Name of the work: Haiyun Publication Date: 1925 Aug. 17 Author: Xu Zhimo Type of work: Poetry
original work
"Girl, single girl, why do you miss the seaside at dusk? -Girl, go home, girl! " "Oh no; I won't go home, I love the night wind blowing: "-on the beach, in the twilight, there is a girl-wandering, wandering." Girl, girl, why are you wandering in this deserted sea? Girl, go home, girl! " "Oh no; You listen to me, the sea, I sing, and you say, "Under the starlight and the cool wind, the girl's voice is swaying gently-singing high and singing low." Three "girls, bold girls! There was a dark day, and a bad storm came in an instant-girl, go home, girl! " "Oh no; Watch me dance in the air, imitating a seagull without waves: "-in the dark, on the beach, a slim figure rotates-dancing, dancing." Listen, anger of the sea, girl, go home, girl! Look, the wild waves, girl, go home, girl! " "Oh no; Haibo can't swallow me, I love the turbulence of the sea! " In the tide, in the waves, ah, a flustered Harmo girl, wasted, wasted. Miss Wubo, where is it, girl? Where's your loud voice? Where is your graceful figure? Where, ah, brave girl? "The night engulfed the splendor, and there was no light at the seaside; The tide engulfed the beach, and there were no girls on the beach-no girls! Note: This poem was published in August 1925 "Morning News". [ 1]
works appreciation
Narrative lyric poetry occupies a considerable proportion in Xu Zhimo's poems, and Haiyun is one of them. In the writing of such poems, narrative language inevitably persecutes reading. This compulsion comes from modern poetry-because in traditional narrative poems, such as Peacock Flying Southeast and Mulan Ci, narrative language and lyric language appear from different levels, which is clear at a glance, but what has happened or may happen. However, in modern poetry, such as Xu Zhimo's Hai Yun, narrative language and lyric language are integrated, and the narrative function of language can only be determined after reading through. Moreover, the more essential difference is that the narrative of modern narrative lyric poetry is not a direct life experience, nor an experience that may be verified by life (but it is not incredible). The colloquial and lyrical language, simple and clear image and simple and linear plot development of Haiyun, after reading it, poetic expression will be combined with complete plot explanation. The single lady lingered-singing-dancing-submerged in the sea foam-and disappeared from the beach. This is not a true story of lovelorn self-destruction. But in the final analysis, Xu Zhimo used the plot of this story or similar stories. Xu Zhimo's poems still accept the basic conception mode of traditional narrative poems, that is, the characters have appearances and endings, and the plot has ups and downs. But this character is a virtual character, and this plot is an enlarged behavioral "possibility". In Haiyun, The Single Lady doesn't or doesn't need to contain the meaning of life, moral commitment and ethical will. She is neither like Liu Lanzhi nor Mulan, nor a specific "person" in real life. She is just a possibility in modern life. Therefore, her wandering, singing, dancing, drowning and disappearing are just a "possible course of action", which is a brand-new feature of Haiyun. Girls, the sea, and girls' behaviors at the seaside are all particularly persecuted and boundless, because they are symbols of the suspended spiritual status quo. Due to the infinite expansion of the meaning indicated by symbols and narrative language, the whole poem far exceeds the poetic expression of traditional narrative poems. Although the language of Hai Yun is quite simple, its implication, width and complexity can be understood repeatedly in reading. The first section is a single lady with long hair and lingering, which makes people miss. Her answer is just "I love the night breeze". The sea is as sinister as life and always more mysterious than life. Its eternity is fascinating. The lonely girl who is far away from life demands "the sea, I sing and you make peace", which is not only heroic and arrogant, but also because of her persistence and firmness in eternal heroism and arrogance. So when storm warning is evil, she wants to "learn from a seagull without waves." Seagull is the spirit of the sea, and spirit and faith are the wings of human beings. Although the girl is thin, her belief is firm. But the ruthless sea will eventually engulf this girl who loves the turmoil of the sea. The struggle against nature and eternity is an eternal struggle. The girl's "waste" has also become sad. However, the girl was not really defeated and disappeared completely. In Hemingway's The Old Man and the Sea, the old man returned empty-handed, but the spirit of "invincible" has since filled the human mind. Zweig's famous prose "Tomb of the Sea" eulogizes the eternal pursuit will of mankind with the eternal melody of music. Xu Zhimo's Hai Yun finally pushed the whole poem to a climax with urgent call, metaphysical questioning and rich lyricism, leaving readers with a broad and far-reaching ideological space. "Girl, where, girl? /What about your loud voice? /Where is your graceful figure? /Where, ah, brave girl? " I have pursued, fought and sung, so I am brave, so I will still be eulogized and become the source of my pursuit. Hai Yun is an excellent imitation of the eternal rhythm of the sea in the last section. Unfortunately, Xu Zhimo's conception of "Haiyun" draws lessons from the traditional narrative poem mode, which may make him not create a new narrative lyric expression in the end. But as far as the poem "Hai Yun" is concerned, the expression still has its own uniqueness. On the one hand, the poet is obsessed with the "story" of poetry, on the other hand, he does not appear in poetry in the form of the narrator "I". Not only did he not express "I", but he also hid "I" behind the whole story, allowing the story to unfold leisurely in the lyrical dialogue between the two characters. In this way, the poetic expression of narrative lyric poetry has dual functions, on the one hand, it is the lyric of the characters themselves in the story, on the other hand, it is the strong emotional guidance of the narrative poet. The lyrical effect of the five independent parts of Hai Yun can not be ignored, and the lyricism of each independent part finally meets at the end, forming a lyrical climax with the poet's ideological intention and lyricism. [ 1]