诗评家大藏评苏菲获奖诗歌《遥望蛇口夕阳》:疫情时代收尾最轻松的讽喻与叹息

全网投稿指南  Poems Contributions

苏菲主编《苏菲译·世界诗歌年鉴》(汉英对照) 常年征稿
Call For Poems Of Sophy Chen’s Translation Of “World Poetry Yearbook” (C-E Bilingual) all years
限没有被翻译成英语的原创新诗/古体诗词/三俳句
新诗1首不超过25行；古体诗词4-8句; 俳句3-9句
汉英对照纸质版，每年1卷，苏菲翻译/主编/出版
苏菲国际翻译出版社,16国联合出版发行：
1中2美3英4德5法6西7意8荷9日10巴11加12墨13澳14印15瑞16波
1.China 2.USA 3.UK 4.Germany 5.France 6.Spain 7.Italy 8.Netherlands 9.Japan 10.Brazil 11.Canada 12.Mexico 13.Australia 14.India 15.Sweden 16.Poland
作品要求原创，文责自负。苏菲微信sophypoetry3对话框联系
Please submit 1 masterpiece of free verse in English within 25 lines
or haiku in English within 3-9 sentences.
Submission Method: Sophy Chen’s facebook
or email: xisusophy@163.com

世界诗人诗歌集(英汉对照)全球常年征稿
Notice to Contributors of World Poets'Poetry Collection Series of Sophy Chen World Poetry Translation Library (Bilingual)
《苏菲世界诗歌翻译书库》系列，全球推广
苏菲国际翻译出版社，国际书号，一书一号，
现代诗歌，长诗、组诗、短诗、散文诗均可，总行数不低于1500行。
作者来稿时，请自行编定其诗集的作者生平与艺术简介、诗集的目录和正文。
联系微信: sophypoetry3,478674384
E-mail: xisusophy@163.com(overseas)

---

 

 

中国诗人、诗评家大藏
评苏菲 意大利"安奇-图特"诗歌奖 
获奖诗歌

——《遥望蛇口夕阳》

 

作者：大藏
汉译英：苏菲

 

Chinese Poet and Poetry Critics Dazang Chen’s Review
of Sophy Chen’s Poem Awarded in the “inn ANZI tutto, Poetry in the Village” Poetry Awards of Italy

— “Looking At Sun Setting of Shirko”

 

 by Dazang Chen
Chinese to English Translated by Sophy Chen

 

 

《遥望蛇口夕阳》

作者：苏菲

 

在深圳湾
海平面被雾霾笼罩着
夕阳略显苍老
三只海鸭逆流而上向我们游来
人们伸长脖子，望向同一个方向
香港蛇口，夕阳西下的地方

人潮涌动，手机，摄像头不断闪动
我几乎找不到一线天
可以留住它的旷世绝美
眼看着，夕阳瞬间被雾霾吞噬
对面的蛇口灯火阑珊！
新月如钩……

呀，起风了！寒气逼人
此刻，没有摘掉的口罩成了
人们真正的庇护

 

2023-01-24 19:00 中国深圳 深圳湾
（苏菲汉英双语诗歌原创）

 

Looking At Sun Setting of Shirko

by Sophy Chen

 

At Shenzhen Bay
The sea is covered by smog
The setting sun appears a bit old looks
Going against the current, three sea ducks are swimming towards us
People are stretching their necks and looking at the same direction
Shirko of Hong Kong, the place, the sun setting

Crowds moving as waves, lights of phones and cameras flashing
I nearly can not find a narrow thin strip of sky 
Which can take a photo of its splendid beauty
I just only look at it being swallowed by smog at once
At the opposite of the sea, Shirko, lights twinkling!
The moon as a hook...

Ah, wind rising, in chilly air 
At this time, the masks that can not be taken down 
Became the real shelter of people

 

2023-01-24, 19:00 Shenzhen Bay, Shenzhen China
（The Chinese & English Original Poetry of Sophy Chen）

 

 

 

一个疫情时代收尾最轻松的讽喻与叹息
——评苏菲诗歌《遥望蛇口夕阳》

作者：大藏
汉译英：苏菲

 

The Lightest Irony & Sigh at the End of a “COVID-19” Pandemic Era
— Review of Sophy Chen’s Poem “Looking At Sun Setting of Shirko”

By Dazang Chen
Chinese to English Translated by Sophy Chen

 

《遥望蛇口夕阳》，苏菲这首荣获意大利“安齐-图特”诗歌奖特等奖的诗歌，评论不好写。这是我在最近（2024年8月）重新仔细阅读了苏菲的这首诗后的直觉，因为这首诗后面隐藏了太多的东西，小到诗人隐秘情绪的流动与不经意间的宣泄，大至时代背景、地缘政治、人心指向……我无意于对上述任何一个方面做任何蓄意扭曲的解读，力求通过一次对诗写客观的剖析，还原作品本身的蕴涵与价值。那就让我们慢慢地来欣赏一下，苏菲这首诗的真正可取与过人之处吧。

It’s not easy to write a review of “Looking At Sun Setting of Shirko”, Sophy Chen’s poem awarded as First Place in the “inn ANZI tutto, Poetry in the Village” Poetry Awards of Italy. This is my intuition after carefully rereading this poem of Sophy Chen in August 2024, because there are too many hidden things behind this poem, from the flow of the poet’s hidden emotions and unintentional venting, to the big historical background, geopolitics, and the trend of people’s popular sentiment... I have no intention of deliberately distorting explanation of any above aspects, and I’ll strive to restore the meaning and value of the poem itself through an objective analysis of the poem. Let’s slowly appreciate the true merits and outstanding qualities of the poem of Sophy Chen. 

首先谈谈诗写本身。这首诗从字面上来理解，写的是苏菲在2023年大年初二这一天傍晚，来到深圳湾观赏对面香港与深圳蛇口海上落日的情景。诗的创作手法，属于一般诗写者最初都掌握的“寓情于景，情景交融”的描写手法。开头第一诗节，“在深圳湾/海平面被雾霾笼罩着/夕阳略显苍老/三只海鸭逆流而上向我们游来/人们伸长脖子，望向同一个方向”，这里有自然界的海平面、雾霭、夕阳、海鸭，还有活动的旅人，用的完全是清一色的白描勾勒，客观而实在，构成一首诗全部诗写的人与自然的景观背景。“香港蛇口，夕阳西下的地方”这一句，承上而启下，点名了场景所在的地理环境。

Firstly, let’s talk about the poetry writing itself. This poem, to be understood literally, it writes that Sophy Chen visited Shenzhen Bay on the evening of the second day of the Lunar New Year in 2023 to witness the sunset over the sea between Hong Kong and Shekou Shenzhen. The creative technique of poetry belongs to the descriptive technique that most poets initially mastered, which is to “incorporate emotions into scenery and blend emotions and scenery”. In the opening poetry stanza “At Shenzhen Bay/The sea is covered by smog/The setting sun appears a bit old looks/Going against the current, three sea ducks are swimming towards us/People are stretching their necks and looking at the same direction”, there are the natural sea level, fog, sunset, sea ducks, and active travelers, in a completely pure simple white line painting, objectively and realistically, and forming the landscape background of human and nature in all poems. The sentence “Shirko of Hong Kong, the place, the sun setting”, continues from the beginning to the end, naming the geographical environment where the scene is located and poetically explaining the social and geographical background that constitutes the poetic space.

第二诗节“人潮涌动，手机，摄像头不断闪动/我几乎找不到一线天/可以留住它的旷世绝美”，这在整体的叙述中穿插了描写乃至借喻的手法，表现了深圳湾看夕阳人潮熙攘的真实空间场景。这里的“一线天”并不是什么地名，而是借指旅人如织并争相伸手拍照，留给诗人视野和感官上的逼窄空间罅隙。这个借喻手法的运用，着实也只有象苏菲这样从小穿行于大山峡谷间的诗人，才能用得如此巧妙而不留痕迹。如果前面几句说的主要是空间领域留给诗人的感觉，后面紧接着则是时间线上留给她的感官直觉——“眼看着，夕阳瞬间被雾霾吞噬”，“对面的蛇口灯火阑珊！/新月如钩”。好一幅夕照残红、灯火弯月在海面交相辉映的美丽图画！这整个诗节，空间感上充满了紧张的张力，时间度上又有着仓促而就的拉力，就像一把弓箭，在一张一拉之间，节奏和韵律感十足，最终达到了较高的审美情趣。

The second stanza “Crowds moving as waves, lights of phones and cameras flashing/I nearly can not find a narrow thin strip of sky/Which can take a photo of its splendid beauty” is interspersed with descriptive and metaphorical techniques in the all narrative, that shows the real space scene of Shenzhen Bay with crowds of people watching the sunset. The term “A Narrow Thin Strip of Sky” here is not a place name, but rather refers to the narrow space gaps left for the poet’s vision and senses as travelers rushing to rise their arms up and take photos. To use this metaphorical technique can only be so clever and leave no trace for poets like Sophy Chen who has been wandering through mountains and valleys since childhood. If the first few sentences mainly describe the feelings left to the poet in the space field, then the following sentences are the sensory intuition left to her in the time line - “I just only look at it being swallowed by smog at once”, “At the opposite of the sea, Shirko, lights twinkling! / The moon as a hook...”. What a beautiful picture of the sunset turning red and the crescent moon shining on the sea! The whole stanza, the sense of its space is full of tense tension, and there is a hasty and quick pull in the time, just like a bow and an arrow, between an opening and a pulling, in its full rhythm and meter, and finally reaches to a higher aesthetic taste.

诗歌写到这里，情、景、人水乳交融，“夕阳”从“苍老”到沉没，“雾霭”从笼罩海面到吞噬残阳，游人则从竞相“伸长脖子”眺望到伸手拍照，不仅自然意象饱满，人物活动生动，诗人情感流露充沛自如，作为一首诗也已经相对比较完整，算得上是一首过得去的“写景诗”了。然而，苏菲这首诗的构思重点却并不在这里，她所有描绘叙写的一切，都为了最后一诗节的“点睛之笔”。“呀，起风了！寒气逼人“。从时序上来说，每到春节前后广东湿寒沁人，起风时更是寒如刺骨。所以，诗中当夕阳沉没，海面拂过微风，人们会瞬间感觉“寒气逼人”。这几句诗，顺延上一诗节周围景致从空间和时间上给诗人留下的感觉，描写的是诗人在现场对季候温度的感官知觉，可以说连接得不留斧痕，一个“呀”字感叹的开头更觉自如之极。接着，诗人写道：“此刻，没有摘掉的口罩成了/人们真正的庇护”，这一两句诗从字面上并没有突兀之处，“口罩”的“庇护”作为对“寒气逼人”的强化，提升了景致观赏兴趣索然之味，算是对全篇的景物有了一个最后交代。然而，这诗末的最后一句，在全篇整体诗意的营造上却显得有些奇崛而陡起，如一把冰剑徒升于平波之间，诗人用当时最敏感的词汇“口罩”以及与之关联的“庇护”等，毫无征兆地向我们点明了诗人身处之更大的时代社会背景——“新冠”大疫情尾声。这无疑大大拓展了本诗在内涵诗义上的空间。

At this point in the poem, emotions, scenery, and people have blended together seamlessly. The “setting sun” changes from “a bit old looks”, to sinking, the “smog” changes from covering the sea to swallowing the setting sun, and visitors compete to “stretch their necks” to rise their arms up and take photos. Not only its natural imagery is full, but also its characters’ activities are vivid, and the poet’s emotions are expressed naturally and freely. As a poem, it is relatively complete and can be considered a decent “scenery poem”. However, the key idea of the poem of Sophy Chen is not here. Everything she describes and narrates in the poem is for the “finishing touch” of the final stanza. “Ah, wind rising, in chilly air”. From the time sequence, before and after every Spring Festival, in Guangdong it’s cold and moist, and as the wind is rising it’s even more cold as wind biting in bones. So, in the poem, when the sunset is sinking and the sea is blowing a breeze, people will instantly feel “chilly cold”. These verses, extending the feeling left by the poet from the space and time of the surrounding scenery of the previous stanza, describe the poet’s sensory perception of the seasonal temperature at the scene, which can be said to be connected without axes marks, and with an exclamation of “ah” at the beginning of stanza it let me feel more at ease. Then, the poet writes:“At this time, the masks that can not be taken down/Became the real shelter of people”, the two sentences of the poem are literally not abrupt, and “shelter” of “masks” as a strengthening of the “chilly cold”, enhances the taste of the lack of interest in the scenery, and it can be regarded as a final explanation of the whole scene. However, the last sentence at the end of the poem is somewhat strange and steep in the all poetic construction of the whole piece, such as an ice sword rising between the flat waves, and the poet uses the most sensitive words at that time “masks” and the associated “shelter”, etc., without warning, to point out to us the larger social background of the poet’s time — the end of the “COVID-19” pandemic. This expands the space of this poem undoubtedly and greatly in the connotation of poetic meaning.

可以这么说，苏菲这首诗就像一场倒叙的电影，诗人苏菲作为一个高明的电影导演，完整地为我们刻画了所有的故事情节，到最后才小心翼翼地为我们揭开最关键，也是最重要的一环。

It can be said that Sophy Chen’s poem is like a flashback movie. The poet Sophy Chen, as a brilliant film director, fully portrays all the plot for us, and only at the end, carefully reveals the most crucial and important link for us.

由此逻辑，我们可以对本诗稍作一些更深层面的内涵解读。

Based on this logic, we can give a deeper interpretation of this poem.

首先，从社会时代背景上来说，2023年1月份，正是肆虐全球的“新冠病毒”被正式降级为“新冠感冒”不久，全国的疫情防控全面放开，在被所谓的“专家”们一次次的背书之后，人们渐渐对所谓的“病毒”已经不再感冒，所有人在被居家隔离和强制核酸检测的心理烦闷中解放了出来，憋屈了三年的身心，在那时渴望可以自由上路，人们渴望分离后的亲情，也渴望花前月下。所以，由此考察，我们有理由相信，苏菲这首诗歌写到深圳湾上的“人潮涌动”，争相观赏夕阳的热闹场景，便是这种特殊社会背景下众人寻求心灵释放的特殊壮观图景。可能在平常年月，深圳湾照样游人如织，但绝不会象苏菲这样，被伸手拍摄夕阳的人们夹裹得“找不到一线天”的空间窄缝！所以我说“一线天”这个借喻，这个意象用得是真的好！因为你看到的满是一群被三年疫情压抑而渴望释放的人！而诗歌第一节里铺满海平面的“雾霭”，乍一看只是一个实写对象，但如果配合从社会时疫环境来考察，则已经隐约构成了一个独特的核心意象，它犹如徘徊于人们心头的“梦魇”，并不是在短时间内就能消除影响的，不然怎么会有后面的“夕阳瞬间被雾霾吞噬”呢。

First of all, in the context of the social era, in January 2023, it was not long time after the “COVID-19 Virus” that has been ravaged the world was officially downgraded to the “COVID-19 Influenza”, and the Chinese pandemic prevention and control was fully liberalized. After being endorsed by the so-called “experts” again and again, Chinese people gradually stopped to pay their close attention to the so-called “COVID-19”. All people were relieved from the psychological boredom of being isolated at home and the forced nucleic acid testing. At that time, their body and mind, which had been suppressed for three years, longed to be free to go on the road. The people did not only long for their separated relatives, but also long for their love. Therefore, based on this examination, we have reason to believe that Sophy Chen’s poem depicts that “crowds moving as waves” in Shenzhen Bay, rushing to watch the sunset, which is a special and spectacular scene of people seeking spiritual release in this special social background. Perhaps in ordinary times, Shenzhen Bay is still crowded with tourists, but it will never be like Sophy Chen, who is trapped in a narrow space where people are rising their arms up to shoot the sunset, cannot find a narrow thin strip of sky ! So I think the metaphor of “a narrow thin strip of sky”, the imagery is really well used! Because what you see is a group of people who have been suppressed by the three-years of pandemic and long to be released! The “smog” covering the sea level in the first stanza of the poem, may seem like a real described object, but if you examined from the perspective of the social and pandemic environment, it has already formed a unique core image. It is like a “nightmare” lingering in people’s hearts, and its influence cannot be eliminated in a short time. Otherwise, how could there be “the sunset being swallowed by smog at once” in the later part? 

其次，我们从香港的特殊地缘政治来考察本诗。香港作为世纪之交回归祖国的一部分，也仍然保留着相应独立的经济文化和社会管理制度与秩序，包括其对于疫情的特殊管控方式。我们知道，在2023年的三年前，香港一夜之间关上了和大陆互通的大门，成千上万因工作、生活而奔波两地的人们从此被阻隔一方，只能眼巴巴地祈望疫情早日结束，早日与亲友恋人团聚。苏菲写作此诗时虽然香港与内地已经通关，但时值春节，很多人因各种原因还是没来得及团聚或回归，只能在深圳湾、蛇口这样最靠近香港的地方来眺望香港。诗人苏菲在诗歌第一节，用“在深圳湾”，以及“香港蛇口，夕阳西下的地方” 这两句，已经一语双关般地点明了这一较为敏感的地缘政治背景。这多少让我想起了诗人伊沙曾写过的一首诗《望澳门》，同样是“在祖国的领海/望祖国的领土”，这是只有港澳这些“特区”才能留给国人的“高峰体验”，可望而不可及的惆怅啊。作为游人竞相遥望夕阳的姿势：“伸长脖子，望向同一个方向”，我一开始一直不解，为什么苏菲会写成“伸长脖子”？因为这是夸张而奇怪的，平常人几乎不这样写，现在我才懂得，也只有在这一特殊时期、特殊地缘政治下，“伸长脖子”这个貌似夸张的动态意象群，才让人觉得既刻画深刻，内蕴丰富，又准确妥帖，恰如其分。另外，在本诗第一节末尾，“香港蛇口，夕阳西下的地方” 这一句，本来香港和蛇口（归属深圳）是隔海的两个地方，分属深圳湾的两侧，诗人无意识地将它们混写在了一起，隐在地表达了诗人渴望两地真正交汇、无碍融通的美好愿望。

Secondly, we examine this poem from the perspective of Hong Kong’s unique geopolitical situation. Though Hong Kong as a part of China, returns to the motherland at the turn of the century, it still retains its corresponding independent economic, cultural, and social management system and order, and even including its special control measures for the “COVID-19” pandemic. We know that three years ago in 2023, Hong Kong closed the door to the mainland overnight, and thousands of people who travel between the two places because of work and life, have been blocked from two side of places, and can only look forward to the early end of the pandemic and the reunion with friends and lovers as soon as possible.When Sophy Chen wrote this poem, although Hong Kong and the Mainland had already cleared customs, it was the Chinese Spring Festival, and many people had not had time to reunite or return to Hong Kong for various reasons, so they could only look at Hong Kong from the closest places such as Shenzhen Bay and Shekou. In the first stanza of the poem, the poet Sophy Chen uses the sentences “At Shenzhen Bay”, and “Shirko of Hong Kong, the place, the sun setting” to point out this more sensitive geopolitical background.This somewhat reminds me of a poem “Looking at Macao” written by poet Yisha, which is also “On the territorial waters of my motherland/ Looking at the territory of my motherland”, which is the “peak experience” that only the “special zones” of Hong Kong and Macao can leave to the people, and it is melancholy and unattainable ah. As the posture of visitors competing to look at the sunset: “stretching their necks and looking at the same direction”, I always wondered at the beginning why Sophy Chen would write “stretching their necks”? Because this is exaggerated and strange, ordinary poets almost do not write like this, and now I understand that only in this special period and special geopolitics, the seemingly exaggerated dynamic image group of “stretching their necks” can make people feel that it is not only deep, rich in connotation, but also accurate and appropriate. In addition, at the end of the first stanza of this poem, the sentence “Shirko of Hong Kong, the place, the sun setting”, originally Hong Kong and Shekou (which belongs to Shenzhen) are two places across the sea, on both sides of Shenzhen Bay, and the poet unconsciously mixed them together, implicitly expressing the poet’s good wish that the two places really meet and integrate without barrier.

最后，让我们再回过头来看一下最后一诗节：
“呀，起风了！寒气逼人此刻，没有摘掉的口罩成了人们真正的庇护”

Finally, let's have a look back at the last stanza:
“Ah, wind rising, in chilly air 
At this time, the masks that can not be taken down 
Became the real shelter of people”

在这样一个疫情全面放开、众人都渴望回归正常轨道的时刻（除了因奥米克隆对特殊人群的攻击而造成的负面影响——比如有基础病老年人的极低的致死率外。——2023年1月，我本人当时便正在料理家父丧事），很多人已经摘下了口罩，口罩也变得可有可无。因此，在苏菲的诗歌中，单从诗人当时身处海面的寒冷季候考虑，单纯寻求“口罩”的“庇护”是自然之理，但在当时当境——新冠疫情消退的关节口，“口罩”早就不是“庇护”的潜台词了，而成为一个让人既爱不起又恨不得的“摆设”。当疫情的谎言被事实一再揭穿，人们已经不再畏惧，并敢于与流言抗争。“新冠”、“病毒”在大众眼中渐渐成为被讽刺的语汇。所以“口罩”这个最关键的意象，在这里可以理解为是诗人苏菲高明的“虚晃一招”，它是一个即将终结的不堪的时代象征；“口罩”对人们的“庇护”，也明显带有难以言表的集体反讽意味。所以，与其说苏菲这一首诗的诗意主题，是苏菲饶有兴致地观赏蛇口夕阳，不如说，它的核心主旨，是苏菲——一个对时代敏感的诗人，在一个疫情时代收尾时所发出的最轻松的讽喻与叹息！

At a time when the pandemic is fully put down and everyone is eager to return to normal (except for the negative impact caused by the attack of Omicron on special populations, such as the extremely low death rate of elderly people with underlying diseases. — In January 2023, I myself had been arranging my father’s funeral), many people have already taken off their masks, and masks have become optional. Therefore, in Sophy Chen’s poetry, considering the cold season at the sea at that time, it is natural to simply look for the “shelter” of the “masks”, but at that time — the joint mouth of the “COVID-19” pandemic has been gradually vanished, the “mask” is no longer the subtext of “shelter”, but has become a “decoration” that people can not afford to love and hate. When the lies of the “COVID-19” pandemic are repeatedly exposed by facts, people are no longer afraid of it and they dare to fight against the rumors. “COVID-19” and “Virus” have gradually become the ironic words in the eyes of the people. Therefore, the most critical image of “mask” can be understood here as the poet Sophy Chen’s brilliant “false move”, it is a symbol of an awful era that is coming to an end; the “mask” for the “shelter” of people also obviously has an inexpressible collective irony. Therefore, rather the poetic theme of Sophy Chen’s poem, is that Sophy Chen is interested in watching the Shirko sunset, than, its core theme is Sophy Chen — a poet, sensitive to The Times, at the end of an pandemic era, just gives her most relaxed allegories and sighs!

综上所述，苏菲在这首貌似平常无奇的景物抒情诗中，用“深圳湾”、“香港蛇口”、“蛇口” 等一系列特殊地名，以及人们“伸长脖子”共同遥望对岸这样略显怪异的意象群，为我们界定了隔海相望成此景，香港这一特殊的地缘政治背景。联系诗人创作此诗的时间——2023年1月24日，和后面出现的“口罩”等意象，我们能自然联想到那个时段与“新冠疫情”相关的很多社会背景。所以，诗歌中一开头出现的笼罩深圳湾海平面的“雾霭”，到后来吞噬夕阳的“雾霭”——这个时隐时现的“雾霭”意象，便是这一特殊社会背景的集中影射。而诗中的“夕阳”作为另一个主要意象，一开始大家因它的震慑人心而前来观赏，面对其“略显苍老”、渐沉海面不免惆怅，最终其被夜霭吞噬于无形。——这恰恰隐约象征了“新冠”疫情从人人自危到众人抗争、最终收尾的时代嬗变。而众人竞相拍照留念、留给诗人只有“一线天”的辅助意象，正反衬了三年疫情之后大家释放自我的情怀。从“雾霭”、“夕阳”，再到风寒料峭的“寒气”，最后落实到没落时代象征之物“口罩”——这几个主要意象统摄全诗的各个诗节，不仅使得本诗在主题内涵上蕴涵丰富，具有空前的开掘广度和深度，并前后贯连、首尾辉映，审美意境上则于显在的“寓情于景、情景交融”的圆浑一体之外，创造性地隐喻了一个不堪回首、走向没落并即将终结的“疫情时代”。

To sum up, in this seemingly ordinary scene lyric poem, Sophy Chen uses a series of special place names such as “Shenzhen Bay”, “Shirko of Hong Kong” ,“Shirko” as well as a slightly strange image group of people “stretching their necks” to look across the other side, to define the special geopolitical background of Hong Kong across the sea. Considering the time when the poet wrote this poem — January 24, 2023, and the image of “mask” in the back, we can naturally associate a lot of social background related to the “COVID-19” pandemic” at that time. Therefore, the “smog” that appears in the beginning of the poem covering the sea level of Shenzhen Bay, and then swallowed the sunset — this “smog” image that disappears and appears at times, is a concentrated allusion to this special social background. The “setting sun” in the poem as another main image, at the beginning everyone came to watch because of its shock and awe, in the face of its “a bit old looks”, gradually sinking in the sea unavoidably and melancholy, and finally swallowed by the night smog invisible. — This just vaguely symbolizes the evolution of The Times when the “COVID-19” pandemic” changed from people’s self-danger to people’s struggle and finally came to an end. The auxiliary image of the people competing to take photos and leaving the poet only with “a narrow thin strip of sky” is a contrast to the feelings of everyone releasing themselves after three years of the pandemic. From “smog”, “setting sun”, to “chilly air”, and finally to the “mask”, the symbol of the declining era, — these main images dominate each verse of the poem, which not only makes the poem rich in theme connotation, but also has unprecedented breadth and depth of exploration, and extends from front to back and reflects from beginning to end. In the aesthetic conception, it is outside of the round integration of “blending emotions in scenery and scenes”, and creatively symbolizes an “COVID-19 Pandemic Era” that can not to be looked back, is going to decline and coming to an end.

 

苏菲的诗歌看过很多，我也一直看着她不断进步和成熟。在这首诗中，我看到了苏菲作为一个真正诗人所秉持的对时代环境的敏感，对社会人生的关怀。相比于直接书写疫情的大多数诗歌，苏菲的这一首诗，无论是从诗写艺术，还是主题内涵都值得学习，她对社会人文的终极关怀更令我们钦佩。

I’ve read a lot of poetry of Sophy Chen, and I’ve been watching her constantly improve and mature. In this poem, I see Sophy Chen’s sensitivity to the environment of the times and her concern for society and life as a true poet. To compare to most poems that directly write about the pandemic, the poem of Sophy Chen is worth learning from both in terms of artistic expression and thematic content and her ultimate concern for social and humanistic issues is even more admirable for us.

大藏
中国广州

2024.8.29.19:23

 

Dazang Chen
Guangzhou,China

2024.8.29.19:23

Translated by Sophy Chen in 2024-08-31 19:10 in Guangzhou, China

 

 

 

 

[中国] 大 藏
[China] Dazang Chen

大藏简介

大藏，本名陈建荣。中国当代诗人、诗评家、世界诗歌传播者。现为《苏菲译·世界诗歌年鉴》副主编、《苏菲诗歌&翻译》英汉世界纸质诗刊副主编、“苏菲诗歌&世界翻译网”中文主编。
汉语作品散见于中国诗歌报刊、杂志与网络空间。被翻译作品散见于《苏菲诗歌&翻译》英汉世界纸质诗刊、《PENTASI B 2019 中国世界诗歌节&苏菲世界诗歌奖 诗选》(汉英对照)、《PENTASI B 2019 中国世界诗歌节&苏菲世界诗歌奖 诗全集》(汉英对照)、《苏菲译·世界诗歌年鉴2021卷》(汉英对照)、《苏菲译·世界诗歌年鉴2022卷》(汉英对照)、《2023意大利塞内卡诗歌奖诗全集》(意大利语)、《2023意大利帕那苏斯诗歌奖诗全集》(意大利语)、《2023 苏菲世界诗歌奖 PENTASI B 中国世界诗歌节 诗全集》(汉英对照)等。
荣获 PENTASI B 世界杰出诗人奖（2019）、PENTASI B世界精神诗人奖（2019）、意大利塞内卡诗歌奖（2023）、意大利帕那苏斯诗歌奖（2019、2023）、苏菲世界诗歌奖 世界诗集奖（2023）、 PENTASI B 世界桂冠诗人奖（2023）等多项。
出版诗歌集1部：苏菲英译大藏汉语十四行集 《七弦琴的哀歌 》（2023）（苏菲国际翻译出版社16国联合出版）。

About Dazang Chen

Dazang Chen, real name Chen Jianrong, a Chinese contemporary poet, poetry critic and a world poetry communicator. He is the associate editor of “Sophy Chen’s Translation World Poetry Yearbook”, and “Sophy Poetry & Translation” E-C World Poetry Paper Magazine, the chief Chinese editor of “Sophy Poetry & World Translation Websites”. 
His Chinese works are published in Chinese poetry newspapers, magazines and on line. His translated poems C-E have been published in Sophy Poetry & Translation E-C World Poetry Paper Magazine, Poetry Selection Of PENTASI B 2019 China World Poetry Festival & Sophy Chen World Poetry Awards (C-E) and Complete Poems Collection Of PENTASI B 2019 China World Poetry Festival & Sophy Chen World Poetry Awards (C-E), “Sophy Chen’s Translation World Poetry Yearbook 2021” (C-E), “Sophy Chen’s Translation World Poetry Yearbook 2022” (C-E), All Poems Collection of 2023 Seneca Poetry Prize of Italy (Italian), All Poems Collection of  Italian “Il Parnaso – Angelo La Vecchia Award” of Italy 2023 (Italian), Complete Poems Collection Of 2023 Sophy Chen World Poetry Awards & PENTASI B China World Poetry Festival (C-E), etc. 
He is awarded 2019 PENTASI B WORLD FEATURED POET AWARD, 2019 WORLD INSPIRATIONAL POET AWARD, 2023 Italian Seneca Poetry Prize, 2019 Italian “Il Parnaso – Angelo La Vecchia Award” and 2023 Italian “Il Parnaso – Angelo La Vecchia Award”, 2023 SOPHY CHEN WORLD AWARDS WORLD POETRY COLLECTION AWARD and 2023 PENTASI B CHINA WORLD POET LAUREATE AWARD, etc. 
Published Poetry Collection: Collection Of Chinese Sonnets The Elegy Of The Lyre (2023) (translated by Sophy Chen and co-published in 16 nations by Sophy International Translation Publishing House).

 

 

诗人、翻译家 苏菲简介
About Poet And Translator Sophy Chen

[China]Sophy Chen
[中国] 苏 菲

About Sophy Chen

Sophy Chen, Lihua Chen, born in Lueyang, Hanzhong, Shannxi Province, China, is the Chinese contemporary poet, translator, publisher and world poetry manager. She graduated from English Institute of Xi'an International Studies University in English Literature. She is the founder of Sophy Chen World Poetry Awards, the President of Sophy International Translation Publishing House, Sophy Chen World Poetry Museum, the Chief Editor and Translator of Sophy Chen's Translation World Poetry Yearbook (C-E Bilingual), Sophy Poetry & Translation(C-E) World Poetry Paper Magazine, and Sophy Poetry & World Translation Websites. Sophy Chen is Admin Of PENTASI B World Friendship Poetry, a Member of the Translators Association of China, and a Member of the World Nations Writers Union, Kazakhstan. Sophy Chen is appointed as a Honorary Membership of PABLO NERUDA ASSOCIAZIONE CULTURALE and Jury Of “Il Parnaso - Angelo La Vecchia Award” of Italy. SOPHY CHEN is appointed as AMBASSADOR TO CHINA by THE ACADEMIC SENATE, ACADEMY OF ARTS AND PHILOSOPHICAL SUAENCES of LUCIUS ANNAEUS SENECA. SOPHY CHEN is appointed as AMBASSADOR TO CHINA by “Il Parnaso - Angelo La Vecchia Award” of Italy. She began to write Chinese poetry in 1989 and English poetry in 2004, and translate Chinese Poetry into English poetry and English poetry into Chinese poetry in 2005. 

Her Main World Awards：
The annual International Best Translator Award（2012）; the Legendary Poet Awards（2012）;the Chinese Contemporary Poetry Translation Award (2013-2014); Pentasi B World Featured Poet and Pentasi B World Inspirational Poet（2018）; the International Icon of Literature of Mewadev Laurel Award of India（2018）; Neruda Award of Italy（2019）; the Wrangal's Golden Peacock Award of India（2019）; Culture & Friendship Award of India（2019）; Poet’s Golden Shawl of India（2019）; Pentasi B Pentasian Award（2019/2023）; Pentasi B World Poet Laureate Award（2019/2023）; Pentasi B World Golden Voice Poetry（2019）; “Il Parnaso - Angelo La Vecchia Award”of Italy（2019）；AMBASSADOR TO CHINA by THE ACADEMIC SENATE, ACADEMY OF ARTS AND PHILOSOPHICAL SUAENCES of LUCIUS ANNAEUS SENECA(2023) in Hall of the Stables, Norman-Swabian Castle Sannicandro di Bari,Italy 2023-10-14; AMBASSADOR TO CHINA by “Il Parnaso - Angelo La Vecchia Award” of Italy(2023) in Canicatti Theater, Sicilia, Italy in 2023 2023-10-21, and First Place of "inn ANZI tutto," Poetry Awards of Italy（2024）,and the 100 Best Literary/Artistic Figures in 2024 by the Egyptian Newspaper "Alrouwad News"，etc.

Her Main Translated, Edited and Published Poetry Collections:
Sophy Poetry & Translation (C-E) World Poetry Paper Magazine. The Flower Swaying(C-E) (2014); Tibetan Incense (C-E) (2014); The Outlook of Life  (C-E)(2014); Different Tunes (C-E) (2014); The Body Forward (C-E) (2015); A Poetry Biography for White Snake (C-E) (2015); I Find Your Beauty In The Taste Of Your Eyes (C-E) (2019); Poetry Selection Of PENTASI B 2019 China World Poetry Festival & Sophy Chen World Poetry Awards(C-E) (2019); The Complete Poems Collection Of PENTASI B 2019 China World Poetry Festival & Sophy Chen World Poetry Awards (C-E) (2019); Sophy Chen's Translation World Poetry Yearbook 2021 (C-E Bilingual) ; Sophy Chen’s Translation World Poetry Yearbook 2022 (C-E Bilingual) ; The Complete Poems Collection Of PENTASI B 2019 China World Poetry Festival & Sophy Chen World Poetry Awards (C-E) (2023), A Collection Of Birds Singing by Yi Sha  (C-E) （2023）；A Collection Of Chinese Sonnets The Elegy Of The Lyre by Dazang Chen  (C-E)  （2023）; The Song of The Dynasty by FU SHANG  (C-E) （2023）; Dust Poetry Collection by Qingdao Cheng Yin  (C-E) （2023）; LOVE SONGS ON THE BORDER by Asparagus Cochinchinensis  (C-E) （2023），etc.

Her Written Poetry Collections:
Sophy Chen's English Sonnets, Tuberose (E-E) (2018); Sophy Chen's First Original E-C Poetry Collection, A Wizened Rose（2023）. 
Organizing and Planning of Major World Poetry Activities:Sophy Chen is the Host-Organizer & Sponsor of 2019/2023 Sophy Chen World Poetry Awards & PENTASI B China World Poetry Festival. She has successfully organized, sponsored and held 2019/2023 Sophy Chen World Poetry Awards & PENTASI B China World Poetry Festival in China. She has successfully organized, sponsored and held the book launching of Sophy Chen's Translation World Poetry Yearbook 2021 (C-E Bilingual),etc.  

苏菲简介

苏菲（Sophy Chen），本名陈丽华，中国当代诗人、翻译家、出版人、世界诗歌活动策划人。生于陕西汉中略阳；毕业于西安外国语大学英文学院。“苏菲国际翻译出版社”社长、“苏菲世界诗歌奖”创始人、“苏菲世界诗歌博物馆”馆长、《苏菲译·世界诗歌年鉴》(汉英对照)主编、《苏菲诗歌&翻译》(英汉）纸质世界诗刊主编、“苏菲诗歌&世界翻译网”主编。PENTASI B 世界诗歌联谊会行政管理、中国翻译协会会员、卡萨克斯坦“世界各民族作家联盟”会员、意大利“聂鲁达文学协会”名誉会员、意大利“帕那苏斯诗歌奖”评审委员会成员、意大利“卢修斯·阿纳乌斯·塞内卡”艺术与哲学学院 驻华大使、意大利帕那苏斯诗歌奖驻华大使。1989年开始汉语诗歌写作、2004年开始英语诗歌写作、2005年开始英汉双语诗歌翻译。

所获主要世界奖项：
国际最佳翻译家奖（2012）、传奇诗人奖（2012）、中国当代诗歌翻译奖（2013-2014）、Pentasi B 世界杰出诗人奖（2018）、Pentasi B 世界精神诗人奖（2018）、印度米瓦德威•桂冠奖——“国际文学偶像”奖（2018）、意大利聂鲁达奖（2018）、印度朗格尔金孔雀奖（2019）、印度文化友谊奖（2019）、印度金色诗人披肩（2019）、Pentasi B 年度奖（2019/2023）、Pentasi B世界桂冠诗人奖（2019/2023）、PENTASI B 世界金色之声诗歌奖（2019）、意大利帕那苏斯诗歌奖荣誉评审员（2019）、意大利“卢修斯·阿纳乌斯·塞内卡”艺术与哲学学院 驻华大使（2023）(意大利巴里 桑尼桑德罗·迪巴里诺曼-斯瓦比亚城堡马厩大厅 2023-10-14)、意大利帕那苏斯诗歌奖驻华大使（2023）（意大利 西西里岛，卡尼卡蒂剧院 2023-10-21）、意大利第六届"安齐-图特"诗歌奖最高奖（2024）、2024埃及百位最佳文学/艺术人物（2024“埃及先锋新闻报”评选）。

翻译、主编、出版主要诗歌作品集：
《苏菲诗歌&翻译》(英-汉）纸质世界诗刊。
《花动摇》(英-汉）(2014)、《藏香》(英-汉）(2014)、《生之瞭望》(英-汉）(2014)、《异调》(英-汉）(2014)、《胴体向前》(英-汉）(2015)、《白娘子诗传》(英-汉）(2015)、《从眼睛的味道中找到你的美》(英-汉）（2019）、《PENTASI B 中国世界诗歌节&苏菲世界诗歌奖诗选》(英-汉）（2019）、《PENTASI B中国世界诗歌节&苏菲世界诗歌奖诗全集 (英-汉）（2019）、《苏菲译·世界诗歌年鉴2021卷》(汉-英)、《苏菲译·世界诗歌年鉴2022卷》(汉-英)、《2023 苏菲世界诗歌奖& PENTASI B 中国世界诗歌节 诗全集》 (英-汉）（2023)、伊沙《鸟鸣集》(英-汉）（2023）、大藏汉语十四行集 《七弦琴的哀歌 》(英-汉）（2023）、扶殇《朝歌》(英-汉）（2023）、青岛尘音《尘埃集》(英-汉）（2023）、天冬《边寨情歌》(英-汉）（2023）等。

苏菲出版英语诗歌原创集:
“苏菲英语十四行诗”《晚香玉》(英-英）（2018）、苏菲首部英汉诗歌原创集《枯萎的玫瑰》(英-汉）（2023）

主要世界诗歌活动组织策划：
苏菲是2019、2023  苏菲世界诗歌奖 & PENTASI B 中国世界诗歌节 主办方、组织人和赞助人。苏菲成功组织、赞助、主办了2019、2023 苏菲世界诗歌奖 & PENTASI B 中国世界诗歌节。苏菲成功组织、赞助、主办了《苏菲译·世界诗歌年鉴2021卷》(汉-英)新书发布会等。

 

 

---

 

©Translated by Sophy Chen
翻译版权所有 侵权必究

 

全网投稿指南 Poems Contributions

▷ 202x苏菲世界诗歌奖&中国世界诗歌节&诗歌 征稿
Call For Poems Of 2023 China World Poetry Festival & Sophy Chen World Poetry Awards
投新诗10首300行以上，古体诗120句以上
结集 《202x苏菲世界诗歌奖&中国世界诗歌节 诗全集》
苏菲翻译主编, 16国联合出版发行
1中2美3英4德5法6西7意8荷9日10巴11加12墨13澳14印15瑞16波
联系苏菲微信sophypoetry3对话框;
E-mail: xisusophy@163.com (outside of China)

▷ 202x世界诗人图书展/艺术品捐赠仪式 图书艺术品征集
Contribution For Books & Art Works Of Exhibition & Donation Ceremonyof World Poets
联系苏菲微信sophypoetry3对话框;
E-mai:xisusophy@163.com (outside of China)
Please be sure mail address with FB or Wechat , Thank you!

纸刊《苏菲诗歌&翻译》（英汉双语）世界诗刊 常年征稿
"Sophy Poetry & Translation" (E-C) Magazine Needs Poems All Years
It does not have the manuscript fee and international promotion fee and layout fee
新诗/古体诗/小说/散文/评论/书画等栏目
[中国诗人]栏目不低于100行, [诗人专栏]不低于150行；
苏菲翻译/主编/出版,不定期,
苏菲诗歌&翻译世界诗刊社,16国联合出版发行
1中2美3英4德5法6西7意8荷9日10巴11加12墨13澳14印15瑞16波
1.China 2.USA 3.UK 4.Germany 5.France 6.Spain 7.Italy 8.Netherlands 9.Japan 10.Brazil 11.Canada 12.Mexico 13.Australia 14.India 15.Sweden 16.Poland
作品要求原创，苏菲微信sophypoetry3对话框联系
E-mail: xisusophy@163.com(overseas)