Bian 1929 graduated from Shanghai Pudong Middle School and was admitted to the English Department of Peking University. She was closer to English romantic poetry and French symbolism poetry, and began to write new poems. 1933 graduated from English Department of Peking University. At school, I studied under Xu Zhimo, who was deeply appreciated. Xu Zhimo not only published Bian's poems in the Poetry Journal edited by him, but also invited Mr. Shen Congwen to write an inscription. It is because of this experience that Bian is recognized as the representative poet of the important poetry school "Crescent School" in the New Culture Movement.
Bian appeared in the poetry circles in 1930s. Although he was influenced by the "Crescent School", he was more obsessed with French symbolism and was good at drawing nutrition from China's classical poems and forming his own unique style. His poems are exquisite, full of associations and strong leaps, with special emphasis on knowledge, drama and philosophical thinking. He is good at discovering the content of poetry from daily life and further excavating the profound connotation that ordinary people can't reach. His poems are obscure and profound, and obscure and intriguing.
Bian Zhilin used to be a professor of western literature in Peking University (1949- 1952), and a researcher (Grade II) at the Institute of Literature of China Academy of Social Sciences, who enjoyed lifelong treatment. He was a member of the first and second foreign literature review groups of the State Council Academic Degrees Committee; Vice President of China Shakespeare Research Association; He has served as a director of the Chinese Writers Association and is currently a consultant; I was a guest in Oxford, England (1947- 1949). In his early years, War of Resistance against Japanese Aggression went to Yan 'an to engage in temporary teaching and joined the army at the front line in Taihang Mountain area. After returning to the southwest rear area, he worked as a lecturer, associate professor and graded professor at Kunming Branch of National Southwest Associated University, and was demobilized to work in Nankai University in Tianjin for one year. 1946.
Original poem
You stand on the bridge and watch the scenery.
People who look at the scenery look at you under the bridge.
The bright moon decorated your window,
You decorated other people's dreams.
brief introduction
Extract four sentences, exquisite, short and clear. At first glance, it is not difficult to understand, but after careful consideration, it feels endless. The poet expresses the philosophy that everything in the world is interrelated, balanced, relative and interdependent through simple objects: people, bright moon, windows and dreams.
The broken chapters are written in 1935 and 10. It was originally a fragment of a poet's long poem, and later became an independent chapter, so the title was "Broken Chapter". This is a famous short poem in the history of modern literature in China. Its words are short, but its meaning is rich and obscure.
Make an appreciative comment
This short four-line poem has a lasting artistic charm among readers and still gives people a strong aesthetic feeling. First of all, because the poet avoided abstract explanations and created a symbolic and beautiful picture. The natural beauty and profound philosophy of the picture have reached a harmonious unity like a harmonious blend of water and milk. This poem is divided into two independent pictures to show or metaphor the poet's thoughts side by side. The first picture is a complete picture: "You are standing on the bridge watching the scenery,/the people watching the scenery are watching you upstairs." "You" is the protagonist of the picture and the central viewpoint of the picture. Around him, there are bridges, scenery and people upstairs watching the scenery. The author skillfully organizes these seemingly messy people and things into a frame, forming an ink painting and painting sketch or a symmetrical landscape sketch. This painting has no bright colors, but the picture is patchy and clear. When you are attracted by this simple picture, you will never forget to pursue the symbolic meaning behind it, and then you will be surprised to find how the author skillfully conveys his philosophical meditation: everything in this universe and life is "relative" and everything is interrelated. Yes, when you stand on the bridge and look at the scenery, you are naturally looking at the main body of the scenery, and those beautiful "scenery" are the "things" to see; The second line, the same time and space, people and scenery remain unchanged, but the perceptual status has changed. At the same time, another "landscape man" upstairs has become the subject of "seeing", and "you", who was originally watching the scenery, has now become the watched scenery, and the subject has also become the object. In order to strengthen this philosophical thought, the poet immediately introduced the second poem, which is a combination of reality and imagination: "The bright moon decorated your window,/you decorated other people's dreams." This is a picture, but it is no longer in a frame, and the big time and space are still the same. The "decoration" in the two poems is only a unique rhetorical device in poetry. If it is written as "shining in" and "entering", it will not become a poem. It may be someone who came back from watching the scenery, or it may be that the path has nothing to do with another person. In short, this "you" can be "he" or "I", which is not important. What matters is the relativity shown by the exchange of subject and object positions. In the first poem, "you" is the subject of this painting "Moonlight by the window", and the "bright moon" shining into the window is the object. I don't know, at this moment and night, you have entered a friend's dream and become a "decoration" in his dream. The "other" who dreams of you becomes the subject, and the "you" who becomes the dreamer plays the role of the object. In the meaningful picture, the poet conveys the philosophy of life obtained from his intellectual thinking, that is, the poetic experience beyond the poet's emotion: everything can be relative and interrelated in the universe and even the whole life course. In the combination of feelings, a moment can last forever; In the field of metaphysics, as the poet W. Blake said, "A world in a grain of sand" is not absolutely isolated, but relative and interrelated in the fields of life and morality, life and death, joy and sorrow, good and evil, beauty and ugliness. The poet wants to say that if people have an insight into this truth, they will not be bound by some secular concepts, and they will not care about whether they have it or not. They should have a thorough understanding of life and the world and gain freedom and transcendence.
As for his childhood family background.
I really can't help you.
Satisfied, please adopt.
o(≧v≦)o~~