诗人曰：故事在此绽放与终结， 如林间面包屑一般

海外文苑

It was published in new York 'Compact News" Edtion #857（Translated by Christine Chen)

发刊纽约【综合新闻】857期(汉译：佩英）

萨布丽娜·德·卡尼奥（Sabrina De Canio ) 意大利诗人、译者及世界唯一诗歌博物馆国际部负责人，获多项国际诗歌奖，作品多语种发表与翻译，并活跃于全球诗歌节，策展“以艺术解除武装i”等公益诗艺项目。

连接

无形、无法触摸的线，
在前线士兵的手中坚韧，
在抚慰孩子的母亲怀抱里柔软，
在不确定的黎明的湿露中闪烁，
在最后的目光里升起——
解开、交织，
在心灵的织物中，
有了意图，化作脉动，
连结距离，
在呼吸的这边与那一边，
振动着光的律动，
晶莹的静默，
流淌于眼皮之下，
故事在这里绽放与终结，
如林间的面包屑一般。

Connection

an impalpable, invisible thread,
strong in the hands
of the soldier at the front
in the embrace of a mother
who consoles
in the damp dew
of an uncertain dawn,
in the last glance
that rises
unravels, intertwines,
in the fabric of the mind,
full of intention
becomes a pulse
binds distances,
on this and the other side
of breath
vibrating
with luminous movement
crystalline silence
flows beneath the eyelids,
where stories blossom
and end,
like breadcrumbs in the forest.

面包

多希望能将所有碎片紧握，
如葡萄枝紧抱果实，
不失岁月，不失朋友，
不失长久珍爱的恋人；
还能继续嗅到
母亲刚洗过的衣物的清香，
以及她温热早餐牛奶的香气。
可人生就像面包，
每一口都碎成面包屑；
若片刻放下，
在桌面上忙碌的人
便会悄然将它收走。

Bread

I wish I could keep all the pieces together
as a stalk does its grapes,
and lose neither years nor friends,
nor long-cherished lovers,
and keep on smelling the fragrance
of my mother’s newly-washed laundry
and the aroma of her warm breakfast milk.
But this life is like bread
that breaks into crumbs at every bite;
if you put it down for a moment
whoever is clearing the table
will whisk it away.

达利特茶

篮子沉甸甸，
盛着轻如羽翼的茶叶；
篮子轻盈，
为孩子求学的梦。
黄昏前，
还剩多少片叶子？
我的凉鞋飞起——
一无所有者的正义，
落在权势者面前。

Dalit tea

Heavy weighs the basket
of light leaves
light hangs my basket
for a child’s schooling.
How many leaves
still
before evening
and my sandal flies
a sole’s justice
in the face of the mighty
from one who has nothing.

书法：张公信

依然

来吧，
在柔软的胸膛之下，在羽翼之下与我相遇。
在树枝下，
我沉默安歇。
来，与我相遇
在绿色的簇拥下，
拥抱这暮色时光。
我依然将你
记在心头温暖之处，
你那夏日的声音，
伴着星辰的沙沙声，
让我飞翔，
在空中的夜色水母间。
仿佛命中注定，
引我走向秘密的生命。

Still

Come,
come and meet me
under the wing, in soft breast.
Under the branch
my silence rests.
Come and meet me
where puffs of green
embrace this evening hour.
I still count you
among what heartens me
and your summer voice,
with its rustle of stars,
makes me fly
among aerial nocturnal jellyfish.
It seems done
to lead me to secret lives.


日子

在日子的圆环里，
像黑胶唱片，
我们缓慢爬行，
在唱针之下。
音乐，
几乎从不甜美，
划痕与跳针，
都是其中的一部分。
我们的唯一之歌，
有时
在终章之前就结束。
B 面，
并不总是天堂。

Days

In the circle of days
like vinyl records
we creep
under the turntable stylus.
The music
is almost never sweet
scratches and skips
are part of the package.
Our only song
sometimes
ends before the end.
The B side
is not always paradise.

诗歌赏析：

萨布丽娜·德·卡尼奥的诗作以精致的感知力和哲理深度著称。她通过《连接》中无形的线条、《面包》中日常的碎片感，以及《日子》里的时间轮回，呈现生命的脆弱与温暖。意象丰富而梦幻——“湿露的黎明”“林间的面包屑”“夜色水母”等，唤起视觉、触觉与心灵的共鸣。语言清澈流动，叙事与抒情交织，细微日常中折射普遍情感与人生体验。整体诗风温情而有力量，既是个人情感的记录，也映射人类共同经验，展现了她跨文化、多语境下独特的诗学视野与感染力。（佩英）

Editorials:

Sabrina De Canio’s poetry is distinguished by its refined sensibility and philosophical depth. Through Connection’s invisible lines, the fragmented moments of everyday life in Bread, and the cyclical passage of time in Days, she conveys both the fragility and warmth of life. Her imagery is rich and dreamlike—“dawn in the wet dew,” “breadcrumbs in the forest,” “jellyfish in the night sky”—evoking resonance in the visual, tactile, and emotional senses. The language flows with clarity, blending narrative and lyricism, reflecting universal emotions and human experiences through subtle details of daily life. Overall, her poetic style is tender yet powerful, recording personal feelings while illuminating shared human experiences, showcasing her unique poetic vision and impact across cultures and languages.（By Christine Chen, New Zealand)

马吉达·达格尔（Majida Dagher），黎巴嫩诗人、作家、研究者、记者及媒体主持人。她长期活跃于黎巴嫩及泛阿拉伯文化与媒体领域，曾担任报刊主编、电视主持及电台节目主持，并创办“卓越传媒制作公司”传媒公司。其诗作获摩洛哥和阿尔及利亚学术评论认可，多篇作品被译为十余种语言。

被谋杀的港湾

--贝鲁特：在创伤与永恒之间

贝鲁特，活在伤痛与永恒之间
被苦痛赌咒，被伤与永痕贯穿
隐藏的秘密，你异常低调。
内藏秘密，外烁上帝之光，
如一堵刻满故事的墙，庇护它于高处。
仿佛从时光孕育万物开始，
你就踏步而来，追求崇高不朽
因你是那片土地的女王，
诸所皆成流亡者。
因你，贝鲁特，满是荣耀与魅力，
你散播辉煌，驾佑存在的意义
因你，贝鲁特，既是港湾又是痛苦的存在，
血色中腾起的控诉之声。
在被谋杀的港湾上，群鸟迁徙，

海，含泪，催生更多负重前行的人

The Murdered Harbour

--Beirut Between Wound and Eternity

A wound coursed through you, one content with oppression,
Like a captive‘s secret, it didn’t make you any more excessive.

And what is within you is a secret, radiant from God‘s visions,
Like the wall of stories, sheltering its high places.

As if, since time yielded a creation,
You have trod upon eternity that seeks more sublimity.

Because you are a queen in that place,
The regions in my land become exiles.

Because you, Beirut, are the praises and the allure,
You scattered splendour and mastered the meanings.

Because you, Beirut, are the harbours and the anguish,
You shed a bleeding and soaring reproach.

Over the murdered harbour, a migratory flock,

And in the sea, there is a tear, from which the water-carriers increased.

破碎群体中幸存的女人

那些女人，
从烧焦的鼎釜中，
品尝赤裸的爱情。
掌握狂喜的能力超越酒精的女人
不向破碎的武器低头的女性。
身披绚丽寿衣、
改变死亡之色的女人。
由创伤孕育、带着祝福归来的女人，
紧挨着，
防止生命的肋骨，
陷入污泥的谵妄。
从巨大悲剧中走来，
轮流吟诵诗行，
芬芳洒肌肤，
洒在韵脚与开篇中。
是破坏者，是揭纱者，
是奢放者，是哭泣者，
拿去石头的脸，
脱离虚假的孤独。
隐藏的幸存者之音，
来自冰封年代：
是受难时代的“玛利亚”，
是囚禁时代的“宰娜布”，
是火刑时代的“贞德”，
是特洛伊城墙上的“赫拉”。
哦，幸存的女人啊！
美的本体，
存在与缺席并存的女性灵魂。
你们是
生命色谱中
深沉的绯红。
放下永久的病痛，
不妥协，
不让血脉之火熄灭。
烧毁安逸的公共领地
沉溺，
困顿时刻尚未到来，
所以，不要用睡眠的诱惑
替换黎明……
女预言者如是说，
她身为大海
预言别类的颜色。

The Women Who Survive the Broken Plurals

The women, who tasted love raw from the burnt cauldrons.
The women who outmatched wine in grasping ecstasy.
The women who contested the broken arrow.
The women who wore vibrant shrouds
And thus changed the colour of death.
The returnees from the Auspicious Wound,
Stood closely pressed together
Lest the rib be afflicted
By the delirium of clay.
The entrants from the great tragedy
Alternate in reciting the poems
Pouring perfumes upon their skin,
And upon their rhymes, the beginnings.
The spoilers, the unveiled,
The lavish, the weeping,
Wiping the face of the stone
From false solitude.
A voice the Survivors hid
From the time of ice
For Mary; in the time of the crucifixion,
For Zaynab; in the time of captivity,
For Jeanne D’Arcy’ in the time of burning,
For Hera; on the walls of Troy.
O, you Women Who Survive!
You are the beautiful ones,
You are
The Feminine co-existing spirits of existence and absence.
You are the deep crimson
In the colours of life.
Leave the eternal sickness
And do not compromise
On the fire in the vein.
Burn the happy common lands
And the indulgences,
The time for weariness has not yet come,
So do not replace the dawn
With the charm of slumber...
Said the Soothsayer

As she prophesied a different colour for the sea.

带走我的心

带走我的心吧，你离去，不做乞求。
带走宁静与牵挂；
带走部分的你——
它已常驻我之中。
迷失在我栖居的诗句里吧，
你本就是一首虚构之诗。
缺席，在离别之际
却低语爱情，似乎很近，
说些关于我的话吧。
我啊
依然锚定在那里，
我便与你同在，
仿佛
重启约会，重启存在。
你之外，
谁能承我之坚定？
走得更远吧，
明明消失于距离，
却比我自己更贴近于我——
如刀与鞘，
如香气滞留喉间，
如歌者的沉醉，
吟唱着深深渴望；
又如一位无形的访客，
在拂晓的柔光中到来，
超越我旋律所能知晓的一切。

Take My Heart

Take my heart, you who leave without a final plea.
Take with you all serenity and all ties;
Take that piece of you that resides in me.
Go astray in my verses you inhabit,
As though you were a poem formed by fallacy.
Be absent in the parting,
But speak to our love, even when nearby,
Speak something of me.
And because I
Stayed anchored there, I remained with you here,
As if I were
Renewing the meeting, renewing the presence.
Who else but you could hold my certainty?
Go further,
Be lost in that distance,
Yet you stay closer to me than my own self,
Like the scabbard to the blade, like fragrance on my throat,
Like the singer ‘s rapture,
Chanting to the deep longing,
Or a visitor who comes, unseen,
At dawn ‘s soft hour, beyond my melody’s knowing.

书法：张公信

“雷哈娜”：挑战死亡法则的人
--献给三位“雷哈娜”

成为一首被虚构的诗，
一夜间，黎明前化作狼的故事；
成为湖中的溺亡女子。
成为艺伎之女，
其身体源自神话。
成为门把手，
在钥匙孔旁，被《睡美人》迷住；
成为白床单上的紫罗兰，
令白如不存在。
成为“雷哈娜”，
她挑战死亡法则。
成为天体，成为宝石，
染上处女颤栗之色，
在幻影之间轮替。
暂时不要打破牢笼，
当你之自亦然附着于轨道。
展你修长颈项，
雨倾泻而下，
当你触及“马达亚”（叙利亚城镇）上空
那朵饥饿的云。
穿行于其悲剧的曲折中，
直至她以金发孩童的形象归来。
在刽子手到来之际被附身，
拥抱蝴蝶的教义，
凝视他眼中被杀死的光。
不要让你的欲望远离禁果，
要成为苹果，咬下对世界的渴望。
世界有一道门，唯你能懂；
你是启示录的开端，你是权力的女王，
是聚集之日小巷里的异乡人。
成为一首摇篮曲，床榻是天堂，
能让河中蜜停止流淌。
将你的呼吸分配给黄昏垂死时刻，
使女性拥有月亮的芬芳。
哦，你这
如断枝般孤独的人，
不要从云雀的喉间偷走歌声，
也不要在墓冢之上倾泻嗓音。
无髋而舞，
如同为格拉纳达而哀。
成为“瓦拉达”（安达卢斯诗人瓦拉达·本特·穆斯塔克菲），
将你的吻，赠予任何渴望它的人。
注释：
“雷哈娜”——
• 雷哈娜·吉巴里：伊朗女性，因杀死试图强奸她的人而被处决。
• 雷哈娜·库尔迪：叙利亚男童艾兰·库尔迪（“海滩男孩”）之母，在那次致命的渡海途中亦不幸遇难。
• 雷哈娜：一名库尔德女性战士。

“Rayhana”, Who Defied the Rules of Death
(Dedicated to the three “Rayhanas”)*

Be a fabricated poem,
About a night that turns into a wolf just before dawn,
Become the drowned woman of the lake.
Become the Geisha daughters
Whose bodies are derived from myth
Be the handle,
Near the keyhole fascinated by “The Sleeping Beauties”,
Be the violet upon the white sheet,
So that the white becomes more of an absence.
Be “Rayhana”, As she defies the rules of death.
Be a celestial body, Be a precious stone,
Be tinged with the color of the virgins’ shiver,
Alternate among their phantasms.
Do not break the siege,
While your self is clinging to the orbits.
Elongate your slender neck
And rain down,
When you touch the hungry cloud above “Madaya” (A Syrian town).
And proceed through the twists of its tragedy,
Until she returns as a blonde child.
Be possessed upon the arrival of the executioner,
Embrace the doctrine of the butterfly,
Stare into the killed light of his eyes.
Do not distance your lusts from the forbidden fruits,
Be the apple, and take a bite of the world’s desires.
The world has a gate that none but you comprehend,
You are the Opening (Al-Fatiha), the Sultana,
And the stranger in the alleys of the Day of Gathering.
Become a lullaby, in the beds of Paradise,
And stop the flow of honey in the river.
Distribute your breaths over the dying moments of the evening,
So that women may have the scent of the moon.
Oh, you who are solitary as a severed trunk,
Do not steal the song from the lark’s throat,
And do not shed the voice above the graves.
Dancing without hips is like lamenting over Granada.
Be “Wallada” (“Wallada Bent Al Moustakfi” Andalusian poet)
And give your kiss to whoever desires it.

Note:
The “Rayhanas
Rayhana Jbary: The Iranian woman who was executed for killing her attempted rapist.
Rayhana Kurdy, mother of the Syrian boy Aylan Kurdy the “boy on the beach” who
died during the fateful boat journey (the mother also perished).
Rayhana: A Kurdish female fighter.


一首悲歌

从黑暗而来的身影，
带着对光的恐惧，
带着秋日窗棂的颤抖，
长久小憩，心生敬畏。
她们是用疏离感官替代黎明的女性，
为记忆装点
一幅湿润的壁画，
供枕边的猫去渴饮。
她们自我隔离，
远离梦境与暮色中的访客，
她们拥抱
复数的极限，只献出一声孤祷，
向坠落忏悔，
唯恐……
秋天带叶而来。
意义之心的居者
于陌海中寻踪
寻觅穿孔深底的居者，
寻觅石化呼吸的残存。，
寻觅盐水中的泪，
寻觅水的记忆，寻觅纯净的诗学，
寻觅残存的功用。
旅者不在瞳孔中寻庇，
不知疲倦的人，也不曾深眠，
他们为夜的女儿完成了歌，
使夜能加入队伍：
“悲歌作伴，忧伤同行，
大篷车践踏道路的愁绪。”
他们行走，
如雨重的云舞，
他们行走，
如因水之召唤而疲惫的河流。

A sad song

The ones arriving from the darkness,
Afflicted with a phobia of light,
With the shudder of windows in autumn,
With a chronic siesta in awe.
They are the women who replaced dawn
With the estrangement of the senses,
And furnished memory
With a watery mural
For the pillow’s cat to drink,
They isolated themselves
From dreams and the visitors of the twilight,
They embraced
The utmost limit of the plurals with a lone prayer,
And confessed to the falling
Lest...
Autumn arrives leafy.

The Dwellers in the Heart of Meaning
Searched in the estrangement of the ocean
For the inhabitants of the perforated bottom,
For the remains of the petrified breaths,
For the tears in the salt water,
For the memory of water, for the poetics of purity,
For the utility of remaining.

The travellers did not seek refuge in their pupils,
Nor did the ones oblivious to fatigue sleep,
They completed the song for the daughters of the night
So the night might join the caravan:
A sad song, and sorrow is a companion,
And the caravan is trampling the melancholy of the road."
They walked
Like the dance of clouds heavy with rain,
They walked
Like a river exhausted by the call of the water.

诗歌赏析：

马吉达·达格尔的诗作充满历史感与社会责任感，同时兼具深厚的人文关怀。她通过《被谋杀的港湾》描绘贝鲁特的创伤与坚韧，《破碎群体中幸存的女人》呈现女性在灾难与压迫中重生的力量，《带走我的心》与《雷哈娜》则探讨个体情感与道德勇气的复杂性。诗歌语言厚重而富有画面感，意象宏大而多层——港湾、血色、蝶影、夜色等符号既指向现实创伤，也折射心理与精神世界的深邃。结构上，她巧妙交织叙事、抒情与寓言，使历史记忆、社会困境与个人经验交融呈现。整体而言，达格尔的诗歌既是对黎巴嫩及阿拉伯世界创伤的见证，也是对女性力量与生命韧性的赞歌，展现出她独特的文化视野与诗学深度。（佩英）

Editorials:

Majida Dagher’s poetry is imbued with a strong sense of history and social responsibility, while also reflecting profound humanistic concern. In The Murdered Harbour, she portrays Beirut’s trauma and resilience; The Women Who Survive the Broken Plurals highlights women’s capacity for rebirth amid disaster and oppression; while Take My Heart and “Rayhana” explore the complexities of personal emotion and moral courage. Her language is weighty and vividly visual, with grand, multilayered imagery—harbours, blood, butterflies, and night—pointing both to real-world suffering and the depths of psychological and spiritual experience. Structurally, she skillfully weaves narrative, lyricism, and allegory, blending historical memory, social hardship, and personal experience. Overall, Dagher’s poetry bears witness to the traumas of Lebanon and the Arab world, while celebrating female strength and the resilience of life, revealing her distinctive cultural vision and poetic depth.(By Christine Chen, New Ze

The End

(本期所有文字作品均获作者授权)