我有一个音乐梦想——致音乐艺术家Lady Gaga女士的一封音乐之信

我有一个和平世界的音乐梦想——致世界音乐艺术家Lady Gaga女士的一封音乐之信

亲爱的Lady Gaga女士：

您好 ！

请允许我用这个最朴素的称呼开始这封信。在写下这些文字时，我正在我的故乡——中国四川眉山，一个被苏东坡精神浸润了千年的小城。窗外是寒冬深夜的细雨，落在青瓦上发出如同古老琴弦被轻拨的声音。这声音让我想起了您歌曲中那些脆弱而坚韧的时刻，那些《Speechless》中无声的呐喊，那些《Million Reasons》中千百万个继续前行的理由。

今天，我怀着对音乐最本真的信仰，对人性最深切的信任，向您——史蒂芬妮·乔安妮·安吉丽娜·杰尔马诺塔——发出一个跨越太平洋的最真诚邀请。这不仅是一个中国诗人对美国艺术家的邀请，这是一个人类灵魂对另一个人类灵魂的呼唤，是关于我们如何用音乐这门最古老又最现代的语言，为这个正在流血的星球谱写一首共同的治愈之诗。

我创作的《战火中的祈愿》（《"Wishes in the War" [International English Version]》）已经完成了它的文字之旅。现在，它需要一个声音——一个既懂得伤痕的深度，又相信愈合可能性的声音；一个既能唱出个体的脆弱，又能承载集体愿景的声音。在寻找这个声音的过程中，我听到了您，您坚强的声音打动了我。

这不是一时冲动的选择，而是长达关注你的音乐爱好者的声音与祈愿，经过无数次的思考、聆听与理解后的确认。当我一遍遍聆听您的作品从《Just Dance》到《Hold My Hand》，从《Bad Romance》到《Shallow》，我听到了一个艺术家不断进化的轨迹——从舞池到灵魂深处，从流行符号到人性见证者。而当我看到您在东京演唱会上中断表演为不公发声，看到您拥抱那些被称为“怪物”的孤独灵魂，看到您站在白宫讨论艺术与人文的公共价值时，我明白了：您不仅仅是歌手，您是我们这个时代的吟游诗人，是带着电音节奏的萨满，是用假睫毛和肉片装传递真理的先知。当东方琴弦遇见西方舞台也许会产生美丽的火花！

我叫唐从祥，笔名唐驳虎，出生在眉山——这里是苏东坡的故乡。您可能知道苏东坡，这位11世纪的中国诗人、书画家、政治家、文学家。但您或许不知道，2000年法国《世界报》将他评为“千年英雄”，全球12位入选者中，他是唯一的亚洲人、唯一的中国人。这份名单里还有凯撒大帝、达·芬奇、牛顿等名字，而苏东坡位列其中，不是因为征服了多少领土，而是因为他用诗词建造了人类情感的共通空间。

“明月几时有？把酒问青天。”900多年前，苏东坡在这片土地上写下这些句子时，他问的不是宋朝的月亮，而是全人类共享的那轮明月。他经历过贬谪、流放、丧子之痛，却依然能在最困顿时写下：“惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭。是造物者之无尽藏也，而吾与子之所共适。”——他相信，有些美是超越所有界限的，是造物者给予所有人的共同财富。这种“共享人类美好”的基因，流淌在我的文化血脉里。真诚希望您可以看见我的想法—————（详见英文）

英文译文：

I have a dream of music for a peaceful world - A musical letter to Lady Gaga, a music artist

Dear Lady Gaga,

Greetings!

Please allow me to begin this letter with this most humble of salutations. As I pen these words, I find myself in my hometown Meishan, Sichuan, China, a small city soaked in the spirit of Su Dongpo for a millennium. Outside my window, the drizzle of a winter's falls upon the green tiles, creating a sound like the gentle plucking of ancient strings. This sound reminds me of those fragile yet resilient moments in your songs, the silent screams "Speechless", the million reasons to keep moving forward in "Million Reasons".

Today, with the most genuine faith in music and the deepest trust in, I extend a sincere invitation across the Pacific Ocean to you, Stefani Joanne Angelina Germanotta. This is not only an invitation from a Chinese poet to an American, this is a calling from one human soul to another, about how we can use the most ancient and modern language of music to compose a common healing poem for this bleeding planet.

The "Wishes in the War" ("International English Version") which I created has completed its textual journey. Now, it needs voice - a voice that understands the depth of the scar, yet believes in the possibility of healing; a voice that can sing out the vulnerability of the individual, yet carry the collective. In the process of searching for this voice, I heard you, your strong voice moved me.

This is not a choice made on a whim, but a confirmation after long of listening, thinking, and understanding as a music lover who has been following you. As I listened to your works from "Just Dance" to "Hold My Hand", "Bad Romance" to "Shallow", I heard the trajectory of an artist's continuous evolution - from the dance floor to the depths of the soul, from a symbol popularity to a witness of humanity. And when I saw you pause your performance at the Tokyo concert to speak out against injustice, when I saw you embrace those lonely souls labeled as "sters", when I saw you stand in the White House discussing the public value of art and humanity, I understood: you are not just a singer, you are the bard our time, a shaman with the rhythm of electro, a prophet who conveys truth with false eyelashes and meat dresses. When the strings of the East meet the stages of West, perhaps beautiful sparks will be created!

My name is Tang Congxiang, with the pen name Tang Bohu, born in Meishan - the hometown of Dongpo. You may know Su Dongpo, this poet, calligrapher, painter, politician, and literary figure from 11th century China. But you might know that in 2000, French newspaper "Le Monde" named him as one of the "Heroes of the Millennium". Among the 1 global figures on this list, he was the only Asian, the only Chinese. This list also includes names like Julius Caesar, Leonardo da Vinci, Newton, and Supo was on it, not because of how much territory he conquered, but because he built a common space of human emotions with his poetry.

When Su Dongpo wrote these lines on this land more than 900 years ago, he was not asking about the moon of the Song Dynasty, but the bright moon that all humanity shares. He had experienced banishment, exile, and the pain of losing a child, yet he could still write at his lowest point: "Only the clear breeze on the river and the bright moon in the mountains, heard by the ear and seen by the eye, can be taken without restraint and used without exhaustion. This is the inexhaustible treasure of the Creator, which I share with you." - He believed that some beauty transcends all boundaries and is a common wealth bestowed by the Creator upon all people. This gene of "sharing human beauty" flows in my cultural blood. I sincerely hope you can see my thoughts!

Another gene comes from Zhuge Liang 1800 years ago. In my hometown, there is a story of "Wu Hou stopping the war". This military strategist and politician of the Three Kingdoms Period chose "attacking the heart is the best, attacking the city is the worst" when he could have conquered by force. He invented the wooden ox and the flowing horse to ease the burden of the people's transportation, and he captured and released Meng Hu seven times to win the hearts of the people rather than to suppress them by force. The "stopping the war is the true military virtue" he practiced - the real military virtue is to stop the war - has become an important source of Eastern wisdom for peace. The peace code in my blood - my gene map of creation. I sincerely welcome you to my hometown to listen to the peace symphony of 2000 years!

It is the intertwining of these two genes: Su Dongpo's "co-adaptation aesthetics" (the beauty we all share) and Zhuge Liang's "stopping the war wisdom" (resolving conflicts with wisdom rather than violence) that shapes the way I see the world. When I see in the news a mother on the Dnieper River holding her child through the ruins, a youth on the West Bank of the Jordan River painting birds on the separation wall, I no longer see "the war in the distance", but the common wound of humanity.

The creation of "Prayer in the Flames of War" began in 2023, a year when the world was accelerating its division. But I wrote not a political declaration, but a topography of human emotions. My creation began with an image: a cloud of rosy clouds scorched in the flames of war.

In the Chinese poetic tradition, "clouds and rosy clouds" are never just meteorological phenomena. They are Li Bai's "Clouds want to be clothes, flowers want to be faces", Wang Bo's "The setting sun and the solitary wild duck fly together", symbols of beauty, freedom, and endless changes in our culture. When such clouds and rosy clouds are "scorched", the pain is double - it is the destruction of the beauty of nature and the desecration of cultural symbols.

From this image, I constructed a complete system of images:

The group of trauma images: "The dumb strings of the zither": The zither is not only a musical instrument in Chinese culture, but also the first of the "琴, chess, calligraphy, and painting", and a medium for the gentleman to cultivate himself. The dumb strings of the zither are the asphyxiation of the voice of civilization.

"The pigeon's plumes under the iron caltrops": The iron caltrops are defensive weapons on the ancient battlefield, cold, sharp, inhuman; the pigeon's plumes are symbols of peace, tenderness, and fragility. The juxtaposition of the two produces a strong visual and emotional impact.

"Scars on the negotiating table": The abstract political negotiations are concretized into physical trauma, and behind those agreement clauses are the pain of flesh and blood of countless people.

The group of images of repair: "The green bud of the broken tiles": On the completely destroyed ruins, life still finds a gap to grow. This image comes from my real observation at home - after 1931, many old buildings.

Second, the reconstruction of rhythm and meter:

Chinese poetry emphasizes tonal patterns and antithesis, while English focuses on metrical feet and rhyme. In my translation, I seek an "emotional rhythm correspondence." For example, "童真刹那陨落如沙" Chinese, with seven characters and three semantic groups; it is translated into "Childlike innocence falls like sand in an instant" in English, with four stressed syllables and three pa, maintaining the sense of rapid descent.

I pay special attention to the musicality of the chorus section, not sure if this is appropriate?

"Listen, the planet’ shouting echoes through the clouds, / A river of longing through the Milky Way flows loud." Here, "clouds" and "loud" form an imperfect rhyme, whileshouting" and "longing" resonate in the -ing form. More importantly, these two lines are roughly equal in the number of syllables (11 to 2), creating a sense of balance when recited.

The poem mentions "from the Dnieper River to the West Bank of the Jordan River"—these two specific names anchor the poem in the reality of the 2020s. But immediately following is "the planet's shout" and "the Milky Way's longing," from the concrete to the cosmic dimension. This "specific-abstract" leap was inspired by your song "Americano"—rising from a specific immigrant story to the universal theme of freedom and oppression.

Regarding "Ending the time difference named hatred." The core creative act in the entire poem is this phrase: "Ending the time difference hatred." "Time difference" is usually a physiological phenomenon we experience when crossing time zones. But I metaphorize it: hatred creates a psychological time difference—when one side is in the past wound, the other side has already moved towards the future; when one side remembers the humiliation of ancestors, the other side no longer acknowledges that history. This "-synchronization" makes dialogue impossible.

Regarding music, on a technical level, we can achieve instant communication through the Internet, but on an emotional level, we are in different "hatred time zones." The conflict between Palestine and Israel, the war between Russia and Ukraine, racial conflicts... all have this "time difference" issue them. "Ending this time difference" is not a call to forget history, but a call for us to establish a "common sense of time"—to acknowledge the pain moving towards a time that does not need to repeat the pain. The creation of this image was partly inspired by your song "Time": "Time, time, time, see whats become of me..." Time is both the injurer and the healer. The key is how we treat time.

In the conception of setting this poem to music, I considered many of the world’s great voices. But in the end, I was that you were the most appropriate choice. This is not flattery, but a conclusion based on a deep analysis of your artistic career.

Your life story is an epic of and repair. Barred from an elite Manhattan private school at 11 for being “too weird”; sexually harassed by a record company executive at 19; rising up the “Monster Ball” and dismissed by the press as a “gimmick” in your twenties; and the fibromyalgia that has dogged you... traumas did not destroy you, but instead became raw material for your art.

In “Praying Through the Fire,” there is a line, “May the be beautiful snowflakes, may the living live with hope through the rubble,” which requires a special understanding — both the iciness of the snowflake (death) the belief in its beauty (dignity). You possess this dialectical sense.

Your album “Joanne,” dedicated to your late aunt, is not aow in sadness, but a search for reasons to keep singing in the sadness. This spirit is entirely in keeping with my poetry: acknowledgment of the thoroughgoing nature of trauma, not an abandonment of the possibility of repair.

You are called "Mother Monster," a title that embodies a philosophy: those "monsters" excluded by mainstream are where the truest humanity lies. In my poetry, the "pigeon feathers pierced by iron thorns" and the "people on both sides of the cold monument are the "monsters" you have embraced with your entire career. You understand the pain of the margins because you have been there; you also understand the hypocrisy of the center because are now there.

This dual perspective allows you to sing the subtle balance of poetry: neither a simplistic moral condemnation of war (which would fall into binary opposition) nor aihilistic relativism (which would lose its stance). You can handle the reality of complexity with the wisdom of complexity.

You are not merely a singer; you a "total artist" - a creator who integrates music, visual, theater, fashion.

"Praying in the Flames" needs this integrated expression. The poem is of visual imagery: "graffiti rainbows," "beautiful snowflakes," "the peace tree shading the barren cliffs..." These are decorations but the meaning itself. How can these images be presented through stage design, lighting, costumes? I believe your team - from choreographers to visual directors - can create expressions that language.

I particularly imagine such a scene: you stand on a tilted stage, wearing a costume made of broken porcelain and soft feathers, with a projection of trees growing from ruins behind you. When singing "millions of hands sewing the scars of the loom and the weft," hundreds of silk threads hang from above the stage, woven by into the pattern of a map... This visual storytelling ability is your unique talent.

Pop music is often criticized for its shallowness, but you have proven that pop carry the deepest themes. "Born This Way" is a dance song, but its lyrics involve identity politics, self-acceptance, minority rights; "Shallow" is love song, but it explores the dilemma artists face between authenticity and performance. You know how to wrap complex thoughts in an infectious melody.

"Prayer in the Flames" needs to be treated in such a way. Its theme is heavy, but heavy enough to make it unlistenable. It needs a "hopeful anchor" in the melody, just like your "The Cure"—acknowledging the condition while the possibility of a cure. I envision the melody of the chorus should be ascending, like the sprouting of green buds, like the flocks of doves flying higher and higher And your voice, the one that rises from the depths of your chest, controlled by technique yet never losing its raw power, is the perfect carrier for such a melody.

It dangerous for artists to involve themselves in politics—it can easily devolve into propaganda or sermonizing. But you have shown a rare wisdom of balance. You paused your performance in Tokyo condemn ICE, but you didn't turn the entire concert into a political rally, instead, you returned to music itself after expressing your stance. You know: the political power of does not lie in directly telling people what to think, but in changing the way people feel about the world.

"Prayer in the Flames" adheres to the principle. It does not point the finger at any specific country, party, or leader, but at the very human collective behavior pattern of "war" itself. The solution it proposes not a political plan, but a change in the perception plan: "water it with understanding, sprinkle it with tolerance." You understand this subtle distinction, which allows you to this poem without reducing it to propaganda.

Your music is full of homages and dialogues with music history: "Bad Romance" has the tradition of European electronic music, "anne" returns to American country and folk, and "Stupid Love" takes another step towards avant-garde pop. "Prayer in the Flames" also such a dialogue. The poem contains both traditional images like "strings" and modern elements like "numbers flashing on the screen". Musically, I envision it should blend various traditions the pentatonic scale of the East (suggesting the cultural background of "zither"), the classical European harmonic structure (corresponding to the epic feel of poetry) and the modern electronic sound effects (creating the tension between war and technology).

Your ability to collaborate with various musicians—from Tony Bennett to Bradley Cooper—proves that can handle this cross-style dialogue.

The most moving moments in your art often involve a coexistence of vulnerability and strength: the vulnerability of lost love in "'ll Never Love Again" and the strength of acceptance in loss; the vulnerability of wanting to leave in "Million Reasons" and the strength of finding a reason to stay "Praying the Chaos" is filled with this tension as well: "Silent mothers weeping rivers into dry beds"—this is ultimate vulnerability; "Millions of stitching up the scars of latitude and longitude"—this is collective strength. The poem swings between vulnerability and strength, requiring a singer who can move freely between these two states.Your vocal technique—from the soft whispers to the powerful belts—is the perfect tool for this kind of shuttling.

Pop music is immediate, responding to the events the moment; great art reaches for the eternal, touching on the eternal human condition. "Till It Happens to You" is an immediate response to campus sexual assault, but theme (the ineluctability of trauma) is eternal. So is "Praying the Chaos": it responds to a specific war of the 2020s but its core concerns (the absurdity of violence, the desire for peace) are eternal human themes. You know how to work in both dimensions, which allows you to give the the sense of urgency and the timeless universality.

Your career has been an exploration of this question: Is Lady Gaga a character you play or your true self? In " Star Is Born", you played the theme directly through the character of Ally. "Praying the Chaos" also involves this philosophical question: When a person prays for, is it a genuine desire, or a self-performance? When an artist sings an anti-war song, is it a sincere appeal, or an exploitation of suffering to build one's moral image?

Your long exploration of this question allows you to approach the poem with the necessary self-reflexivity—fully committed emotionally, yet critically aware of very act of "performing peace." This complexity is precisely the depth that the poem needs.

If this invitation is met with a positive response from you, I already have concrete artistic ideas that I hope to serve as a starting point for our conversation.

I envision the entire song structured in a "past-present-future" triptych:

Part One (Verse, Two): It begins with a sparse piano accompaniment, reminiscent of "Angel Down" from your "Joanne" album. The piano sound is slightly detuned, simulatinged strings. Subtle electronic noise is added—distant alarm samples, radio interference sounds. Your voice starts with a spoken-word-like murmur, gradually increasing in.

Part Two (Chorus): The music suddenly opens up. A full string section is added—not lush, cinematic strings, but strings with the characteristics of the Baro period's "passion style," emphasizing the resolution of dissonance. Drums enter, but not with a dance beat, rather a heartbeat-like pulse. Here, can draw from the layered orchestration wisdom of "Aura" from your "ARTPOP" album.

Part Three (Verse Three, Coda): The music shifts hopefulness while maintaining complexity. The voices of a children's choir are added—not the sweet variety, but raw, rough voices that symbolize the imperfect new life. In final section, all instruments gradually fade out, leaving only a sustained low note and your a cappella singing of "This is humanity’s answer to itself, most resilient true." Similar to your treatment at the end of "Speechless."

If making a music video or live performance, I conceptualize four core visual scenarios:

enario One: The Palace of Shattered Mirrors

You stand in a space filled with shattered mirrors, each reflecting a part of you. As you sing "whose faceizes behind the thorns," the mirror images transform into faces of different races, ages. This scenario explores the fragmentation of identity and shared humanity.

Scenario Two: The of Water

The stage becomes a shallow pool of water, in which you sing. Projected on the surface of the water are photos of various wars throughout history—but digitally manipulated become blurred ink-wash-like images. Water symbolizes both tears and the cleansing, flowing nature of time.

Scene Three: The Ritual of Mending the Earth

A giant, tattered piece of fabric (representing the Earth hangs from the ceiling above the stage. As the song progresses, hands of different skin tones reach out from the edges of the stage and begin to mend the fabric. When performed, this scene can invite audience representatives to come on stage to participate, creating a genuine communal ritual.

Scene Four: The Seed Library

For the final scene, you open a book, and instead of paper pages, it contains sprouting seeds. You take out a handful of seeds and scatter them towards the audience (or camera). This is a direct of the "Seeds of Hope" imagery.

The song can become the core of a larger project, "Global Prayer Project," a peace project that transcends single song:

"Prayer Tree" Digital Art Project: Develop a website/app where people can upload their own peace wishes, generating a virtual forest that continuously grows. wish becomes a leaf, and translations in different languages are instantly presented.

"Mending Scars" Community Art Action: Organize art workshops in conflict areas around the world, local residents to express their imagination of peace through textiles, painting, etc. These works can be digitized and exhibited on a physical tour simultaneously.

"The Frequency of" Podcast Series: You and I can co-host a series of conversations, inviting voices from conflict areas, peacebuilders, psychologists, philosophers, to discuss "How to the Time Difference of Hate."

Educational Toolkit: Develop art education curriculums based on the song for schools globally, helping students understand the complexities of through music, poetry, visual arts.

I solemnly pledge: All proceeds from these projects will be donated to neutral humanitarian organizations such as the UN Refugee Agency, Red Cross, etc. - continuing your consistent practice of charity.

If the collaboration was merely about making a song, it would be of limited significance. What I look forward to even is to initiate a dialogue between East and West on some fundamental issues through your attention, focusing on the community of shared future for mankind! Focusing on human peace is the theme!ing on the beautiful future of mankind! Focusing on the wish for peace by mankind!

In Eastern thought, time is often seen as cyclical (such as the cycle of, cause and effect); Western modernity, on the other hand, emphasizes a linear progressive view of time. But war disrupts all time experiences—it leaves some people stagnating a traumatic past, while accelerating others towards a destructive future.

"Prayer in the Flames" attempts to propose a third view of time: "Echoes of." It is neither cyclical nor linear, but an echo and synchronization between different time experiences. When we sing "End the time difference named hatred," we are trying to this echoing time. Your exploration of time—from the understanding of traumatic time in "Time" to "Til It Happens to You"—fits perfectly with this thinking We can explore together: How can music create a time experience that temporarily synchronizes the minds of different "time zones"?

The Eastern and Western approaches to the artistic expression of differ. The Eastern tradition often contains images of "quiet beauty"—transforming pain into a dignified form, such as comparing the deceased to "quietly beautiful snowflakes in poetry. Western expressions, on the other hand, are more direct and cathartic, like the roaring in rock music. Your art magically combines both: "I' Never Love Again" contains restrained pain, and "Shallow" contains the freedom of release. This combination is exactly what is needed to deal with the theme of war: to the intensity of pain without falling into the exhibitionism of pain.

In this cynical era, talking about hope is often seen as naivety. But hope after serious reflection is blind optimism, but the courage to "choose to see the light in the darkness knowing it is dark." The "green bud of broken tiles" in my poem is such a—it knows the heaviness of the rubble and still chooses to grow. The hope in your songs is also often filled with this complexity: the glory edge in "The Edge Glory" is always tinged with a hint of danger, and "Million Reasons" leaves it at one reason being enough.

I want to pay tribute to you: how to express in art a common peace hope of humanity that is not childish, not, and truly exists!

Lady Gaga, at the end of this letter, I want to put aside all artistic analysis, project planning, and just say some of the honest words. I am 45 years old this year, which is close to the age of "knowing fate" in Chinese culture. I began to understand that the ultimate of an artist is not to create beauty, but to build a bridge between beauty and truth; not to prove oneself in applause, but to understand others in silence.

When I "Prayers in the Flames", the deepest feeling I had was not anger, nor sadness, but a great loneliness—a loneliness for the human species. We have amazing creativity, capable of building palaces, composing symphonies, and exploring the universe; but we also have such stubborn destructiveness, repeatedly returning to violence as the most solution, I don't understand music, but I know music can heal my wounded heart.

In this moment of loneliness, I remembered your performance at the 201 Super Bowl halftime show. When you jumped from the roof, when you sang "Million Reasons", when you sang "Bad Romance" with thousands of audience, I saw miracle: individual souls temporarily merged into a larger existence through music. That moment in the stadium was a space-time without a hate time difference.

This letter, this invitation is essentially a question: can we create another such space-time? Not a carnival in the stadium, but a deeper resonance—for those children trembling in the bomb shelter for those families separated at the border, for all the lives suffering because of human stupidity.

I don't expect you to agree immediately, perhaps you can't even hear. This is a heavy request, it needs consideration, and it also needs courage. I pursue the sound of music, and it may be a joke to pursue being seen by you, but I won't care about other's opinions. I only ask you to read this poem carefully, to feel every image, every breath in it. Then listen to the voice in your heart—the voice of that existed before she became Lady Gaga.

No matter what your answer is, I appreciate you taking the time to read this long letter, perhaps you can't even see, but I did it, and I have no regrets! Even if I live like an ant, I should have a compassionate heart, feeling the fate of my kind! Thank you making the world braver and more real with your art. Thank you for teaching a generation of young people: strangeness is not a defect, but uniqueness; vulnerability is not a, but depth.

If fate gives us the opportunity to collaborate, it will be a beautiful encounter between East and West, poetry and music, tradition and innovation. If not, will still continue my peace wish—with words, with poetry, with sincerity, with kindness, with all the ways I can use as a poet.

Because in the, we are all doing the same thing: searching for the possibility of completeness in a broken world; creating moments of resonance in divided time.

Look forward to your echo.

the name of music, in the wish for peace!

I have a dream of music for a peaceful world—I want to move you with my poetry! Please move the world with your music!

Your most beloved fan: Tang Congxiang (Tang Bohu)

In Meishan, Sichuan, China

On the989th anniversary of the birth of Su Dongpo

附歌词：

"Wishes in the War" [International English Version]

-- Dedicated to all those who have passed away and those who still believe in the dawn

(Lyrics by: Tang Bohu)

[Verse 1]

The flames of war in the world burn the clouds

Childlike innocence falls like sand in an instant

The city walls are in ruins, and the strings of the qin are mute

The courtyard in my memory is filled with flowers from my hometown

Mother's prayers gradually lost their voice

Father's medals are covered with dust and sand

Dove feathers fall beneath the iron barbed wire

The wind whispered through the bullet holes, answering in a mournful tone

[Chorus 2]

The desert spring has turned into a pool of tears

Sharing scars at the negotiation table

The screen flickers, with numbers superimposed

It's a home that has never been returned to

The boundary marker stands cold, separating the fading evening glow

The chess game of interests is constantly being fought

Who is calling for eternal leisure

The scars of history are always covered by new wounds

[Chorus]

Listen, this planet is shouting

Longing for a stretch of blue sky without smoke

Let the deceased rest in peace, like serene and beautiful snowflakes

Those who protect and care for others move forward, no longer fearing to embark

Look, the starry sky is making a wish

The tree of peace will eventually overshadow the barren cliff

Water with understanding, sprinkle with tolerance

End all the time differences named hatred

[Verse 3]

In the depths of the ruins, green sprouts pierce through the broken tiles

On the graffiti wall, paint a rainbow

Different languages, singing the same tune

It takes thousands of hands to mend the broken

We won't sing a dirge for yesterday

To forge a bell that will ring loudly tomorrow

Every heart is a germ of hope

In the trembling land, take root and bloom

[Chorus]

Listen, this planet is shouting

Longing for a stretch of blue sky without smoke

Let the deceased rest in peace, like the serene and beautiful snowflakes

Those who protect will move forward, no longer fearing to set out

Look, the starry sky is making a wish

The tree of peace will eventually overshadow the barren cliff

Water with understanding, sprinkle with tolerance

End all the time differences named hatred

[Epilogue · Ode to Peace]

Let peace become a breath, without distinction of nation or family

Like the morning light embracing every scar

The sand from the Donets River to the West Bank of the Jordan River

The same melody flows in our veins

Until the word "enemy" weathered from the dictionary

Until all children are spared from the strokes of war

Until "we" encompass every speck of dust in this universe

This is the most resilient answer given to humanity

(Author: Tang Congxiang, pen name: Tang Bohu, Meishan Tang Bohu, Jingshi Tang Bohu, male, Han nationality, born in Meishan, Sichuan in January 1980, member of the Chinese Poetry Society, member of the Chinese Poetry and Ci Society.)

《战火中的祈愿》【国际中文版】

——献给所有逝去与依然相信黎明的人们

（作词：唐从祥，笔名：唐驳虎）

【主歌一】

世间烽火灼伤云霞

童真刹那陨落如沙

城郭倾颓，琴弦喑哑

记忆中的庭院，开满他乡花

母亲的祈祷渐失声沙

父亲的勋章蒙上尘沙

鸽羽坠落在铁蒺藜下

风穿过弹孔，呜咽作答

【主歌二】

沙漠甘泉沦作泪洼

谈判桌上分食疮疤

屏幕闪烁，数字叠加

那是一个个，未曾回的家

界碑冰冷割裂晚霞

利益的棋局不断征伐

谁在呼唤永恒的休暇

历史的血痕，总被新痂遮

【副歌】

听 啊 这星球在呼喊

渴望一片无硝烟的蔚蓝

让逝者安眠，如静美雪花

护生者前行，不再惧出发

看 啊，这星河在祈愿

和平之树终将遮蔽荒崖

用理解浇灌，以宽容挥洒

终结所有，名为仇恨的时差

【主歌三】

废墟深处，绿芽破瓦

涂鸦墙上，画一道虹霞

不同语言，唱同一支调

缝补破碎的，是千万双手啊

我们不唱昨日挽歌

要铸明日钟声浩大

每颗心都是希望的胚芽

在战栗大地，生根开花

【副歌】

听啊，这星球在呼喊

渴望一片无硝烟的蔚蓝

让逝者安眠，如静美雪花

护生者前行，不再惧出发

看啊，这星河在祈愿

和平之树终将遮蔽荒崖

用理解浇灌，以宽容挥洒

终结所有，名为仇恨的时差

【尾声·和平咏叹】

让和平成为呼吸，不分国与家

如晨光拥抱每一处伤疤

从顿涅茨河到约旦河西岸的沙

同一首旋律，在血脉里流淌

直至“敌人”一词，从字典风化

直至所有孩子，不识战火的笔画

直至“我们”囊括，这寰宇每一粒尘沙

这便是献给人类，最坚韧的——回答

（文章作者：唐从祥，笔名：唐驳虎，眉山唐驳虎，京师唐驳虎，男，汉族，四川眉山人，生于1980年1月，中国诗歌学会会员，中华诗词学会会员。注：歌词已经申请著作权登记！注：以上内容，未经授权不得转载使用！）