Genre: Modern Poetry
Author: Wen Yiduo
original work
Quiet as a trance, that day, bamboo,
On that day, the dense leaves on the bamboo could not cover the coral;
That peach; Lucky sparrow in the palace.
Spring has climbed over the green leaves.
Suddenly a ray of sunshine flashed before my eyes.
Ten thousand golden arrows flew out of my eyes,
There is a rumor in my ear that my wings are rubbing.
Like a group of angels wandering in the air ...
Abrupt alley deep bursts with a clear and crisp voice:
Have pity on my blind man, sir and madam! "
Appreciation editor of works
This poem fully embodies an important way of thinking in Wen Yiduo's poetry creation: multi-level experience and grasp of the world.
This is compared with the way of thinking of China's classical poets. China's classical poets are a kind of holistic thinking with super-layering. They seek to regard the world as a whole, but they oppose hierarchical and orderly interpretation and analysis. In this way, in China's classical poems, the meaning of the objective world is always unified, in which all images have the same "reference" direction, without any evasive and contradictory words. For example, Wang Wei's "March on the Fortress": "If a bicycle wants to ask the side, it is a country that has lived for a long time. Pengpeng also floated out of Korea, and the geese heading north also flew into the sky. The vast desert is lonely, and the Yellow River sets the yen. Xiao Guan and other riders are all in Yanran. " In the poem, a series of images such as cycling, camping, the Great Wall, returning geese, desert, solitary smoke, long river and sunset all have the same meaning, that is, vastness and desolation. At the end of the sentence, "Xiao Guan rides a horse in Yanran every time". When the writer meets "waiting to ride" (that is, scouts) on the way to the mission, he knows that the supreme general is still farther and farther away, and it is already a desolate scenery beyond the Great Wall. Unexpectedly, this is only halfway through the task, and his mood can be imagined. In this way, the meaning of the whole poem is always unified.
Spring scenery, on the other hand, chooses two groups of images with different meanings, which are contradictory and divided and cannot be unified in our aesthetic experience at all.
The first group of images is really "looking", and the poet paints a refreshing picture of spring scenery with great interest. The first is the sound. At first, it was "quiet as a dream", then it seemed to hear the slight breathing of birds. Sparrows were "lucky in the morning" and finally "rubbing their wings". As the voice appeared in front of the poet, it was color, bamboo, red coral, peach blossom and golden sunshine. In short, from static to dynamic, from dark to bright, the colorful and vibrant scene of spring is vividly displayed.
The second group of images is completely from another world, a dark and far-reaching alley, a blind man in rags, his skinny body, dirty and chapped palms, and a piercing call from the wind: "Have pity on me, my blind man!" "For the blind people begging along the street, the spring is bright and there is no point in updating anything. Naked and hungry, he still lives in the cold winter, or there is no seasonal cycle in his world. He only knows that he has to beg for the most basic survival all the year round.
The contradictory relationship between the two sets of images is obvious. Generally speaking, they don't appear in the same poem at the same time, either the sunny Happy Spring Day: "The morning glow is as red as fire, and the riverside is as green as blue" (Bai Juyi), or the grief-stricken "Spring Complaint": "Drive the oriole away, and all the fun will be trees. They woke her up when she dreamed that she went to meet him in Liaoxi camp. (Jin Changxu) In spring, the first group of images belongs to "spring happiness" and the second group belongs to "spring resentment".
Wen Yiduo, on the other hand, put two groups of images together in this way and juxtaposed them in Spring, which is called "multi-level experience and grasp". On the surface, this way of thinking seems to be quite broken and split, unlike China's classical poems. But in fact, this fragmentation just shows the multi-level structure of the world itself. The so-called fragmentation itself is the real state of the world, and harmony and harmony are only the poet's ideals. The primary factor for modern poets in China to gain independent value is to "tear off the mask and boldly look at society and life". Wen Yiduo in the stagnant water period was a modern poet who dared to tear off his mask. He found that the activity of life is only the superficial image of spring, but its inner layer is still full of the withering and withering of life; Happiness and relaxation are the surface layer, bitterness and pain are the inner layer. Interestingly, between these two images, there are "a group of angels roaming in the air". Even angels like to be carefree wanderers. What can they do for the suffering blind man? The poet uses the contradictory relationship between these groups of images to confront and dispel each other, thus showing his ridicule and satire on the real world and its life situation! It can be seen that without "multi-level" experience and "multi-level" performance, it is impossible to have the complex meaning of the poem itself.
Classical poetry pursues unity, while modern poetry pursues complexity.