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
汉英对照纸质版，苏菲翻译/主编/出版
每年一卷，苏菲国际翻译出版社，次年出版
限没有被翻译成英语的原创新诗、格律诗、俳句
新诗1首不超过25行；古体诗词4-8句左右; 俳句3-9句
投稿微信：sophypoetry3 (或已加微信)
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（双语对照）（《苏菲世界诗歌翻译书库》）全球征稿
Notice to Contributors of Poetry Collection Series of Sophy Chen World Poetry Translation Library (Bilingual)
欢迎全世界诗人来稿！
Poets’ Works Are Welcome From All Over The World
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)
为了加强中国优秀诗歌的对外翻译与国际化推广,进一步繁荣国际诗歌的多语种创作，推动中西方诗人优秀诗歌的互译、互动、传播与交流，为中国诗人和世界诗人搭建良好的世界诗歌交流桥梁，促进现当代中外诗歌的翻译与研究，向全世界展现伟大的中国新诗艺术，苏菲国际翻译出版社、苏菲国际出版传媒、《苏菲诗歌&翻译》（英汉）纸质世界诗刊社决定联合编辑出版一套《苏菲世界诗歌翻译书库》诗人诗歌集（双语对照），计划在三十年时间内（2018-2048），编辑出版各国重要诗人的个人诗集500-1000部。
In order to strengthen the foreign translation and internationalization of Chinese excellent poetry, further flourish the multilingual creation of international poetry, promote the translation, interaction, communication and exchange of excellent modern poetry between Chinese and western poets, build a good world poetry exchange bridge for Chinese poets and world poets, promote the translation and research of contemporary poetry, and show the great poetry art to the world, Sophy International Translation Publishing House, Sophy International Publishing Media, Sophy Poetry & Translation (E-C) World Poetry Paper Magazine have decided to jointly edit and publish a set of poetry collections of Sophy Chen World Poetry Translation Library (Bilingual). It has planned to edit and publish the various countries’ important poets’ poetry collections, 500-1000 books within 30 years (2018-2048).
(Poems by Greensleeves, Translated By Sophy Chen)
Sophy Poetry Translation C-E
[四川]绿袖子《（异调》作品选）
异调—— （外四首）
无非像一节木头，在山谷
流云处，空荡荡地姓了一回断肠草
无非像一头狮子，在峡口
洪水处，突然跌落又荡起，姓了一回猛兽
那节木头，纹路深而有章法
它忍住对禅理的敏感，忍住神的考验
它终于成为狮子悲悯的
一小部分。我在它们中间
变换着角色——
如果，世界可以再轮一回
我愿意在那里做好永逝的准备
如果，能遇见你
我们在最痛苦的时候
姓一回蛇，或者青蛇
2014年4月修改
一些不朽的事物
大院失火的那天起
小阁楼，就不再只属于传统的陈列之物
它把羽毛摇了摇
就沿着一组古建筑群体飞去
沿着古典主义神话飞去
在一本《虚拟的寓言》：它寻找
寻找，可以落脚的地方
与沿途的那只手齐平
与沿途的秒针齐平
有时，面对黑夜中的言论，酒吧
和敏感之物
每当谈论起关于“洋白菜”
和红玫瑰——
一只鸟儿就飞动，飞往苍穹
它就此沉淀，沉淀在一些事物中
比如，想起失火的后遗症
2014年1月4日
——入殓师
真的不应该——
不应该看见那些寂寞一样的稻田，像落日，像死亡
蛊惑的大提琴，一会在d大调上停顿
遥想，沉默。一会是e小调
泪流满面，在田坎上和爱人挥动的情绪
恐惧的视线，往往藏着一坛湖水的自由，熟透了的自由
我喜欢他隐藏的一双手
还有陪伴他的一幅劳作之画。像大量的油彩
和一些不动声色的画笔，任由他临摹，意淫
像久石让的《礼仪师之奏鸣曲》——
我听着听着，夏就出现在眼前
看完一次，悼念一次，夏，瘦弱一次
包括生命的遗言，背影，脚步声——
有时候，一个镜头冲过来，像他额头上的比目鱼，封住一道道晚钟，罄，木鱼
包括远方的灌木，游客，小路，和寺庙
——仿佛宁静
仿佛歧途，仿佛万物无常
和那些唯美的音符比较，那些世俗又能左右什么呢
谁都不用说出口，他的夏天，落日，稻田——
往往比死亡要快，比生命要淡定
2013年8月16日
这一天
你仅仅停留了一刻
生命全都变了样——
这一天
对于南方的鸟巢来说
北方，属于银河系的另一处居所
信子飞来，地平线移动
是我想你了——
想你转身的动作，想你潮湿的毒气
这一天
——世界变软，也变成恨
祭祀坛上的月光
在麦田的祭祀坛上，月光
耕耘过的水，慢慢长出了细细的密纹
我把身子骨嵌入黑夜
一大把麦穗，高出祭品一头
仿佛有看不见的病理
开始是脚体的，心脏的，后又精神恍惚
我想，我是在等一条鱼的出现
和画布上的白，十分相像
一场古老的仪式，和
那些曾经在水面上收割月光的山体
不管它们残留着怎样的黑
我已习惯这独自的空虚
2014年7月修改
[Sichuan] Greensleeves
Different Tunes — (and other four poems)
No more than like a set of wood, in the valley
With clouds, is emptily named as Gelsemium elegans
No more than like a lion in the narrow
In flood, it, suddenly dropped again once more, named as the beast
On that set of wood, there are tricks of deep lines
It refrains its sensitive to Zen, and refrains from God’s test
It finally became the lion’s small part of compassion
I was in the middle of them
To transform the role —
If the world can round once again
I am willing to be there and ready to disappear forever
If I can meet you
When we are in the most painful time
Let’s named as the snakes, or green snakes
Revised on April, 2014
Some Monumental Things
Sine the day that a fire was in yard
Attic has no longer belonged to the traditional objects only for display
It shakes his feathers
Flying away along a group of ancient buildings
And flying away along classical mythology
In a Virtual Fables: it looks for
Looks for, a place that can stay
It’s flush with the hand along the way
It’s flush with the second hand along the way
Sometimes, to face with remarks in dark night, bar
And sensitive things
Whenever talking about “cabbage”
And red roses —
A bird is flying, flying to the sky
It begins to precipitate, precipitate in some things
For example, to think of the fire sequelae
January 4, 2014
— Departures
I really should not —
Should not see those lonely rice fields, like the sunset, like the death
The enchanted cello, pauses in D major for a while
Looking back and keeping silence. It will be in E minor for a while
In tears, waving at the ridge with his lover in emotion
In sight of fear, often hide a jar of free water and the mellow freedom
I like his hidden hands
And a labor of painting accompanied him. Like a lot of paints
And some quiet brushes let him copy, and to be obscenity
Like Joe Hisaishi’s “Departures” —
Listening and listening, the summer appears in front of me
After watching once, mourning once, the summer is thin once
Including the last words of life, shadow, and footsteps —
Sometimes, a shot lens rushing, like a flounder on his forehead, seal the curfew, chime stone, and wooden fish
Including the distant bushes, visitors, paths, and temples
— As if it’s quiet
As if it’s astray, and as if all things are in impermanence
To compare with those beautiful notes, what about those seculars can do
Everyone does not need to say, in his summer, sunset, and rice field —
Often are faster than death and calm than life
August 16, 2013
On This Day
You just stay a moment
All kind of lives have changed —
On this day
For the bird’s nest in the south
The north belongs to another home in galaxy
Windflowers flying, horizon moving
It is i miss you —
Miss your turning movements, and miss your wet poison gas
On this day
— World turns soft, and also turns to hate
Moonlight on the Sacrificial Altar
On the sacrificial altar of wheat field, moonlight
And cultivated water, slowly grow a thin microgroove
I put my body bone embedded in the night
A handful ear of wheat is a head higher than the sacrificial alter
As if there is the invisible pathology
At start, it is the feet body, the heart, and then trance
I think I’m waiting for a fish to appear
And it is very similar to the white on canvas
An ancient ritual, and
Those mountains that ever harvest moonlight on the water
No matter how darkness they remained
I have got used to this emptiness alone
Revised on July, 2014
(Translated by Sophy Chen)
©Translated by Sophy Chen
翻译版权所有 侵权必究
版权声明
1.苏菲翻译的作品，无论是英译汉还是汉译英，翻译文本版权归译者苏菲所有，未经苏菲书面许可，不得更改翻译文本、重译或将翻译文本转译成其它语言。
2.不得将翻译生成的目标语为汉语或英语的翻译作品（去掉译者姓名后），作为作者自己的原创作品或翻译作品，公开在网络传播、国内外出版物刊印、评奖等。翻译作品如不随附译者姓名以及翻译前后语种，或恶意隐匿译者姓名，一律作侵犯翻译版权处理，网络公开通告并追究法律责任。
3.未经出版者、作者或译者的书面许可，不得翻印、篡编翻译作品或翻译出版物。
4.原创作品的版权归属原作者所有，未经原作者书面许可，任何个人不得更改、抄袭该作品；未经原作者和原出版者书面许可，其它出版机构不得篡编、翻版原出版物。
Copyright Statement
1. Works translated by Sophy Chen, whether it is English-Chinese translation or Chinese-English translation, the copyright of the translated text belongs to the translator Sophy Chen. Without the written permission of Sophy Chen, the translated text may not be altered, re-translated or translated into other languages.
2.The translated works whose target language is Chinese or English (the translator's name is removed) are not allowed to be published on the Internet, published in domestic and foreign publications or awarded as the original works or translated works of the author. If the translated works are not accompanied by the translator's name or without the original language or target language or conceal the translator's name, you will be treated as infringement of translation copyright and will be notified online and investigated for legal liability.
3.No translated works or translated publication maybe reproduced,co-edited or reproduced without the written permission of the publisher, author or translator.
4. The copyright of the original works belong to the original author. Without the written permission of the original author, no individual may alter or copy the works. Without the written permission of the original author and the original publisher, no other publishing institution may usurp or reprint the original publication.
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