Two modern ancient poems

To the Oak If I love you, I will never show off myself with your high branches like climbing Campbell: If I love you, I will never imitate spoony birds and repeat monotonous songs for the shade; It is not only like spring, but also brings cool comfort all year round; It is not just like a dangerous peak, it increases your height and sets off your dignity. Even during the day. Even spring rain. No, these are not enough! I must be a kapok beside you, standing with you as a tree. Roots, close to the ground, leaves, lingering in the clouds. Every time a gust of wind blows, we greet each other, but no one understands us. You have your copper branches and iron stems, like a knife, like a sword, like a halberd, I have my red flowers, like a heavy sigh, like a heroic torch, and we share the cold wave, storm and thunderbolt; We * * * enjoy the mist and rainbow, as if we were separated forever, but we were dependent on each other for life. This is great love, and here is firmness: not only love your stalwart body, but also love your stand and the land under your feet. Shu Ting, formerly known as Gong, was born in shima town, Fujian, 1952. 1969 went to the countryside to jump the queue, 1972 went back to the city as a worker. 1979 began to publish poetry. 65438-0980 worked in Fujian Federation of Literary and Art Circles, engaged in professional writing. His main works include poetry collection "Double Mast Boat", "Singing Iris", "Archaeopteryx" and prose collection "Heart Smoke". Shu Ting is one of the representative writers of the misty poetry school, and enjoys the same fame as Beidao and Gu Cheng. But in fact, her poems are closer to the traditional poets of the previous generation, and her resistance is much less. Shu Ting is good at introspecting the rhythm of self-emotion, especially showing the unique sensitivity of women in grasping complex and meticulous emotional experience. The complexity and richness of emotions are often manifested through special sentence twists and turns such as assumptions and concessions. Shu Ting can also find sharp and profound poetic philosophy (goddess peak and Hui 'an daughter) in some conventional phenomena that are often ignored by people, and write this discovery with both speculative power and touching feelings. Shu Ting's poems have bright images and meticulous and smooth thinking logic. In this respect, her poems are not "hazy". Poetry, on the other hand, mostly uses metaphors, partial or whole symbols, and rarely expresses itself, so the images expressed are vague. Grasping this point, it is not difficult to interpret Shu Ting's misty poems. To the Oak Tree enthusiastically and frankly sang the poet's personality ideal. Oak and kapok stand side by side, facing each other affectionately in an independent manner, which can be said to be a group of symbolic images with brand-new character in China's love poems. The establishment of this group of images not only denies the old relationship between men and women based on personal attachment, but also transcends the principle of mutual love that sacrifices oneself and only pays attention to each other. It perfectly embodies the modern gender character full of humanistic spirit: sincere and noble mutual love should be based on not giving up their independent positions and personalities. This is a great-span transcendence of personality over predecessors in gender concept in the new period. This transcendence comes from women's long-standing look up and sympathy, which is even more commendable. Poetry praises and praises the ideal of love, which is based on extremely ideological and powerful negation. The whole poem ***36 lines. Lines 1 to 13 make a symbolic analogy with a series of natural objects, which profoundly denies the persistence (Lingxiaohua) and unilateral dedication (Dangerous Peak), which are based on one party's depression, atrophy and sacrifice, and form a profound and powerful contrast with the modern love ideal with opposite values. 14 to 3 1 lines positively express the ideal view of love: the two sides of love are completely equal in personality, which not only maintains their independent personalities, but also supports each other and goes hand in hand. Line 32-36 Portrait love should not only love the personalities of both parties, but also love his ideal-loyalty to the motherland. Xu Zhimo's "Farewell to Cambridge, Farewell to Cambridge" I left gently, just as I came gently; I waved my hand gently and bid farewell to the clouds in the western sky. The golden willow by the river is the beautiful shadow of the bride in the sunset, rippling in my heart. Green grass on the soft mud, oily, swaying at the bottom of the water; In the gentle waves of He Kanghe River, I would like to be a pool under the shade of aquatic plants, not a clear spring, but a rainbow in the sky broken among floating algae, precipitating a rainbow-like dream. Looking for dreams? Supporting a long pole, wandering to a greener place on the grass, loading a boat with starlight, singing in the splendor of starlight, but I can't sing, just a farewell flute quietly; Summer insects are also silent for me, silence is Cambridge tonight! I left quietly, just as I came quietly; I waved my sleeve without taking away a cloud. 1 1 June 6th Note: It was written on June 6th 1928, 165438, first published in New Moon Monthly on February 6th 1928, 10, and signed by Xu Zhimo. Cambridge, the seat of the famous Cambridge University in Britain. 1June 920 to1October 1922, the poet studied here. The Cambridge period was a turning point in Xu Zhimo's life. The poet once came from director Chen in the preface to the tiger: before the age of 24, his interest in poetry was far less than that in relativity or civil contract theory. It was the He Kang River that opened the poet's soul and awakened his long-dormant fate. So he later said with deep affection, "Cambridge taught me to broaden my horizons. My thirst for knowledge was aroused by Cambridge, and my self-awareness was given to me by Cambridge." (Smoking and Culture) 1928, the poet revisited his old place. 1On October 6th, he wrote this masterpiece on his way home from Nanhai. This poem was first published in1February, 928, New Moon Monthly, Volume 10, and later included in Tiger Collection. It can be said that "Cambridge complex" runs through Xu Zhimo's poems all his life. Farewell to Cambridge is undoubtedly the most famous one. Section 1 is about thousands of parting worries when long-lost classmates leave their alma mater. The use of the three words "tenderness" makes us feel that the poet seems to stand on tiptoe, like a breeze, quietly swinging away; The deepest relationship has become a "floating cloud in the western world" with little effort. Verses 2 to 6 describe the poet boating on the He Kang River in search of his dreams. The golden willow covered with sunset glow, the green grass on the soft mud and the pool under the shade of the tree have a panoramic view. The two metaphors are quite accurate: the first one boldly imagines the "golden willow by the river" as a "bride in the sunset", which makes the dead scenery become a living thing, warm and pleasant; The second is that the clear pool water is suspected to be a "rainbow in the sky", but it has been crushed by floating algae and turned into a "rainbow-like dream". It is in "Crazy in Love" that poets, such as Zhuang Zhoumeng Butterfly, are interested in things and me, feel that "beautiful shadows are rippling in my heart" and are willing to be the swaying water plants in the gentle waves of He Kanghe. This good structure of the unity of subject and object is not only a wonderful hand, but also a painstaking effort; In verses 5 and 6, the poet opens up a new artistic conception. Borrowing the four refrain "Dream/Dream", "A boat full of starlight,/Singing in the starlight", "Singing,/But I can't sing" and "Summer insects are silent for me/silence is the Cambridge tonight", the whole poem is pushed to a climax, just like the He Kang River, full of twists and turns! And his madness of singing in greener grass and bright stars has not been realized. At this time, his silence is more than how many sweet words! The last section has three "quietness" corresponding to the first cycle. Come smartly, go smartly. With a wave of his sleeve, what shook off? Needless to say. Why take away a cloud when you've been in Cambridge once? The whole poem is the best description of Xu Zhimo's "poetic life" in one go. Hu Shi once said: "His outlook on life is really a' simple belief', and there are only three big characters in it: one is love, the other is freedom, and the third is beauty. He dreams that these three ideal conditions can be met in his life, which is his' pure belief'. The history of his life is only the history of his pursuit of this simple belief. " (In memory of Xu Zhimo) If so, isn't the poet's wandering by the He Kang River a microcosm of this pursuit? Xu Zhimo advocates artistic poetry. He deeply admired Yiduo's poetic ideas of beauty in music, painting and architecture, especially in music. He even said, "... only when we understand that the life of poetry lies in its internal rhythm can we appreciate the true interest of poetry: no matter how noble your thoughts are and how passionate your emotions are, you have to use them thoroughly to' musicalize' (that is, poeticize) in order to gain an understanding of poetry ..." (Poetry Publishing Holiday). On the other hand, this poem "Biekangqiao": the whole poem consists of seven sections, four lines each, two meals each, eclectic, rigorous, rhyming strictly, two or four rhymes, cadence and catchy. This beautiful rhythm ripples like ripples, which is not only the voice of pious students seeking dreams, but also conforms to the ebb and flow of poets' emotions and has a unique aesthetic pleasure. The seven verses are strewn at random, and the rhythm is slowly spread out in them, which is quite a poet's temperament of "white robe and thin suburbs". It can be said that it embodies Xu Zhimo's poetic beauty thought.