A poet and his poems
-Summary of the International Symposium in Memory of Poet Xu Zhimo
This year marks the 70th anniversary of the birth 105 and death of the poet Xu Zhimo. In order to commemorate this talented poet born for poetry, the "International Symposium in Memory of Poet Xu Zhimo" co-sponsored by China Modern Literature Research Association of Zhejiang Province and Haining Municipal People's Government was held in Haining, Zhejiang Province. * * * Nearly 100 experts and scholars from all over the country, Taiwan Province Province, Japan and other countries and regions attended the meeting.
Zhimo's departure is just like what he said in his poem: "I left gently, just as I came gently;" I waved my sleeve and didn't take away a cloud. "He didn't take away a cloud when he left, but he left us a beautiful poem and a romantic life story. At the meeting, dozens of experts and scholars made keynote speeches on the personality structure of Zhimo, the language construction of Zhimo's poems, the images of Zhimo's poems, Zhimo and his hometown, and the contribution and influence of Zhimo in other fields. The main contents of the speeches and discussions at the conference are summarized as follows:
On the Personality Structure of Zhimo
Some scholars believe that Xu Zhimo, a poet, is unwilling to be lonely and is always pursuing new excitement and novel living methods. In his bones, in his dictionary of life, the boring, mediocre and ordinary life without fresh vitality is eliminated forever, and he is a bright red jumping flame. This attitude towards life is reflected in his concept of love, which is naturally colorful and intriguing. However, through this lively and jumping fire of life, I can occasionally see or even smell a few strands of helplessness and pain. In the chic pursuit of love, in the perfect pursuit of beauty, and in the admiration of freedom, destruction is implied. This is a helpless and painful choice. Either mediocre or vigorous to die.
Some scholars have deepened this view, thinking that Zhimo's short life, like a bright meteor, broke through the dead night sky and gave hope to hopeless people. However, Xiaoman's decadent attitude towards life in the later period, the entanglement of trivial housework and the hard work for a living all made the life situation of this bright meteor itself-Zhimo seriously distorted and degraded; The feeling of "too strong to melt" and the lightness and flexibility of "a splash of life" seem to have withered; Miscellaneous thoughts and impetuous attitude towards life gradually eroded Zhimo's pursuit of beauty, love and freedom, inspiring courage and chic life, and finally became "gloomy and gloomy".
Some scholars believe that the reason of 1926 poet's spiritual crisis is that the conflict between his ideal and reality is getting worse and worse, and the strong impulse to express and get rid of his inner anguish urges him to start self-analysis. However, after this self-dissection, Xu Zhimo did not re-establish a new ideal and adapt to the real society, but tried to guard his precarious ideal tower. The mental pain turned into later poetry anthology "Tiger Collection" and "Wandering in the Clouds", the content tended to be vague and mediocre, with more decadent colors, but the excessive pursuit of skills in form indicated that his creation was in crisis. From this perspective, this is a failed self-dissection.
Some scholars have expounded Xu Zhimo's personality structure in poetic language: "Being active" or even "wanting to fly" is the most important gene in Xu Zhimo's life ontology; "Motion" is the main line in Zhimo's ontology of life; "Emotion" is the blood in Zhimo's life ontology. Love is the nutrient of Zhimo's life; Beauty is the pillar of Zhimo's life; Freedom is the soul of Zhimo's life and his highest essence as a human being.
Some scholars believe that Xu Zhimo is an emotional poet, and his initial intention is fraternity and care. When he faces the poor and dark world alone, his heart is painful, lonely and lonely. He was unable to struggle and resist, so he had to write down sympathy and criticism. Xu Zhimo is different from Zhou Zuoren, whose humanitarianism emphasizes individualism because he is a literary thinker. Xu Zhimo is also different from Wen Yiduo. He thinks about nation and country because he is a patriot in literature. Xu Zhimo pays attention to the poor, the society and the times, because he is a young and talented poet, because he is a beautiful idealist, and because he is the unique Xu Zhimo.
Some scholars believe that Zhimo did not leave quietly, and he and his poems still shocked people's souls. Although Xu Zhimo was influenced by English romanticism, he was not entirely a romantic poet. Xu Zhimo played an irreplaceable role in the transformation of China's new poetry into modernism. Xu Zhimo is a great poet.
Some scholars disagree with this view, thinking that Zhimo is a pure poet, but not a great poet. Because his poems are beautiful, but not lofty. Zhimo is a pure man, and his personality determines that he can't be a revolutionary writer, nor a moral perfect man, but a person who is loyal to himself. While he is loyal to himself, he is also a gentleman.
On the Language Construction of Zhimo's Poems
Some scholars have expressed their views on "the aesthetic pursuit of Xu Zhimo's poems", and think that the spirit of expression is the poet Xu Zhimo's persistent aesthetic pursuit all his life. From a comparative point of view, Xu Zhimo is a poet who is good at expressing his mind, but shorter than describing the world. After experiencing the initial "overflow of irrelevant emotions" and paying little attention to form and skills, Xu Zhimo quickly turned his energy to the artistic aspects of poetry. Unlike some poets who only try in one aspect, he focuses on the whole, taking into account many factors of poetic art, and tries his best to achieve the perfection of poetic art as a whole. At the same time, Xu Zhimo, as the standard-bearer of the Crescent School, attaches great importance to the melody beauty of poetry. From the rhythm point of view, Zhimo not only pays attention to the neatness of the sound group (also called step or stop), but also pays attention to the sonority and peace of the rhythm. In terms of rhyme arrangement, Zhimo's poems adopt the even rhyme style commonly used in western poetry. Pursuing dynamic image and artistic conception beauty. Driven by emotion, the static state of an object becomes dynamic, thus having a flowing aesthetic feeling. The artistic conception in Zhimo's works is closely related to his "idealistic" vision, his poetic life and thoughts and romantic poetic thoughts. The cohesion and creation of poetry does not refine experience into warning words like philosophy, but the construction of creative artistic conception that transforms feelings and experiences into images.
By comparing Xu Zhimo's Dream by the Sea with Zhou's, some scholars believe that Xu Zhimo consciously or unconsciously accepted Liang Shiqiu's early views on the rhyme of the poem, and at the same time proved that Xu Zhimo did not agree with Wen Yiduo's "architectural beauty". Specifically: 1. The length of the line; 2. Symmetry of nodes; 3. Reconstruction of artistic conception and conciseness of images; 4. rhyme; 5. The use of double phonology; 6. Tone and syllable. At the same time, he thinks that although Zhimo didn't form his own creative theory, he promoted vernacular Chinese to a fluent, lively and poetic language, and his creative practice made great contributions to China's new poetry.
Some scholars believe that the exploration of the poetic form of Zhimo is "assimilated from foreign countries". For the application of meter, Zhimo is "meter contains freedom, and freedom contains meter". Zhimo's poems provide a successful example for solving the tension between vernacular Chinese and poetry, rules and freedom, nationality and learning from the West.
Some scholars discuss the relationship between Xu Zhimo and Hardy, Tagore, Goethe and others from Xu Zhimo's translation of Hardy's I Look in the Mirror and related comparisons.
On the Images in Zhimo's Poems
Some scholars have confirmed that Zhimo poetry is the product and crystallization of inheriting the national tradition and drawing lessons from the excellent western culture through the investigation of different images such as water and acacia, water and separation, water and freedom.
Some scholars have further elaborated: Influenced by the expression of flowing water by western poets, especially the British poet who has the greatest influence on Xu Zhimo, some of Xu Zhimo's poems have broken away from the characteristics of classical poems expressing implicit and restrained emotions through flowing water, and made new innovations in emotional expression intensity and expression methods. Compared with ancient poems, the forms of Xu Zhimo's poems, including the expression of flowing images, are free and diverse. In Zhimo's poems, the overlapping sentences and variant overlapping sentences about the image of flowing water are obviously used, and the expression techniques tend to be simple and popular.
Some scholars have made an explanation from Xu Zhimo's poetry strategy and cultural relevance: 1. The realization of "perfect spirit" Xu Zhimo's most important contribution to vernacular new poetry is the successful generation of poetic images. A. the psychological basis of Xu zhimo's composite image. B. Xu Zhimo regards the balanced spirit and natural harmony of English gentleman culture as the principle of combining images. In the process of pursuing "perfect spirit", Xu Zhimo not only successfully combined poetic images, but also the "accumulation" style in his creation can not be ignored. 2. The pursuit of "perfect figure". Under the background of China's turbulent transformation, Xu Zhimo spent a relatively relaxed juvenile growth period. He received a systematic education in a family atmosphere similar to Xanadu. When he was young, he had a wide range of interests in learning, and he was interested in astronomy and geography at all times, at home and abroad, and the foundation of Chinese studies was naturally very good. By inheriting and drawing lessons from China's traditional culture and western excellent culture, we have found the "perfect body" which can best express the "perfect spirit". .
About Zhimo and Hometown
Some scholars have profoundly expounded the relationship between Xu Zhimo and his hometown Haining from the perspective of regional culture: the formation of a culture first depends on its natural environment, and the lifestyle formed to adapt to this environment determines the personality characteristics of this culture. Due to the background of the whole era and the special regional culture, hometown means an ancient family, a lost childhood, a complex country and a new moon in memory, which means that it can only be a "paradise in the dust" and cannot be a poet's permanent "hometown of spiritual attachment" like Cambridge. Cambridge is the hometown of Xu Zhimo's spiritual attachment, and Haining is Xu Zhimo's emotionally unavoidable hometown. The separation of Xu Zhimo's body and spirit makes his high-spirited creation have a trace of tragedy. The spirituality of Cambridge conformed to the poet's mood at that time and became the spiritual hometown to soothe the poet's soul, which Shi Xia could not surpass. However, Cambridge can be the comfort of Xu Zhimo's soul because it has many similarities with his hometown. Cambridge is located in the southeast of England, near the Hekang River, and belongs to the maritime temperate broad-leaved forest climate, with warm winter and cool summer, foggy and rainy autumn and winter. The formation of Xu Zhimo's childhood personality mainly has the following factors: first, environmental factors such as family, relatives and friends, and region; The other is the whole education process. Education is the second environment for a person to grow up, and Xu Zhimo's thoughts and feelings clearly take studying abroad as a watershed. Although it shows great inconsistency, we can still see some childhood experiences in some details. Grandmother and mother doted on the young Xu Zhimo, which made him develop a laissez-faire nature from an early age. Cha Tongyu, a teacher with a strange tradition of thinking and behavior in a private school, also left a deep impression on him. Xu Zhimo's cousin Shen was Xu Zhimo's childhood confidant. In addition, a servant named Jia Lin of Xu Zhimo's family also left a deep impression on Xu Zhimo. The beautiful natural scenery of my hometown is also full of brilliance in Xu Zhimo's memory. Nostalgia is still the mainstream of Xu Zhimo's feelings for his hometown. These homesickness are reflected in the yearning for family, relatives and friends and the yearning for local customs. His conscious alienation has become a tragic factor in Xu Zhimo's life and some emotional keys to interpret future marital changes and father-son conflicts.
Some scholars believe that Mao Dun's class-conscious judgment on Xu Zhimo is still impressive even now: "Zhimo is the' pioneer' of China bourgeoisie and the' last generation' poet." "Mature appearance has light content, and this light content is nothing more than sentimental emotions-sadness like smoke, mysterious and symbolic pursuit of attachment: these are the characteristics of modern bourgeois poets who have developed to the final stage." This statement not only summarizes Xu Zhimo politically, but also summarizes Xu Zhimo from his lifestyle and way of thinking, but ignores Xu Zhimo's inherent cultural background, that is, his attachment to his hometown and countryside. Investigating the regional cultural characteristics of Xu Zhimo's creation is because "the regional cultural richness of literature is manifested in its imbalance." Xu Zhimo's regional cultural characteristics are hidden in his personal character and gentleness brought from England, and at the same time, due to the gentleness of Jiangnan culture, it is not clearly and violently displayed. But we can't deny that this is just "a strong or thin relationship between the study of regional culture and the tone of regional literature". "We should admit that the permeability of culture to literature is much wider, longer and stronger than that of politics." We should attach importance to this kind of thing and seek a reinterpretation of regional culture and writers' works in the development of local literature research today.
On the influence and contribution of Zhimo in other fields and other regions
Some scholars have expounded Xu Zhimo's dramatic contribution: Xu Zhimo's dramatic works have not been paid enough attention for a long time, which is directly related to his few works in dramatic creation. But besides writing, Xu Zhimo has done a lot for the development of China's new drama behind the scenes. Taking Bian Kungang as an example, this paper makes a historical investigation of Xu Zhimo's attitude towards the old and new dramas, and his actions in drama theory and practice can provide us with many new inspirations for today's research.
This famous poet from Taiwan Province Province introduced Xu Zhimo's influence in Taiwan Province Province to Ming: Xu Zhimo and his poems have different opinions in Taiwan Province Province, and many people directly criticized or praised him. Lin Hengtai, a native poet in Taiwan Province Province, thinks that Xu Zhimo's poems are too "plain". Mix, a critic of Mesozoic poetry, spoke highly of Xu Zhimo. He also said that if you want to know Xu Zhimo, you must be able to recite two poems, Accidental and A Farewell to Cambridge. However, in the poem "Xu Zhi Mo Zhi" compiled by Mesozoic poets in Taiwan Province Province in 1978, before 1950, only Yu Pingbo, Xu Yunuo, Dai Wangshu, Lvyuan, Xu Zhi Mo, Rao Mengkan and Shen were listed as predecessors, and the rest were all poets in Taiwan Province Province, and their esteem was self-evident.
Shinichi Watanabe, a Japanese scholar, introduced Xu Zhimo's research in Japan. Among Xu Zhimo's works,1published in Beijing Review No.87 1923, 165438 is the first one translated into Japanese and read by Japanese readers. Before the war, Xu Zhimo's works translated in Japan, and Who knows (1924165438+1October 9, included in the Poems of Zhimo) were published in the 45th issue of China Literature Monthly. The Modern Chinese Reader published by Shengu Hengbo 1929 included Xu Zhimo's prose Hua (Ye Ji). At the same time, after Japan invaded China and established Manchukuo, Manchukuo Review was founded in Dalian. The news that the poet Xu Zhimo fell to his death was published in the newsletter column of1931kloc-0/February 5. The content is as follows:
The Falling Death of Poet Xu Zhimo
1 65438+1October 19, a China airlines passenger plane flying from Nanjing to Beijing crashed in the south of Jinan, killing two crew members and1passengers (on the spot). This passenger is a famous poet Xu Zhimo. In the literary world of Chinese people, all kinds of schools rise and fall, and only Xu Zhimo sticks to the position of the art school and tells the minds of intellectuals with his incomparable gorgeous poems. The poet left behind his works, such as Poems of Zhimo, Balance of Paris, Anatomy, Collected Novels of Zhimo and Mary Mary, and passed away quietly. Xu studied in Europe and America and had contacts with Wales and Bernard Shaw. 13 years, taught at Peking University after returning to China. In addition, he co-published New Moon magazine with Hu Shi, Luo Longji and Liang Shiqiu. Last year, Xu applied for Peking University again. This time, he came (to Peking University? ) and rushed to Beijing. Xu was born in Haining, Zhejiang, at the age of 32. His wife, Ms. Lu Xiaoman, is good at calligraphy and painting, and is a well-known person in diplomatic circles.