Rain Lane: People in China have a deep affinity for Lane. Northerners call it hutong, while southerners call it alley. Mr. Wang Zengqi said in Hutong Culture that Beijing Hutong "not only makes people feel nostalgic, but even a little sad" and "makes people feel disappointed"; Alleys in the south can give people a similar feeling. The nostalgia for these traditional images is actually the poet's unique yearning for a leisurely, lonely and barren living environment. This is also the typical mentality of China traditional literati. In traditional literature, Dai Wangshu has typical traditional literati characteristics (when most writers blindly abandon tradition and create new literature, he writes poems with traditional images, which is so unsociable but so valuable)-melancholy, depression and nostalgia. The long, vicissitudes and deserted alleys are the best lodging places for the poet's lonely mood. The rainy south lane is less crowded, more touching and more vulnerable to injury.
In the rainy season in the south of the Yangtze River, the drizzle floats in the lane, and the misty rain is hazy and exciting. The combination of rain and lane constitutes a unique image, which was initiated by Dai Wangshu. No wonder Ye Shengtao called him "Poet in Rain Lane". Rain Lane is more sentimental and sad than a single rain or lane.
Oil-paper umbrella: This is a common thing in rainy season. Because of the rain, the oil-paper umbrella covered the sky for the poet, and because of the oil-paper umbrella, the poet was more disappointed than ever. A rainy day outside the umbrella is a rainy day. The light yellow oil-paper umbrella soaked in the rain adds a light yellow pain to the delicate heart-this is a common thing, but it is rare in traditional poetry. Only by putting on Wang Shu and putting it on the poet's head in the rain lane can the oil-paper umbrella hold up a deep poetic feeling.
Lilac Girl: Lilac is a unique and precious flower in China with a long history of cultivation. Flowers bloom in April, with white or purple flowers, fresh and elegant, and rich fragrance. Lilacs are often favored by poets who live a clean life because their colors are not frivolous. Lilacs bloom in mid-spring and wither easily. Poets see lilacs often hurt spring, saying that lilacs are the product of sorrow and a symbol of the trinity of beauty, nobility and sorrow. Throughout the ages, there are many poems about lilacs: Li Shangyin's "Bananas don't show lilacs, but they all worry about the same spring breeze", Li Jing's "The bluebird doesn't spread the news outside the cloud, and lilacs are sad in the rain", Lu Guimeng's "Diligent lilacs, spreading all the branches to disperse the spring" and He Zhu's "Deep feelings are like lilacs, but it is difficult to show the heart of bananas"
Dai Wangshu inherited the traditional cultural connotation of lilac in Rain Lane, making the implication of lilac more emotional and melancholy. What's more, the poet depicts the "Lilac Girl" in the rain, which is quiet and quiet, adding a little sparseness. The poet greatly downplayed the external form of lilac, and used the radical phrase "a girl who is as sad as lilac" to personify lilac, objectify the girl, abstract the person and humanize the image, making "a girl like lilac" an image different from the traditional meaning. This new image is a real person-a girl, but it is also an abstract image. We feel in the hazy alley, and the poet narrates his poems attentively and describes his emotional flow in the rainy alley. People and things set each other off into interest, things and I are one, and the delicate state of mind is reconciled with natural agility.
Such a girl, such a lilac, such a "lilac-like girl", the poet is eager to meet her, even if she is only "sad and confused like a dream" and only has "sighing eyes", even after that, she can only look forward to meeting the "lilac-like girl" again indefinitely.
Rain alley, oil-paper umbrella and lilac girl, Dai Wangshu prefers these images, because they can reflect the poet's heart, show his temperament, show his anguish and show his mind.
Poets are in troubled times, and times are in chaos. Like other literati, they can't fully see the trend of the times, so hesitation is inevitable. With a kind heart, he is more likely to be depressed and confused in troubled times. The alleys in the south of the Yangtze River are vicissitudes in the beautiful landscape, and the alleys in the rain are flowing vicissitudes. Ordinary people's oil-paper umbrella has also become a catalyst for the poet's poetry, and the softness, falling and loneliness of lilacs in the rain is a pure portrayal of the poet's soul. Therefore, the poet imagined that he could meet a "lilac-like girl" in the rainy lane. It was a girl who fell in love at first sight and lost her life in the wind and rain.
Only in such a melancholy rain lane can a poet have such understanding, gratitude and pure poetry.
The rainy lane is dignified and long, and the oil-paper umbrella walks with it. Lilac girl may meet it. These three images, the rain lane is dark and heavy, the oil-paper umbrella flows in light yellow, and the lilacs appear in light green, forming a flowing, hazy and enjoyable picture, which seems like a dream in front of me.
Dai Wangshu himself once said: "Poetry is not a kind of enjoyment of official sense, but something with full or super official sense." Through the analysis of the works of the French symbolist poet Gomon, Dai Wangshu is more convinced that the poetic image leads directly to the reader's "subtle feeling" nerve. With excellent images, the poet's "skillful brushwork" will become "extremely subtle-subtle in the bottom of his heart and subtle in his feelings." If we start with the images of Rain Lane and analyze its artistic charm, we will get more gains if we share these images with the poets instead of sticking to the previous understanding.
In Rain Lane, the poet created a girl with a lilac knot. Although this is inspired by some works in ancient poetry. It is a traditional expression in ancient Chinese poetry to use lilac knots, that is, lilac buds, to symbolize people's worries. For example, there is a poem in Li Shangyin's "Gifts for Generations" that says "bananas don't show lilac knots, but they are worried about the spring breeze in the same direction". In the Southern Tang Dynasty, Li Jing tied a lilac knot with me in the rain. He has a song "Huanxisha"
Roll up pearls to make curtains and hang hooks. In the tall building, I look like before, and my depression is still locked. Who is the Lord in the wind? Take it easy!
The messenger didn't bring news to the pedestrians far away. The lilacs in the rain reminded me of sadness. I looked back at the Three Gorges at dusk and saw the river falling from the sky.
In this poem, the lilac knot in the rain is used as a symbol of people's sadness. Obviously, Dai Wangshu absorbed the artistic conception and methods of describing sadness from these poems and applied them to form the artistic conception and image of Rain Lane. This kind of absorption and reference is obvious, but can we say that the artistic conception and image of Rain Lane are the expansion and desalination of the modern vernacular version of the old poem "Lilacs are sad in the rain"? I don't think so. When the poet conceived the artistic conception and image of the rain lane, he not only absorbed the juice of his predecessors, but also created his own. First, the ancients used the lilac knot itself as a symbol of sadness in their poems, while Yuxiang imagined a girl who was as sad as lilac. She has the image of lilacs disappearing in an instant, which is different from the old classical poems and other works created by the poet in his early days. She is full of the tone of the old poems and shows more flavor of the new era. "Lilacs in the rain bear sorrow" can arouse people's hope and disillusionment more than "girls who are as sad as lilacs", and this image is a rare creation in the field of expressing the sorrow of the times. Secondly, in ancient poetry, the lilac knot in the rain is based on the real life scene to pin the poet's feelings. The poet added his imagination to his life experience. It is the product of artistic imagination, more beautiful than life.
He's lonely. In the drizzle, he "walked alone in a long, lonely rain lane with an oil-paper umbrella". In such a gloomy and lonely environment, he had a vague and painful hope in his heart: "I hope to meet a girl who complains like lilac." The girl was endowed with beautiful and sad colors by the poet. Although she has "lilac-like color and fragrance", she also has "lilac-like sadness". Her heart is full of indifference, sadness and melancholy. Like a poet, she is "sad and wandering" in a lonely rain lane. Moreover, she was silent, "like a dream" drifting away from her and walking through this lonely rain lane.
In poetry, these images are independent in form, but they make us feel that there is some connection between them and they have something in common. Image constitutes a special relationship. What does the author want to express in this hazy image?
Some people say that Rain Lane is the poet's "self-liberation" to cover up the ugly truth with beautiful imagination, and it is "deceiving himself and readers with the gorgeous illusion like soap bubbles". In addition to the artistic beauty of harmony, it "has no merit in content" Some people say that this poem is like China's freehand brushwork in ink and wash, only exaggerating emotions to the extreme and spreading his sadness and confusion. "I like the beauty of your hesitation, and I remember the sadness of your regret."
The summer when Rain Lane produced 1927 was the darkest time in the history of China. The bloody slaughter of revolutionaries by reactionaries caused a white terror that enveloped the whole country. Young people who enthusiastically responded to the revolution suddenly fell from the climax of the fire into the abyss of the night. Some of them can't find the future of revolution. They are lost in pain, they long for new hope in disappointment, and they expect beautiful rainbows floating in the haze. Rain Lane reflects the mentality of some progressive young people. Dai Wangshu was only twenty-one or twenty-two years old when he wrote this poem. More than a year ago, he engaged in revolutionary literary activities with his classmates Du Heng, Shi Zhecun and Liu Naou, joined the * * * Youth League, and devoted himself to the party's propaganda work with his passionate pen. 1927 In March, he was arrested and detained by the reactionary authorities for propagating the revolution. After the "April 12th" coup, he lived in seclusion in Songjiang, Jiangsu Province, chewing "China people's distress in this era" in loneliness. ("Wang Shucao/Preface") His poems such as "Rain Lane" at this time are naturally full of feelings of hesitation, disappointment, sadness and pain. This kind of bamboo-like sadness can't be said to be a pure personal lament, but a projection of the darkness of reality and the illusion of ideals in the poet's heart. Rain Lane reproduces the typical voices in the hearts of these young people with short lyrical singing. Here we really can't hear the description of real suffering, and we can't hear the cry against the darkness. This is a deep confession, a confession of disappointment. However, from this kind of confession and confession, can't we clearly see the pain and pursuit of some young people after their disillusionment? This poem reveals the bitterness of losing good hope. Even the young people at that time were not so easily deceived. People don't want to wander in the rain lane forever after watching Rain Lane. People will hate this rainy lane and long to get out of it and go to a wide and bright place without rain and sadness.