Wang Jiaxin is one of the poets who experienced great changes and realized self-adjustment on the road of poetry. Some of his early short poems, such as Empty Valley, Awakening and Scorpion, are good at capturing some subtle situations in life experiences and have a meditative temperament. This brooding temperament remained until later writing. In the late 1980s and early 1990s, he wrote Ballads of Vallekino, A Woodcutter for Winter, Ci, Pasternak, Kafka and other works, which marked another change in his poetic style. These works can also be said to be poems expressing "commitment" experience: with the help of the object of singing, they express an unbearable experience of social turn acting on personal life. Inspired by the development of contemporary world poetry, Wang Jiaxin also created a series of "poetry fragment series" (ci, unique scenery, cliff climbing, etc. Its characteristics are neither poetry nor prose. The materials of his life abroad have been written into poems such as Death of brodsky, Elegy and London Essays. Wang Jiaxin is good at absorbing nutrition from his favorite literary masters, such as Kafka, Pasternak, Ye Zhi and brodsky, and positioning his literary goals on the basis of reflection and criticism of the times and social history. While writing poetry, Wang Jiaxin also wrote a large number of poetry papers, reflecting and commenting on the contemporary poetry phenomenon and poetry pursuit.
Wang Jiaxin's masterpiece is Pasternak. Pasternak, a poet of the former Soviet Union, is the object of Wang Jiaxin's singing and pouring out in this poem, in order to achieve "a silent closeness to the soul". Before analyzing the poem itself, it is best to know about the poet: Pasternak was originally a modern poet who paid attention to self-experience, but after the founding of the Soviet Union, he was gradually deprived of the right to write freely. After a long silence, he published his novel doctor zhivago in the late 1950s, which was severely criticized by China for being awarded the Nobel Prize in Literature. After that, he had to yield to this autocratic pressure until his death. Obviously, the image of Pasternak in this poem has a strong subjective color of the poet Wang Jiaxin. In his words, Pasternak "lived longer and experienced more difficult years than other poets in the Soviet dictatorship ... He was a" undertaker ". But his life was not to make peace in the dark ages, but to maintain his beliefs and conscience and bear more pain and pressure than the dead.
In the poem Pasternak, Wang Jiaxin described the poet's situation and spirit like this: "Your mouth is more silent, which is the secret of//fate. You can't say/just bear, bear, deepen the notch/give up in your pen in order to get/live, and you ask yourself to die completely. " Almost all the images in the poem focus on the sufferings of the times: "those exiles, victims, witnesses, those souls who met in the tremor of mass/those souls who shone in death, and my own land!" Tears in the eyes of northern livestock/maple leaves burning in the wind/darkness and hunger in people's stomachs ... "In the face of suffering, the only choice is to bear it. Pasternak can only defend his Russia if he bears a crazier snowstorm, and the result he bears is no longer painful. " This is happiness, the highest rule that rises from the bottom of my heart. "Poetry itself has clearly expressed these intentions and said everything it can, which was very shocking in China in the early 1990s. So once this poem was published, it was circulated for a period of time. It recognized the suffering image of an era with personal wisdom and sadness, and then established a noble scale of existence that requires suffering and facing the soul directly.
Perhaps the latter is the more fundamental motivation for Wang Jiaxin to write this poem. The scale of this existence is given by Pasternak: "This is you, you found me from one disaster after another/tested me, and made my life suddenly miserable"; "Not suffering, is your last bear. /Still unstoppable. Come to us. //Explore us. It requires a symmetry and/or a requiem that is more exciting than the echo "; This is the sadness in your eyes, asking, questioning and oppressing my soul. Obviously, the individualization tendency in this poem does not emphasize the withdrawal from the times, nor does it evade the responsibility for the times and the absolute rebellion against tradition, but the inevitable encounter between man and the world, which is manifested in the individual's initiative to inherit the human spirit of the past and bear all the pressures of the times on human destiny and life by virtue of his own existence. In this sense, Pasternak is actually a spiritual symbol. He is the spiritual height that Wang Jiaxin represents for himself and his contemporaries, so as to reflect on himself and cleanse the fog in his heart.
It is through this commitment that individuals can truly become individuals. This means bidding farewell to the craze and noise of fashion, penetrating frivolous words and behaviors, and adhering to a principle that truly belongs to the inner conscience and belongs to all mankind. The embodiment of this principle in poetry is that although you can't live according to your own heart, you should write according to your own heart. This means that this poem reveals another revelation of Pasternak, that is, insisting on inner writing: "From the vast fog, it reveals not only the inspiration of Russia, but also the poem itself is coming to me: it once again constitutes my trial ..." It should be said that this poem does provide a poetic scale, and writing is a concrete form of personal commitment to the times. To borrow Wang Jiaxin's own words written elsewhere, writing is ". As for the internalization of writing, it means "turning lifelong loneliness into labor", which is actually a portrayal of Pasternak in his poems. He has always been praised as a poet who writes according to his inner conscience. He rejected the worldly noise with his silent mouth and entered the loneliness and sadness of the spiritual world. The affectionate singing of this image in the poem is also the poet's confirmation and internal constraint on his own individual existence.
The artistic achievement of Pasternak is mainly regarded as creating a "depth image". This means that it maintains a simple and direct expression from beginning to end, with few rhetoric that needs special interpretation and no decorative images floating on the surface of the language. All words are used to create an internalized image, that is, everything mentioned above. This is fundamentally a kind of arbitrary writing: the impulse to express all comes from the poet's purest and most internalized requirements.