First of all, Dawn is about "the classical memory of the prodigal son". Haizi said in his diary: "Dawn. Dawn is not the beginning, she should be the last person to carry the body of the night. I think this classicality is a dawn. When the deer on the other side, the deer in the water and the deer in the heart are one, this classicality is a dawn. " "Classical: When I move from contemporary and modern to classical, I follow the principle or truth of spring water. There, lyricism is still in a clear state, in the self-examination of the crown in the water. In Sappho's place, the throne will not tilt in the water. Your shepherd leans against the hall. Pottery bottles between rocks are brought into the water. " In these two expressions, we can clearly see Haizi's emotional tendency towards dawn. Classicism is the true face of poetry and the destination of all self-projection. Dawn has this kind of spiritual "return", which is highlighted in Haizi's review of a series of authentic materials represented by his hometown.
In Poet Ye Saining, Haizi wrote: "People call me/poet Ye Saining/prodigal Ye Saining", and Haizi defined himself as a prodigal son. He left Anqing rural area and went to Beijing to study. The contrast between these two kinds of life often confuses individuals in the space fracture, especially after Haizi widely read Heidegger and Nietzsche's works, their reflection on the subject and object of traditional philosophy gave Haizi a brand-new understanding of the world. However, this understanding is often not completely compatible with reality, and the resulting "rootless feeling" and "wandering feeling" are the basis of many of Haizi's poems. Here in Haizi, this wandering and rootlessness provides a space for imagination to gallop in the past and the future. Novalis said: "Philosophy is the impulse for people to look for the spiritual home of human mind with endless homesickness." This sentence is especially suitable for Haizi, who consciously or unconsciously turned his attention to the direction of Neigen. As he wrote in "To Anqing": "Five-year-old dawn/five-year-old horse/you face the river/sit down", hometown found a foothold in the dawn, clearly pointing out that dawn and hometown are in the same spiritual direction. But Dawn is different from these, focusing more on the interpretation of time span and tracing back to classicism. This expression is related to the "great poem" that Haizi wants to create. "The last question is how to get out of the mind. It is more difficult to go out of the heart than to go in. Epic is an objectivity of Ming Che. On him, the exaggerated wings of the mind have faded, leaving only the scar on the scapula and a pair of big feet. Fuck him, go to class, go to entity, it is still a very difficult task. As people often say-let's start here. " Haizi completed the narrative of himself and his life in this long-span temporality.
Secondly, Dawn is a process of "martyrs breaking through and dedicating themselves". This has two meanings. On the one hand, it endows the time meaning of dawn with the dual characteristics of filth and new hope, which means rebirth. On the other hand, substituting the action force into Dawn, "I" is "Dawn", giving "Dawn" a call sign for martyrs to break through action. These two aspects often appear at the same time and are combined.
The most obvious thing about "Dawn" is its timeliness, which spans the chaos of night and day. As a stage before dawn, night has a dark direction. Haizi wrote in the first sentence of Dawn that "the deep water before dawn killed me". It is a failure of human history and spirit to kill and bury all sacred directions at night. At the same time, "dawn" is chaotic, and it is a state of breaking out between the night and the sun. Haizi has repeatedly stressed that the dawn is reborn from chaos, bringing new hope: in Dawn (I), the chaos of dawn is clearly expressed as "my head of chaos", but in Dawn (II), it continues to show that dawn can reject chaos and wash away the past: "I clean the sky and the earth. From chaos to light, in fact, at the end of the night, Dawn assumed the role of "cleaning up the dead bodies in the night", and the process of "cleaning up" was not a gentle and natural process, but a passionate, purposeful and revolutionary breakthrough and dedication.