This book contains 6 poems by the famous poet Mr. Xu Zhimo. Xu Zhimo (1896-1931) was born in Haining, Zhejiang Province. Studied at Columbia University and Cambridge University. After returning to China, he worked as a professor in Peking University and Tsinghua University. He began to write poetry in 1921, and once founded the monthly New Moon with Hu Shi, Liang Shiqiu and Wen Yiduo. After the Indian poet Tagore visited China in 1924, Xu followed him around Europe. After returning to China, he edited the supplement of Morning News and served as the editor-in-chief of Morning News Poetry. He is the author of a collection of poems, Poems of Zhimo, A Night in a Cold Emerald Green, A Collection of Tigers, and a collection of essays, Scales and Paws in Paris. The first edition of this book is a line-bound edition of Juzhen Song Edition printed by the poet at his own expense in August, 1925. It is printed on Xuan paper, with 196 pages turned right. It is published by Xinyue Bookstore and printed by Zhonghua Bookstore. In 1928, Crescent Bookstore rearranged the book into a paperback, in which 15 poems were deleted and one "What is Love?" was added. The author once said a passage to this collection of poems: "Most of them are the overflow of irrelevant emotions, the art or skill of any poem ... My pen was originally the most unrestrained wild horse, and I only realized my own wildness after seeing more careful works." The cover of this thread-bound magnetic blue paper is 19.5 cm vertical and 13 cm horizontal. White note, handwritten black book title. There is no title page and copyright page, only four words are printed on the back of the lining page: "For Dad". "Poem Catalogue of Zhimo", the catalogue is not marked with page numbers. There are 55 poems in the book, the first one is "This is a cowardly world" and the last one is "Cambridge".
There are four poems by Xu Zhimo, namely, Poems of Zhimo, A Night in a Cold Jade, A Collection of Tigers and Wandering in the Clouds. In the past, when talking about Xu Zhimo's poems, most of them only partially affirmed his artistic skills, but often held a critical and negative attitude towards its contents. In fact, the content of Xu Zhimo's poems is also of great value for careful discrimination, and the ideological content of many poems is still worthy of recognition. For example: What are you doing here? /This "fearless" spirit? /A good man is not afraid of death? -/for a person's absurdity,/for a few dollars' reward, I broke into the devil's circle,/offered my body,/turned to shit under Wulong Mountain? /The poem "Ode to Prisoners" ridiculed and satirized the prisoners who had no brains and worked hard for their masters to die. The sharp edge actually refers to those warlords everywhere who blindly used their soldiers' bodies and lives to compete for their own territory and seek personal gain, regardless of the lives of the people. The idea of anti-civil war is obvious. The poem "Dashuai" directly exposes the brutality and tyranny of the warlords: "Dashuai has an order: after the dead body is killed, there is no need to move back (which makes people feel frustrated), just dig a big pit in front of it, throw the deflated brother into it, and fill it with soil, giving him a big confusion, and it is not necessary to remember it, regardless of whether he is surnamed Jia or Zeng! "It's all right, so that their family won't feel sad: mother holds a rotten head, brother holds a hand, and the newly married daughter-in-law has a pustule waist!" Cut out such a sad and horrible picture, the poet shows his hatred for the bureaucrats and warlords who constantly provoke the war and trap the people in from the mire, and his resentment against the atrocities against humanity. Xu Zhimo has studied in the United States and Britain. The prosperous material life in developed capitalist society, the idle life of the upper class, and the literary works of romanticism, impressionism and aestheticism in Britain have left a deep imprint on the young Xu Zhimo. The fanaticism of ideal triggered his desire to create. "Poetry is really like a flash flood, rushing in all directions". Later, when he expounded his understanding of poetry in Poetry Magazine, he said, "We believe that poetry is a tool to express human creativity, which is of the same nature as music and art. We believe that the spiritual liberation and spiritual revolution of our nation at this period are incomplete without a decent poetic expression." Perhaps it was with this hope and the agitation of the May 4th patriotic movement in China that he waved his sleeve with the idealism and humanitarianism of the British bourgeoisie, quietly bid farewell to Cambridge, which made him deeply attached to it, and happily embarked on a journey to return to the motherland. It seems necessary to analyze the core of Xu Zhimo's thought. He declared, "I am an unrepeatable individualist. This is not profound, it just means that I only know people, I only know people clearly, and I only trust people. I believe that the meaning of Clasey is only universal individualism; In each person's conscious consciousness and conscious efforts, there is the true and pure spirit of Demo Clasey; I ask each flower to achieve its possible color fragrance. "It is not difficult to see that the essence of this idea is bourgeois democratic individualism. "Xu believes that the fundamental reason for the development of human society lies in people's spirit. His ideal is the maximum free development of the individual's spirit. The pursuit of love, freedom and the enjoyment of beauty are all included. " Accordingly, we also have reason to assert that Xu Zhimo's humanitarianism is bourgeois. Footnotes are his manifesto. After the May 4th Movement, in China, on the one hand, the revolutionary struggle movement led by China's * * * production party surged, and a large number of literary societies of various schools emerged. On the other hand, the broad masses of people were still at the bottom of society and their living conditions were very miserable. The harsh reality forms a sharp confrontation with the poet's rosy ideal world. He was disappointed, angry and heartbroken. "Sir! Sir! "Who knows", "Gray Life" and "Calling for a Deserved Life" (see Poems of Zhimo) and other works have deeply recorded the poet's ideological track at this time. He clearly saw: "Poor me, I'm starving, rich man!" /There is laughter, a red stove and a jade cup in the gate; /"Poor me, I'm freezing to death, blessed ye! The northwest wind outside the gate said with a smile, "Call Hua deserved it! "/"Calling Hua deserved it "Faced with the bleak description of the bottom people and witnessing the painful life of the people, the poet's spirit felt very depressed and resentful. He wants to shout, open his "broad and rough voice, sing a barbaric, bold and frightening new song", and encourage readers to "go to the people and listen to the" groans of the soul "of the aged, the sick, the poor, the disabled, the oppressed, the bored, the servile, the timid, the ugly, the guilty and the suicidal. Because of the fanaticism of ideals and the depth of love, the pain of disappointment is particularly strong. This makes Xu Zhimo always show more sympathy than criticism, more sadness than anger, more sorrow than shouting, more depression than excitement, and more "broken patterns" in his poems. In his eyes, "the national bankruptcy, morality, politics, society, religion, literature and art, everything is bankrupt. The words "despair, ruin, absurdity, sinking, melancholy, desolation, wandering and breaking" appear in his works in large numbers. He was sad that "hope failed to stand firm and was destroyed"; He cursed, "Who dares to say that life is free? Starlight looks coldly in the sky, and life is floating in the waves"; He suddenly shouted that he would use "a steel knife with self-cutting" and "chop away the residue of life in order to get the essence of life", and suddenly revealed the feeling of being world-weary and reclusive, preaching that "all hypocrisy, vanity and vanity" would be "exposed to the power of the final judgment" and "love is the only glory before the Lord". These "broken patterns" scattered in Xu Zhimo's poems reflect the contradictions in the poet's mind and the confusion in his thoughts. He has compassion for the motherland and the people under the weight of the three mountains. " Apart from these political poems, Xu Zhimo also has some lyric short chapters that are recognized as the best representative of his creative style, such as Nora in shian, Car Watching, Farewell to Cambridge. The common features of these poems are: elegant and beautiful words, quiet and tranquil artistic conception, full of romantic colors and emotional appeal. Please see: The gentleness of bowing your head is the most,/Like the shyness of a water lotus that can't be overcome by the cool wind,/Say treasure, say treasure,/There is sweet sorrow in that treasure/shian Nora! /"shian Nora" is only four sentences, which makes people feel as if they were there. Using "water lotus" is more beautiful and touching than attaching a Japanese woman who is famous for her virtue. Describing the Japanese girl who bowed down to return the gift at the time of farewell with "invincible cool breeze" adds to the gentleness and shyness of this image. The soft and sweet "treasure" vividly implies the feeling of farewell brought by friends (perhaps lovers) because of their happy meeting. The poem does not positively shape the characters, does not specifically describe the activity scenes, and does not have any more story content. Just a simple action and an ordinary farewell language have made people have rich associations and left a good impression, which is really extraordinary. Finally, the poet said "shian Nora" by imitating the Japanese sound of "Goodbye", which once again rendered this watery tenderness and chanted a profound echo. Then I left gently,/just as I came gently; ..... I left quietly,/as I came quietly; /I waved my sleeve,/I didn't take away a cloud. Farewell to Cambridge is also a lyric ballad that has been widely circulated and sung for a long time. The beautiful Cambridge once occupied an important position in the poet's life. His outlook on life, art and creative desire were all formed here. The "golden willow by the river" and "the gorgeous shadow in the waves" not only "rippled in his heart", but also had a fantastic and magical power, which urged him to fly in the sky and fantasize about "loading a boat with starlight and singing songs in the starlight spots". What's different is that the poet left Cambridge, which he loved so much, neither "tearfully" nor "declaimed", but just left quietly as when he came. Only a faint cloud, wrapped in the poet's infinite tenderness, floated silently in the sky of a foreign country. What an ethereal and detached artistic conception it is! No wonder his later wife, Lu Xiaoman, said that he was "fascinated by some fairy-like sentences, which made people forget the smell of fireworks in the world." Oppressing my thoughts and breathing, killing the poor bud of hope, and committing me, like a prisoner, to the cruelty of jealousy and sorrow, shame and despair. There is no need to make more analysis. This kind of sentiment is very unhealthy, and it is not what a man who really wants to pursue happiness and perfect love should have. So far, this poem can no longer be called an elegant serenade. Such vulgar and sentimental nagging has neither artistic conception nor aesthetic feeling. The only thing that can be seen is the poet's increasingly withered and embarrassed thoughts and depressed will. This also shows that a poet, no matter how skillful his artistic skills are and how sharp his creative inspiration is, once he loses his way in the sharp and fierce social contradictions, he winces and retreats, hides in the ivory tower, advocates art for art's sake, and indulges himself in a small ditch of personal feelings, he is bound to get lost and can't return, and he will never write any works that can stand the test of time and are both ideological and artistic. This is an objective law in literary creation, and Xu Zhimo can't get rid of it. (Xu Zhimo is good at writing) It is necessary to express an emotion in words, that is, when a person sees that the land begins to emit fragrance, and there are some secluded corners in the ruins and under the shadow of the grass, from which there are earnest whispers and laughter. (But the times) also need to express another kind of emotion, that is, the cries of the procession that the sky were to fall. But he didn't want to write all this as usual. He should find a new form, a new vocabulary and a new image. "As a famous poet of the Crescent School, Xu Zhimo respects Wen Yiduo's view that poetry should have the beauty of music, painting and architecture. He cast the essence of China's classical poems, Sanqu and folk songs, and adopted the style of European Romantic poets, actively and conscientiously cultivated the Yuan Ye of modern vernacular metrical poems, forming a novel, unique and fresh poetic style. Admirers admire the poem, which is passionate in emotion, harmonious in rhythm, attractive in literary talent and meaningful, and praised it as "a master who laid the foundation for the literary world with one hand"; Those who backchat expose his shortcomings of copying mechanically, obscurity, fragmentation and affectation, and dismiss him as a "clown" in poetry. First of all, Xu Zhimo's poetry is a poem that expresses the soul alone. Xu Zhimo himself has a paragraph: "I need to point out in my bones that Xu Zhimo also wrote some boring, decadent and erotic poems." For example, the first poem "I'm Waiting for You" in "Tigers" depicts the inner activities of an infatuated man waiting for a date. There are such sentences in the poem: You know, I know you know, it's a fatal blow that you don't come to me, killing the spring in my life, which is as solid as iron in the mine, bursting out, excited in the blood and jumping out of the soul. When discussing the poetic art of the Crescent School and Xu Zhimo, Zhu Ziqing also made a very accurate grasp: "As a poet, Xu is more known to the world. He is not as precise as Wen's, but he is as calm as he is. He is jumping and splashing a life water that stays up all day and night. " The "spirit of nature" emphasized by Xu Zhimo is actually a true feeling from the heart, an inner affection. Driven by this emotion, he expressed his pursuit of ideals and beautiful things and his love for nature and love in his poems. It is this frank and sincere emotion that makes Xu Zhimo's poems always look so natural and natural, with few artificial marks, emitting a natural vitality like "water of life" and having unique artistic charm. For example, those nostalgic poems "Farewell to Cambridge" and "Aimanshufei" are all famous works from the depths of the soul. Because of the beauty in memory and the emotion in the heart, those scenery are no longer purely objective natural objects. The clouds, golden willows, green grass, waves and Shui Ying are colored by emotions and beautiful by emotions. Cambridge has witnessed the good times of the past, but now things are different and people are gone, and there are many unbearable life regrets hidden here! Every landscape here is imbued with emotion, and the combination of emotion and scenery is seamless, so it is possible to show that "Zhimo style" is free and easy and helpless. Secondly, the seemingly handy images are actually painstakingly constructed images. The beauty of Xu Zhimo's poems lies in images. And the composition of poetic images has some very personalized methods and effects. These images are familiar to people in nature, in life and in the poems of English romantic poets, but they have unique and novel characteristics after being nurtured by the poet Xu Zhimo's feelings. The images in Xu Zhimo's poems are usually constructed in three ways: first, the objective images are endowed with emotional color through emotionalization, which makes them from plain to strange. It not only makes readers feel the things and scenes that belong to their own experience, but also makes readers feel that they contain brand-new interests. For example, in "Huang Peng", the description of oriole "breaking through the dense and turning into a colorful cloud" and "like spring, flame and enthusiasm" makes people feel novel here, because there is a poet's feeling. Another example is Farewell to Cambridge: "The golden willow by the river is the bride in the sunset." The transformation from the golden willow to the bride is caused by the displacement of the poet's feelings. Secondly, metaphor plays an important role in the formation of novel images. For example, in Nora, shian, "it is the gentleness of bowing one's head,/like the shyness of a water lotus that is invincible in the cool wind". A wonderful metaphor describes the charming and charming manner of a Japanese lady when she said goodbye to her friends, and the oriental warmth.