～中流击楫百川赴海群星璀璨大写雄风成方圆

           原创诗文/柴永红

盖闻乾坤肇辟，阴阳氤氲；文明孕秀，诗韵横陈。当是时也，金飙送爽，玉露凝辉，寰宇之内，有十六国之骚人，会于华夏神都，共襄“文明的回响·2025国际青春诗会（中国—拉美国家专场）”之盛举。此诚天壤间之嘉会，艺文界之鸿篇也。余幸逢其盛，感怀难已，遂作斯赋，以彰其美。

一、星槎泛海，群彦毕集

夫长安故地，乃周秦汉唐之邦畿；今之陕西，实文明薪传之渊薮。昔张骞仗节，凿空西域，丝绸之路自此发轫；今群贤毕至，星聚秦中，诗歌雅会于焉肇基。来自中国、阿根廷、玻利维亚、巴西、智利、哥伦比亚、古巴、厄瓜多尔、萨尔瓦多、洪都拉斯、墨西哥、巴拿马、秘鲁、多米尼加、乌拉圭、委内瑞拉之十六国诗人，若牵牛之渚星，汇于泾渭；似贯日之虹气，聚于终南。

中国诗人，怀《诗》《骚》之遗韵，挟李杜之遗风，自黄河之滨、长江之湄而来。或长歌“黄河落天走东海，万里写入胸怀间”，其气吞山河；或低吟“俱怀逸兴壮思飞，欲上青天揽明月”，其志凌九霄。阿根廷诗人，负潘帕斯草原之苍莽，携博尔赫斯之哲思，越安第斯山脉而至。其诗如探戈舞步，于奔放中见幽邃；若高乔牧歌，在豪迈里含深情。玻利维亚诗人，慕的的喀喀湖之澄明，敬蒂亚瓦纳科之古奥，踏安第斯雪岭以临。其吟哦若神鹰唳空，清越而辽远；如古陶裂帛，苍茫且雄浑。

巴西诗人，挟亚马逊河之浩渺，抱桑巴舞之炽烈，乘赤道之罡风而来。其诗如雨林巨木，恣肆生长，郁乎苍苍；若瀑布飞流，奔腾倾泻，沛然莫御。智利诗人，仰阿塔卡马沙漠之奇崛，崇聂鲁达之诗魂，驭太平洋之涌浪以临。其辞若硝石迸光，锐利中含温婉；似硝土生焰，冷峻里藏炽热。哥伦比亚诗人，携咖啡园之馥郁，带魔幻现实主义之奇谲，踏科迪勒拉山脉之麓而至。其诗如魔幻之花，绽于现实与幻境之隙；若琥珀藏蜂，凝住刹那与永恒之界。

古巴诗人，怀哈瓦那老城之韵致，具革命诗章之刚健，乘加勒比海之熏风而来。其吟哦若伦巴鼓点，铿锵激越，振聋发聩；如甘蔗烈焰，熊熊燃烧，照彻长夜。厄瓜多尔诗人，慕加拉帕戈斯群岛之珍异，爱赤道之国之旖旎，踏太平洋之潮汐以临。其诗如巨龟蹒跚，憨态可掬而内藏乾坤；若鬣蜥蛰伏，静穆无声却暗蓄生机。萨尔瓦多诗人，感火山之国之燠热，叹历史沧桑之迭代，挟熔岩之赤焰而来。其辞若火山喷发，岩浆迸射，气势夺人；如古寺残垣，苔痕斑驳，意韵沉厚。

洪都拉斯诗人，赏科潘遗址之神秘，赞科迪勒拉山水之秀丽，寻玛雅之遗踪而至。其诗如古文明密码，幽隐难测，引人遐探；若丛林晨雾，氤氲迷蒙，饶有别趣。墨西哥诗人，敬玛雅文明之深邃，爱仙人掌之国之独特，乘特万特佩克地峡之风而来。其吟哦若金字塔之回声，古老庄严，神秘莫测；如龙舌兰之琼浆，醇厚浓烈，荡气回肠。巴拿马诗人，仗运河之咽喉要冲，具多元文化之包容，驾加勒比与太平洋之涛声而至。其诗如运河闸口，吞吐万舸，气象恢弘；若混血歌谣，杂糅诸调，韵味悠长。

秘鲁诗人，仰印加文明之辉煌，叹库斯科古城之壮美，踏安第斯山之古道而来。其辞若印加织物，色彩斑斓，图案精美；如古柯叶香，清冽提神，意蕴深远。多米尼加诗人，享加勒比海之浪漫，乐梅伦格舞之欢快，乘大西洋之碧浪而至。其诗如海滩椰影，婆娑摇曳，风情万种；若狂欢鼓点，密集欢快，活力四射。乌拉圭诗人，爱拉普拉塔河之静谧，喜探戈之源起，踏南美之草甸而来。其吟哦若河畔牧笛，舒缓悠扬，情韵绵绵；如庄园夜曲，温柔缱绻，诗意盎然。委内瑞拉诗人，慕安赫尔瀑布之磅礴，赞石油之国之富饶，挟奥里诺科河之浊浪而来。其诗如瀑布垂天，银河倒卷，气势恢宏；若石油喷涌，黑金迸溅，力量无穷。

二、中流击楫，气吞斗牛

诗者，心之声也；歌者，情之韵也。十六国诗人，会于长安，如江河赴海，星斗垂天。当此际，中流击楫之豪情顿生，揽辔澄清之壮志齐发。

中国诗人登大雁塔而赋：“君不见黄河九曲，万里崩雷，穿峡裂岸，一往无前，此非中流击楫之勇耶？吾辈为诗，当效此水，笔锋所指，无坚不摧！”言毕，掷笔于地，笔锋触处，竟现沟壑，类黄河之痕，观者骇然。

阿根廷诗人闻之，拊掌大笑：“善哉！吾国拉普拉塔河，亦浩浩汤汤，横无际涯。昔吾国诗人，亦有击楫之歌，今闻君言，更激吾志！”遂取吉他而弹，其声激越，若河水拍舷，浪涛裂岸。

玻利维亚诗人按剑而起：“安第斯山脉，直插霄汉，吾辈登山时，每遇绝巘，必奋袂攀登，此亦中流击楫之勇也。为诗之道，何异于此？虽千难万险，吾往矣！”其声洪亮，若雷鸣空谷。

巴西诗人振臂高呼：“亚马逊河，涵纳百川，其势之盛，天下莫比。吾辈为诗，当若此水，奔涌向前，润泽万物。中流击楫，正合吾心！”其声如潮，席卷四野。

智利诗人举杯而言：“阿塔卡马沙漠，干旱至极，然吾辈诗人，偏能于此觅得诗意，此非勇乎？中流击楫，乃勇者之为，吾辈当效之！”言罢，饮尽杯中酒，掷杯于地，杯裂声锵然。

哥伦比亚诗人颔首称是：“吾国马格达莱纳河，蜿蜒曲折，然终入大洋。为诗之路，亦多纡回，然苟有中流击楫之心，何愁不达诗之彼岸？”

古巴诗人击节而歌：“哈瓦那港，千帆竞发，每有舟楫出航，必鸣笛起锚，此亦击楫之意也。吾辈为诗，当若航船，扬帆鼓棹，无畏风涛！”其歌声激昂，闻者奋励。

厄瓜多尔诗人展纸挥毫：“赤道之国，日轮当空，吾辈之诗，当若骄阳，驱散阴霾，照亮心宇。中流击楫，正吾辈之姿！”其字若烈阳，熠熠生辉。

萨尔瓦多诗人执盾而立：“火山喷薄，岩浆四溢，其势之猛，莫可阻挡。吾辈为诗，当有此势，笔力所至，震撼心魂！”

洪都拉斯诗人抚古而叹：“科潘遗址，阅尽千年，吾辈为诗，当若古文明，薪传不灭，创新不止。中流击楫，以开新篇！”

墨西哥诗人举目望天：“玛雅金字塔，直指苍穹，吾辈之诗，当若斯塔，庄严神圣，启迪灵智。中流击楫，勇攀巅峰！”

巴拿马诗人望运河而思：“运河贯通两洋，功垂千秋。吾辈为诗，当若运河，连接心魂，沟通世界。中流击楫，以通诗途！”

秘鲁诗人抚古砖而吟：“印加古道，蹄痕历历，吾辈为诗，当若古道，承载文明，走向未来。中流击楫，继往开来！”

多米尼加诗人踏浪而歌：“加勒比海，浪花叠叠，吾辈之诗，当若浪花，欢快活泼，充满生机。中流击楫，畅享诗海！”

乌拉圭诗人牧歌而和：“拉普拉塔河，清波漾漾，吾辈之诗，当若河水，舒缓悠长，韵味无穷。中流击楫，慢品诗韵！”

委内瑞拉诗人望瀑布而赋：“安赫尔瀑布，飞流直下，其势之雄，天下第一。吾辈之诗，当若瀑布，气势恢宏，震撼寰宇。中流击楫，一泻千里！”

三、百川赴海，涵纳万流

十六国诗人，各怀其长，各秉其异，会于长安，如百川赴海，终成浩渺之势。中国之诗，若黄河长江，雄浑壮阔，源远流长；拉美之诗，若亚马逊、拉普拉塔，浩渺奔腾，热情奔放。二者相遭，碰撞交融，气象万千。

中国诗人以唐诗宋词之典雅，融拉美诗歌之炽烈，新篇迭出。“黄河浪卷拉美云，奔流到海共氤氲。”“亚马逊水入诗囊，化作长江万里长。”拉美诗人则以本土之风情，纳中国诗歌之意境，佳作频现。“安第斯山飘汉韵，长安月下梦拉普。”“玛雅塔前吟李杜，忽闻太白醉歌呼。”

诗会之上，或吟或诵，或弹或唱，或书或画，精彩纷呈。中国之古琴与拉美之吉他和鸣，奏出跨越重洋之音；中国之书法与拉美之绘画交融，绘就文明对话之卷。

白日，诗人徜徉于长安坊巷，观大雁塔之崔嵬，赏古城墙之雄伟，灵感泉涌，诗句脱口。“大雁塔头瞻拉美，风烟万里入诗怀。”“古城墙下思今古，十六国诗汇此侪。”

夜晚，诗人雅集于曲江池畔，乘画舫，赏明月，把酒言欢，诗兴遄飞。“曲江池上月如银，十六国诗酒里醇。”“拉美风来唐韵动，一船清梦压星垠。”

四、群星璀璨，光耀千古

十六国诗人，皆为青春之诗者，若群星璀璨，照亮诗坛之空。中国之青年诗人，承古开今，志在鼎新；拉美之青年诗人，热情奔放，勇于探索。他们汇聚一堂，如群星聚会，交相辉映。

中国诗人以“天生我材必有用”之自信，书写青春华章；拉美诗人持“世界尽在吾心眸”之豪情，吟唱生命赞歌。其诗歌，如星光，虽微而执着，虽遥而明亮，终将照亮更多心灵。

诗会之上，新人辈出，佳作如林。有中国青年诗人咏曰：“中拉诗星聚，光垂九域幽。青春当逐梦，直上最高楼。”有阿根廷青年诗人吟哦：“十六国之梦，诗中相与逢。青春如烈炬，烧彻大寰中。”

此辈年轻诗人，代表未来，承载希望。其诗歌，乃文明之回响，青春之宣言，人类共有的精神瑰宝。

五、大写雄风，成此方圆

诗会既隆，雄风大振。十六国诗人，以诗为剑，以笔为戈，大写青春雄风，终成文明对话之方圆。

“中流击楫”，是勇气，是担当，乃十六国诗人共具之精神；“百川赴海”，是包容，是融合，为文明发展之必然；“群星璀璨”，是才华，是希望，系青春力量之闪耀；“大写雄风”，是豪迈，是刚健，为诗歌精神之体现；“成此方圆”，是规矩，是和谐，乃文明对话之硕果。

诗会虽落，然诗之回响，永续不绝。十六国诗人携彼此诗歌，归返故土，将中拉文明对话之种播撒，期冀未来绽放更绚烂之花。

噫吁嚱！壮哉此会！伟哉此诗！愿中拉诗歌之谊，若长江拉美之水，万古长流；愿人类文明之对话，若日月星辰之光，永照千秋！

🌷🌷Ode to the Grand Picture Scroll of the International Youth Poetry Festival: China - Latin America🌷🌷

～Striking the Oar in the Midstream, Hundreds of Rivers Flowing to the Sea, Stars Shining Brightly, Writing the Grand Spirit in Capital Letters to Achieve This Square and Circle

By Chai Yonghong

It is said that when the universe was first created, yin and yang were in a state of indistinctness; civilizations nurtured beauty, and poetic charm spread everywhere. At this time, the golden breeze was refreshing, and the dew condensed into brilliance. Within the world, poets from sixteen countries gathered in the divine capital of China to jointly participate in the grand event of "Echoes of Civilizations · 2025 International Youth Poetry Festival (China - Latin America Special Session)". This is truly a magnificent gathering in the world and a great work in the art and literature circle. I am fortunate to be part of this grand occasion, and with deep emotions, I have composed this ode to highlight its beauty.

I. Stars Crossing the Sea, Talented People Gather

The ancient land of Chang'an was the capital of the Zhou, Qin, Han, and Tang dynasties; today's Shaanxi is indeed a source of inheriting civilization. In the past, Zhang Qian, holding a staff, opened up the Western Regions, and the Silk Road started from here; now, talented people have gathered, stars have converged in Qinzhong, and the poetry gala has thus begun. Poets from sixteen countries including China, Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, Ecuador, El Salvador, Honduras, Mexico, Panama, Peru, the Dominican Republic, Uruguay, and Venezuela are like the stars in the Oxherd's constellation, converging in the Jingwei River; like the rainbow energy piercing the sun, gathering in Zhongnan Mountain.

Chinese poets, carrying the legacy of The Book of Songs and The Songs of Chu, and the style of Li Bai and Du Fu, come from the banks of the Yellow River and the shores of the Yangtze River. Some chant loudly, "The Yellow River falls from the sky to the East China Sea, and its thousands of miles are written into the bosom", with a momentum that swallows mountains and rivers; some murmur softly, "All have lofty aspirations and strong thoughts, wanting to go to the blue sky to embrace the bright moon", with ambitions that soar to the ninth heaven. Argentine poets, bearing the vastness of the Pampas grassland and the philosophy of Borges, cross the Andes Mountains to arrive. Their poems are like tango dance steps, showing profundity in passion; like gaucho pastoral songs, containing deep feelings in heroism. Bolivian poets, admiring the clarity of Lake Titicaca and respecting the ancient mystery of Tiwanaku, come by treading the snowy peaks of the Andes. Their chants are like divine eagles crying in the sky, clear and distant; like ancient pottery cracking, vast and vigorous.

Brazilian poets, carrying the vastness of the Amazon River and the fervor of samba dance, come with the罡 wind of the equator. Their poems are like giant trees in the rainforest, growing unrestrained and lush; like waterfalls flowing rapidly, surging and unstoppable. Chilean poets, admiring the strangeness of the Atacama Desert and revering the poetic soul of Neruda, come by controlling the surges of the Pacific Ocean. Their words are like saltpeter stones emitting light, containing gentleness in sharpness; like saltpeter soil catching fire, hiding passion in coldness. Colombian poets, carrying the fragrance of coffee plantations and the strangeness of magical realism, come by treading the foot of the Cordillera Mountains. Their poems are like magical flowers, blooming in the gap between reality and illusion; like amber containing bees, freezing the moment and eternity.

Cuban poets, cherishing the charm of the old city of Havana and possessing the robustness of revolutionary poems, come with the breeze of the Caribbean Sea. Their chants are like rumba drumbeats, sonorous and inspiring; like sugarcane flames, burning fiercely and illuminating the long night. Ecuadorian poets, admiring the rarity of the Galapagos Islands and loving the beauty of the equatorial country, come by treading the tides of the Pacific Ocean. Their poems are like giant turtles walking unsteadily, naive and cute yet containing the universe within; like iguanas lying low, silent yet storing vitality secretly. Salvadoran poets, feeling the heat of the volcanic country and sighing at the changes of history, come with the red flames of lava. Their words are like volcanic eruptions, magma spraying, with a momentum that overwhelms people; like the ruins of ancient temples, mottled with moss, with profound charm.

Honduran poets, appreciating the mystery of the Copan ruins and praising the beauty of the Cordillera landscape, come in search of the traces of the Maya. Their poems are like the codes of ancient civilizations, hidden and difficult to fathom, attracting people to explore; like morning mists in the jungle, dense and hazy, full of special interest. Mexican poets, respecting the profundity of Maya civilization and loving the uniqueness of the cactus country, come with the wind from the Isthmus of Tehuantepec. Their chants are like the echoes of pyramids, ancient and solemn, mysterious and unpredictable; like agave nectar, mellow and strong, stirring the soul. Panamanian poets, relying on the strategic location of the canal and possessing the inclusiveness of multiculturalism, come with the sounds of the Caribbean and Pacific tides. Their poems are like the canal locks, accommodating thousands of ships, with a magnificent atmosphere; like mixed - race ballads, blending various tunes, with a long - lasting charm.

Peruvian poets, admiring the glory of Inca civilization and sighing at the grandeur of the ancient city of Cusco, come by treading the ancient roads of the Andes. Their words are like Inca fabrics, colorful and exquisitely patterned; like the fragrance of coca leaves, refreshing and with profound meaning. Dominican poets, enjoying the romance of the Caribbean Sea and the joy of merengue dance, come with the blue waves of the Atlantic Ocean. Their poems are like coconut shadows on the beach, swaying, full of charm; like carnival drumbeats, dense and欢快, full of vitality. Uruguayan poets, loving the tranquility of the Rio de la Plata and the origin of tango, come by treading the meadows of South America. Their chants are like pastoral flutes by the river, slow and melodious, full of tender feelings; like manor nocturnes, gentle and lingering, full of poetic flavor. Venezuelan poets, admiring the majesty of Angel Falls and praising the richness of the oil country, come with the turbid waves of the Orinoco River. Their poems are like waterfalls hanging from the sky, the Milky Way rolling back, with magnificent momentum; like oil gushing, black gold splashing, full of infinite power.

II. Striking the Oar in the Midstream, with Spirit Swallowing the Dipper and the Ox

Poetry is the voice of the heart; singing is the rhythm of emotion. Poets from sixteen countries gather in Chang'an, like rivers flowing to the sea and stars hanging in the sky. At this moment, the lofty sentiment of striking the oar in the midstream suddenly arises, and the ambition to take the reins and clarify things is fully developed.

A Chinese poet ascended the Big Wild Goose Pagoda and recited: "Don't you see the Yellow River winding for nine times, thundering for thousands of miles, cutting through gorges and splitting banks, advancing with indomitable will. Isn't this the courage to strike the oar in the midstream? We poets should follow this water, and wherever the tip of our pens points, nothing can resist!" After speaking, he threw the pen to the ground, and where the tip of the pen touched, a gully appeared, similar to the trace of the Yellow River, which shocked the onlookers.

Upon hearing this, the Argentine poet clapped his hands and laughed: "Good! The Rio de la Plata in our country is also vast and boundless. In the past, poets in our country also had songs of striking the oar. Now hearing your words, my ambition is even more aroused!" Then he took a guitar and played it, and the sound was passionate, like water lapping against the side of a boat and waves splitting the shore.

The Bolivian poet stood up holding a sword: "The Andes Mountains soar into the sky. Whenever we encounter steep peaks when climbing mountains, we must strive to climb them. This is also the courage to strike the oar in the midstream. What is the difference in the way of poetry? Despite thousands of difficulties and dangers, I will go!" His voice was loud, like thunder roaring in the empty valley.

The Brazilian poet raised his arm and shouted: "The Amazon River contains hundreds of rivers, and its momentum is unmatched in the world. We poets should be like this water, surging forward and nourishing all things. Striking the oar in the midstream is exactly what I have in mind!" His voice was like a tide, sweeping across the fields.

The Chilean poet raised his glass and said: "The Atacama Desert is extremely arid, yet we poets can find poetic flavor here. Isn't this courage? Striking the oar in the midstream is the act of a brave person, and we should follow it!" After speaking, he drank up the wine in the glass and threw the glass to the ground, and the sound of the glass breaking was sonorous.

The Colombian poet nodded in agreement: "The Magdalena River in our country is winding and tortuous, but it finally flows into the ocean. The road to poetry is also full of twists and turns, but if we have the heart to strike the oar in the midstream, why worry about not reaching the other side of poetry?"

The Cuban poet tapped the rhythm and sang: "In Havana Harbor, thousands of sails are competing to set off. Every time a boat sets sail, it must sound the horn and raise the anchor. This is also the meaning of striking the oar. We poets should be like sailing ships, hoisting sails and rowing oars, fearless of wind and waves!" His singing was passionate, inspiring the listeners.

The Ecuadorian poet spread out paper and wielded a brush: "In the equatorial country, the sun is high in the sky. Our poetry should be like the scorching sun, dispelling haze and illuminating the heart. Striking the oar in the midstream is exactly our posture!" His characters were like the blazing sun, shining brightly.

The Salvadoran poet stood holding a shield: "Volcanoes erupt, and magma overflows. Their momentum is so fierce that it cannot be stopped. We poets should have this momentum, and wherever our pen power reaches, it will shake the soul!"

The Honduran poet sighed while touching the ancient relics: "The Copan ruins have witnessed thousands of years. We poets should be like ancient civilizations, passing on the legacy without extinction and constantly innovating. Strike the oar in the midstream to open a new chapter!"

The Mexican poet looked up at the sky: "The Maya pyramids point directly to the sky. Our poetry should be like the tower, solemn and sacred, enlightening the wisdom. Strike the oar in the midstream and bravely climb to the peak!"

The Panamanian poet looked at the canal and thought: "The canal connects the two oceans and has merits that will last for thousands of years. We poets should be like the canal, connecting souls and communicating with the world. Strike the oar in the midstream to open up the path of poetry!"

The Peruvian poet chanted while touching the ancient bricks: "The ancient Inca roads are full of hoof prints. We poets should be like the ancient roads, carrying civilization and moving towards the future. Strike the oar in the midstream to carry on the past and open up the future!"

The Dominican poet sang while treading the waves: "The Caribbean Sea is full of waves. Our poetry should be like the waves, cheerful and lively, full of vitality. Strike the oar in the midstream and enjoy the sea of poetry!"

The Uruguayan poet sang in harmony with pastoral songs: "The Rio de la Plata has clear waves rippling. Our poetry should be like the river water, slow and long, with infinite charm. Strike the oar in the midstream and savor the poetic charm slowly!"

The Venezuelan poet composed a poem while looking at the waterfall: "Angel Falls flows straight down, and its majesty is the first in the world. Our poetry should be like the waterfall, with magnificent momentum, shaking the world. Strike the oar in the midstream and flow thousands of miles in one go!"

III. Hundreds of Rivers Flow to the Sea, Embracing All Streams

Poets from sixteen countries, each with their own strengths and differences, gather in Chang'an, like hundreds of rivers flowing to the sea, finally forming a vast momentum. Chinese poetry is like the Yellow River and the Yangtze River, magnificent and grand, with a long history; Latin American poetry is like the Amazon and the Rio de la Plata, vast and surging, passionate and unrestrained. When the two meet, they collide and blend, presenting a magnificent scene.

Chinese poets integrate the passion of Latin American poetry with the elegance of Tang and Song poetry, creating new works one after another. "The Yellow River waves roll up Latin American clouds, flowing to the sea and being hazy together." "The Amazon water enters the poetry bag and turns into the Yangtze River that is thousands of miles long." Latin American poets, on the other hand, incorporate Chinese poetic conception with their local customs, and excellent works frequently appear. "Han rhymes float over the Andes Mountains, and I dream of La Plata under the moon in Chang'an." "Reciting Li Bai and Du Fu in front of the Maya tower, suddenly hearing Li Bai singing drunk."

At the poetry festival, there were various wonderful performances such as reciting, singing, playing musical instruments, and painting. The guqin of China and the guitar of Latin America played together, producing sounds that crossed the oceans; Chinese calligraphy and Latin American painting blended to depict a picture of civilizational dialogue.

During the day, poets wandered in the streets and alleys of Chang'an, viewing the grandeur of the Big Wild Goose Pagoda and admiring the magnificence of the ancient city walls. Inspiration welled up, and poems came to their lips. "Looking at Latin America from the top of the Big Wild Goose Pagoda, thousands of miles of wind and smoke enter the poetic bosom." "Thinking about the past and present under the ancient city wall, poets from sixteen countries gather here."

At night, poets gathered elegantly by the Qujiang Pool, took painted boats, admired the bright moon, drank wine and had a good time, and their poetic inspiration surged. "The moon over the Qujiang Pool is as silver as silver, and the poetry of sixteen countries is mellow in wine." "The Latin American wind blows and the Tang rhyme moves, and a boat full of clear dreams presses the starry sky."

IV. Stars Shining Brightly, Illuminating Through the Ages

Poets from sixteen countries are all young poets, like bright stars illuminating the poetry world. Young Chinese poets inherit the past and open up the present, determined to make innovations; young Latin American poets are passionate and bold in exploration. They gather together like a gathering of stars, shining brightly against each other.

Chinese poets write the chapter of youth with the confidence of "Heaven has given me talent, which will surely be useful"; Latin American poets sing the praises of life with the pride of "The world is all in my eyes". Their poetry is like starlight, though faint, it is persistent, and though distant, it is bright, and will eventually illuminate more hearts.

At the poetry festival, new talents emerged and excellent works abounded. A young Chinese poet chanted: "Chinese and Latin American poetry stars gather, and their light shines on the nine regions. Youth should pursue dreams and go straight to the highest building." A young Argentine poet chanted: "The dream of sixteen countries meets in poetry. Youth is like a fierce torch, burning through the universe."

These young poets represent the future and carry hope. Their poetry is the echo of civilization, the declaration of youth, and the common spiritual treasure of mankind.

V. Writing the Grand Spirit in Capital Letters, Achieving This Square and Circle

The poetry festival was grand, and the grand spirit was greatly inspired. Poets from sixteen countries used poetry as a sword and a pen as a spear to write the grand spirit of youth in capital letters, and finally achieved the square and circle of civilizational dialogue.

"Striking the oar in the midstream" is the courage and responsibility, a spirit shared by poets from sixteen countries; "Hundreds of rivers flow to the sea" is inclusiveness and integration, an inevitability of civilizational development; "Stars shining brightly" is talent and hope, the shining of youth power; "Writing the grand spirit in capital letters" is heroism and robustness, the embodiment of poetic spirit; "Achieving this square and circle" is rules and harmony, the fruit of civilizational dialogue.

Although the poetry festival has ended, the echo of poetry will last forever. Poets from sixteen countries return to their hometowns with each other's poetry, sow the seeds of Sino - Latin American civilizational dialogue, and hope that more splendid flowers will bloom in the future.

Ah! How magnificent this gathering is! How great this poetry is! May the friendship of poetry between China and Latin America be like the water of the Yangtze River and Latin American rivers, flowing forever; may the dialogue between human civilizations be like the light of the sun, moon and stars, shining forever!

          🎋🌹＊作家简介＊🌹🎋

        柴永红，笔名红鑫、冰荔枝、一枝红莲，祖籍江苏省南京市，中国当代著名作家，创作成就:出版诗著有36万字的柴永红诗集*雨潇潇红鑫鑫*、*云中紫城静楼乾坤*和*铁马冰河*三部。荣获2017*中国新诗百年*全球华语诗人诗作评选一百位网络最给力诗人奖，排行榜第二名；荣获*建国70周年中华好诗榜、2019年度中国诗歌排行榜、中外华语诗坛精英百强榜*诗人奖；荣获2021中国金榜电影人春晚名人名家榜，金奖；名篇金榜头条第一届“太白杯”文赛中荣获金奖；荣获2024年品牌金榜十大编辑年度人物赛中“编辑创新典范奖”.  被翻译诗歌入选《苏菲译.世界诗歌年鉴2022卷》（汉英对照）。《苏菲译*世界诗歌年鉴2022卷》 (英汉双语纸质版和电子版）苏菲翻译、主编，全球出版发行，世界16国联合出版发行！纸质书13国：  中国、美国、英国、德国、法国、西班牙、意大利、荷兰、波兰、瑞典、日本、加拿大、澳大利亚。电子书 13国： 美国、英国、德国、法国、西班牙、意大利、荷兰、日本、巴西、加拿大、墨西哥、澳大利亚、印度。金榜头条编辑总部副社长，金榜头条新媒体平台总理事长、文学艺术顾问，金榜头条形象大使、总编，名篇金榜诗词业研究院创始讲师，加拿大海外作家协会永久会员，中国新时代诗人档案库会员，江苏省南京市作家协会会员，一枝红莲文学诗社创始人、社长、总编、总裁董事长，世界作家澜韵府诗社创始人、社长、总编、总裁董事长，金榜头条新媒体平台签约作家诗人，现居北京市朝阳区金茂府。

微信: jbtt228899jbtt. 手机号码：17800892095〔北京中国移动〕.

   🌹🌹Author Profile🌹🌹

Chai Yonghong, with pen names Hongxin, Bing Lizhi (Ice Lychee) and Yizhi Honglian (A Red Lotus), is a native of Nanjing City, Jiangsu Province. She is a renowned contemporary Chinese writer.

Creative Achievements

- She has published three poetry collections with a total of 360,000 words: Yu Xiaoxiao Hong Xinxin (Drizzling Rain, Bright Red), Yunzhong Zicheng Jinglou Qiankun (Purple City in the Clouds, Quiet Tower and the Universe) and Tiema Binghe (Iron Horses and Frozen Rivers).

- She won the "Top 100 Most Influential Online Poets Award" in the 2017 Centennial of Chinese New Poetry Global Chinese Poets and Poems Selection, ranking 2nd.

- She received poet awards in the 70th Anniversary of the Founding of the People's Republic of China China Good Poetry List, 2019 China Poetry Ranking List and Global Elite Top 100 List of Chinese and Foreign Poetry Circles.

- She won the Gold Award in the 2021 China Golden List Filmmaker Spring Festival Gala Celebrities List.

- She claimed the Gold Award in the 1st "Taibai Cup" Literary Competition hosted by Golden List Headlines.

- She obtained the "Editorial Innovation Model Award" in the 2024 Brand Golden List Top 10 Editors of the Year Selection.

- Her translated poems were included in Sophie's Translation: World Poetry Almanac 2022 (Chinese-English Bilingual Version). Sophie's Translation: World Poetry Almanac 2022 (both print and digital Chinese-English bilingual versions), translated and edited by Sophie, has been published and distributed globally, jointly released in 16 countries worldwide.

- Print version: Available in 13 countries, including China, the United States, the United Kingdom, Germany, France, Spain, Italy, the Netherlands, Poland, Sweden, Japan, Canada and Australia.

- Digital version: Available in 13 countries, including the United States, the United Kingdom, Germany, France, Spain, Italy, the Netherlands, Japan, Brazil, Canada, Mexico, Australia and India.

Social Affiliations & Positions

- Vice President of the Editorial Headquarters of Golden List Headlines

- General Chairman of the New Media Platform of Golden List Headlines

- Literary and Art Consultant of Golden List Headlines

- Image Ambassador and Chief Editor of Golden List Headlines

- Founding Lecturer of the Golden List Headlines Poetry Research Institute

- Permanent Member of the Canadian Overseas Writers Association

- Member of the Chinese New Era Poets Archive

- Member of the Nanjing Writers Association, Jiangsu Province

- Founder, President, Chief Editor and Chairman & CEO of Yizhi Honglian Literary Poetry Society

- Founder, President, Chief Editor and Chairman & CEO of Lanyunfu Poetry Society of World Writers

- Contracted Poet and Writer of the New Media Platform of Golden List Headlines

She currently resides in Jinmao Mansion, Chaoyang District, Beijing.

WeChat: jbtt228899jbtt

Mobile Phone Number (

China Mobile, Beijing): 17800892095

                    点评词

诗跨山海燃青春，笔破云涛书担当——评柴永红女士《国际青春诗会，中国～拉美盛世画卷大赋》的文明破壁之力与青春奋进之魂

         点评词作者/国玉金鼎

安第斯山脉的雪水刚汇入拉普拉塔河，黄河的浪尖已托举着唐诗宋词的韵脚跨越重洋；亚马逊雨林的鸟鸣还萦绕在桑巴鼓点间，长安古城的风铃已与拉美吉他的弦音共振——这不是地理的奇幻拼接，而是中国当代著名女作家柴永红笔下“2025国际青春诗会”的真实精神图景。这篇《国际青春诗会，中国～拉美盛世画卷大赋》中，柴永红女士以古典赋体为舟，以中拉青春为桨，劈开“文明隔阂”的巨浪，驶向“共生共荣”的海域。她跳出传统赋作“咏盛世、颂繁华”的固有框架，将“国际视野”“青春锐度”“拼搏精神”熔铸成诗行的筋骨，千年赋体在当代语境中迸发出“破壁向前”的力量；更以女性作家独有的细腻与恢弘，为十六国青年诗人立传，为人类文明对话铸碑——这不仅是一篇赋作，更是一部跨越山海的“青春奋进史诗”，一曲联结中拉的“文明共鸣乐章”。

一、破题之勇：以“青春行动论”重构赋体开篇，颠覆“盛世书写”的静态范式

传统赋作多以“天地时序”“山河盛景”为破题起点，基调偏向“回望式”的赞颂，如班固《两都赋》铺陈都城气象，左思《三都赋》描摹地域繁华，皆以“呈现已有之盛”为核心。而柴永红女士的破题，却以“动态行动”为锚点，将“中拉青春诗会”定义为“文明破壁的现场”，构建起一套全新的“青春奋进坐标系”——这是此赋“与众不同”的第一重突破：它不写“已定格的盛世”，而写“正创造的盛世”；不赞“过往的辉煌”，而颂“当下的拼搏”；不将“诗会”视为静态的文化展演，而将其看作动态的文明对话行动。

开篇“盖闻乾坤肇辟，阴阳氤氲；文明孕秀，诗韵横陈”，看似沿用古典赋作“追溯本源”的起笔范式，实则暗藏“现代转译”的巧思：“乾坤肇辟”不再是宇宙起源的单纯追溯，而是隐喻“中拉文明新对话”的开启——如同天地初开时的生机勃发，这场跨越重洋的诗歌聚会，是两种文明“打破沉默、主动相拥”的新开端；“文明孕秀，诗韵横陈”也非泛泛而谈的诗性表达，而是将“诗”定义为“文明对话的行动工具”，将“韵”解读为“青春心跳的行动节奏”。这种隐喻的植入，开篇跳出了“写景—叙事”的传统逻辑，直接指向“青春拼搏”的内核——诗不再是案头的文字，而是跨越山海的桥梁；诗人不再是孤立的创作者，而是文明对话的行动者。

更具突破性的是，柴永红女士将“十六国骚人会于华夏神都”的场景，定义为“天壤间之嘉会，艺文界之鸿篇”，却刻意弱化了“嘉会”的热闹与“鸿篇”的宏大，转而以“余幸逢其盛，感怀难已，遂作斯赋，以彰其美”的笔触，将“彰美”的焦点从“盛会本身”转向“盛会背后的青春行动”。她要彰显的，不是中拉诗人相聚的“仪式感”，而是青年一代以诗歌为武器，冲破语言壁垒、文化差异、地域隔阂的“拼搏姿态”——这种视角的转换，让赋作从“事件记录者”升级为“精神传译者”。

尤其作为女性作家，柴永红女士在字里行间注入了对“青春价值”的独特理解：青春不是“岁月的阶段”，而是“突破的勇气”；诗会不是“文化的陈列”，而是“文明的共生”。在她的书写中，“金飙送爽，玉露凝辉”的时节，不是单纯的景物渲染，而是“青春行动的背景板”——十六国诗人选择在这样的时刻相聚，不是为了“赏秋咏月”，而是为了“以诗为媒，共探文明未来”；“华夏神都”的地理坐标，也不是“权力中心的象征”，而是“文明对话的竞技场”——这里，没有“中心与边缘”的区分，只有“平等与共鸣”的碰撞。这种理解，开篇的每一个字都充满“向前的张力”，为整篇赋作奠定了“拼搏奋进”的基调，也让古典赋体的开篇范式，当代女性作家的笔下实现了“从静态赞颂到动态行动”的跨越。

二、铺陈之力：以“地域基因+青春行动”塑造群像，书写中拉诗人的“破壁史诗”

赋体的核心在于“铺陈”，而柴永红女士的铺陈，绝非简单的“罗列地域、堆砌意象”，而是以“地域文化为基因，青春行动为血脉”，为十六国诗人打造了一组鲜活的“破壁者群像”。不同于男性作家常有的“宏大叙事”，她的铺陈兼具“磅礴气势”与“细腻肌理”——既写出了不同文明的独特气质，又捕捉到了青年诗人共通的“拼搏脉搏”；既展现了中拉地域的辽阔壮美，又聚焦于诗人个体的“破壁瞬间”。这种“大处着眼，小处落笔”的笔法，让“奋进”不再是抽象的口号，而是具象化的言行、可感知的情绪、触手可及的力量。

（一）中国诗人：承古开新的“文脉破壁者”

柴永红女士笔下的中国诗人，以“《诗》《骚》遗韵”“李杜遗风”为根基，却跳出了“复古模仿”的桎梏，展现出“承古而不泥古”的拼搏姿态。她没有将中国诗人塑造成“古典的复刻者”，而是“文脉的突破者”——“自黄河之滨、长江之湄而来”的地理坐标，赋予他们“气吞山河”的气魄，但这种气魄不是对古人的简单继承，而是转化为“突破诗歌边界”的行动勇气。

“或长歌‘黄河落天走东海，万里写入胸怀间’，其气吞山河”——这里的“长歌”，不是对李白诗句的机械引用，而是中国青年诗人将“黄河穿峡裂岸”的自然之力，内化为“笔锋破局”的创作行动：他们不再满足于“模仿盛唐气象”，而是要让黄河的浪涛与拉美的云涛在诗行中碰撞，创造出属于当代的“中拉共鸣”；“或低吟‘俱怀逸兴壮思飞，欲上青天揽明月’，其志凌九霄”——这里的“低吟”，也不是单纯的壮志抒发，而是青年诗人“敢向苍穹发问”的创新行动：他们要“揽”的，不只是天上的明月，更是中拉文明对话的“未来之光”。

柴永红女士以女性作家的细腻，捕捉到了中国诗人“传统与现代”的融合点：“中流击楫”章节中，中国诗人“登大雁塔而赋”的场景，被赋予了“突破与传承”的双重行动意义。“君不见黄河九曲，万里崩雷，穿峡裂岸，一往无前，此非中流击楫之勇耶？吾辈为诗，当效此水，笔锋所指，无坚不摧！”这番话，将“黄河”从“自然景观”升华为“奋进符号”，将“中流击楫”从“历史典故”转化为“当代行动纲领”——诗人要像黄河一样，冲破“传统诗歌的固化边界”“中外文化的认知壁垒”；而“掷笔于地，笔锋触处，竟现沟壑，类黄河之痕”的细节，更是柴永红女士的神来之笔：她用夸张的笔法，将中国青年诗人的“奋进”从“言语”转化为“行动痕迹”，从“精神”转化为“可触摸的力量”——笔锋落下的沟壑，既是黄河的象征，也是“文脉创新”的轨迹，更是“文明破壁”的印记。这种书写，让中国诗人的“拼搏”不再是抽象的精神，而是看得见、摸得着的行动。

（二）拉美诗人：扎根本土的“地域破壁者”

对于拉美诗人的塑造，柴永红女士展现出惊人的“地域洞察力”与“文化共情力”。她没有将拉美诗人写成“异域符号的集合”，而是深入他们的文化基因，写出了每一个国家诗人独有的“拼搏气质”——这种气质，既与本土的自然环境、历史脉络深度绑定，又共同指向“打破偏见、彰显本土价值”的青春行动。作为女性作家，她更善于捕捉拉美诗人“刚健与温柔”“炽热与深邃”的矛盾统一，每一个形象都立体饱满，而非扁平的“地域标签”。

阿根廷诗人“负潘帕斯草原之苍莽，携博尔赫斯之哲思，越安第斯山脉而至”——柴永红女士没有只写“潘帕斯草原的辽阔”，而是将其与“博尔赫斯的哲思”结合，塑造出“在奔放中见幽邃”的行动者形象：“其诗如探戈舞步，于奔放中见幽邃；若高乔牧歌，在豪迈里含深情”。探戈的热烈与高乔牧歌的豪迈，是阿根廷的文化符号，但柴永红女士更关注的是“奔放背后的幽邃”“豪迈里的深情”——这是拉美青年诗人的“破壁密码”：他们用热烈的形式包裹深刻的思考，用豪迈的姿态隐藏对土地的热爱，更用诗歌打破“世界对拉美‘只有热情，没有深度’的偏见”。当阿根廷诗人“拊掌大笑”回应中国诗人时，那句“昔吾国诗人，亦有击楫之歌，今闻君言，更激吾志”，展现的不是“附和”，而是“文明共鸣”下的“拼搏升级”——从本土的“击楫之歌”到与中国诗人的“精神共振”，拉美青年诗人的视野，对话中实现了新的突破；而“取吉他而弹，其声激越，若河水拍舷，浪涛裂岸”的行动，则将“志”转化为“声”，将“共鸣”转化为“可听见的拼搏”。

巴西诗人“挟亚马逊河之浩渺，抱桑巴舞之炽烈，乘赤道之罡风而来”——柴永红女士将“亚马逊河的浩渺”与“桑巴舞的炽烈”转化为“诗歌的生命力行动”：“其诗如雨林巨木，恣肆生长，郁乎苍苍；若瀑布飞流，奔腾倾泻，沛然莫御”。这里的“恣肆生长”“奔腾倾泻”，不是单纯的自然描写，而是巴西青年诗人“突破创作边界”的隐喻：他们像亚马逊雨林的巨木，不被“地域局限”束缚；像赤道的罡风，不被“文化偏见”限制，用诗歌向世界展现“拉美不只是自然的宝库，更是诗歌的沃土”。

智利诗人“仰阿塔卡马沙漠之奇崛，崇聂鲁达之诗魂，驭太平洋之涌浪以临”——柴永红女士捕捉到了“沙漠的干旱”与“诗歌的湿润”的矛盾，将其转化为“绝境中的拼搏行动”：“其辞若硝石迸光，锐利中含温婉；似硝土生焰，冷峻里藏炽热”。阿塔卡马沙漠是世界最干旱之地，但智利青年诗人却能在此“觅得诗意”，这种“向绝境要灵感”的姿态，正是青春拼搏最动人的注脚；而“举杯而言”“饮尽杯中酒，掷杯于地，杯裂声锵然”的行动，则将“觅得诗意”的温柔，转化为“坚守诗魂”的刚健——杯裂的声响，是对“干旱环境”的反抗，也是对“诗歌力量”的宣言。

从玻利维亚诗人“踏安第斯雪岭以临”时“按剑而起”的坚定，到古巴诗人“乘加勒比海之熏风而来”时“击节而歌”的激昂；从墨西哥诗人“敬玛雅文明之深邃”时“举目望天”的沉思，到委内瑞拉诗人“慕安赫尔瀑布之磅礴”时“望瀑布而赋”的豪迈——柴永红女士为每一位拉美诗人都赋予了“地域基因”与“拼搏灵魂”。她没有将他们写成“统一的拉美符号”，而是写出了“十六种不同的破壁行动”：有的如火山喷发般猛烈（萨尔瓦多诗人），有的如雨林生长般坚韧（巴西诗人），有的如沙漠硝石般锐利（智利诗人），有的如草原牧歌般深情（阿根廷诗人）。这种“差异化的群像塑造”，“国际青春诗会”的“国际”二字不再是空泛的概念，而是具体的、鲜活的、充满个性的“文明对话行动”。

三、交融之魂：以“诗为行动纽带，青春为行动火炬”，书写中拉文明的“共生史诗”

如果说“群像铺陈”是此赋的“血肉”，那么“文明交融”便是此赋的“灵魂”。柴永红女士没有将中拉文明写成“平行的两条线”，而是以“百川赴海”为喻，展现它们“碰撞—交融—共生”的行动过程，而“青春拼搏”，正是贯穿这一过程的核心动力——这是此赋“与众不同”的第二重突破：不写“文明的差异”，而写“差异中的共鸣行动”；不赞“文化的碰撞”，而颂“碰撞后的共生行动”。尤其作为女性作家，柴永红女士更善于捕捉“交融中的温柔力量”——这种力量，不是“强者对弱者的同化”，而是“平等的互相成就”；不是“文化的单向输出”，而是“双向的借鉴突破”；不是“一次性的相遇”，而是“持续性的共生行动”。

（一）诗歌创作的“双向破壁行动”

“百川赴海”章节中，柴永红女士清晰地展现了中拉诗歌“双向借鉴、共同突破”的拼搏轨迹。她没有将这种“交融”写成“简单的形式拼接”，而是深入到“精神层面的共鸣行动”——中国诗人“以唐诗宋词之典雅，融拉美诗歌之炽烈”，写出“黄河浪卷拉美云，奔流到海共氤氲”的新篇；拉美诗人则“以本土之风情，纳中国诗歌之意境”，写下“安第斯山飘汉韵，长安月下梦拉普”的佳作。这两句诗，是此赋“交融之魂”的集中体现，也是柴永红女士“国际视野”的生动表达。

“黄河浪卷拉美云，奔流到海共氤氲”——这里的“黄河”与“拉美云”，不是地理的简单叠加，而是“中国典雅”与“拉美炽烈”的精神融合行动。中国青年诗人没有以“古典正统”自居，而是主动走出“舒适区”，吸收拉美的“炽烈”，唐诗宋词的“典雅”焕发出“当代的活力”——这种“主动吸收”，不是对“传统的背叛”，而是对“文脉的创新”；“奔流到海共氤氲”则隐喻着中拉诗歌“最终走向共生”的行动结局——它们不是“各自奔流”，而是“汇聚成海”，交融中形成新的“诗性氤氲”，这种“汇聚”，是打破“文化孤岛”的拼搏行动。

同样，“安第斯山飘汉韵，长安月下梦拉普”——“安第斯山”与“汉韵”、“长安月”与“拉普（拉普拉塔河）”的并置，展现了拉美青年诗人“主动拥抱中国意境”的拼搏姿态：他们没有固守本土的“风情”，而是跳出“地域局限”，吸收中国诗歌的“意境”，本土诗歌的表达更具“深度与韵味”——这种“主动吸收”，不是对“本土的背离”，而是对“文化的丰富”。柴永红女士以女性作家的细腻，捕捉到了这种“双向拼搏”的本质：它不是“妥协”，而是“突破”；不是“失去自我”，而是“成就更完整的自我”。中国诗人融入拉美的“炽烈”，不是对“典雅”的放弃，而是让“典雅”更具“力量感”；拉美诗人吸收中国的“意境”，不是对“本土风情”的背离，而是让“本土风情”更具“层次感”。这种“平等的互相成就”，正是“国际青春诗会”最珍贵的精神财富，也是柴永红女士想要传递的“文明对话观”：真正的文明交融，不是“一方压倒另一方”，而是“双方共同突破”，在差异中找到共鸣，在共鸣中实现超越——这是一种需要勇气与智慧的拼搏行动。

（二）文化表达的“跨界破壁行动”

柴永红女士不仅描写了诗歌创作的交融，更展现了文化表达形式的“跨界拼搏行动”——“中国之古琴与拉美之吉他和鸣，奏出跨越重洋之音；中国之书法与拉美之绘画交融，绘就文明对话之卷”。这里的“和鸣”与“交融”，不是“形式的简单叠加”，而是“精神的深度共鸣行动”：古琴的“清越”代表着中国文化的“内敛与深邃”，吉他的“炽烈”代表着拉美文化的“热情与奔放”，二者的“和鸣”，是“内敛与奔放”的对话行动，是“深邃与热情”的共鸣行动——琴弦的振动，跨越了语言的壁垒，中拉诗人在“无声的音乐”中实现心灵的沟通；书法的“线条之美”传递着中国文化的“韵律与意境”，绘画的“色彩之韵”传递着拉美文化的“活力与想象”，二者的“交融”，是“韵律与活力”的结合行动，是“意境与想象”的共生行动——笔墨的挥洒与色彩的铺陈，打破了“文化表达的边界”，中拉文明在“视觉的对话”中实现审美共鸣。

柴永红女士以女性作家的敏感，捕捉到了“跨界拼搏行动”中的“细节温度”：白日里，诗人“徜徉于长安坊巷，观大雁塔之崔嵬，赏古城墙之雄伟，灵感泉涌，诗句脱口”——“大雁塔头瞻拉美，风烟万里入诗怀”“古城墙下思今古，十六国诗汇此侪”，这些诗句不是“刻意的应景之作”，而是“沉浸式交流”的自然流露，是诗人在“行走观察”中主动汲取文明养分的拼搏行动；夜晚时，诗人“雅集于曲江池畔，乘画舫，赏明月，把酒言欢，诗兴遄飞”——“曲江池上月如银，十六国诗酒里醇”“拉美风来唐韵动，一船清梦压星垠”，这些场景不是“文人雅集的复刻”，而是“青年文化跨界交流”的生动写照，是诗人在“月下畅谈”中主动打破文化隔阂的拼搏行动。

她没有写“交流的仪式感”，而是写“交流中的烟火气”：诗人在行走中观察彼此的文化符号，对话中启发彼此的创作灵感，饮酒中共鸣彼此的青春情怀，创作中突破彼此的表达边界。这种“细节温度”，“文明交融”不再是宏大的概念，而是具体的、可感知的、充满人情味的“青春互动行动”——古琴与吉他的弦音交织时，不是“音乐的表演”，而是“心灵的对话”；书法与绘画的笔墨相融时，不是“艺术的展示”，而是“文明的共生”。柴永红女士用这些细节告诉我们：文明的交融，从来不是“自上而下的推动”，而是“自下而上的行动”；青春的拼搏，从来不是“孤军奋战的呐喊”，而是“携手同行的共鸣”。

四、升华之境：以“青春为行动火种，文明为行动星河”，照亮人类未来的“奋进史诗”

赋作的结尾，柴永红女士没有停留在“诗会落幕”的感慨，而是以“群星璀璨，光耀千古”“大写雄风，成此方圆”为脉络，将“中拉诗歌之谊”升华为“人类文明对话”的未来行动图景——这是此赋“与众不同”的第三重突破：它不只关注“当下的相遇”，更着眼“未来的同行行动”；不只赞美“青春的力量”，更赋予“青春的使命行动”；不只书写“文明的对话”，更构建“文明的共生行动”。作为女性作家，柴永红女士在升华中注入了“温柔而坚定的希望”——这种希望，不是“空洞的祈愿”，而是“基于当下的行动”；不是“遥远的幻想”，而是“触手可及的未来”；不是“个体的追求”，而是“群体的担当”。

（一）“群星璀璨”：青春是文明的“奋进火种行动”

柴永红女士将十六国青年诗人比作“群星璀璨”，绝非单纯的“赞美”，而是赋予“青春”以“文明传承与创新”的使命行动。她没有将“群星”写成“遥远的点缀”，而是“照亮未来的火种”——“中国之青年诗人，承古开今，志在鼎新；拉美之青年诗人，热情奔放，勇于探索”。这里的“承古开今”与“热情奔放”，不是“地域标签”，而是“青春行动特质”：中国青年诗人的“鼎新”，是对“文脉的突破行动”——他们不满足于“继承传统”，更要“创新传统”，《诗》《骚》的基因在当代焕发出新的生命力；拉美青年诗人的“探索”，是对“本土的超越行动”——他们不满足于“展现本土”，更要“升华本土”，拉美的文化符号在世界舞台上绽放出独特的光芒。

他们如同“星光”，“虽微而执着，虽遥而明亮”——看似微弱，却能在长期的坚守中，照亮更多人的心；看似遥远，却能在彼此的共鸣中，汇聚成“文明的星河”。柴永红女士引用中国青年诗人的诗句“中拉诗星聚，光垂九域幽。青春当逐梦，直上最高楼”，与阿根廷青年诗人的诗句“十六国之梦，诗中相与逢。青春如烈炬，烧彻大寰中”形成跨越语言的呼应，这组对话式诗句，恰是“青春火种行动”最生动的注脚。中国青年的“直上最高楼”，是个体对诗歌巅峰的奋进行动，是“敢为人先”的拼搏；阿根廷青年的“烧彻大寰中”，是群体对文明共鸣的热烈行动，是“愿为先锋”的担当，二者交织，让“青春”从个人成长的阶段，升华为文明延续的动力行动——青年诗人不仅是诗歌的创作者，更是文明的“传火者”，他们手中的笔，既是书写灵感的工具，也是传递文明火种的火炬，在“承古”与“开新”的平衡中，让中拉文明的诗性基因，在当代迸发出新的生命力。

柴永红女士以女性作家独有的共情力，精准捕捉到青年诗人“微而执着”的行动特质：他们或许来自不同地域、说着不同语言，却在“逐梦”与“燃炬”的过程中，展现出同样的坚定——这种坚定，不是对传统的盲从，而是对创新的执着行动；不是对差异的回避，而是对共鸣的追求行动。正如她笔下“此辈年轻诗人，代表未来，承载希望”，这句看似平实的判断，实则暗藏深刻的文明思考：文明的延续，从来不是靠“复刻过往”，而是靠“青年突破行动”；人类的未来，也从来不是靠“孤立发展”，而是靠“青春携手行动”。她的书写中，“群星璀璨”不再是浪漫的比喻，而是文明奋进的必然——每一颗“星”都是一个突破的个体行动，每一片“星空”都是一次文明的共生行动。

（二）“大写雄风”：担当是文明的“奋进脊梁行动”

若说“群星璀璨”是青春的“软实力行动”，那么“大写雄风”便是文明的“硬担当行动”。柴永红女士对“雄风”的解读，跳出了传统赋作中“男性化的刚健”，赋予其更丰富的内涵——既是“中流击楫”的勇气行动，也是“百川赴海”的包容行动；既是“笔锋所指无坚不摧”的锐气行动，也是“连接心魂沟通世界”的胸怀行动。这种“雄风”，不是“征服式的豪迈”，而是“共建式的担当行动”；不是“个体的孤勇”，而是“群体的共识行动”，恰是女性作家对“力量”的独特诠释：真正的“雄风”，从来不是靠强势压倒，而是靠担当凝聚；从来不是靠口号彰显，而是靠行动证明。

她的解构中，“中流击楫”是担当的“起点行动”——十六国诗人面对文明差异的“险滩”、诗歌创新的“急流”，没有退缩，而是以“击楫向前”的姿态，主动突破：中国诗人掷笔现黄河之痕，是对“文脉创新”的担当行动，用笔墨留下突破的印记；阿根廷诗人弹吉他抒击楫之歌，是对“本土诗魂”的担当行动，用弦音传递坚守的信念；玻利维亚诗人按剑言登山之勇，是对“绝境寻诗”的担当行动，用誓言展现不屈的意志。每一种“击楫”，都是一次“破局行动”，每一次“破局”，都是一次“担当行动”——他们击的不是“江河之楫”，而是“文明之楫”；破的不是“水流之险”，而是“隔阂之险”。

“百川赴海”是担当的“过程行动”——中拉诗歌没有因差异而对立，而是以“涵纳万流”的包容，主动融合：中国诗歌融拉美之炽烈，是对“文明互鉴”的担当行动，打破“文化封闭”的壁垒；拉美诗歌纳中国之意境，是对“表达突破”的担当行动，打破“形式固化”的枷锁；古琴与吉他和鸣、书法与绘画交融，是对“文化跨界”的担当行动，打破“艺术孤立”的边界。这种“包容”，不是“失去自我”的妥协，而是“成就共生”的智慧行动，恰是“雄风”最柔软也最坚韧的部分——不是“强者对弱者的包容”，而是“平等者之间的理解”；不是“一次性的包容”，而是“持续性的尊重”。

“成此方圆”是担当的“结果行动”——诗会落幕，却留下“文明对话的方圆”：“方”是中拉诗人共同坚守的“诗歌初心行动”，是对“真善美的追求”，是行动的“原则与底线”；“圆”是彼此包容的“文明胸怀行动”，是对“共生共荣的向往”，是行动的“灵活与温度”。这种“方圆相济”，“大写雄风”有了具体的落点：不是空洞的口号，而是转化为“携诗归乡播撒种子”的行动——诗人带回的不仅是彼此的诗句，更是“突破与包容”的精神，这种精神会像种子一样，各自的土地上“发芽生长”，催生更多的文明对话行动；不是短暂的激情，而是沉淀为“中拉诗谊万古长流”的承诺行动——诗会的结束，不是文明对话的终点，而是新的起点，中拉诗人会以“持续的创作”“频繁的交流”，这份情谊在时光中“历久弥新”。

柴永红女士以“噫吁嚱！壮哉此会！伟哉此诗！”的慨叹收尾，既是对诗会的赞颂，更是对“担当精神行动”的礼赞——这场诗会的价值，早已超越“诗歌交流”本身，成为人类文明“以青春担当共建未来”的缩影。告诉我们：真正的“雄风”，不是“独善其身”的强大，而是“兼济天下”的担当；真正的“奋进”，不是“孤军奋战”的胜利，而是“携手同行”的共赢。

（三）“永照千秋”：传承是文明的“奋进回响行动”

赋作的终章，柴永红女士将视角从“当下的诗会”拉向“永恒的文明”，以“愿中拉诗歌之谊，若长江拉美之水，万古长流；愿人类文明之对话，若日月星辰之光，永照千秋”的祈愿，为整篇赋作画上“奋进的句号”。这个句号，不是“结束”，而是“开始行动”——是中拉诗歌互鉴的开始行动，是人类文明对话的开始行动，更是青春担当传承的开始行动。

她选择“长江拉美之水”“日月星辰之光”作为喻体，暗藏深意：“水”是“流动的奋进行动”，长江与拉美河流的“万古长流”，隐喻中拉诗谊不是“静止的纪念”，而是“动态的延续行动”——青年诗人带回的不仅是彼此的诗句，更是“突破与包容”的精神，这种精神会像水流一样，各自的土地上“滋养新的诗意”，中拉诗歌的交流“从未中断”；“光”是“永恒的指引行动”，日月星辰的“永照千秋”，隐喻人类文明对话不是“短暂的相遇”，而是“长久的同行行动”——这场诗会点燃的“青春火种”，会像星光一样，人类文明的长河中“照亮未来的路”，更多的青年加入“文明对话”的行列，“共生共荣”的理念“永照千秋”。

作为中国当代著名女作家，柴永红女士在这篇赋作中，既展现了对古典赋体的娴熟驾驭，更体现了对“国际视野”“青春价值”“文明担当”的深刻思考。她没有将“奋进”写成男性化的“金戈铁马”，而是写成“诗焰燃山海”的细腻与壮阔——用女性的视角，捕捉到文明交融中的“温柔力量”；没有将“国际”写成“西方中心”的仰视，而是写成“青春破云帆”的平等与自信——用中国的话语，讲述中拉文明对话的“东方故事”；没有将“文明”写成“孤立发展”的封闭，而是写成“日月永照”的开放与共生——用人类的情怀，构建文明对话的“未来图景”。

从开篇的“时空折叠”破题行动，到铺陈的“群像史诗”塑造行动，再到交融的“共生灵魂”提炼行动，最终升华为“千秋回响”的祈愿行动，整篇赋作如同一艘“青春诗舟”，载着中拉文明的火种，冲破地域的浪潮，驶向人类共生的未来。而柴永红女士，正是这艘“诗舟”的掌舵人——她以笔为桨，以情为帆，用女性作家独有的温柔与坚定，写下了一部属于中拉青年、属于人类文明的“奋进史诗”。

这部史诗，不仅是对一场诗会的记录，更是对“青春如何突破”“文明如何对话”“人类如何同行”的永恒追问与回答。它告诉我们：青春的价值，在于“敢于破壁”的拼搏行动；文明的意义，在于“乐于共生”的包容行动；人类的未来，在于“携手同行”的担当行动。正如长江与拉美河流的“万古长流”，正如日月星辰的“永照千秋”，中拉诗歌之谊、人类文明对话，也将在青春的拼搏中，行动的传承中，永远向前，永不停歇。