Xiao Yu (Poetry Collection) 1925, Beixin
Sculptor Michelangelo (Biography) 1926, Business.
Song for happiness (poetry anthology) 1926, Business.
Diners and murderers (poetry anthology) 1927, Beixin.
Summary of Italy and its Art (Art History) 1928, Business.
German Literature ABC (History of Literature) 1928, World Bookstore.
Exotic sentiment (poetry anthology) 1942, business
Haunted house (novel), etc., 1949, Guangzhou Wenhua magazine.
Piaoguangbi (Poetry Collection) 1964, Returned Overseas Chinese Publishing House.
Li Jinfa's Poetry 1987, Sichuan Literature and Art.
Translation bibliography:
Biti, an ancient Greek love song (poetry anthology), 1928, Enlightened.
Diary of Madame Tolstoy 193 1, Shanghai Huatong Bookstore.
Among many new poets, Li Jinfa's works are the richest and fastest. 1920-2003 wrote Slight Rain in Berlin, 1926 wrote Song for Happiness in Literature Research Association, and 1927 wrote Diners and Bad Years in Beixin, all of which are thick collections. Although they are all monotonous words and the same genre, China's modern symbolism poetry started from Li Jinfa, so it can't be said that he didn't contribute to the field of new poetry. Like western symbolism, Li's works have the following characteristics:
First, it is difficult to understand the meaning of obscurity. The Illustrated History of French Literature written by Granci said that after romanticism, there was a high school, and after high school, there was a symbolism. Symbolism against high dance means that its writing is too mechanical and its form is too embellished. Even for Coppe and others, prose is plain and beautiful, which means that their thoughts and feelings are suffocated by heavy and clear words. Wei Lun said that poetry is just music and should have beautiful rhyme, but it doesn't need to be too clear. It is also said that poets must have no organization (sanecomposition) and no eloquence (sanecomposition). JohnMacy wrote in the History of World Literature, "Wei Lun's poems are bold and unrestrained revelations of his feelings, likes and dislikes, hopes and despair. His attitude towards words almost ignores the classical rules of French poetry and only relies on internal melody, which will never go wrong. " The first principle of his poetics is: "Music is above everything else, there is no intelligence, no machine argument, no rhetoric, only music exists forever." Grangis also said: "Malaheim always said that poetry should try to avoid clarity and certainty, so his poems are extremely vague and difficult to understand."
None of Li Jinfa's poems can be fully understood, and he knows it himself, so he often declares: "I love singing without beating time and reciting poems." Ah, it's not necessarily in the same tune. East and West share the same song Xiao (The Remnant Road). "You said a' you' to me, and I understand that it only represents' me'. Oh! Why is there something stupid? "(Old Friend)." Our hearts are full of silent joy, such as the vibration of light gas in the air. He added: "If people talk about my name, they will just say it's a secret. Poets who love Qiu Meng and beauty have a little chant in their pride. "
Second, the art of nerves is characterized by nervousness, and poets who symbolize decadence are particularly sensitive. Decadent poets need intense and peculiar stimulation, while symbolic poets have rich and unusual hallucinations. Matnordau, a Jewish doctor, discussed it in detail in his book Degeneration. Excessive use will develop nerves, such as musicians' ears and painters' eyes. Ranbo (A. Rambo) said that vowels are colored; Baudelaire said that fragrance and color are consistent with sound, which is an example. Li Jinfa's so-called "one arm is in trouble, and there are countless colors", "with your sharp slave, you spill green blood" and "the prince with green blood is full of sadness and acid" are all visualized. "The night and mosquitoes walk hand in hand in Xu Lai. The shorter the corner, the more they roar behind my innocent ears, like a strong wind whistling, shaking countless nomads." No matter how loud the mosquito is, it can't compare with the whistling wind. The author's keen hearing is no different from that of ants under the bed. It's also strange to hear "not guilty".
Symbolist poets are full of fantasies and often fall into mysterious delirium, such as W Blake, an English poet in the18th century, who is familiar with the actions of angels and ghosts. The same is true of Li Jinfa's "Magic on a Cold Night": the night outside the window has dyed the lonely guest's heart blue, and there is an irresistible air conditioning, trying to break all the space retention and inner courage.
I was writing straight on my elbow when my heart jumped, my knees trembled and there was a noise behind my ears.
Like a businessman dragging goods away,
Like a cat and a dog arguing under a low wall.
Paris is also very thin, and all the temples and towers you can see are high above.
Like the hand of a dead god.
The water of the Seine is rushing under the door, carrying countless human bodies and livestock, ferrying people,
Also caught off guard.
I suddenly stood on the path,
Hands led by man and beast,
I also feel that I have a lifelong guarantor, which is not surprising.
Those who follow me,
Follow in my footsteps.
Will enter the garden gate.
You can see the magnificent palace,
Suddenly I feel that the hands of man and beast are so cold.
I fell to the floor in horror,
Close your eyes,
The limbs are as cold as a cold night.
The "small country" is associated with the original era and is portrayed vividly, but it is an illusion. Li Jinfa is always proud of the cloud: "His eyes often observe the joys and sorrows of all things and sigh for his own joy and sorrow. Hold it like a pen and write a small photo of the ghost and the stars running. " (poet)
Third, sentimental mood. Since the poet's five senses are so sensitive, the response of the soul to touch is self-evident. Therefore, some people say that the poet's heart is like the wind playing the piano. When the breeze comes, it makes an ethereal sound. There are countless words in Li Jinfa's poems, such as wailing, sadness, sadness and terror. For example, "I have all kinds of troubles, unprovoked terror", "Countless sorrows sway in space, and finally there is no end or beginning", "I looked up and couldn't tell my sorrow to my youth" and "I cried because of the weakness of God's spirit to mankind ... There were countless thunders behind my ears, and my heart shook badly. I found that the era was dead and cried at its grave.
Fourthly, the color of the decadent school and symbolism are in the same strain, and the colors of the writers of these two schools are the same, which has been briefly discussed earlier. For example, Li Jinfa's poems, such as "evil good friend, walk slowly and accompany my limbs", "gorgeous spring and rippling microwave bring the warmth of a desert island, warm our cold heart and a soul defiled as mud", "My broken heart wheel rotates forever under the mud", "The flame of seven feet of lust burns at the top of my hair" and "I am bathed in the blood of the devil"
V. Exotic Feelings After the publication of Slight Rain by Li Jinfa, most readers said, "Although we don't know his poems, we always love his exotic feelings." Really, most of Li's poems were written in France, Paris, Berlin, Germany and other places, which naturally became exotic. Now choose his song "Love You" as an example:
The woman under the kitchen is in love with you: gently move the white headscarf and black wooden shovel in her hand,
But there's always one eye.
If you are thirsty, she has milk, lemonade and champagne.
You are bored, she sang.
The soul is immortal, and there is "Rienquenousdeux" (meaning only the two of us).
Growing up in her grandmother's village, she knows all the differences between big leaf grass, pupae and crickets.
Comparison between sunflower and chrysanthemum.
She doesn't envy your success as a teenager,
It seems to say "spiritual combination" If she trysts with you,
This is the success of your efforts.
If we study Li Jinfa's poetic art, we must first find the strangeness of conceptual connection. For example, the ancients in China described the scenery in late spring as "green, dark, red and thin". Leaves are green, flowers are red, black, thick and thin, which is really wonderful, and Li Qingzhao's "green fat and red thin" is even more wonderful. Because obesity is often used to describe people or animals, you should never add flowers and plants. Today, I suddenly said "green and fat, red and thin", and I was particularly surprised to connect with a place with the concept of never being connected. The same is true of others, such as "pampering Liu Jiaohua" and "deceiving cigarettes and trapping Liu". Li Jinfa's poems are like the word "product" of "abandoning his wife's worries and accumulating in action"; The word "aging" is "the mourning of aging skirts"; The word "singing" means "the pulse of blood vessels shows the singing of death"; "One or two countless tourists rule the blue world" and the word "rule"; The word "colleague" that "colleague of poplar also sang together" is invincible. Second, he is good at using anthropomorphism, but it is more peculiar and full of fantasy than Wen Yiduo. For example, "Sunny spring reveals Iraq's small eyes and is staring at my back and face", "There is no way for bees to get out of the cave in sunny spring" and "Everything is red with love ... The moonlight still shines on the branches" flickering ". Again, the ellipsis method. Although the old-fashioned so-called "from beginning to end" is not enough, every poem has a certain organization, which is an indelible principle. However, Li Jinfa's works don't talk about organic laws at all, or omit a few lines in a chapter, or a few words in a few lines, or a few numbers in a few words, so his poems become extremely ambiguous. Such as "self-titled painting":
That is, the moon passes through Jiang Yi,
Smile at the purple forest, the soul of Jesus,
Oh, so sentimental.
Thanks to these hands and feet,
Although it is still rare,
But after enough sleep,
In the past, soldiers wore armor,
Strength can kill tigers!
Me? Feel ashamed.
As hot as the sun,
As gray as a crescent moon in the clouds.
I have a shoe and a tie, and I have feathers from a corner of the world where I can walk. There are too many things!
It is understandable to write two sentences about the scenery in the first section. Suddenly and inexplicably, I pressed the button that Christians are too affectionate. The explanation about the middle is omitted. The second section, "Although it is still less", is about using less force. "Me? Hey. " I have the strength to fight tigers, but I am shy. The third section is "hot as the sun, gray as the crescent moon in the clouds." I describe myself, but I can't guess what it means because too many words are omitted in the middle. Li Jinfa's words are often meaningless because of his great interest in ellipsis, as can be seen from the above quotation "although it is still rare".
Although Li Jinfa writes poems in vernacular Chinese, he likes to mix with classical Chinese, and "zhi" is the most used. There are many other function words. For example, "cherish my husband, the black wooden frame, we have lost its feeling" and "when will we lose ourselves?" Wolves and wild horses live forever in desolation ","I'm tired of the growing Weihe River "and" I am integrated with the clock ",which are the author's unique styles, but they are his disgusting faults.