《异调》（绿袖子著）苏菲第四部汉译英诗歌集

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

 

 

 

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

 

 

 

 

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 

 

 

 

 

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

 

 

 

 

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

 

 

 

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

 

 

 

 

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

 

 

 

 

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

 

 

 

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

 

 

 

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)

 

 

绿袖子，中国当代优秀女诗人。本名周蓉。现居成都。郑州大学金融专业毕业，四川大学工商管理研究生。作品散见于《星星》《中国诗人》《时代文学》《中国诗歌》《诗歌月刊》 《女子诗报年鉴·2013年卷》《天津诗人》等文学刊物。诗歌入选《中国当代短诗三百首》《中国地理：女诗人诗选》《新世纪诗选》《中国现代短诗鉴赏》《中国散文诗2013卷》 《新世纪好诗选》等多种选本；曾获2013年中秋散文诗全国大赛优秀奖，首届金迪诗歌奖年度优秀诗人奖，2014年度星星·中国散文诗大赛奖。出版：诗集《流向》《异调》（汉英对照）。

 

 

Greensleeves, Zhou Rong, her real name, is a Chinese contemporary outstanding poetess. She lives in Chengdu. She graduated from Zhengzhou University in finance and MBA from Sichuan University. Her works were published in “Stars” Poetry, Chinese Poets, Era Literature, Chinese Poetry, Poetry Monthly, Women's Poetry Daily Yearbook 2013, Tianjin Poets, and other literary journals. Her poems were selected in Three Hundred Short Poems of Contemporary China, Chinese Geography: Poetesses’ Poems, Selected Poems of New Century, the Short Poems Appreciation of Modern China, the Prose Poetry of China, New Century Good Poems, and many other anthologies; She won The Prose Poem Excellence Award in 2013 in Mid-Autumn Festival National Competition; the Annual Award for the Best Poet of the First Jin Di Poetry Award; 2014 Stars·Prose Poetry Contest Prize of China. Publication: poetry anthology Flow Direction and Different Tunes (Chinese-English).