-Du Ya
Who brought this love?
One morning, Platanus acerifolia fluttered like fallen flowers.
The city looks like a dilapidated garden.
Every time I go out, I see that forest.
I always approach it as if it were my destiny.
It seems that it makes me decline rapidly.
As if I was about to shout out a forgotten place name:
For example: Spring, Chestnut Tree and Hill.
Or "wind" and "passing away", but these are not.
Bought a car full of yellow flowers in the street.
Like the autumn wind, I heard it again:
Every time I turn around, I see the forest.
I always look at it and can't make a sound, as if it were my love.
My aging morning
I can't see the mountains in the distance.
I chased a car full of yellow flowers and watched love go away.
Appreciate:
Among the female poets who have emerged in China in recent 20 years, Du Ya is the one I admire most. Du Ya's poems, like her personality, are peaceful and quiet, keeping a distance from you but having a harmonious relationship. If we sort out her favorite words, we can find that spring, autumn, wind, peach blossom, trees, Woods, tears, moonlight, love, flowers, villages and water occupy most of the space, and these images all point to a common motif: attachment to nature and the pain caused by the passage of time. Autumn is no exception.
The language in autumn is extremely beautiful, and each paragraph is a vivid and sad picture. But it is not only beautiful, but also contains many sadness and memories between the lines. A person recalls the past in the city. Originally, "Platanus acerifolia flying like a fallen flower" was aesthetic, but in the sad eyes of "I", "this city looks like a dilapidated garden".
In autumn, someone sells chrysanthemums. Newly picked chrysanthemums were bought car after car in the street, and I was in a trance and unconsciously returned to the most beautiful part of my memory. What I miss is a forest. Something unforgettable must have happened in this forest. It was spring, chestnut trees were blooming, the breeze was light and the sun was shining, and everything was so intoxicating. The past is the past. For the past, "I" can only be speechless:-"Every time I turn around, I see that forest/I always look at it, and I always can't shout it out, as if it were my love". The seemingly casual "burden" in Like My Love is actually the most important part of the poem. It inadvertently sets the tone for poetry and tells people the reason why I am sad-both for love and for the passage of time.
The last paragraph is the saddest. A person who has lost love (or a good time) is chasing the chrysanthemum symbolizing youth, but there is nothing he can do, "watching love go away." This is undoubtedly an excellent poem, and its language, image, situation and connotation are all in place. Autumn can also be said to be a narrative poem, with time, place, people, events and results. When I look at it, I always see the pictures in front of me, which are connected in series and are flowing images. I often hear voices praising ancient poems and belittling new poems on the grounds that the language of new poems is rough and artistic conception is not emphasized. I really want to invite people who hold these ideas to read works like Autumn, and I firmly believe that it is not inferior to many ancient poems that people like.
In the article I read about evaluating Du Ya's poems, the famous scholar Lin Xianzhi's expression is quite interesting. In the article "New Poetry: Noisy and Empty Nineties" published in a certain issue of West Lake Magazine in 2006, Lin Xianzhi summed up Du Ya's poetic style: "Du Ya's poems are unique and lyrical ... She often repeats and devotes herself to writing the same thing, like an empty wind, like a form, and she does not deliberately pursue change, which is quite plain. However, this is the performance of a poet who is obsessed with his own emotional texture. " At the same time, Lin Xianzhi thinks, "We can't say how rich Du Ya's poems are, but we should admit that the social content is still thin. Most of her poems absorb natural images and rarely involve personnel, especially the poor in the village, so she is not the kind of singer who consciously works for the poor. The pain of sadness, terror and death in the poem, although it has the traditional meaning of 19 ancient poems, belongs to her and belongs to the poor world she is familiar with. "
There are praises and bullets in the above two paragraphs, but after all, they return to the word "praise". When praising, even those "quite plain" poems and repeated poems are regarded as "a poet's obsession with his own emotional texture", which shows that the evaluation is high. The "play" part is not very convincing. Is there an inevitable causal relationship between a form that is repeatedly used and "looks quite plain" and "a poet is obsessed with his own emotional texture"? Does a good poem have to have "social content"? When writing a poem related to the countryside, must it involve the "poor" and become a "poor singer"? I have reservations about this. People's emotions are complex and changeable, and there are many kinds of poems. Some good poems are self-sufficient, so we can't ask all poems with different styles and contents to "care about people's sufferings". The quality of poetry lies not in the content, but in whether the poet has reached a surprising height in a certain style. In my opinion, as a poet, Li Shangyin is no less than Du Fu. Du Ya has reached a certain height in style, so she is excellent.
From the perspective of writing, Lin Xianzhi is also hesitant about his argument. His evaluation of Du Ya has formed an undulating line. After regretting not being a good "poor singer", she immediately gave a higher evaluation. Du Ya's elegy has philosophical depth, which China's poetry lacks. What is puzzling, however, is that after praising Du Ya and affirming the writings of some poets, Lin Xianzhi added: "We only have noisy poems, which are essentially noisy voices, but we can't see the complete image of the poets. Poetry is greater than poets. " Finally, I even came to the conclusion that China's poetry in the 1990s was an empty mountain, which was far-fetched.