February. Ink to cry!
Sing a sad song and write February,
Until the mud rumbles.
Light the black spring.
Spend sixty kopecks, rent a light carriage,
Through the voice of respect, through the wheels,
The noise of rapidly entering the rainstorm.
Over black water and tears.
There, like a burnt pear,
Thousands of white-billed crows
Fell from a tree into a puddle,
Dry sadness sank into the fundus.
Under the puddle where the snow melted, it was black.
The wind was blown over by the sound,
The more accidental, the more real,
And cried into a poem.
(translated by Xun)
February in early spring is far less charming than March in spring. It shows people the depression and desolation left by the severe winter, so it says, "February. The ink is enough to cry! " However, after all, February is the beginning of spring, and February is the day when the earth recovers. "Depression" and "desolation" are rapidly escaping, and new life will glow; The dead branches are green, and the rugged peaks are dressed in new clothes. February is attractive again. Then, "hire a light carriage for sixty kopecks,/through the respectful voice, through the wheels,/quickly reach the place where the noise of the rainstorm/covers the black water and tears." From this impatient mood, we seem to hear the poet's heartbeat. Obviously, February excites the poet. Entering the third paragraph, the rhythm of the poem slows down: in that place, he saw "thousands of crows with white mouths", "trees" and "puddles" ... and a photo of Zhang Zaochun.
This poem shows us a world of constant progress and movement, a world of constant change and development. The images in the poem are full of power, as if everything is rushing forward, colliding with each other and relying on each other, which is more powerful than our usual opinion guesses. Even spring is not new, but "roaring mud ignites black spring". This reflects Pasternak's tense lyric style in the early 1920s. This style makes his poems tense and exciting, and the language rhythm is fast. Goncharov, a painter, once pointed out that Pasternak has an unparalleled talent for depicting landscapes, and it is impossible to accurately depict various phenomena when illustrating his poems. In his poems, all kinds of phenomena are floating, gathering together, watching them stop, but moving again. The fluidity of this image endows his poetry with a unique charm.
This poem also shows the poet's ability to master poetic language and skills, which is another reason for his unique charm. For example, once the "black spring" is "lit", it turns from static to rolling up waves on the flat ground, which is not only colorful, but also audible, and even has heat and strength. This is the magical power of the poet's poetic pen. Another example is that "dry worry sinks in the fundus", and "dry" is used to describe "worry", which makes the abstract "worry" visualized; At the same time, it also uses "sadness" to compare the scene in February, which enriches the poem. Another example is "the wind turns from sound to vision", which belongs to hearing and vision, while "wind" belongs to touch, where hearing and vision intersect, and vision and touch communicate, thus turning intangible into tangible and static into illusion, accurately expressing the poet's unique feelings about early spring.
If you can read this poem slowly like an olive, you will find that the more you chew, the sweeter it will be. (Fu Zonghong)