Hurry! Urgent! Urgent!
A cigarette, a mountain, a few cloud shadows,
A stream of water, a bridge, the sound of an oar,
A forest of pine trees, a clump of bamboo , red leaves one after another:
Beautiful fields, colorful autumn scenery,
Dream-like clarity, blur, fading,
——Urgent, urging, urging ! Is it the wheel or the time?
It makes Qiurong grow old and makes her life grow old!
Note: This poem was written on October 30, 1923. Published in Novel Monthly, Volume 14, No. 11, 1923, its original name was "Shanghai-Hang Daozhong". [1
It is interesting to compare Zhu Ziqing's prose "Hurry" with Xu Zhimo's poem "Cars in Shanghai and Hangzhou". Zhu Ziqing used soothing and calm pen and ink to describe the steps and traces of the rushing time, but Xu Zhimo used extremely concise words to reproduce the shape and posture of the rushing time. Zhu Ziqing's time is anthropomorphic, but Xu Zhimo's time is powerful architectural. No one can witness time. Although time repeatedly rises and falls in human life in the form of day and night, the essence of time has truly become a fatal sensitivity of human beings in modern times. If Zhu Ziqing's "Hurry" makes readers notice the stay and passing of time in small things, Xu Zhimo's "Cars in Shanghai and Hangzhou" asks readers to look at time and walk towards each other. It uses the language unique to poetry to erect space and turn time into a profound path. "Shanghai-Hangzhou Car" gives people a tense and sharp feeling. The title of this poem is dynamic space: in the car in Shanghai and Hangzhou. The short distance between Shanghai and Hangzhou has been inadvertently broken by modern transportation trains. Time and space are relative objects, but at this moment they are integrated: "Hurry! Hurry! Hurry!" Two sets of onomatopoeia express this harmony vividly. With the arrival of the clarity of time and space, the originally integrated nature in space and time was cut into fragments: "A cigarette, a mountain, a few cloud shadows; / a water, a bridge, a sound of a paddle, / a A pine forest, a clump of bamboo, red leaves in succession.” The more profound and substantive division is the division of human beings’ own peaceful dream. A dream that is as peaceful and eternal as nature (or that nature itself is a dream) changes from clear to "blurred and faded." "Urge, urge, urge!" The speed and frequency of modern civilization cannot help but make the poet marvel: "It accelerates the appearance of autumn, and accelerates life!" The first paragraph describes the impact of modern time and space on nature, and the second paragraph describes the influence of modern time and space on nature. The projection of the depth of human spirit, the two sections echo and progress with each other, and the awakening sound of "urge, urge, urge" makes people face the time. This strong sense of modern time is the driving force behind the creation of modern poetry. Xu Zhimo once talked about the pain of slow consciousness of time in the preface to "Tiger Collection": "Especially in recent years, sometimes I feel scared just thinking about it: the days are passing by, and there is no news in my heart. Bright, no trace of movement. "Slowness and sensitivity may be two sides of the same coin. In fact, the poet's sense of time is a multiple refraction of modern time consciousness. Xu Zhimo wrote "Looking from the Car" in 1930 and "The Car" in 1931, which were written after "The Car in Shanghai and Hangzhou", respectively expressing the themes of the eternity of time and the endless development of time in life. No matter how full the image of "car" is in the sense of fluid and turbulent time, the peace that the following poem brings to readers is almost indestructible: "The green is the bean patch, the gloomy is the mulberry forest, / the melancholy is beside the stream. The grass, / quietness is the field scene at dusk, / but listen, the flying grass insects! " ("View from the Car") and "She is a child, opening her singing voice with joy; / in this dark place! On the blind journey, at this dusk, / Like a rushing mountain spring, / Like a carnival bird, / She sang until the whole car was filled with the beauty of music. " ("The Car") Readers are all moved by the coexistence of life and time and the vitality of time. Xu's three poems about time all use cars as symbols, and "Shanghai-Hangzhou Cars" is a small miracle of symbolism: the specific thing of Shanghai-Hangzhou cars and the clever use of onomatopoeia with the same sound and different states as "hurry" and "hurry" , is the poet's genius understanding and sensitive response to language. However, if readers read "The Car in Shanghai and Hangzhou" without reading "The View of the Car" and "The Car", they will not understand that they are the unity of Xu Zhimo's view of time. From Zhu Ziqing's eloquent "Hurry" to Xu Zhimo's sculptural and architectural "Cars in Shanghai and Hangzhou", the concept of time in the history of modern literature is truly tangible and tangible.
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