Winter 2005
 
 

CONTENTS

 
  HER BROW 額
   By Chi Chi 季季
   Translated by David van der peet 范德培
 
  CORRIDOR 甬道
   By Li Chih-chiang 李志薔
   Translated by James Scott WILLIAMS 衛高翔
 
  HAIR 髮
   By Hsin Yu 辛鬱
   Translated by May Li-ming TANG 湯麗明
 
  FRAGRANT HAIR AND THE WIND 髮香與風
   By Hsin Yu 辛鬱
   Translated by John J. S. BALCOM 陶忘機
 
  THE SWING 鞦韆十行
   By Chang Mo 張默
   Translated by John J. S. BALCOM 陶忘機
 
  SUNSET ON THE PRAIRIE 草原落日
   By Chang Mo 張默
   Translated by John J. S. BALCOM 陶忘機
 
  LET’S GO TO THE WATERFALL 看瀑布,走 !
   By Ching-ming KO 柯慶明
   Translated by Shou-Fang HU-MOORE 胡守芳
 
  MY DAUGHTER IS THE FOG 霧是我的女兒
   By CHEN Fang-ming 陳芳明
   Translated by Patrick CARR 柯英華
 
  HIGHEST ENJOYMENT IN UNTROUBLED EASE
至樂而逍遙

   By HUANG Chi Fang 黃啟方
   Translated by David van der peet 范德培
 
  THE BEAUTY OF CALLIGRAPHY 書法之美
   By SYUE Ping-nan 薛平南
  Translated by David van der peet 范德培
 
 

THE BEAUTY OF CHINESE SEAL ART 篆刻之美
   By SYUE Ping-nan 薛平南
   
Translated by David van der peet 范德培

 
  CALLIGRAPHY AND SEALS :
TWIN BEAUTIES OF CHINESE ART 書印雙雋

   By TSAI Ming-tsan 蔡明讚
   Translated by David van der peet 范德培
 
  NEWS & EVENTS 文化活動
   Compiled by Daisy Yuchien CHOU 周郁芊
 
  NEW BOOKS BY OUR MEMBERS 會員新書
 
  NOTES ON AUTHORS AND TRANSLATORS
作者與譯者簡介
 
  APPENDIX: CHINESE ORIGINALS 附錄:中文原著
 
  光風霽月嶽峙淵渟鳶飛魚躍竹影松聲,
136 × 34 cm × 4, 2004
.....................................COVER
 
  淡然養浩氣 .............................................BACK COVER
   By SYUE Ping-nan 薛平南

 

 


Ching-ming KO 柯慶明

LET’S GO TO THE WATERFALL
看瀑布,走!*

Translated by Shou-Fang HU-MOORE 胡守芳


  The lights of the inn are glowing in solitude. Outside the
light the night is pitch-dark. The silhouette of the mountain has completely merged into the darkness, but its massive presence still looms, surrounding and pushing against us. One gets a warm yet smothered feeling, like being hugged by an adult in one’s childhood. When all my fellow hikers have finally gathered, somebody shouts,
  “Let’s go to the waterfall!”
  We then step into the night in twos and threes. The color of the sky shows no sign of daybreak; the night is definitely not over yet. Since we cannot see any starlight, there is probably some light cloud above. We struggle to make out the sinuous mountain road, even though it has been developed into a thoroughfare open to motor vehicles. Probably feeling uneasy about the isolation brought by the darkness, people in the group start to engage in small talk with each other. We are like a fleet of vessels navigating the ocean in the night, flashing signal lights back and forth to confirm each other’s existence. I put my hands in the jacket pockets and stride ahead quietly, letting my hair and face feel the early-autumn coolness of the mountain in this summer night. Silence like this is rather an enjoyment, considering the tumultuous and noisy life we experience everyday.
  “Somebody keeps a bunch of dogs around the corner ahead. I don’t want to be the one walking in the front!” says the female student who has volunteered to be our guide. I quicken my steps spontaneously and take the forefront position before knowing it. A barrage of barking is followed by a couple of dogs dashing out of a hillside hut which looks like a work-shed. After they make their rounds of barking and sniffing at us, we finally regain the tranquility of the dark night. Perhaps delayed by fear of the dogs or immersed too much in conversations, my hikingmates seem to lag further and further behind and the murmur of their voices eventually fades away. I continue walking ahead in silence, feeling the whole mountain and the entire night sweeping through my existence, and gradually brushing by like a gentle breeze. Can this be considered some kind of “mountain bathing” or “night bathing”? I do seem to feel cleansed and renewed. After the mind quiets down, except for the rhythm of the strides, my whole being seems to also enter a vacant mental state, utterly devoid of any thought. Is this the reason why Buddhist monks include “walking thousands of miles” in their practice to achieve enlightenment?
  The sky gradually turns white. In the shrouding mist, the shapes of the mountains and the edges of the trees slowly appear like sculptural relief, jutting out from all sides. They seem intangible, yet the protrusions look very distinct and clear, containing intricate details within the integral whole. We seem to be climbing up and down in a multi-story grand palace with rich carvings and decorations everywhere. One building stands behind another, and they are all interconnected by corridors. The undulating mountain ridge has no end, and interlocking bushes and trees stretch on and on. Yet, as the road goes further and further down, there seems to be an exit at the bend. I find myself unexpectedly facing a bluish open sky. The long stretching road leads us out of the encircling mountain range and into a long and narrow valley. Although still nestling in the hills, it provides the luxury of some openness, almost like walking into a backyard garden amidst the palaces. Yet, it is not really a garden but a piece of desolate grassland interspersed with occasional small trees. Looking towards the valley, I stand still waiting for my fellow hikers, left far behind. Do I feel lonely? No! The light-colored sky covering the valley like a goose-down duvet also covers me.
  As the mountain road winds down to the valley, it makes a turn and intersects with another road. A sign is placed at one end of the crossroads pointing in the direction of the waterfall. Yet oddly enough, across from the sign, beside the lonely stretching road in the quiet wilderness, there is a vending machine with a supply of drinks standing alone like a quiet caretaker guarding the valley—a caretaker with a spirit of development and commercialism, perhaps? Should I admire this vending machine on the mountain as Wallace Stevens has done with the jar he placed on a hill in Tennessee, imagining how the wilderness rose up and sprawled around in total submission before it? Against the dim light of the dawn, the multi-colored sign and bulbs are still lit. It stands upright like a slot machine, ready to serve customers like a modern 24-hour convenience store, . . . .


From Show Foong Chang 張曉風et al eds. Chung - hua hsien - tai wen -
hsueh ta - hsi erh san - wen chuan erh
《中華現代文學大系(貳)散文卷
(二)》( A Comprehensive Anthology of Contemporary Chinese Literature
in Taiwan, 1989- 2003, Prose Vol. 2 ),
Taipei: Chiuko Publishing, 2003.


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