梦里，那个女孩挎着篮子在俄罗斯郊外的森林里甩着一头长发奔跑，姥姥望着她的背影微笑。小木屋，野蘑菇，还有那些全家晚饭后一起看电视消磨时光的日子，已经很久没有出现了。直到最近，在浙江新光村安静的夜里，那个关于童年和姥姥采蘑菇的梦又回来了。梦醒时分，唐曦兰紧紧攥住了那种情愫，开启了她新诗的创作。

　　来杭州五年，当细腻敏感的俄罗斯姑娘唐曦兰遇到了婀娜婉转的江南风情，写诗成为了碰撞的出口。一开始，无关风花雪月，写诗只为自我表达。当她的诗被更多人看到，她更想成为大家的诗人——“我是你的诗人！用诗描写细腻的江南。”

　　雪后的西湖成就《西湖之恋》

　　和那些充满深邃哲思的诗不同，唐曦兰的诗易读。提起笔，白色的浪花从她的情感世界里喷涌而出，汇集成册。“树上听到鸟鸣声，吸一口新鲜的春天。”这些字句欢快，跳跃，正如她本人一样，对一切新鲜的事物充满好奇。她喜欢结局圆满，崇尚简单明晰，能和自己的读者建立“通感”是她写诗的最大动力。

　　唐曦兰写诗的经历可以追溯到她青涩的少女时代。

　　俄罗斯的中学放学早，抽出空来，唐曦兰就会尝试写诗。她的创作全靠生活中一闪而过的灵感——有想法时连续写好几首，没想法时隔半年也没作品。她的父母都从事文学类的工作，可对她写诗歌影响最大的，却是和姥姥、姥爷在郊外度过的那些慵懒的日子。直到现在，她在无数个喧闹的城市夜晚，都想要逃离到那间小木屋，“什么也不做，就自然而然地放松下来。”

　　高考的时候，全班只有她一个人选考了英语。她觉得很疑惑，“学会一门外语是打开世界密码的钥匙，如果大家都不学语言，会变得很封闭。”唐曦兰拒绝把自己封起来，她更爱思想上的交锋和碰撞。在高考之后，她直接跑来中国，做一年的交换生。

　　第一次和中国的相遇地选在长春——一个和俄罗斯一样粗矿又野性的城市。这和唐曦兰的调性不大相符。寻寻觅觅，她拿到了浙江理工大学的奖学金，打开了江南的大门，来到了杭州，这里的风情人物新鲜又陌生。

　　唐曦兰修读中文系，“我的中文名字就是教古代文学的薛亚军老师给我取的，意为大唐帝国晨曦中的兰花。”

　　大一专业课上，她第一次接触中国的诗歌，那是《诗经》和唐诗宋词。她尝试自己写五言绝句、七言绝句，但显然，没有古文基础的她不擅于此。然后，她看到了鲁迅和徐志摩，“找到了！”中国现代诗是她能想到的最美的表达，这一次她开始学结构，学押韵，学节奏，但第一首诗写出来拿给老师看，得到的回馈是：“缺了点儿什么。”

　　缺点儿什么呢？或许是俄罗斯诗歌和中国诗歌本身就不尽相通。俄罗斯诗歌颂宏大，喜欢直接和壮阔的表达，而中国诗歌更具象化。“今晚月色很美”是中国人更擅用的言语，这给唐曦兰带来了很大的关于诗歌意象的挑战。从最基础的“雨”和“雪”学起，慢慢学习如何描写，“诗”的骨架正式开始搭建，随之而来的困扰是如何把她自己的“情”填补进去。

　　雪后的西湖，当大地银装素裹一片，眼前的雪景似乎召唤起了她在俄罗斯的那些遥思和记忆。她第一次写下那首颇受老师赞美的诗歌《西湖之恋》——

　　“西湖畔有漫山遍野的雪花，在心中隐隐浮漾远方的歌。”

　　《牡丹亭》里找到爱情的诗意

　　唐曦兰最喜欢爱情诗。

　　“一首诗最重要的是让读者知道你到底想说什么。”读过那么多诗，唐曦兰始终不觉得晦涩难懂的诗是好诗，无论表达哲学思辨也好，社会批判也罢，诗歌只是一种载体。“但这种载体又和散文不同。现在流行散文诗，但散文就应该是散文，诗就是诗，两者不能混为一谈。”唐曦兰虽然写诗晚，但是对现代诗的态度很坚定。

　　这也就不难解释她为什么对俄罗斯诗人叶赛宁如此着迷。“爱情，易懂，结构严谨”，把这三点做到极致就是叶赛宁最大的特色。他的诗往往没有什么特别深奥的哲学思辨，却格外能够引起读者们的共鸣。董卿就曾在《中国诗词大会》读过叶赛宁的诗——“今天菩提树又开花了，引起我心中无限惆怅；那时我是何等的温柔，把花瓣撒落到你的鬈发上。”

　　对中国文学的研究越深入，唐曦兰对中国的爱情故事越着迷。从《关雎》到《牡丹亭》，她在中国的传统文化里找到了未曾发掘的爱情形态。“那是因为旧时代的种种限制不能实现的爱情。”这些爱情大多以遗憾收尾，过程含蓄内敛，却四处透着悲凉。在俄罗斯，诗歌中描绘的爱情是浓烈且壮丽的，她形容为“含泪的微笑”，这些诗往往通过小人物的爱情，最终反映时代的伤口。“这是18世纪沙皇俄国的社会矛盾在文学作品上的缩影，最终的故事结局是完美的，因为要给予人们希望。”

　　当关于诗歌基础知识的部分学习完毕，唐曦兰又回归到了儿时写诗的状态。她不再连续创作诗歌，偶尔写上几句，但不会一口气把一首诗写完，没有思路了就把诗搁在那，过一阵灵感自然就来了。

　　唐曦兰总是抓着一切机会和诗，和诗人们打交道。最开始她尝试在几个微信公众号、杂志和报纸上投稿，作品小有名气之后，她开始走入诗人圈，参加一些线下的诗朗诵活动。她加入浦江诗会，认识了更多业内优秀的前辈，比如著名的俄罗斯文学作品翻译家、诗人汪剑钊。她的高光时刻是在上海黄浦区图书馆里举办了个人诗展。比起听到表扬，她更希望听到别人的建议，“我希望知道我的诗里缺少什么。”

　　当然，她知道自己的诗注定有一部分人不喜欢。“我尽力表达自己就好了，每一个人想看的诗都是不一样的，所以才产生了那么多诗人。”她对自己创作诗歌的标准极高，至于最后到读者手里，反而把一切担子放了下来。“凡事做到尽力就好。”

　　乡村调研引发

　　思乡和灵感

　　唐曦兰的每一首诗，都要反复修改好多遍。她说，一瞬间的感觉往往只能构成只言片语，离完整的一首诗还相差很远。

　　反复修改的诗正如唐曦兰每一次修改的生活，在她的世界里没有顺其自然和水到渠成，每一个决定和选择都必须经过深思熟虑。白天，她是个乐于和人们打交道的女孩，开朗，爱笑，积极融入群体，努力面对生活。而当夜幕降临，属于她诗人部分的敏感特质悄悄蔓延，她会在寝室里犹豫自己的选择是不是对的，对她以后会有哪些影响，她会不会在这个离家万里的地方变成一个失败者。

　　所以唐曦兰从来不停止尝试。写诗不够，还要画画。她享受一个人独自画画思考的过程，那是和记忆中童年的时光最相近的一些瞬间。很多事情她也想不明白，即便是画画也想不明白。那就尝试同自己和解，和那些半成品的诗一样存放在一个角落，说不定哪一天，诗就写出来了，问题也就迎刃而解了。

　　最近一次的灵感来源于乡村。唐曦兰借着乡村创业调研的机会走进了新光村，走进了浦江、义乌的一些村落，去做文化创意产品，想把中国和俄罗斯的一些特色融合。在乡村，她意外地找到了自己想要的那份宁静。夜晚的村子里没有灯，一切是那么静谧，头顶的星空是那么耀眼，在新光村的那个夜晚，一年多没出现在梦境里的姥姥回来了，她们一起在那片森林中采蘑菇，亲人间质朴的爱化作点滴诗意，融在了唐曦兰心里——

　　“今天做了一个梦，

　　碧云美好布满山前。

　　我在野外慢慢悠悠，

　　一望无边，

　　景色那么抢眼。

　　树上听到鸟鸣声，

　　吸一口新鲜的春天。

　　醒来！

　　在夜天的星海里，

　　看到家人脸上的笑脸。”

Russian Girl Records Passion in Chinese Poems

To her Chinese teachers and classmates on the campus of Zhejiang Sci-Tech University, Russian young woman Anastasia Podareva is known as Tang Ruoxi, which refers to “a tender orchid flower blooming quietly in the morning glory of the Tang empire”, according to Xue Yajun, a professor who teaches ancient Chinese literature and gave the Russian girl this Chinese name.

Anastasia began to write poems in her tender teenage years. Though her parents work in the line of literature, she owes her inspiration to her time spending with her grandparents at their suburban home. Away from the madding urban world, she felt relaxed there. She was the only one in her class that sat for an English language test in college entrance examination. She didn’t understand why her classmates chose not to learn a foreign language. “A foreign language is a key to the outside world,” she believes. After the entrance examination, she came to China for a year as an exchange student.

The first Chinese city she encountered was Changchun in the Northeast: a city with a tough and wild temperament, which she found a little big disagreeable. She then escaped to Hangzhou after Zhejiang Sci-Tech University took her in with a scholarship. She has been in Hangzhou for five years. Her first contact with ancient Chinese poems occurred in her first year at the university. Poems from The Book of Song and from the Tang and the Song dynasties fascinated her. She tried her hands to write in the ancient style. But without a solid knowledge of ancient Chinese language, she could go nowhere. She was dissatisfied with the poems she composed. Then she read poems by Lu Xun and Xu Zhimo, two writers of the 20th-century China. Their poems inspired her. Eureka! She found modern Chinese poems most suitable for her to learn. After learning some essentials of the structure, rhymes and rhythms of Chinese poetics, she wrote a poem in Chinese. The feedback from her teacher was a little bit discouraging: her first attempt lacked something.

She wondered what was lacking in her poem. After all, Russian poems she had read looked rather different from Chinese poems in both styles and expressions. Chinese poets love images. She studied how to say things in the images of rain and snow before she learned how to put herself into such compositions. Her first successful Chinese poem was written after she experienced a snowfall on the West Lake. The poem won her teacher’s praise. Nowadays she has a style to follow: straightforward. After extensive reading, she believes poems are best to express what you want to say, no matter whether you desire to deliver social criticism or discuss philosophy in your poems. She believes a poem should differ from essays.

After learning more about Chinese poetry and operas, Anastasia has found that ancient Chinese romances as portrayed in poems and operas that end in regret or sorrow appeal a great deal to her. After learning some fundamentals of Chinese poems, she found that the teenage urge to write poems she once experienced surged back. She wrote passionately.

Nowadays, Anastasia seizes opportunities to meet poets. At first she contributed her poems to newspapers and magazines and some online publishing circles. After her reputation spread, she began to take part in poem-reading events. One of her highlight moments as a poet happened in Shanghai: she held a solo poetry exhibition at Huangpu District Library. She prefers suggestions and comments to praises. “I want to find what’s lacking in my poems,” she explains.

Her latest inspiration came to her while she was doing a survey in rural areas of Zhejiang to see if there was any chance to create some products that would integrate Chinese and Russian cultures. One night she stayed in a village and her grandmother appeared in her dream. And she wrote down her dream in a poem.