The poems of Baudelaire, Lautremont, Wei Erlun and Rambo are rooted in the daily reality or unusual reality of their lives, while Stefan? However, the works of Malamei (1842- 1898) are completely hidden in the accidents and misfortunes of life. He was born in Paris, lost his mother at the age of five, and liked fantasy when he was a child. As he later said, he has a "Ramadan mind". At the age of ten, he entered a boarding school, completed his middle school course in Sans Middle School and began to write poems. 1860 or so, the flower of evil was found. Then I went to England and got married there. I have been engaged in English teaching for a long time, first in a middle school in Tournon, then in Besancon, Avilon and Paris. The monotony, mediocrity and ugliness of daily life made him deeply depressed. He works hard at poetry creation. Modern Barnes published by 1866 contains his 10 poems. Malamei was influenced not only by Baudelaire, but also by Allen? The influence of Poe and Barnabas School. From his bad luck, we can see traces of Baudelaire's Albatross and Blessing, and from innovation, we can see various expressions depicting melancholy. Like Baudelaire, he can't stand the ugliness and monotony of reality. He wants to get rid of troubles and disgust. He longs for a long trip and a mysterious or beautiful paradise. Malamei also learned the importance of writing and the requirements for formal beauty from Gautier and enver. But then he also found his own way of poetry creation, focusing on the literary world outside the window, the blue sky and the sea breeze. Malamei's poems are increasingly developing towards the perfection and variety of language and verse, as well as the obscure and multi-layered symbolic meaning, and finally become unique and become the leader of symbolism. This paper intends to make a brief discussion on his achievements in the history of poetry.
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Malamei's poems have always been famous for their exquisiteness. He wrote a few poems in his life, and when he conceived and created a poem, he always thought hard and kept improving. The long poem "Herodias" (1855- 1875) has not been finished for ten years, while "Afternoon of the Faun" has been written 1 1 year (1865- 1875). Poetry should be written in essence, starting with Naival and ending with Baudelaire's confirmation. Wei Erlun and Rambo inherited this tradition and reached a new height in Mala Tang.
The reason why Malamei should work hard on poetic language is that he has a new understanding of the function of language. He opposes the descriptive function of poetic language and thinks that poetry "should not describe things, but should describe the effect of things"; Because poetry is not to reproduce things that already exist, but to grasp their relationship and show their meaning, "to make a orpheus-style explanation of the earth." In Essays of Essenes (1844), he pointed out that a word has multiple meanings. In order to concretize his ideas, he assumed an imaginary island, and the flowers on this island represented ideas. This image of expressing existence as thought at the same time appears constantly in his works. In the book I Reopen (1886), the poet created a Greek island, where there were no female warriors and Venus depicted by ancient poets, and it was a rich image of reality sealed by words. In this poem, various ideological images are determined through the text. Malamei called these poetic images "fiction". From a linguistic point of view, how did this novel come into being? 1869, Ma Spicy Girl thought about this problem and wrote some notes. He believes that "words" and "words" are the basic expressions of language. In fact, what he did was the exploration of modern semantics and structural linguistics. In Dramatic Essays, he thinks that a script or a ballet, like visible nature, constitutes the whole of symbols, and even the concept of writing has been greatly expanded. Malamei's thinking has modern consciousness. Based on this, he deliberately used inspiring, ancient, rare and difficult words in his poems.
When writing poems, Malamei not only pursues the beauty of language, but also strives for syntactic changes, often changing the general sentence arrangement order and producing novel effects. Starting from "giving social language more pure meaning", he focused on the structure of sentences. He often separates verbs from subjects, prototype verbs from auxiliary verbs, adds appositives (usually before related words), omits or expresses tactfully, thus breaking down sentences. It should be said that the inversion of sentence components in poetry is a common phenomenon, but it is often based on the need of rhyme, which is not entirely the case with Salome. He considers this arrangement of sentence elements from the perspective of sentence changes, so different general arrangements appear frequently. This sentence by Malarme is a new creation, giving people a distinct feeling. Some critics think: "Not surprisingly, Malarme had to break all the grammar rules. In order to realize the highest ideal of his poetry: writing spiritual music. (Du Xie's History of French Literature, Volume 5, Page 4 17, Social Publishing House, 1977)
Malamei is really pursuing the musicality of poetry. He organized words according to the acoustic effect of language, from which he extracted the inspiration of sound. He works hard, especially in rhyming. Swan rhymes around the vowel I: UI, IVRE, that IS, ignore, which has a harmonious musical effect. "Her pure nails ..." It is clever that the whole poem actually has only two rhymes, but the glyph is divided into four rhymes: YX, ORE, IX, OR. In French, the word with the root IX belongs to a rare suffix, while the word PTYX (cough) is both a rare word and an obscure word. In addition, torchbearer (LAMPADOPHORE, a person who appeared in ancient religious ceremonies) and CREDENCES are both rare words. The pronunciation of IX and YX in French helps to create a strange atmosphere, which makes people associate or enlighten sounds. In addition, these two rhymes are loud, which gives this poem a sense of fluidity. The reader thinks that he has heard mysterious and unique words, just like his request for poetry. To be "perfect, brand-new, incompatible with (ordinary) language, like a spell" "will surprise you, because you have never heard such an ordinary fragment, and at the same time, your memories of things are immersed in a new atmosphere." Introduction to Linguistics, 1886. For example, in the sentence "all useless gadgets that can make sounds are destroyed", the letter combination is very strange. Omit auxiliary verbs and articles, and connect similar syllables. Add the word "D'INANITE" to form a series of similar sounds, almost like chanting. This is like the alchemy of language, which surprises every new reader. This poem has no actual content, or every line of the poem is puzzling. It is difficult to form a picture of the whole poem, just a combination of sound and multiple meanings. However, due to clever rhyme and proper use of uncommon words, this poem has become a unique poetic phenomenon, which shows Malamei's superb poetic skills. "Pure, bright …" has a symphony effect with the ending and rhyme of I, and another sonnet, in uncomfortable nude, notes A and B play the bass role of the storm. Hot girls rhyme with uncommon words, and find some sound effects of letters. It has reached the peak of difficulty in the phonology and musicality of poetry, which is undoubtedly a great development of previous efforts to write poetry. This pursuit of form comes down in one continuous line with Baudelaire and Barnabas, but Malamei goes further.
In the process of searching for the change of poetry phonology, Malamei must attach importance to free verse. Free verse are Lafferg and Cathy and the Polish poetess Mary? Krisinska was the first person to try, but "the real free verse was created by Malarme, who took the prosodic limitation of language as the main limitation, which was his semiotic phonological view and transformed into a phonological system." (Julia? Steva's Revolution in Poetic Language (page 2 13, Sayy Publishing House, 1974) went a long way in his later years. Rolling the dice can't put out the accident (1897) is an ingenious free poem, and it is also the most puzzling poem in Malamei. The arrangement of words in this poem is very strange. Sometimes it is stepped, sometimes there is only one word in a line, and sometimes there is only one word or several words in a page. Malarme tried to describe the contact process between thinking and chaotic universe, and he tried to gain insight into the mysteries and laws of the universe. This process is also a process in which poets write words on paper and seek language combinations that can express reality. This poem greatly innovated poetry creation in terms of language, verse and rhythm, and went directly to poetry in the 20th century.
Malamei tried to create "pure poetry", and the poet wanted to disappear from the poem: "Pure works lead to the disappearance of the poet's language, and he gave way to the positive role of the sentence itself." Therefore, the poet's first job is to re-create a language that gets rid of vulgar usage, "as if to play different authoritative roles and distinguish the dual state in which language plays a major role here or there: vulgar or direct state." Some critics believe that "the cruel dialectics of giving up and regaining possession, destroying the impure world and rebuilding his ideal dominates his poetry creation." (brunell et al. History of French Literature, page 549, Bordas Publishing House) In short, Malamei's efforts in semantics, phonetics and syntax are all aimed at finding and releasing the functions of language and making poetry have new expressive power.
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Symbolism has undergone new changes in Malamei's hands, that is, unlike Baudelaire, Wei Erlun or Rambo, symbolic meaning has only one meaning; Some symbolic meanings are elusive.
His early poems Window, Blue Sky and Sea Breeze are easy to understand. The window (1982) describes the patient's observation and thinking through the glass. The whole poem *** 10 section. The first part is about a dying patient who is tired of the hospital and the bad smell. In the second quarter, in order to observe the sunshine on the stone, he put his thin face on the window. The third section writes that his lips are kissing the glass, which defiles Borui. In verse 4, he forgot his fear of death and drugs, and his eyes were bathed in the sky. In the fifth section, he saw the flash of thousands of warships on the river. In the sixth section, "I" replaced the patient with a stroke of the pen. I hate being ruthless, indulging in pleasure, overeating and giving filth to a man like his mother; The seventh section is about trying to escape from the window, devote myself to life and yearn for the beautiful scenery of nature; In the eighth section, the window glass becomes a mirror, and I regard myself as an angel. When I die, I hope to be reborn in the paradise described by Plato, where the beauty is popular; Section 9 writes that the world trapped me, and I covered my nose with "stupid" vomiting; Section 10 says, I don't know how to break through the glass and escape from a miserable life, even if I fall to the ground in eternal life (that is, after death) and fall into hell. Judging from the content of this poem, the dying patient is a symbol of the poet's mood. The poet felt trapped in a narrow and oppressive reality. Reality is like a big hospital, full of the smell of death. The poet also spent many years in this hospital full of bad smells like a serious illness. The turning point from the patient to me in the poem is only a direct portrayal of the character's heart. I hate heartless people, yearn for a better life in heaven, and want to get rid of the ugly phenomena around me. This image symbolizes that people are tired of dirty daily life and want to escape, but they can't achieve their goals.
If the poem window can be understood as the poet's pursuit of ideals, then the poem Sea Breeze is not so clear. This poem is written at the end of 1863. Malamei is irresistible to the blue sky. What does the blue sky symbolize? Some people think it is an ideal state, which ignores the poet's sense of powerlessness and feels that he can't achieve the perfection of his dream poetry. So attraction turned into trouble; The blue sky chased him like a living regret. The poet wants to escape and even curse the ideal realm, but it is all in vain, because all escape is useless, and the call of the blue sky is the most powerful. Malamei expressed this inner tragedy and trouble with strong lyricism. On the surface, this poem is saying that poets write poems: they can't be perfect. The poet cursed himself for his lack of genius. The poet called for thick fog and chimney smoke to flood the sky and put out the sun. He has an illusion that the sky is dead. However, the blue sky does not exist because of this. It won because the poet had nothing to do with it. It is full of sound, penetrates the poet's heart, rolls in the fog, and wants to appear in poetry. The poet finally admitted that his resistance was useless and crazy, and he repeatedly shouted the blue sky. Some people think that the blue sky can also symbolize an abstract ideal. Because apart from the genius and talent of the poets in the first and second verses, the seventh verse seems to deviate from this point: the whole poem is abstract.
On the surface of the sea breeze, the poet wants to leave his study and go to the vast sea where seabirds fly and explore the strange scenery. But after reading this poem repeatedly, I always feel that this is a superficial understanding. Why did the poet escape from the fire? Why should I envy others' parting? Why do you listen to the sailors singing in their hearts? The poet is not telling the truth? Is this what the poet said is the essential thing hidden behind the surface form? The poets in the sixth and seventh lines have racked their brains, but they are still a blank sheet of paper, which shows the difficulty of writing. Why did you insert this sentence? Does it mean that the poet wants to get rid of it because it is difficult to write poetry?
The significance of Malamei's poetry is more than one recognized fact, which is caused by several reasons. First, in his works, language is described as flawless pure diamond, which is an ordinary but ideal "reflection" of life and reality. In his letter to the poet Kopp in 1866, he said: "What we should especially look for is that in poetry, words-self-sufficient, no longer accepting external impressions-reflect each other until they no longer reveal their true colors. It just became a series of transitions. " "Transition of series" means that it has lost its original meaning and gained multiple meanings. For this reason, the poet wants to thin his glass or mirror and polish the diamond side. As a valuable tool of his vision, words are also limited, and their "thickness" may eliminate "the miracle of turning something in nature into a vibrating and almost disappearing state" This incomprehensible sentence means that the road of poetry is narrow and full of difficulties. The road to creation can only be a painful one. He has to spend his energy on writing and "dig up poetry". Under the guidance of this proposition, he tried to find various meanings hidden under the text, that is, the so-called "ideal of looking for roses from behind". Secondly, Malamei thinks that symbol is the basic hint, and language should inspire readers: "Pointing out the object is tantamount to taking the fun of poetry away from the third place. Poetry is written to make people guess bit by bit. This is a hint, that is, dreaming ... hint at the object bit by bit and express a state of mind. " The poem written in this way should be obscure, because "everyone should have something hidden in his heart." I firmly believe that obscure things are sealed and hidden, and they exist in ordinary meaning. " Obscure poetry will only make the incompetent and lazy people lose their confidence in reading. Thirdly, Malamei believes that poetic language should be pure and perfect, and its mission is to drive away all imperfections in everyday things; In order to pursue the perfection of language, poets will have constant troubles, which are inseparable from the troubles of life; Without the hardships of life, there would be no language difficulties. In order to create another universe and make it clear, poets should have their own free and transparent space, in which the mirror of words can find a place. In other words, Malamei believes that only perfect poetry can be consistent with perfect life. Fourthly, Malamei thinks that poetry itself is a beautiful language, and ordinary words have "purer meaning" in poetry. This language can make people see the world of ideas and essence, which is difficult to describe. Therefore, poetry should be mysterious-the essence of poetry is mystery. Starting from 1862, he expounded this proposition in the magazine Artist with a very rigorous attitude: "Everything that is sacred and tries to be sacred is wrapped in mystery. Religion is hidden in mysterious things as a cover, but this mystery can only be opened to people with extraordinary destiny: art has its own secrets ... I often ask why this indispensable feature is rejected by the only art, that is, the greatest art. I am talking about poetry ... The first actor entered the masterpiece without obstacles. Because there was a poet ... no perfect language was created-some sacred words. Diligent study of this language will dazzle mediocre people and inspire those who are destined to be patient. "
In the process of pursuing this poetic ideal, Malamei went to an extreme, which is also the reason why his poems are obscure. His early poems describe the state of mind, which is relatively easy to understand; However, because he realized that poetry had a higher task, he gave up the writing method that could be understood immediately, which made readers unable to understand his poetry. French critic Jean-Pierre? Risha thought, "Meaning seems to be playing hide-and-seek with us. It exists here and there at the same time, everywhere ... this kind of poem has been read over and over again, and its meaning seems to have changed, so we can never gain the confidence to finally really grasp its meaning. Nothing is more subtle and difficult to understand than this poem. But the uncertainty of this meaning should be regarded as the true meaning of poetry. In order to read such poems, Valerie has repeatedly told us that there is neither a path to follow nor a priority angle. All angles are equally productive, so the problem is to increase these angles. " (Malamei's Imaginary World)
Malamei's later poems are particularly obscure. For example, the sonnet Swan (pure and relaxed ...) 1885 describes a swan frozen on the lake. Once upon a time, it was magnificent and soared in the blue sky, but now it is sleeping in a cold dream. However, it will not forget its talent and be hostile to the cold. What does this poem mean? On the one hand (according to Mrs. Nurai's explanation, most people agree), Malamei is dissatisfied with her lack of rich writing and thinks it is a mistake. The third line of the poem "never flies" means that the poet can't write poetry; The fifth line "Swan belonging to the past" means that swans can't fly now. In the seventh line, "Worry lies in the barren winter", which is regarded as the barren season by the poet, while worry is the season of creation. Line 1 1 "It can't shake its fear of broken soil", which means that although the swan looks up from the ice, it can't fly. The last paragraph implies that the swan can fly in the blue sky again one day. On the other hand, Sartre thinks that this poem expounds "the unusual negative logic of his creation", which has been proved by "the internal annotation of poetry", and this is the content of the second verse. The third view is that the swan symbolizes the "dream of liberation", and the swan's immobility is a sacrifice, but it has the hope of liberation. Malamei said: "Poetry is not creation, but discovery". If the poet wants to discover, the reader must discover. Wei Erlun, who recommended him to readers, commented: "Although he pursues beauty tirelessly, he regards clarity as a secondary advantage. He just wants harmony, musicality and rarity in his poems. When it is necessary to do so, even if he seems listless or goes to extremes, he will not hesitate ... "Valerie understands the influence caused by the obscurity of Malalai's poems in this way:" Malalai created the concept of difficulty in writing poems in France, and he introduced the responsibility of making spiritual efforts. Therefore, he improved the conditions of readers; With real glory and excellent understanding, he chose such a small group of special lovers to enter his circle: once they appreciated his works, they could no longer stand those impure poets who did not know how to write poems. After reading his works, they felt that everything was childish and weak. However, critics who measure their works by traditional ideas cannot tolerate Malamei's poems. Lanson thinks: "Malamei is an imperfect and low-level artist. He failed to express himself. "Just like Ransom.
Our views have long been abandoned.
However, due to the obscurity of Malarme's poems, it is inevitable to cut off contact with readers. Without the tools of explanation and annotation, people can't understand his poems. For example, people often turn to Mrs. Nulai's explanation, which is the limitation of Malarme's poems or the danger of further development.
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The theme of Malamei's poems seems to be very narrow. He is often inseparable from writing poetry, which is a difficult point to enter poetry. At the beginning of Early Sea Breeze, the difficulty of writing poetry was put forward, and the swan analyzed above also talked about the problem of writing poetry. He wrote repeatedly that he was thinking hard, but in the end he was faced with a blank sheet of paper, or that his writing achievements for many years were very small, and he could not help feeling sorry. The long poem Herodias (187 1, unfinished) was originally intended to describe the tragedy of this ancient Greek woman, but only a few fragments were completed; The monologue of the heroine's wet nurse, the dialogue between Herodias and wet nurse, and a lyric episode "The Hymn of St. John". These fragments describe a virgin Herodias, who is an inaccessible symbol of perfection and a model of cruel fate. The so-called unattainable perfection includes the difficulty of writing poetry. St. John's hymn, in the poet's interpretation of Valerie, "is a song about cutting off the head, and it suddenly flies to the sacred light." In fact, Malamei wrote about the fate of the human spirit. Malamei herself pointed out: "I want to mold her into a purely fictional person, which has absolutely nothing to do with history." (1 February 1965 letter, communication collection, vol.1page 154, Kalima Publishing House, 1959) Another long poem, Afternoon of a faun (1875), describes. He gradually became excited and immersed in the desire of turmoil; Then, he fell into the dream again. This god of agriculture and animal husbandry is a symbol of the poet. He had a whim to express his excitement and dreams in a lyrical way, and finally gave up the plan and became silent. This poem is about the process that the poet tried to write a poem, but finally gave up. Even some mourning poems, malamei also wrote poems from this angle, such as Ellen? Edgar Allan Poe's Tomb: "Death triumphs with this strange voice", and Malamei emphasizes that it is difficult for the world to understand Ellen? Poe, a wizard, formed an insurmountable boundary. The last throw of the dice can't destroy the accident, which means that an overly bold gambler will lose the bet, and an overly ambitious artist will still face a blank sheet of paper and feel desperate even if he makes a final effort.
Malamei is not only expressing the difficulty of writing poems, but also has a deeper philosophy in his poems. He wants to show the nothingness of life and reality, and thinks that the world is just an illusion and a "glorious lie", and people "face nothingness-this is the truth". Poets who feel depressed when they see this can only sing in despair. But from this deep despair, there will be another truth and another reason to live: "After finding nothingness, I found beauty" (1letter to Cazalis in July, 866). Hegel believes that nothingness is not the end, but the starting point, which is the initial form of existence, and existence will be realized in the change of spirit. This is a dialectical understanding of nothingness and existence, thought and reality. Hegel also believes that "artists should leave this pale field, which is popularly called ideal, enter the real world and get rid of their own spirit." Malamei called Hegel "the giant of human spirit" (Complete Works of Malamei, page 49 1, Garima Publishing House. In the letter dated September 1866, he said, "As for Hegel, I'm really glad that you pay considerable attention to this miraculous genius, the incomparable biological matrix and the reconstructor of the universe." (Excerpted from Mendel's Biography of Malamei, page 222, Garima Publishing House, 194 1) There is no doubt that Malamei was inspired by Hegel's above discussion. This is his understanding of nothingness and beauty, that is, existence and reality, when he conceived two long poems, Herod the King and Afternoon of a faun in the mid-1960s. In his letter to Aubanel on July 6th, 1866, he said, "I laid the foundation for an excellent work. Everyone has his own secrets. Many people can't find the secret until they die, or they can't find it at all, because they are dead, the secret doesn't exist, and they don't exist. I died and came back to life with the diamond key of my spiritual treasure chest. Now, I want to open it and eliminate all foreign impressions. Its secret will spread to a very beautiful sky. " (Translated from French Literature, page 194, Larose Publishing House, 1968) In his later years, Malamei wrote "The rolling of a dice cannot destroy an accident", which has profound philosophy. In this poem, it is occasionally regarded as the law of the world by the poet. Compared with accidents, it is the image of people who pass by in a hurry. This poem describes people's general struggle with matter in order to obtain the mystery of the universe and absoluteize their fantasy of the universe. Man is rooted in matter, trying in vain to pass on his secrets to his successors and determining the changes of human thought. But you can never use absolute instead of matter when you roll dice.
The philosophical thought expounded in Malamei's poems is not quite the same as Winnie the Pooh. The philosophical thoughts revealed in Winnie's poems are his views on life, which reflect the emotions of some nobles at that time and are out of step with the development of the times. The philosophical thoughts expressed in Malamei's poems are his reflections on some philosophical issues, involving the relationship between man and the real world, and also the thoughts of his contemporaries and philosophers, so they are of more universal significance. In other words, the philosophical thoughts expounded by Malamei in his poems are more profound. Symbolism is full of philosophical significance, but only in Austria. Symbolism is full of philosophical significance, but it was only in Malarme's hands that it was really taken seriously, which is also one of the important signs of Malarme as a symbolic leader. Later, Valerie developed an important artistic expression method, which contains philosophical meaning. Valerie said: "His perfect poem, like a perfect model, is amazing, and the relationship between words, poems and verses, rhythm and rhythm is so strong;" Every poem is based on internal strength and gives an object an idea in an absolutely balanced way. "Valerie's poetry creation in Malamei really hit the nail on the head from both artistic and ideological aspects. Valerie also said: "Wei Erlun and Rambo will carry forward Baudelaire in terms of feelings and feelings, while Malamei will carry forward Baudelaire in terms of perfection and purity of poetry." This sentence is also very incisive. Another critic thinks: "Malamei's works, like Rambo's, don't have many volumes;" "However, Malamei's works far exceed Rambo's works in terms of the wide range of issues involved, the boldness of its exploration outside the poetry world that is often talked about, and the way it is illuminated by a brief flash and opened behind it." (Quoted from Casta's Textbook of French Literature Studies,1page 298 in the 9th century) This evaluation can enlighten people's understanding of Malarme's role in the history of French poetry.
(Originally published in Journal of Fudan University, No.6, 1995)