To talk about Cang Kejia's poetic achievements, generally speaking, it is naturally difficult to look back at Du Lisu's letter. If you choose Cang Kejia's masterpiece, you may not be as good as every work of the great ancient poets. Just say his "Old Horse":
You have to let the cart fill it up,
It didn't say a word anyway.
The pressure on the back got stuck in the meat,
It hung its head heavily.
I don't know my life at the moment,
It will only swallow tears in its heart.
A whip shadow floated before my eyes,
It looked up at the front.
This kind of work is not as good as Three Hundred Tang Poems. Just eight sentences, much like a metrical poem, the content of the theme and the concise and heavy style are beyond the reach of many famous works of the seven laws of the Tang Dynasty. Horses used to be an indispensable production tool for farmers in the north, such as plowing cattle in the south. The image of the old horse suffering silently is also very similar to the character of the peasants in old China (not Zhu Laozhong, of course, but Yan). He is hard-working, taciturn, resigned and persevering. Even though Cang Kejia himself explained that he "didn't intend to use it to symbolize the fate of farmers", literary historians have always believed that the image of "old horse" portrayed by the poet is a vivid portrayal of farmers in old China, and he likes to praise Cang Kejia as a "farmer poet".
The art of the old horse is very exquisite. This exquisite package in a simple language, it can not but be as simple as farmers. The first sentence and the second sentence are completely said by farmers, so simple that they are not like some people's poems. The previous sentence seems to be a cliche among farmers, but it is unusual for poets. "Enough packing" not only writes that the load on the old horse has reached the limit, but also sets up the stage first and takes care of the latter sentence more effectively. A montage combination of endlessly increasing oppression and helplessly enduring it, unless a person with a heart of stone is unmoved. In three or four sentences, the depth of rendering, "buckle in the meat" makes the pain of load-bearing particularly vivid, and the image is physically unbearable. China's old style words, divided into upper and lower parts, have the traditional technique of "upper reality and lower emptiness". These four sentences, like last words, describe the real physical torture suffered by the old horse, which is immeasurable. Then the next four sentences can be described as empty writing, aiming to show the mental pain of the old horse. The fifth sentence States that the old horse has to endure the threat of death while suffering, and the sixth sentence depicts the humiliating mentality of the weak who are unable to resist and do not want to resist. The seventh sentence is about spirit, because the whip didn't fall on the horse, and I didn't mean to focus on the whip mark. The pain caused by this whip shadow is worse than falling on the body. It's a kind of spiritual fear, which lasts all the time, not just a whip. In the eighth sentence, "look ahead", the old horse seems to hope for a better fate, but the reality does not allow him to have hope, and the prospects are dim and the sea of suffering is endless. The pain of hope disillusionment is greater than the pain of the body.
Although Cang Kejia was a new poet, he did not lose the legacy of Jia Dao, an ancient poet, and was very particular about the refinement of Chinese characters. He boasted, "I write poetry as seriously as I do." I don't scribble much. Often for the sake of a sentence, a person walks in the dusk. "In the first poem" The Refugee "in" Brand ",the first two sentences are:" The sun has set its nest/the crow's wings have not completely dissolved at dusk ". The first draft of the latter sentence was originally "the wings of the homing crow were surprised at dusk", and the second draft was changed to "the wings of the homing crow can still be recognized at dusk". The final version is the word "dissolved", which is more accurate than the first two sentences. From the old horse, we can also see several successful refined words: "enough", "buckle" and "gone with the wind", and the word "buckle" is especially wonderful. During the "Cultural Revolution", authorities and academic authorities were criticized, and signs with crossed names hung around their necks. The malicious person changed the thick hemp rope into thin iron wire, and the' re soaked in water again. Anyone who has suffered this kind of torture can easily understand the wonderful use of this "buckle". I also marvel at the rhyme of the old horse. There is only one short poem with eight lines, and I dare not rhyme at the end, so I risked four different rhymes. It's even more dangerous to gamble by jumping. One or three sentences are enough, two or four sentences are finished, five or seven sentences are fate, shadow and six or eight sentences are swallowed up. How difficult it is to jump around with two rhymes! If anything goes wrong, the whole thing will be in chaos. Fortunately, it was placed in an orderly way, and he replied that "infinite scenery is at a dangerous peak."
Such a deep, thick, concise, simple and subtle poem is like a master in the quatrains of Tang poetry. Du Fu has a five-law "Sick Horse" with the same theme: "Sitting on a bus for a long time is cold. When the dust is exhausted, the disease is sad at the end of the year. Hair and bones are extraordinary and gentle. Things are not shallow, and I am deeply moved. " A sick horse is worse than an old one. Even though Du Fu is a poet, as the saying goes, the phoenix sometimes flies low. It is said that Old Horse was recommended by Wen Yiduo. A few years ago, Xinyue published a poem of the same name "Old Horse". Wen Yiduo, the author, is also a crescent poem of "Dried Tofu", which is twice as long as Cang Kejia's. However, the ideological capacity and moving power of the works are far less than that of Cang Kejia, so we can read them by comparison. In 1930s, Cang Kejia, headed by Wen Yiduo, pioneered New Moon and Looking at You. Even compared with Wen Yiduo's masterpiece Dead Water, Old Horse seems to be more mature and perfect according to Wen Yiduo's "three beauties" theory. "Dead Water" has a slight deliberate trace and is a bit heavy. In pursuit of the beauty of painting, colorful "Emerald", "Peach Blossom", "Rocky" and "Xia Yun" are nothing more than vivid descriptions of smelly ponds, as if fashion models had entered the machine repair workshop. The beauty of the old horse painting is not in the color block, but in the sketch. The overall gloom is really that colorless is better than colored here. Lao Ma is more in line with "three beauties" and "new moon" than some works originally published by Cang Kejia in "New Moon". This is also an insurmountable masterpiece of Cang Kejia's own works.
Cang Kejia appeared in the poetry circle, which was the time when the poetry circle was expecting new outstanding poets. The "China Poetry Society", which pays attention to reality, expresses revolutionary lofty sentiments with all its strength, but ignores artistic tempering, so that lofty sentiments lose their empty cry without image support; However, the crescent school, obsessed with art, tirelessly explores the new rhythm of poetry, but it is limited by its own feelings and it is difficult to forget the issue of social responsibility. Cang Kejia just takes the advantages of both and avoids the disadvantages. Therefore, the book Brand, a collection of poems including Old Horse, is a thin volume, less than 100 pages, with only more than 20 short poems. Once published, it has attracted attention for a period of time and should be reasonable.
Cang Kejia is ambitious. He once said, "I would like to be a Kansai man and sing" River of No Return "on the iron plate". Listen to this. During the period of "brand", Cang Kejia, after all, sang "Yang Liuan Xiaofeng Canyue", and it was difficult to get high marks. Turning to the brand, there are many topics such as "old horse", "old man" and "big brother". Although the word "fisherman" does not have the word "old", the word "Weng" has the meaning of aging. Others such as "refugees", "charcoal ghosts", "women who cook stoves", "foreign rickshaw pullers" and "fishmongers" are all untouchables at the bottom of society. Or write "Trouble", "Escape from Famine", "Night in the City" and "Cemetery of the Nations", which is of course a lament for the poor fate. That is, "life", the title has no inclination, and the poem clearly States that this life is "10 thousand backstabbing arrows lurking around you/acting rashly for 1000 times" Even the song marked "Hope" is still an incurable "endless overpass". Wen Yiduo was right: "It is more appropriate for me to take Meng Jiao to Bike's house." The suburbs are thin and the islands are cold, artistically like Cang Kejia lamented by Jia Dao. Later, his poetic style did change, but he never sang boldly like Kansai Han. Throughout his life, this poet who created the "brand" is the most popular in the history of literature. Cang Kejia has been coquettish for some time, and talents from all walks of life come forth in large numbers. Soon, he is bound to give way to the author with a new poetic style. He is Ai Qing, who overcame the lament, held the torch high and looked up at the sun.
Attached Wen Gu Lao Ma:
That is an old horse that has experienced wind and rain.
Drag the raccoon's two wheels straight ahead;
The weight of the car exhausted it,
Don't ask about the ice wind and the rough road.
He twisted his whole body and gathered his own energy.
The thin bones of the ribs swayed in the snow,
I still sweat in such a cold day.
Tired in its eyes, it is like a green flower.
Whether the cruelty of bad luck can be banned,
In a coma, it must keep one foot,
But whip, leave your whip. ...
Take a deep breath, it wants to go further!
There are people in the world who look like old horses.
The burden on my back, the sadness in my throat,
Black and blue scales, still fighting the dust,
Occasionally losing your temper on the side of the road is not stealing;
Take a deep breath, it wants to go further.