Building a house is human, and there are no horses and chariots. Ask what you can do, your heart is far from self-prejudice. Picking chrysanthemums under the east fence, you can see Nanshan leisurely. The mountains are getting better and better, and the birds are back. This makes sense. I forgot to say it if I wanted to defend myself.
Innasfri i.
William Burroughs Ye Zhi (Irish)
I'm going to Bali, Indonesia.
Build a small house and a mud house;
Set several rows of bean racks and a row of honey nests,
Living alone, listening to bees singing in the shade.
I will find peace, it will slowly fall,
From the fog to the place where crickets sing;
Sunny at midnight, purple at noon,
In the evening, the cardinals' wings are flying everywhere.
I'm leaving, because I heard,
The sound of water beats against the lake day and night;
Whether I'm standing in the driveway or on a dark sidewalk,
Everyone hears this voice in their hearts. ①
As can be seen from the above two poems, their artistic conception and words are very similar. Building a house is exactly the same as building a house. Picking chrysanthemums is the same as planting beans and keeping bees. The artistic conception of "Shan Ye breath" and the middle four sentences of the latter poem can completely complement each other. What the two poets want to express is to leave this painful world of mortals and live a paradise-like life, showing their quiet and far-reaching thoughts and the true meaning of staying away from the hubbub. Judging from the writing technique, both of them adopted the artistic technique of almost sketching, described the scenery objectively and truly without subjective color, and spoke frankly. This can at least prove that there is * * * commonality between Chinese and western cultures.
The elegant and free-spirited artistic conception shown in the two poems is common in both classical poetry and modern British and American poetry, from Li Bai's "laughing without answering his heart" to Du Fu's "fame for a thousand years, fame for ten thousand years, what's good, when you die?" There are many such examples, and there are also many modern British and American poems, such as T·S· Eliot's famous poem The Waste Land, which fully shows such artistic conception.
In artistic expression, there are also many similarities between the two. The greatest feature of China's classical poetry is implicit, vivid and concise. Only a few numbers can set off the atmosphere, and only a few words can express the artistic conception. The characteristics of British and American modern poetry creation are implicit, dignified, concentrated and full of emotion, which are closely related to China's influence on his poetry theory, and even some expressions are basically the same. Ezra pound's two short poems "In the Subway Station", which are quite famous in western poetry circles, are implicit and concise, which is memorable:
These faces suddenly appeared in the crowd.
Petals on a wet black trunk
This is basically the same as China's classical artistic conception of "Peach blossoms set each other off in red", "willow silk" and "pear flowers bring rain", which reflects the results of cultural exchanges between China and the West. But I personally think that the artistic conception expressed by these metaphors in western poetry is not as beautiful as China's, so it is imaginative. Poetry vividly reproduces the scenes where beautiful faces emerge in the crowd, but it lacks a space for people to fly in the sky and the aesthetic feeling of language. This is related to the different thinking forms between China and the West, which will be discussed later in this article.
(3) Difference
You can see * * * by comparison, and you can also see your personality. Although Chinese and western poetry can find a certain source in origin, or prove the connection and influence between them, it is not difficult to find the differences between them in comparison. The existence of this huge difference is caused by its different nature and different thinking forms.
China's poems are good at describing scenery, expressing emotions, setting off the atmosphere or creating artistic conception, while British and American poems focus on describing the reaction caused by scenery in people's minds, thus expressing their subjective consciousness. This is the difference caused by their different thinking modes. China people pay attention to expression, while westerners pay attention to reproduction. The theory of poetry literature developed under the command of this way of thinking is naturally quite different from poetry creation. In the East, represented by China, the theory of artistic conception and the theory of enlightenment were formed, while in the West, the theory of typicality was formed. Therefore, China's poems pay more attention to the creation of artistic conception, and pursue the effect of expressing everything, which gives people unlimited room for reverie. This kind of poem appeared because the traditional way of thinking in ancient China was intuitive. Even now, China people still pursue the creation of artistic conception when writing poems. Too white makes no sense. Of course, the pursuit of straightforwardness in some contemporary new human writers' works is another matter and cannot be generalized. After all, these people do not represent the mainstream of China's poetry creation.
China's poetry pays attention to implication, taking lightness as beauty, while British and American poetry is more unrestrained and wins with emotional agitation. A prominent example is the handling of love, where the characteristics of Chinese and western poetry can be fully reflected. China poets describe love as "frowning, but thinking" and never express that kind of love, while western poets will shout "You are my sun, and the fire of love makes me anxious." It is hard for China people to accept this outspoken attitude, and the essence of the difference lies in their different aesthetic orientations.
In addition, China's poems mainly praise, while modern British and American poems mainly reveal. China's poems always bury the poet's feelings in his poems, and only "emotion" can feel its beauty. The most prominent example is Ma Zhiyuan's Tianjingsha Qiu Si. He hardly used a word to express his feelings, but simply arranged "dead vines", "old trees" and "dim crows" together, drawing a few strokes. However, the lonely and desolate atmosphere is just right. "Sunset" painted the whole picture with a layer of yellow, and finally brought out "heartbroken people are at the end of the world". It feels as if there is no direct connection before and after, but the feelings are coherent and the ideas are coherent. The reader reads on in one breath, as if he were a wanderer in a painting written by a poet, causing a strong sound of * * *. The juxtaposition of ten kinds of still life, though without any subjective feelings, strongly expresses a lonely and sad feeling than any other language, which is the charm of China's classical poetry. In contrast, modern British and American poetry emphasizes the psychology of perverts in capitalist society, directly expresses the poet's meaning, expresses his own thoughts without affectation, and the space for aftertaste is relatively reduced, but this is more in line with the psychological characteristics and thinking characteristics of westerners.