems manifest a sincerity worthy of respect.
His pen unfolds the journey of a heart, namely, the process of his pursuit and meditation. Some of his short poems especially spark a sort of philosophical thinking with his characteristic poetic romance. If one wants to conceptualize the themes of them, these would turn out to be merely dull doctrines, the dry corps free of their souls. Yet, if one remains indulging in his poetic contexts, they may be immersed in kind of tender warmth. Take the poem “Distance a heart feels” for example,

Distance a heart feels
The future isn't actually far away
You can’t see it

Yet you can touch it
Just put the palm of your hand on your chest,
Your distant future will ride the freight train
roaring towards you
Until it enters the platform of your life

One facet of his art of writing is that he is gifted at interpreting some philosophical subtlety in a seemingly simple and plain expressions. “Apart from managing to acquire one’s subsistence, one still have a chance to have a glimpse of poetry and some places afar”, this expression is undoubtedly of sort of romantic ideal, but, it seems to be leaving a gap between the ideal and the reality. What the poet would like to express is that: the future will head into the platform of one’s life as long as one put their hand on their chest and feel it. This expressive architecture creates a cognitive effect of contradictory harmony, boasting his artistic imagination for combining and embodying the context with the nature of poetry itself. 
Poets’ comprehension about their living and values of life lies in their creating these sort of poetic contexts rather than pursuing the ultimate conclusions of them. Mr. Leng’s talent lies so much in creating charming contexts that coax readers into them and associate their cognitions from the contexts that may result. Take his poem ”Cloud” for instance, which has only six lines, but it manifests his imagination for relevance scenario by simile and metaphor.

Wind is tearing nostalgia into strips
While home remains dim away in the distance.

Standing so tall,
I can even hear the brisk cracking in the brick oven

My eyes embrace the cooking smoke scattering up above the roof
As if relieving my mum’s blistered fingers in my palms.

If you sip the flavor of his poems, you can perceive his jumpy mindset being free-spirited as linking “cloud” to the image of mum’s fingers. Yet, by the theme “cloud”, readers are driven naturally and unconsciously and willingly to follow his pace of imagining to enter the particular context. From the “strips” of clouds to the cooking smoke, and to mum’s blistered fingers seem to circle around widely, the architecture of his writing allows vast possibilities for free association with the sentiment a particular poem implies. That is the artistic cognitive charm created by his poetic context.
His poems imply some philosophical epiphanies that are subtle and tiny for people to perceive and notice. His poem Bright Spot” should be assumed as one such case: ”A beam of light/ shot from the gaps of clouds/like arrows polished to a dull shine/the points where the rays fall change constantly/mottling the landscapes gloriously/and make the wind the Lord of Luck coming and going without a trace. This seems a part of text about scenery, but it has connotations. In the latter part of the poem turns out abruptly a line ”No way to guess where the archer hides” which seems to serve as a summary of the previous stanza. After that, the poem drives into another scene: ”When the baking sun hanging up there/light is not precious/crowded beams of ray reduce into disaster/haze is worshipped as the Deities/ each and every petal of cloud/serves as part of the glorious canopy/Shades and shadows in people’s eyes/have become popular as the new bright spots. The poem seems to demonstrate a pair of the contradictory frames of reference of social value here by the changes of scenes. It leaves the different feeling for readers to perceive; and to some extent, the feelings are familiar to all of them. Yet, at this moment, few could recall potentially that it is still “the wind that is the Lord of Luck.” This cognitive description of the poem draws largely from everyday experiences. Though they are common, they have inspired the poet to understand something different. By the end of the poem, he wrote:

Intangible hands can be seen everywhere
Invisible people
Always want to throw void bright spots around as gold coins.

If it is not all, it is not rare in this collection in which his poems are of philosophical inspiration drawing from the common phenomena.
Mr. Leng Weihuai is the kind of person who loves revealing his heart in his works. What comes from his mind generates different visual and vivid symbols of his character, pursuit and ideal. We can see this in what is praised in his poem “Porcelain”:  By a lifelong silence it has made/ Standing like a wholesome individual/ That endured intimidation of flames/ Has no way to fear the scald of boiling water. The simile he wrote in the poem “The Gear”: the gears swivel around the axis rod/we work with our creed at its core. What is proudly expressed in “Reed in the Wind” is that “my companions are broken and flung themselves on the ground/while I am the only one who refuses comply/in this long dark night/it is one of the cases in this collection that describe the human precious character by simile or metaphor of the scenery or plant in the particular context. I felt the gravitas of his quality and character when meeting him in person. Though only a single meeting, he impressed me with his quality and character just like the reading of his poems from time to time. 
The reason why he named this collection “Tricolor” is not only because of his recognition towards the human life and its nature itself but also because of his pursuit of combining his works with his life into a noble ideal. As a member in a society, one may be one of the most common, but his poems should be of artistic value with his quality and flavor. It is in this sense that I am bold enough to say that Mr. Leng’s endeavor for this goal has been materialized and rewarded. I feel so glad to have such an equal like him. Here, I wish his penmanship will offer more great poems in the future!

Yangzhou 28.10.2019  

-------------------------------------------------------

Ye Lu, formerly known as Mo Shaoqiu, was born in Nanjing, Jiangsu in 1936, and graduated from the Chinese Department of Wuhan University in 1957. During the university, he began to comment and write. In 1956, he published articles such as "Psalm of Passion" and "About Lyric Poetry" in "People's Literature", anticipating the importance of poets such as Wen Jie and Gong Liu. In 1957, Ye Lu, who just graduated from University, was wrongly classified as "extreme right" and was forced to stop writing. He spent 23 years in the rural life of Hubei reform through labor team and Jiangsu Gaoyou. In 1980, he returned to work as a teacher of Jiangsu Gaoyou normal school, a professor of the school of Arts of Yangzhou University, and a Postgraduate Tutor. His works include Ai Qing's poetry appreciation, modern philosophy poetry, intermittent poem strings and Ye Lu's anthology, etc. he enjoys an authoritative position in the field of Chinese modernist poetry criticism.

(英译：魏建国)  



[内文选登]

胆小的男子汉

还记得那条石凳吗
那条与我们一同
保持缄默的石凳
还记得那棵雪松吗
是它善意地伸出手臂
捂住了满天眨巴的眼睛

我想抬起头来
仔细看看那颗痣
又害怕莽撞的心跳
会走露风声

草丛里
蟋蟀们在高唱情歌
我暗暗咒骂自己
——竟不如小小昆虫

（写于1986年2月15日，载1986年6月《飞天》）    
 

A hesitant admirer

Do you still remember the bench of stone
The one that stood beside us alone
remained silent as a mate forlorn.
Do you still remember that snow pine
The one that extended its arms to atone
And shielded us away from a sky awash with blinking eyes 

My eyes cannot stop 
From gazing closely at that beauty spot 
But I quit for fear that my heart beats helplessly
Would shame me for revealing that I beg for it secretly.

In the tall grasses
As crickets shout out their love song,
I blame myself in a manner so crass,
For lack of courage to let my love asound.

(written on February 15, 1986, in Flying in June 1986)  

（英译：魏建国）  


熔

路边
一丛玫瑰举着尖刺
一只只手
伸过来，又缩了回去

深情染红了每一片花瓣
尖刺不是她的本意
伸过来的手犹豫了一下
又缩回去了

尖刺扎疼了许多手——
有轻佻的
也有真诚的
滴血殷殷
红得和花瓣一样惊心

美丽的玫瑰举着忧郁
忧郁不是她的本意
是少女未曾衰老的等待
渴望有一双炽热的手
能熔化所有尖刺

（写于1997年1月16日，载1997年5月11日《中国青年报》）      


Melting out

There on the roadside
Bush of roses with their thorns sticking out grew hither
One after another
Reach for the roses and retract their hands

Deep passion colors every single petal’s charm
Sharpness of the thorns does not mean as they are supposed to harm
Hands come hesitantly
And then retract in calm

The thorns have pricked more than one palm.
Some flirting
Some adoring
Blood is remarkably scarlet 
Paintakingly the same as the petals

The roses are revealing their true blue
But their blue does not mean their thorn’s sharpness
It is the not-yet-aging waiting of florescent girls
Yearning for a pair of determined hands 
Relieves her passion and melts out all the thorns.

(Written on January 16, 1997, contained in "China Youth Daily" on May 11, 1997)

（英译：魏建国）  


末班车

公路是一条长长的拉链
路边，整整齐齐嵌着链牙——
两行朦胧交错的树影
末班车是游动的锁鼻儿
正把一个深沉的夜
严严实实从脚下锁紧

女司机，是一位魔术大师
将站牌边急切的等待遣散、隐遁
为一觉醒来的丈夫们
悄悄找回妻子的柔情
让一张张砸着舌尖的小嘴
在甜梦中再次衔住失落的笑声

远处的楼层里
一间闪亮的窗格悄然熄灭
忙碌的都市
终于闭上最后一只眼睛
汽缸的轰鸣渐渐微弱
静夜枕着月色发出了均匀的鼾声……

　　（写于1986年1月9日，载1992年11月9日《人民日报》  
　　入选人民文学出版社1988年出版的《未名诗人》）        


The Last Bus

The highway is a long zipper
Lined neatly with metal teeth --
Two rows of hazy shadow of the trees
The last bus is a sliding tab
That is fastening tightly together a night deep
Where the feet have been

A woman driver is a great magician
Who makes an anxious wait at a bus stop dispersed and concealed
Who silently brings back, for these husbands just awaking 
The tenderness of a wife
And who lets the little mouths smacking the lips 
Again have the lost laughter in the sweet dreams dangling

In the distance from a building
A glimmering window goes out quietly
At length a city so bustling 
Has shut its last eye
The tumbling of the cylinder is away fading
And the silent night regularly snoring on a pillow of moonlight

(Written on January 9, 1986, published on November 9, 1992, "People's Daily" was selected as "Unknown Poet" published by People's Literature Publishing House in 1988)

（英译：詹杨娜）  


跋  涉

真想成为一首诗
让每个日子都读出韵律
春雨霏霏时，邀几个朋友走入意境
与那个年过千岁的牧童
共访杏花村沉醉的旧址

而命运专爱同我们作对
失望如魔鬼纠缠不休
一封信盼了很久
捧在手里却不敢启封
生怕退稿签又来板着面孔
重复那些冰冷的训词

炒菜老忘放盐，烧饭总是糊底
急急去赴约会
又偏偏赶上一场暴雨
背得烂熟的箴言
竟然不知道出在何处

过了三十岁，我们才渐渐懂得——
在生活这首诗里
灵感，并非全是警句

（写于1988年8月2日，载1988年10月13日《人民日报》
编入中国和平出版社1991年出版的《当代中青年抒情诗选》）     

 
A Trek

If only I were a poem
Everyday would be read in rhythm
In spring drizzles, I would invite several friends to the imagined scene
And with that a-thousand-year-old shepherd boy
Visit the intoxicating old hamlet nestling amidst apricot blossoms

But fate is always going against us
And disappointment haunting us like Satan
A letter that has been expected for long 
I hold in my hands but dare not break the seal
For fear that another rejection slip would scowl
To repeat those cold admonitions

I am always burning rice and forgetting to salt dishes
And hurrying to keep an appointment 
But caught in a terrible storm
A proverb learned by heart
I do not even know where it comes from

After thirty years old, it dawns on us -- 
In the poem of life
All the inspirations are not an epigram

(Written on August 2, 1988, published on October 13, 1988, "People's Daily", compiled into "Selected Poems of Contemporary Young People" published by China Peace Press in 1991)

（英译：詹杨娜）  


凡 人

凡人活得很拘谨
脚下没有鲜花，头顶没有祥云
每一步都要踮起脚尖
每一夜都要拴紧房门
泥泞在旅途纠结
笑声在梦里藏匿
直到望见生命的终点
才知仍未走出困境

凡人活得很痛快
说话不怕走火，感情不拍外露
酒逢知己便可称兄道弟
话不投机也敢逐客出门
挣一个花一个
穷得明白干脆
家无隔夜粮
反倒免除了鼠类的窥测

凡人不长野心
凡人不信鬼神
既然赤身裸体投入凡胎
何必披金戴银告别人世

（写于1991年2月22日载1991年冬季号《海内外新诗选萃》） 


Mortals
 
Mortals live with restraint
There are no flowers under our feet, noclouds overhead
We stand on our toes every step
We tighten the door every night
The muddy road is tangled
Our laughters are hidden in dreams
Until we see the end of life
We don't know we are in trouble
 
Mortals lives happily
We talk without fear of trouble or exposureof emotions
We become bosom friends when we drink andclick
We can drive our guests away if they arenot to our taste
We spend all we earn
We are poor and penniless
With no overnight food
For the mice to miss and covet
 
Mortals have no ambition
Nor belief in gods and ghosts
Now that we're naked,
Why need we wear gold and silver
 
 (Written on Feb. 22, 1991, published in thewinter issue of Selected New Chinese and Foreign Poems in 1991)

（英译：张俊锋）  


名 字

伟人的名字是一面旗帜
英雄的名字是一座丰碑
凡人的名字虽然没有那么鲜艳挺拔
却也不失为一道风景

长辈的名字是家训也是路标
时刻都在提醒你不许偷懒
更不要走入岔道
倘若出门遇到了风雪
它也能搭成一顶帐篷
让你在此暂时躲避

儿孙的名字是一把得心应手的水烟袋
时常被老人含在嘴里
那美滋滋的呼噜声
总要在嗓子眼进进出出
挠得享用者喜形于色

朋友的名字是一股清泉
为你消暑解渴，洗涤疲惫烦恼
爱人的名字是一扇小窗
只需两指轻叩
神秘的禁区便会豁然洞开
 
（写于1991年12月27日，载1992年9月7日《洛阳日报》）


Name
 
A great man 's name is a flag
A hero's name is a monument
A mortal man 's name is not so bright
It is a landscape
 
An elder's name is family instruction andsignpost
Always reminding you not to be lazy
Not to walk into the fork
If you go out in a snowstorm
The name will set up a tent
For you to stay at for a while
 
A child's or grandchild's name is a handy hookah
Often held in the mouth
That sweet snore
Always in and out of your throat
Will Tickle you, making you beaming withdelight
 
A friend's name is a spring
To quench your thirst, to wash away yourtired troubles
Love's name is a small window
Just a tap with two fingers
The mysterious forbidden zone will open toyou
 
 (Written on Dec. 27, 1991, published in LuoyangDaily on Sept. 7, 1992)


（英译：张俊锋）   


人生三原，情为上
（代后记）

　　人生取向不外乎情、欲、志三原色，倘若温饱有了着落，便会因侧重不同而轨迹各异：三色相融互染，则百态纷呈，万象齐生。重情者多不明贪道、不谙官术，短短几十年光阴，常会沉溺在喜怒哀乐的浓情里难以自拔。　　
　　学诗36年，结识了众多师友，每每流连并欣喜于他们的精彩篇章和睿智警句，创作冲动也因此而被激发。然而，凡生命个体都难避自身的短处，同是习诗者，许多长处毕竟是缘自他人的智慧，所谓取长补短不过是一厢情愿而已。这部诗集收选了76首短诗，内容大抵为闪念间的奇思异想，若能给读者些许愉悦温润或振奋欣喜，笔者也便知足无憾了。　　
　　德高望重的叶橹教授，27年前就曾高屋建瓴对我的诗歌创作指明了要义，今又以84岁高龄为学生慨而作序，足见其情之笃诚、爱之绵长。受惠于情动于中的体恤扶持，比起获利于辎珠必较的生意卖场，实乃天壤之别！　　
　　已上诗路，势必勤勉为之，颂真情，歌大善，扬高德。故学诗得益有三——怡情，敛欲，砺志。阴晴圆缺旦夕祸福，悲歌笑泪摧肝裂胆，几多豪情壮志濯我肺腑！既攀诗峰，三十年后更觉山高路遙，唯有三原齐备相携互补，才有望不虚此行。　　
　　汉英双语诗集《三原色》的出版，得到众多师友的襄助和支持，在此特向初期排版期间给予大力协助的赵小江先生致谢，向策划组稿的华人诗学会徐英才会长，倾力译文的魏建国、张俊锋、詹杨娜三位老师，以及殷殷寄语的叶橹老前辈深深鞠躬。

　　　　 冷慰怀       
　　2020年6月2日于洛阳 


Epilogue：
Among the three base colors of life,love prevails.

The human intention for life is nothing but affection, desire and ambition. When subsistence is no longer in question, people turn to pursue their dreams made from these three variants intertwined. Those who weigh love and friendliness over greed for fortune and position often indulge themselves in their deep whirlwind of laughter, tears , anger and sorrows in their seasoned lifetimes. 
Having been allowing myself to indulge in poetic writing for 36 years, I made acquaintence with quite a number of the kindred spirits including mentors and friends. The masterpieces of their works or even a couple of witty lines inspired me so much that I couldn’t hold myself back from composing another new poem of my own. But it is the law of the pen that, no matter how conscious is a man of enhancing his strength while trying to avoid the same trappings, it is only a subjective eadeavor for their all-round improvement with faint effect of erasing his base traits. The 76 poems selected in this collection were mainly composed with some of my instant epiphanies and imaginations; and these will leave me no regret ,or even satisfy me when entertaining or inspirting the readers.
Mr. Ye lu, a highly respected professor, guided and inspired me so much 27 years ago in terms of the philosophy of literary writing. Now at the age of 84, he has written the prefactory remarks as a way of manifesting his sincere wishes and appreciation for my lifelong pursuit. The understanding and support he bestowed on me as a kindred spirit was lofty and gracious beyond any of my feelings about vulgar gains from bargaining and calculation!
I started to compose poems, and I must do it well. Love, kindness and morality are things I should love to praise. Therefore, composing poems can leave us the three benefits: leisure, abstinence and inspiration. As life is doomed to be imperfect and the vicissitude of life is unavoidable, I have come through a 30 year journey of the heart. I experienced variety of feelings when arriving at such an understanding: only when affection, desire and ambiti on are all at present and complementary can a life be made truly complete.
For the publication of the billingual version of this poem collection, acknowledgements must be extended to the support of so many of my mentors and friends. Among them I should like to demonstrate my special thanks to the following: Mr. Zhao Xiaojiang, who helped me so much in initial type setting; Mr. Xu Yingcai, the Chairperson of the Chinese Poetry Association, who made the design and final  compilation of the book; and the three translators Mr. Wei Jianguo,Mr. Zhang Junfeng and Ms.Zhan Yangna for their enthusiastic efforts; and the last but not the least, Professor Ye Lu, to whom I should make a bow for his kind prefactroy remarks.

Author (poet): Leng Weihuai
Luoyang, June 2, 2020

（英译：魏建国）