My favorite short chapter in the poetry collection "Three Trees in Spain" is this song J J: Fifteen years ago, the cool morning bid farewell to every night in a trance and clearly. In your dream, you wake up with a pillow and think it's not you. Others bring you into my dreams.
No, you're great.
No, you're not.
I've read it. It's nothing. After reading it again and again, I always stop again and again, just like the moment when a beautiful face appears, or give myself complete silence in the music.
The title of the poem is the juxtaposition of two capitalized English letters, which symbolizes that there is a gap between them-you and me. Read aloud, there is no such pronunciation in Chinese. Chinese poetry is rich in experience in describing missing, and the author takes letters as the topic, so it shows a distance from similar Chinese poetry: a reserved distance.
Twelve lines, light words, six bars and sixty words. Among them, four words and six lines account for half of the whole poem. Two lines in the first section are all four words and one sentence. One of the two sentences in each of the other four sections is four words, and the third and sixth sections are separated by commas.
The first three sections use a word "de" in modern Chinese, which is generally neat and regular. Four-character sentences are relatively stable, and idioms are mainly four-character, with far-reaching sources. The Book of Songs is mostly in four fonts. The origin of four-character poems is much earlier than that of five-character seven-character poems, which are elegant in effect and wide in meaning. They are more like lutes than flutes. Four-character poems are like harps: the branches of the cool morning memories 15 years ago wander back to the present 15 years. "Cool morning", "morning" and "Shen" are homonyms, with short syllables. Take a short time and stop at a moment.
It is common to say goodbye to poetry in a trance and clearly where you will go. When he was born to say goodbye, there was cold light in his words. "Qingming" corresponds to "trance", which is the unforgettable farewell and engraved into time. "Tactic" comes before "don't", and "don't" comes after "tactic", which never forgets anything.
Every night, in your dreams, you are "every night" ...... You in Dreams is also very common. The important thing is the next sentence, only one word: "You in your dream", which is very sad. However, the tone is very light, very light, just like talking to yourself in a dream, very sad, but silent, and the poet does not need stress.
From You in the Dream to You in the Dream, "You" appears in the third section continuously, which is the "presence" that is not present and the "arrival" after farewell.
Wake up with a pillow and think it's not you. Someone plays you in my dream.
Dream on the pillow, wake up, it's on the pillow. How can a pillow fall asleep? How can the pillow wake up? What a shock! "Wake up with your pillow"-A Russian duke once read a poem by Pushkin to Turgenev, and then said, if I can write such a poem, I would like to cut off two of my fingers.
Wake up, cruel, "I don't think it's you." The reason suggests that "you" are not present, and "feeling" is not a judgment, but a doubt about the dream, just unwilling, unwilling to be in the dream or wake up, "not you".
So "others", pay attention: "playing with you in your dreams". The following poem is "I" talking to myself when I wake up from my dream, or is it about "you":
No, you're great.
No, you're not.
In the last seven or six words of the mumbling conclusion, the diamond-like light gradually flashes. For example, at the end of music, the repeated syllable "Where" appears twice, "This way" appears twice and "You" appears four times, all of which are spoken and extremely common. In the Chinese we read, we have never seen it. In expressing love and yearning, we have never heard of it:
"There is no you in the world"-there is no "poem" in the world!
Yes, we have never read such a character expression in China's poems-"You are like you". The whole relationship between lovers becomes the relationship between words and rhythm, and directly becomes poetry, and vice versa. When Mr Mu Xin writes poetry, he is very good at separating extreme abstraction from extreme concreteness. It means "going away" and "unintentional" means "intentional". As a title, "you" is called "primitive word" by martin buber. Once primitive words are generated, they become "existence". If we regard God as "eternal you", can this poem be a confirmation of faith? Poetry is an eternal struggle for human beings to jump out of the "I-it" relationship and step into the "I-you" relationship. How does poetry become a witness of existence? Farewell to You and Me enter poetry.
"Poetry pursues each other in the space of discourse" (Jean Bohol). As a language in a language, a poem is often regarded as inexhaustible. Mr Mu Xin's poems always make me feel that something has survived. An excellent poem shows its divinity at the moment of writing, which makes readers out of body. Do China's new poems that we could read still live in our hearts? I often wonder whether their author wrote "right" or "poem". A poet depends on how he uses words to glow the true charm of things and how he uses the true charm of things to glow the charm of poetry. In Mr. Mu Xin's place, I see that this is his natural energy and his ability.
Chuan: "in order to experience a poem, we must understand it;" In order to understand it, we must listen, look and think about it-turn it into an echo, a shadow and nothing. "
Please read this little poem again.
One of the seven readings of Mu Xin's poems, selected from Reading Mu Xin, edited by Sun Yu and Li Jing. Guangxi Normal University Press.