婚戒
 
環(huán)形賽道上
誓言與忠誠競跑
勝負(fù)難料
 
Wedding ring
 
Ring, a racetrack,
On which Promise competes with vow.
Which will win? No one can tell.
 
　　把婚戒比作環(huán)形賽道可以說前無古人，想象力與及物性二者兼具。賽什么呢？是這首詩的焦點。“誓言與忠誠競跑”，虛實結(jié)合，動靜對比，無聲反襯有聲，營造出遼闊的審美空間。詩人又一次刷新了我們的思維。誓言與忠誠競跑的結(jié)果有三種情形，誓言超越忠誠，說得比做得好。誓言落后忠誠，做得比說得好。誓言等于忠誠，說得和做得一樣好。“勝負(fù)難料”也就水到渠成?；榻涫切盼?，但也有言而無信、背信棄義的時候，在市場經(jīng)濟(jì)時代，愛情存在變色變質(zhì)變味的異化現(xiàn)象，詩人的“勝負(fù)難料”，既是期許，也有擔(dān)憂，是對世風(fēng)的輕輕點撥。這首三行詩開頭平地起驚雷，中間像一場馬拉松，結(jié)尾卻沒有結(jié)果，松緊、收放自如，布局得當(dāng)有序，結(jié)構(gòu)完整，情感充沛，思想深邃。三行詩，因為詩體的微小，在精煉的要求上特別高，不能有多余的字，多余的詞，多余的句子，不能拖沓，信口開河，語言上必須節(jié)儉，情感上必須節(jié)制，詩體上還要求完美無缺，內(nèi)容上還必須緊密聯(lián)系。開頭要起好，避免平淡，結(jié)尾要結(jié)好，避免寫成總結(jié)，內(nèi)容要精彩，避免凌空蹈高，三者之間有機(jī)結(jié)合，形成有血有肉的意象，是三行詩這種藝術(shù)形式的內(nèi)在要求。（王立世）
 
The poem author’s use a racetrack as a metaphor for a wedding ring is unprecedented, and he employs both imagination and metaphor to express the personal sacrifices and persistence required to maintain a life of marital bliss.
 
Why do these two concepts compete? This is the focus of the poem. “Vow and loyalty” imply that the pair of the concepts is personified and materialized against the broad background of life. The poet refreshes the reader’s mind with the three possible outcomes of the race: failure to honor one’s commitment to one’s spouse; failure to satisfy one’s spouse more than what one has promised; and merely meeting what one has promised to one’s spouse. This brings us to the last line of the poem: “Which will win, no one can tell”.
 
The ring is the token by which one conveys one’s pledge to one’s spouse. But the symbol of love can possibly lead to the breaching of it by the other part. Especially in the era of market economy nowadays, we often see love being tarnished, thus, the last line implies both the hope for heavenly blessing and worry about the possibility of heartbreak，thereby indirectly criticizing certain social phenomena.
 
Let us look at the arrangement of the poem: it starts with an amazing metaphor, followed by a marathon, to its end of where there is no answer. It is well-structured and instructive. I make bold to say that it is a masterpiece of three-line poem writing because it meets all the requirements : compactness with understatement of feeling within a limited space of writing.
 
Its imaginative in writing vivifies a racetrack on which a person’s character is tested, touching upon the universality of the eternal theme of love and family. (Wang Lishi)
 
 
書簽
 
躺在經(jīng)典里
走馬觀花
自詡資深學(xué)者
 
Bookmark
 
Laying within pages of classics,
Taking fleeting glances thereon
It flaunts itself as a scholar of great renown.
 
　　書簽是一個隱喻，隱喻那些鉆在象牙塔里自以為是的學(xué)究，表面上博覽群書，實際上徒有虛名。與其說資深，不如說膚淺，缺乏真知灼見。15個字，有5個動詞，4個名詞，1個形容詞。三行詩如果濫用形容詞，表面上熱鬧，結(jié)果必然是浮躁的、平庸的、失敗的。成熟的詩人擅長用動詞和名詞寫作，三行詩更是如此?！稌灐吩谠~語的錘煉上像古典詩詞一樣，有一字千鈞的重量，動詞傳神，名詞精準(zhǔn)，形容詞切合性格，在矛盾中表演得淋漓盡致。這是一首意象詩，其意象來自日常生活，但灌注著自己獨特的情感與見解，獲得不同尋常的反諷意味。同樣的生活，平庸的詩人習(xí)慣于記流水帳，敏銳的詩人總會從平凡中發(fā)現(xiàn)不平凡，找到一個點去突破，去表達(dá)對生活的深刻感悟。（王立世）
 
The bookmark is a simile, implying that if someone is accidentally admitted into the ivory tower of academia, he will tend to have an illusion in which he sees himself as being a scholar merely for his long-time proximity to real scholars.
 
It is commonplace nowadays that being considered an erudite person merely through one’s superficial appearance or earning one’s senior position only by age. The poem uses limited words to construct a context or mimicry in which a common object is given symbolic meaning. It is common for us to meet persons in their organization whose function, like that “bookmark”, is doubtful but who undoubtedly stand with their peers by nominal qualification.
 
It is a pleasant surprise for this poem to describe mediocre and pretentious people as bookmarks.
 
A good work has multi-fold meanings, such as this ironic poem, which suggests a contrast between real scholars and fake ones enjoy the same respect as the real; it can also deliver a profound message.
 
The work generates poetic imagery from everyday life, stirring up our common sensation by the poet’s unique use of satire.
 
A poet with sharp mind is more likely to find something special from the odds and ends of the day, and if making it as a cutting point, the work may reveal his/her deep understanding of the world of life. (Wang Lishi)
 
 
鳥籠
 
羽毛入庫
天空
被安逸閹割
 
Bird cage
 
Wings folded away,
Longing for heavens,yet
Made impotent by comfort.
 
　　羽毛借代鳥，突出有翅難展，被籠子束縛的痛苦?；\子比為庫，暗示鳥還有飛出籠子的希望，天空只是暫時少了飛翔的美景。詩人說天空“被安逸閹割”，具有突兀之美。“閹割”使天空破碎，讓人感到疼痛和失望。這里的“安逸”是對自由的侮辱。以人的自由犧牲鳥的自由，用自由反襯不自由，安逸變得沉重，變得有罪。這樣的鳥籠應(yīng)當(dāng)砸爛，讓鳥回歸浩瀚的天空。詩人對自然萬物的體悟不是蜻蜓點水，而是與人類的精神巧妙地融合于一體，使自然有了靈性和思想。（王立世）
 
“Feathers” refer to a bird, emphasizing that the cage forbids it to fly even though it boasts wings. The suffering of being encaged is compared to being backed into an encircled parking space.

A bird is deprived of its freedom, yet is offered ease and idleness. yet, considering the meaning of life for any conscious subject, these are heavily burdens and guilty pleasure.
 
Back into the sky, a flying bird is like the ultimate pursuit of a soul. At this moment, the physical and spiritual beat like wings in concerted rhythm. (Wang Lishi)
 
 
圓規(guī)
 
看似瘦骨嶙峋
兩條長腿
劃圈占地最在行
 
Compass
 
All skin and bones,
Two long legs
Seizing land, better than any other.
 
　　圓規(guī)“劃圈”是為了“占地”，賦予一個器物以強(qiáng)烈的主觀情感，圓規(guī)成了貪婪者象征。詩人告誡世人不要被它“瘦骨嶙峋”的表象迷惑，認(rèn)清它的野心和本質(zhì)。“最在行”，貪婪成了一門專業(yè)，充滿辛辣的嘲諷。物詩首先要精準(zhǔn)，否則升華失去根基，境界難出。這首詩抓住了圓規(guī)的特征，巧妙地聯(lián)想到一些社會現(xiàn)象，賦予物豐富的內(nèi)涵，思想上顛覆了傳統(tǒng)的認(rèn)知。詩歌的創(chuàng)新絕不是玩文字游戲，用文字的拆解組合制造迷霧欺騙讀者，而必須寫出別人眼中所有筆下所無的東西，眼中所有解決詩歌的來源問題，筆下所無就是對創(chuàng)新能力的考驗。詩壇上那些玩文字游戲的詩人缺乏生活底蘊(yùn)，缺乏洞見生活的智慧，這類詩人在三行詩領(lǐng)域更顯現(xiàn)出其笨拙、無能和腐朽。（王立世）
 
“Encircling by compass” refers to occupy land. The poem injects subjective element into the compass, making it into a symbol of greed.
 
The poet warns that no one should be confused by its skinny appearance and focuses on its nature of ambitiousness. When greed turns out to be trade, “no other can surpass it”; thus, it becomes an irony for similar social phenomena.
 
The poem features the personified nature of compass, namely, greed for the occupation of land. From the basic idea of greed, the reader can call to mind all manner of other negative thoughts or actions.
 
A good poem has to offer originality that can surprise reader by evoking some new angle of thinking to overturn the traditional mindset rather than by any play of words or pretentious style without substance of life experience. Therefore, it constitutes the test for a poet to create a work that comes from life and nurtures those minds that are ready to be enlightened. Particularly in the three-line poem writing, it calls for such a creative mind; it is easier to unveil any work that is clumsy and pedantic and incompetent in achieving such a lofty goal.(Wang Lishi)
 
 
妒忌
 
怨恨的私生子
父親
無顏現(xiàn)身
 
Envy
 
It is the bastard child of shame
The one who bred it
Refuses to show himself for loss of face.
 
　　把妒忌比作“怨恨的私生子”，從根源上看，妒忌流著怨恨的血液。從法理上看，見不得陽光。從生存環(huán)境看，難免尷尬。詩人形象地告訴我們，不要讓妒忌這樣的私生子在人間繁衍，即使懷上這樣的鬼胎，也要乘早打掉。詩人是一個比喻的高手，如果真像有些詩人講的“去修辭”，三行詩不知變成什么樣子。三行詩因為短小，如果平鋪直敘，就味同嚼蠟。修辭能使三行詩迸發(fā)情感火花，提升思想高度，可以說修辭在三行詩的創(chuàng)作中功不可沒。（王立世）
 
Describing envy as the bastard child of resentment, envy breeds the seeds of resentment. Reasonably, such resentment cannot be put under the sun; yet, unavoidably, human nature allows such embarrassment to grow in the bottom of the heart.
 
The poet suggests that such a malformed embryo should be removed as soon as possible.
 
We can see the poet is an able hand of rhetoric because in the limited paradigm of this type of poem, he makes good use of metaphors to upgrade its potentiality in depth and width of literary, social and philosophical cognition. (Wang Lishi)