Wildflowers,
Stars, dots,
The button you want to throw away,
Scattered on the roadside.
It has no chrysanthemums,
Blonde curls,
Without peony,
Delicate face,
It only has very small flowers,
Fine branches and leaves,
Put on a faint fragrance
Into the beautiful spring.
My poem,
Like a nameless flower,
With the wind and rain in this season,
Drive in quietly
loner ......
Appreciation: 1976 The end of the "Cultural Revolution" made poetry creation and poetry "imagination" gradually real. However, if we only look at the poetry creation and publication in the later period, we can see that the removal of historical memory is still a process. This not only laid the foundation for the emergence of poetic history titles such as "returning poet" and "returning poet", but also provided historical opportunities for the younger generation of poets.
The poets who formed the poetry writing camp in 1980s mainly came from two poetry "groups". That is, one kind is a "comeback" poet and the other is a "young poet". The "comeback" poets mainly show the historical experience of the contemporary integration era, especially the "Cultural Revolution" era. Therefore, the "comeback" generation in a broad sense is not only a "returning generation", but also a rewriting of earlier historical records:1China New Poetry School in the 1940s,1July Poetry School implicated by Hu Feng Group in the 1950s, 1957 Anti-rightist. They express a kind of identity and reflective consciousness of "returnees" in theme and emotion. However, due to the limitations of the times and the long-term constraints of poetic concepts, the vast majority of poets of the "comeback" generation show "lack of stamina", while a few poets who maintain their creative vitality are more manifested in rejecting a historical thinking and constantly surpassing themselves. Comparatively speaking, the "younger generation" poets have exerted great poetic imagination, and their appearance, especially the reappearance of "potential works", has filled the pale poetic history in the "Cultural Revolution" era.
Since the poet Gong Liu published his feeling of "trembling" when he saw Gu Cheng's Flowers of Unknown Name and questioned it, the discussion and contention around the creation of young poets became a "hot topic" in the poetry circle at that time. On May 7th, 1980, in Guangming Daily, in front of the new rise, written by critic Xie Mian, was an important "introduction" to the first poetry debate in 1980s. Then, the debate around three articles published by Xie Mian, Sun Shaozhen and Xu Jingya: Facing the new rise, the rising new aesthetic principles, the rising poetry group, the so-called "three rises", played an important role in the emergence and rapid climax of "misty poetry".
There is no doubt that Gu Cheng's creation is connected with the spirit of "misty poetry" as a whole, but he quickly turned to the creation of "fairy tale poets", which made his writing path not completely consistent with other "misty poetry schools".
This poem obviously reveals some heavy and subtle elegant feelings. The poet enjoys the wild flower scenery in "Yuanye" with a pleasant mood, and appreciates the feelings outside the poet's poems.
So there is a postscript to the poem: bring readers into the praise of pure wild flowers and expect people to spend some time/my poem, like a nameless flower, quietly blooms in the lonely crowd with the wind and rain of the season. Immature pen, unpretentious thoughts, written appropriately and nuanced, make the thoughts brilliant and beautiful.
When I look at this poem again, Gu Cheng is already a person from another world. When I think of this poem, my heart is full of sadness.