Shu Ting, formerly known as Gong Peiyu, is originally from Quanzhou, Fujian. She was born in Shima Town, Fujian (Longhai, Zhangzhou) in 1952 and grew up in Xiamen. One of the representative writers of the Misty Poetry School, "To the Oak" is one of the representative works of the Misty Poetry Movement, as famous as Bei Dao and Gu Cheng. However, in fact, her poems are closer to the traditional poets of the previous generation who had a strong moralistic meaning, resisting Sex has become much more indifferent. In 1969, he went to the countryside to join the army, and in 1972, he returned to the city to work as a worker. He began publishing poetry in 1979. In 1980, he worked at the Fujian Federation of Literary and Art Circles and engaged in professional writing. He is the author of poetry collections "Brig", "Singing Iris", "Archaeopteryx", prose collections "Heart Smoke", "Autumn Mood", "Hard Bones in the Sky", "Poetic Thoughts in Dewdrops", "Collected Works of Shu Ting" (3 volumes), etc. The poem "Motherland, My Dear Motherland" won the 1980 National Outstanding Poetry Award for Young and Middle-aged People, and "Brig" won the first National Excellent New Poetry Collection Award and the 1993 Zhuang Chongwen Literary Award.
Shu Ting is good at introspecting the rhythm of her own emotions, and especially shows the unique sensitivity of women in capturing complex and delicate emotional experiences. The complexity and richness of emotions are often expressed in twists and turns through special sentence patterns such as assumptions and concessions. Shu Ting can also discover sharp and profound poetic philosophy in some conventional phenomena that are often ignored by people ("Goddess Peak", "Hui'an Women"), and writes this discovery in a way that is both speculative and touching.
Shu Ting's poems have bright and beautiful images, and rigorous and smooth thinking logic. From this aspect, her poems are not "hazy". It's just that most poems use metaphors, partial or overall symbols, and rarely express confessions directly, so the images expressed have a certain degree of ambiguity.
Representative works
To the Oak Tree
If I love you——
It will never be like a climbing flower in the sky,
< p>I borrow your high branches to show off myself:If I love you——
I will never imitate the infatuated bird,
Repeat monotonously for the green shade Song;
It is not just like a spring,
bringing cool comfort all year round;
It is not just like a dangerous peak, increasing your height and setting off your majesty.
Even daylight.
Even spring rain.
No, these are not enough!
I must be a kapok tree near you,
standing with you as the image of a tree.
The roots are clenched in the ground,
The leaves are touching in the clouds.
Every time the wind passed by,
we all greeted each other,
but no one
understood our words.
You have your copper branches and iron trunks,
Like knives, like swords,
Also like halberds,
I have mine
Like a heavy sigh,
and like a heroic torch,
We share the cold wave, wind and thunder, and thunderbolt;
< p>We enjoy the mist, the mist, the mist and the rainbow,It seems like we are separated forever,
But we are still dependent on each other for life,
This is the great love ,
Fireness is here:
Not only do I love your majestic body,
I also love the position you insist on, the land under your feet.
"To the Oak" sings passionately and frankly about the poet's ideal personality. The oak tree and the kapok, standing side by side and affectionately facing each other in independent attitudes, can be said to be a group of brand-new characters in Chinese love poetry. Symbolic image.
The image of "oak" symbolizes the beauty of rigid men, while kapok with its "red flowers" obviously embodies a female personality with a new aesthetic temperament. She abandons the old-fashioned feminine delicacy and beauty. It has a charming nature and is full of rich and vigorous life, which is exactly in line with the female independent and self-respecting personality ideal sung by the poet.
In terms of artistic expression, the poem adopts the lyrical method of inner monologue, which is convenient for expressing the poet's inner world candidly and cheerfully. At the same time, the image is constructed using a holistic symbolic approach (the whole poem uses oak and kapok as a whole) The image correspondingly symbolizes the independent personality and sincere love of both parties in love), which allows strong philosophical thoughts and ideas to be developed and poeticized in the friendly and sensible image. Therefore, this poem with a rich rational temperament makes people unable to feel it. There is no preaching meaning, but I am simply conquered by the rich and moving images.
Beidaihe Bank
That night
I seem to be only eight years old
I don’t know my willfulness
What are you asking for?
You pushed aside the wet bushes
Lead me to the beach
The gentle wind there
caressed the rough edges The halo of the moon
The tide is rhythmic
Sinking in the darkness
The red cigarette butts
cast two flames in your eyes
You use your fingers mockingly
Suppress the dodging sparks
Suddenly you turn your back
Disguisingly
< p>Ask me in an unsteady voiceWhat's wrong with the sea
You can't see anything, look
We have reached the edge
Then recover
all your pride and dignity
Return to the cold base
Dedicate it to the times and history
All your
stone-heavy beliefs
Give me your own
sorrow
Bring back the far south
Let the seagulls return to sail
Your unwritten poem
beautiful
Every The harbor of a heart
Towards the north
A rose in early summer
The strings crossing the waves
Towards the unreachable Horizontal voyage
Dark clouds are like ringworm
The face of the sky
A flock of gulls
But they spread their white wings for her< /p>
Go ahead
The little sun of my wish
If you sink
Sleep on the breast of the sea
On the silver tent roof of jellyfish
There will always be the sound of green waves
Let me float away too
Let the sun iron the wind
Blow me gently
Follow the warm ocean current
Drift to the north
A late autumn night in Beijing
One
At night, overflowing the cordon of street lights
To extinguish the stars
The wind followed and shook every poplar tree
Make a noise like a tide
Let's go too
Fight for the sky
Or be a small leaf
Respond to the singing of the forest
Two
I am not afraid of looking weak in front of you
Let the high-speed traffic
crowd the solemnity of the city
p>
The world is behind your shoulders
There is a safe gap
The night pierced by car lights
On the orange horizon
We are very lonely
But it is my thin shadow
Standing with you
Three
When you Just you
When I was just me
We quarreled
We reconciled
A pair of eccentric friends
When you are no longer you
When I am no longer mine
There is no melting point between our arms
p>No gap
Four
If it were not for you
If it were not a foreign land
Light rain, fallen leaves, the sound of feet
If there is no need to explain
If there is no need to fortify
Road pillars, horizontal lines, traffic poles
If we don’t meet
If we meet Can forget
Silence, shadow, long
五
I feel: this moment
is slowly fading
Become a past event
Become a memory
Your shining smile
Floating in the layers of tears
p>
I feel: Tonight and tomorrow night
A long life apart
Heart and heart, how many years have to travel
To be together Gathering from across the world
I want to ask you
to stand for a moment.