Chou-yu Cheng
I walked through Jiangnan.
The appearance in the season is like the opening and falling of lotus flowers.
If the east wind does not come, catkins will not fly in March.
Your heart is like a little lonely city.
Like a bluestone street facing the night.
There is no sound, and the spring curtain in March has not been opened.
Your heart is a small closed window.
My hooves were a beautiful mistake.
I am not a returnee, I am a passer-by. ...
Real name is Zheng, male, 1933, from Jinan, Shandong. I have been to the north and south with my father in my childhood. After the victory of the Anti-Japanese War, I went to Beijing to study in Chongde Middle School. 1949 went to Taiwan Province province with his family. 1958 After graduating from university, I worked in Keelung Port Authority for many years. From 65438 to 0968, he went to the United States, studied in the International Writing Class of the University of Iowa, and obtained a master's degree in arts. Currently living in the United States, Professor of East Asian Literature Department of Yale University.
Zheng Chouyu, his people and his poems all give people a sense of mystery. He is an athlete himself, but what he expresses in his poems is an affectionate scholar. He has a deep literary accomplishment, but he graduated from law school. As a leading figure of modernism, his poems are full of classical charm. His poems are graceful as Li Shangyin and bold as Li Bai.
Zheng Chouyu's famous poems, such as Mistake and Sailor's Knife, are mostly based on travelers. Therefore, he is called "the prodigal poet". Zheng Chouyu disagrees with this. He said, "Because I grew up in War of Resistance against Japanese Aggression, I was exposed to the sufferings of China and the wandering life of the people. I wrote these in poems, and some people called me a prodigal son. In fact, what influenced my childhood and youth was more the traditional spirit of benevolence and righteousness. " Ren Xia is still a prodigal son. In short, "he is not the kind of person who often goes home". Perhaps it is the combination of benevolence and prodigal feelings that makes Zheng Chouyu's poems have such touching artistic charm.
This nine-line poem is divided into three sections.
The first two songs wrote "I" riding in Jiangnan, which naturally reminded me of the "beauty" still waiting here. "The opening and falling of the lotus" is a constantly changing image, which has two meanings in the poem: one is to imply that "I" has left her for a long time, and the other is to say that her face is haggard while waiting.
The second paragraph of the five-element poem is full of "I"' s imagination of her: although the season is spring, because "I" didn't return, she didn't feel the catkins flying in the spring at all. Her heart is lonely like dusk in a small town, and melancholy is like a closed window. These lines can't help but remind us of Liu Yong's "Eight Sounds of Ganzhou" in the Song Dynasty: "Miss Beauty, make up your home, miss a few times, and return to your hometown." This also shows the classical charm of Zheng's poems.
The third section says "I" returns to reality from imagination. I passed by her, and she might vaguely hear this "Dada's horseshoe" but "I'm not a passerby." "Beautiful mistake" is the most admirable word in the poem. It's really nice to be close to her, but it's undoubtedly a mistake not to meet each other. The poet's combination of two contradictory words is really wonderful. The whole poem is sentimental, sad in style, implicit and full of charm.
This poem is known as "the swan song of modern lyric poetry" in Taiwan Province Province, and the reason why "worry about the wind" can last forever has a lot to do with this poem.
Interpretation 1:
"I walked through the south of the Yangtze River and looked like a lotus in the season." This is a poem by Taiwan Province poet Zheng Chouyu.
In the south of the Yangtze River in March, women, like lotus flowers, walk among them. As time goes by, their faces are like lotus flowers, which is really a beautiful artistic conception in the world. Poets always like to compare beautiful women to lotus flowers, pinning their long lovesickness on lotus seeds, which are as clear as water.
How many poems have you written in Jiangnan since childhood? Now I finally understand how many affectionate poems Bai Juyi's sentence contains-"Can you not remember Jiangnan?"
The Yangtze River divides China into two parts, one part is the iron horse autumn wind, and the other part is the apricot blossom spring rain. And every northerner's mind may have accumulated such consciousness and set foot on the land of Jiangnan again. ...
But I am not a returnee, just a passer-by.
If the east wind does not come, catkins will not fly in March.
Your heart is like a little lonely city.
Like a bluestone street facing the night.
There is no sound, and the spring curtain in March has not been opened.
Your heart is a small closed window.
The catkins in March are so quiet that all the still lives come back to life in March, so March has always been the season of love. However, in March, your heart is a stone at the bottom of a quiet river. The river flows, and the years have passed, but it has never changed the position where you stood at the beginning, just like a landscape, still!
Spring is picturesque, and I see you walk through the years alone, with flowers falling like flowers, smiling like flowers, and being speechless!
And all this scenery is concentrated because:
My hooves were a beautiful mistake.
I am not a returnee, I am a passer-by. ...
The reason why everything is so calm externally and so desperate internally lies in: I am not a returnee, I am a passer-by!
I seem to hear it.
On the bluestone board, water drops are dripping, the spring breeze is still there, and the years are silent.
It seems that everything is a naive fantasy, and nothing has passed. .......
Interpretation 2:
I walked through Jiangnan because someone was waiting for me, either a mistress or a lover.
She is a very beautiful woman and looks like a lotus flower. Because of this, I often go through Jiangnan romantically. It is not that there are many talents in Jiangnan, and talents are romantic, so that the eight beauties of Qinhuai will be handed down to the world and there will be a fragrance forever.
The woman who can make me look back, of course, has a quiet appearance and a gorgeous heart, and immediately said the popular theory of men's show.
Even if you are so beautiful, everyone who grew up in modern times is afraid of being responsible. Of course, every talented young man will not be addicted to being affectionate with his children. This is also the reason why it is popular in society to try marriage or just fall in love without getting married. Otherwise, if I hang myself from a tree, who will like to watch it?
I am so kind, I can't bear to wither in spring. Of course, I would never hurt you. I can only tell you that I am just a passer-by in your life. ......
It is because of my free and easy, you will miss me forever, because all I leave you are beautiful memories: such as Jiangnan silk and bamboo, such as classic coffee, such as the long pavilion farewell. ......
Everything is beautiful, and the good reason is:
I'm not a returnee, I'm a passerby!
alack
The unbearable weight in life
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The images in Melancholy Poem 4 are all ugly: pot cover, dim light, damp prison, timid bats, rotten ceiling, railings behind bars, filthy spiders, cobwebs, wandering ghosts, long rows of hearses and black flags. These disgusting, ugly and ominous images come one after another and fill the whole poem. They showed "mental turmoil". In a word, Baudelaire takes ugliness as beauty and turns ugliness into beauty, which is of innovative significance in aesthetics. This aesthetic view is one of the principles followed by modernist literature in the 20th century.
Some people say that all the images he chooses are disgusting. For example: floating corpses, bats, spiders, broken clocks ... but it is undeniable that his "feeling" is very good, which is a bit like nonsense, otherwise it would not be circulated today. ......
Baudelaire's prose collection "Melancholy in Paris" and "Flowers of Evil" ... His works seem to be integrated into one, giving the strongest voice to explore the ultimate human nature, condensed into flawless jade, and shined in front of me for more than a century.
I heard the poet screaming at the top of my lungs in the poem, and I felt the poet wandering in loneliness. In shouting, loneliness and hesitation, the poet spared no effort to break or subvert the old customs and practices, and sought a breathing space in the tightly bound thoughts. The boundaries between beauty and ugliness, good and evil are gradually blurred, sliding towards melting and even reversing. Return is not an end, but a process, a means and freedom. The lamp of happiness and hope hangs high on the horizon and flashes in the dense fog, calling someone to find it. ...