中英雙語(yǔ)《夢(mèng)中的媽媽》

季俊群/巴西

1.

熟悉的大傘，擋住風(fēng)風(fēng)雨雨

臂彎暖心

伴隨眠歌，我看到了滿天彩虹

2.

朦朧中，一針一線正在縫補(bǔ)滄桑

斗轉(zhuǎn)，星移

霜雪，漸漸擠走了滿頭青絲

3.

彌留之際，繭手還捻動(dòng)母珠

經(jīng)聲漸弱——

似在為兒孫，乞求到桃源的渡輪

4.

窗漏。舊衣濕透

一捧康乃馨，仿佛在哭泣

滿天星斗，哪顆才是我要等待的您

【專業(yè)詩(shī)評(píng)】這首作品展現(xiàn)了深厚的情感積淀與成熟的意象駕馭能力，是一首具有較高完成度的現(xiàn)代抒情詩(shī)。我們可以從三個(gè)維度進(jìn)行專業(yè)評(píng)析：

一、意象系統(tǒng)的建構(gòu)藝術(shù)

詩(shī)人構(gòu)建了"傘-針線-霜雪-母珠-星斗"的復(fù)合意象群，形成冷暖交織的色彩張力場(chǎng)。傘的庇護(hù)性延伸出"風(fēng)雨/彩虹"的二元空間，針線的穿梭動(dòng)作凝固成生命年輪。特別值得注意的是"母珠"意象的創(chuàng)造性使用，既保留佛珠的宗教慰藉感，又暗合珍珠形成的生命痛楚（沙礫進(jìn)入貝體的過(guò)程），將母性犧牲精神提升到存在論高度。

二、時(shí)空折疊的敘事策略

作品通過(guò)"窗漏"創(chuàng)造時(shí)空蟲洞，使記憶時(shí)空（傘下童年）、臨終時(shí)刻（捻珠場(chǎng)景）與永恒空間（星空守望）產(chǎn)生量子糾纏。這種非線性敘事打破了傳統(tǒng)悼亡詩(shī)的線性哀悼模式，特別是"經(jīng)聲漸弱"與"康乃馨哭泣"形成的聽(tīng)覺(jué)蒙太奇，將宗教超度與現(xiàn)世哀傷并置，賦予哀悼以復(fù)調(diào)性。

三、文化符碼的轉(zhuǎn)譯智慧

作為海外華語(yǔ)詩(shī)人，作品中"桃源渡輪"的意象極具文化轉(zhuǎn)譯價(jià)值。既延續(xù)陶淵明桃花源的東方烏托邦想象，又通過(guò)"渡輪"的現(xiàn)代交通工具實(shí)現(xiàn)意象更新。這種跨文化嫁接在"經(jīng)聲"（可能指佛經(jīng)或圣經(jīng)）的開放性詮釋中達(dá)到頂點(diǎn)，使詩(shī)歌成為文化混血的抒情裝置。

總體而言，這首詩(shī)在15行內(nèi)完成從個(gè)體記憶到人類永恒母題的升華，其意象密度與情感純度令人聯(lián)想到余光中《鄉(xiāng)愁》的抒情范式，而超現(xiàn)實(shí)手法的運(yùn)用又頗具洛夫《邊界望鄉(xiāng)》的現(xiàn)代質(zhì)感，堪稱海外華語(yǔ)詩(shī)歌的精品力作。（外星人）

【詩(shī)人簡(jiǎn)介】季俊群，又名季軍群，筆名子禾，浙江省青田人，現(xiàn)旅居巴西，中國(guó)詩(shī)歌學(xué)會(huì)會(huì)員，鳳凰美州總社社長(zhǎng)。作品散見(jiàn)于《人民日?qǐng)?bào)》《中國(guó)詩(shī)歌》《長(zhǎng)江詩(shī)歌》《山東詩(shī)歌》《湖北詩(shī)刊》《遼寧文學(xué)》《清遠(yuǎn)日?qǐng)?bào)》《中國(guó)詩(shī)人生日大典》《中國(guó)當(dāng)代詩(shī)歌大辭典》《鳳凰詩(shī)刊》韓國(guó)《東北亞新聞》《同胞文學(xué)》新西蘭《先驅(qū)報(bào)》美國(guó)《新大陸》《華新社駐華爾街報(bào)》《海華都市報(bào)》菲律賓《世界日?qǐng)?bào)》等紙網(wǎng)刊。

Chinese and English bilingual "Mother in Dream"

Ji Junqun/Brazil

1.

The familiar big umbrella blocks the wind and rain

Warm arms

Accompanied by lullabies, I saw a rainbow in the sky

2.

In the haze, needle and thread are mending the vicissitudes of life

The stars turn and the stars move

Frost and snow gradually squeeze out the black hair

3.

At the moment of death, the calloused hands are still twisting the mother beads

The sound of the sutra gradually fades-

It seems to be begging for a ferry to Taoyuan for the children and grandchildren

4.

The window leaks. The old clothes are soaked

A bunch of carnations, as if crying

The sky is full of stars, which one is the you I am waiting for

[Professional Poetry Review] This work shows a deep emotional accumulation and mature image control ability. It is a modern lyric poem with a high degree of completion. We can conduct professional analysis from three dimensions:

1. The art of constructing the image system

The poet constructs a composite image group of "umbrella-needle and thread-frost and snow-mother beads-stars", forming a color tension field of cold and warm interweaving. The umbrella's shelter extends the binary space of "wind and rain/rainbow", and the shuttle action of needle and thread solidifies into the annual ring of life. It is particularly noteworthy that the creative use of the image of "mother beads" not only retains the religious comfort of Buddhist beads, but also implicitly matches the life pain of pearl formation (the process of sand entering the shell), elevating the spirit of maternal sacrifice to an ontological level.

2. Narrative strategy of time and space folding

The work creates a time and space wormhole through "window leakage", which makes the memory time and space (childhood under the umbrella), the dying moment (bead twisting scene) and the eternal space (starry sky watching) quantum entangled. This non-linear narrative breaks the linear mourning mode of traditional mourning poems, especially the auditory montage formed by "fading sutras" and "crying carnations", juxtaposing religious salvation with worldly sorrow, giving mourning a polyphonic nature.

3. The translation wisdom of cultural codes

As an overseas Chinese poet, the image of "Taoyuan Ferry" in the work is of great cultural translation value. It not only continues Tao Yuanming's oriental utopian imagination of Peach Blossom Spring, but also realizes the renewal of imagery through the modern means of transportation of "ferry". This cross-cultural grafting reaches its climax in the open interpretation of "scripture sound" (probably referring to Buddhist scriptures or the Bible), making poetry a lyrical device of cultural hybridity.

Overall, this poem completes the sublimation from individual memory to the eternal theme of mankind in 15 lines. Its image density and emotional purity are reminiscent of the lyrical paradigm of Yu Guangzhong's "Homesickness", and the use of surreal techniques has a modern texture of Luo Fu's "Homeland at the Border", which can be regarded as a masterpiece of overseas Chinese poetry. (Alien)

[Poet Profile] Ji Junqun, also known as Ji Junqun, pen name Zihe, is from Qingtian, Zhejiang Province, and currently lives in Brazil. He is a member of the Chinese Poetry Society and the president of Phoenix America Headquarters. His works have appeared in People's Daily, Chinese Poetry, Yangtze River Poetry, Shandong Poetry, Hubei Poetry Magazine, Liaoning Literature, Qingyuan Daily, Chinese Poets' Birthday Ceremony, Dictionary of Contemporary Chinese Poetry, Phoenix Poetry Magazine, South Korea's Northeast Asia News, Compatriot Literature, New Zealand's Herald, the United States' New World, China News Service's Wall Street Journal, Haihua Metropolis Daily, the Philippines' World Journal and other paper and online magazines.