The first generation and the second generation of political lyric poets, as mentioned above, although there are obvious differences between them; But at the same time, there are many striking similarities. For example, the passion of poetry writing almost surpasses any other poetry style. This is not only natural and natural, but also natural and inevitable if viewed in the usual way and facts. Because political emotion is actually the most important, sensitive, enthusiastic and persistent emotion of all people, especially poets; It is personal and private, but it has the characteristics of socialization and collectivization to the greatest extent. Therefore, from the subject's creative impulse, it has the greatest strength and intensity from the beginning; Judging from his psychological expectation for the object of aesthetic communication, his desire for response and * * * is particularly profound and urgent. What's more, the political lyrics we have talked about and seen so far are: (1) It has always "kept its singing skills in the major themes of society", which is a realistic, hot and sharp theme; (2) It always highlights the unusual ideological height of the creative subject, and its emotional communication has a strong spirit of the times; (3) It always pursues and can really achieve the widest social effect, and at the same time becomes the strong voice of the times in social life and art at that time.
However, we can see how these characteristics, together with the aesthetic principles followed by these two generations of poets, respect the "three unifications" emphasized in Guo Xiaochuan's Selected Poems, that is, the unity of poets and soldiers; The unity of poetics and politics; The unity of "self" and "self", or it reflects the spirit of the times, the mood of the times and the thoughts and feelings of the people. Although the second generation of political lyric poets may "abandon" or even "oppose" these aesthetic principles to a great extent in their poetic manifesto and subjective wishes, it is obviously out of specific political and cultural motives, rather than the value realization pursued by conscious and thorough poetic art practice. In addition, the historical limitations of its cultural education and edification are hard to surpass, and in fact, it still keeps the same pace as the first generation of political lyric poets, so its so-called "rebellion" is only reflected in their "folk" position and identity, while the third generation of political lyric poems like "Wipe the Years" have actually given up. And this first depends on and depends on the cultural environment in which his creative subject is located. To sum up, that is: first, although politics is also emphasized in the life of the times, at least in the "collective consciousness" of the general public, it is not a year in which everyone has a strong political complex; Secondly, as a historical memory, the powerful influence of past lives on political lyric poetry is recognized as a mistake in artistic practice; Third, the current era life itself no longer affirms and prefers to be a fanatical political passion, especially does not accept it as a prominent artistic reality; Fourthly, the political content in the past life is denied by most people in contemporary China, and it is also deeply confused because it is hidden in the heart or there is a gap. It is in this cultural mentality that Hu Qiuling's political feelings are brewing and gestating brand-new features and textures different from those of the previous two generations of political lyric poets.
He "deeply understands that a poet must be a loner at the peak of human destiny, but he must also enjoy the air, rain and sunshine with all sentient beings." Poetry can never be sung outside the society "4. Obviously, here, he is trying to avoid the oscillation caused by the inaccurate grasp of the spiritual tension between the poet as a cultural elite and ordinary citizens-the relationship between opposition and unity, and the improper positioning of the poet's subject caused by this. They are telling themselves that "they can never sing outside the society", and they are still concerned about the political content in the past historical life-in this respect, he is obviously different from the previous two generations of political lyric poets, and its importance is also self-evident, but it is very clear that as a "person who has written poems and will write poems in the future", he has "automatically" obtained the status of Lu Xun. Only in this way can he be very calm. Although he is also very clear:
However, understanding how difficult this era is and erasing the dusty years is tantamount to a spiritual adventure.
Is it really that easy to miss the ancestors who talked about everything in ancient and modern times?
Knowing that he is not "relaxed", if he wants to take risks, he should not be hasty and reckless, but must be calm and calm, which is the basic content behind his "calm" posture. In the past, the passionate, bold, passionate, sonorous and magnificent emotional expression used in political lyric poems such as Volcano Eruption, Storm and Thunder and Lightning cannot be adopted. Instead: (1) the main attitude of paying attention to historical life from the current cultural standpoint; (2) Insist on scientific rationality and seek the lyric theme of understanding from the historical life process; (3) abandon impetuous emotions and make the observation of historical life as objective as possible. However, the way of discourse transmission is absolutely limited to chanting, and it is never allowed to break away from the track of poetry and evolve into a trial; In other words, "rational interests" can be implied, but "rational obstacles" should be resolutely avoided. To put it bluntly, his mental attitude is rational, while his aesthetic form maintains perceptual characteristics; As far as poetry is concerned, the expression of "emotion" is restrained, while the direction of "reason" is implicit. The foundation of artistic communication is profound accumulation, and the destination of aesthetic activities is the "feeling" of the soul. In this way, the communication with readers can be realized, and the invisible sound can be realized through "heart-to-heart", without the need to complete "words and expressions" in the traditional way of directly expressing one's mind. But objectively speaking, this new lyric form of poetry is not just budding. In fact, the earliest practice was Ai Qing's poetry creation in the new period. However, Hu Qiuling, a young poet, regarded it as a basic artistic way of political lyric poetry, which still has its pioneering power.
In this way, although "calmly" is just a seemingly ordinary word, it marks a valuable leap in the third generation of political lyric poetry to a certain extent.
Correspondingly, the third generation of political lyrics is "hot" than the previous two generations, and its outstanding artistic feature is "cold". But it is "calm" rather than "stern", which is absolutely different from Gong Liu's established style as a prominent representative of the second generation of political lyrics, from the external form to its emotional essence. And basically has faded the color of endorsement. The established identity of the poet is neither an authoritative publisher nor a folk rebel, but a completely personalized historical observer and examiner.
But he is no ordinary "observer" and "examiner". This can be seen from the title of his poem. The names of a process, the writing of years and the wiping of years can at least show that he is not a narrow-minded person who "squats to see life". The historical life in his mind is first of all a seamless whole; Secondly, it is very inclusive; Thirdly, it is an organic dynamic sequence; Thirdly, it gives people a deep impression of vicissitudes. Hu Qiuling observed it from a macro perspective, but explored the details of culture with a delicate mind. He arranged the historical process of life in chronological order, and selected an important political event from each era to focus on in order to grasp the corresponding characteristics of the times, that is, the "line of years." When these "points" as historical wrinkles naturally become "lines" because of their collection, "a process" is vividly presented. In fact, this is not only a formal (writing style) creation, but also contains a grand and secret cultural framework. As content (perceptual knowledge), it certainly embodies the activity and openness of the creative subject's spiritual world. This rigorous and agile artistic structure is of course effective and economical for poets to sum up and fully understand the laws and essence of historical life. More importantly, its discourse communication has rich artistic interest and profound cultural connotation. Try to pick out a few examples:
1949, 28-gun salute ":"Tiananmen Square is the place where ceremonies/funerals were held in past dynasties/Mao Zedong and his comrades-in-arms know/every time founding ceremony is very lively/there is only lively time/there are short and long ";
1953, Hao Jianxiu's Work Law: "This is a country without its own name/* * with too many congenital defects/creating too many miracles on earth/including its own later/unexplained";
"1959, Lushan Mountain in the fog": "Looking sideways/looking sideways/still Lushan Mountain ... Mao Zedong smoked so heavily/smoked the whole Lushan Mountain/it was foggy/so that all the immortals could not tell which branches and leaves were/which trunks were ... So, a fog/wandering from Jiujiang to the Yangtze River/still taught people to see.
1965, Dazhai: "However, Dazhai/is a stockade after all/can produce some special sorghum/ideas/but can't/produce a lot of sorghum";
Treasure Island (1969): "Wusuli River (1969)/ an island with ice thickness of 0.74 square kilometers/like a gold ingot/on the Sino-Soviet border/has become the focus of world attention".
First of all, if the "point" is not a "line", it is difficult to see through the ideological charm and aesthetic aftertaste at a glance; Second, because these poetic texts, which are composed of modern vernacular Chinese, are not explicit, but they can be understood without explanation. In addition, Hu Qiuling's poetry anthology, with its relatively independent and complete artistic framework, basically completed its established creative intention of "erasing the years", and its aesthetic pursuit itself, with its generally successful discourse practice, provided us with beneficial enlightenment. At present, we can be sure that its white and melodious language form is suitable for its established creative pursuit; The ironic function of using words skillfully; Leave a blank and hide the front, resulting in a aftertaste; Looking for the effect of hiding needles in cotton wool, looking for autumn in skin, etc., are unique and fresh, and also beneficial and desirable.