Maybe (Wen Yiduo)
-Corona.
Maybe you are really tired of crying.
Maybe, maybe you should get some sleep,
It's called nighthawk. Do not cough.
Frogs don't blow horns, bats don't fly,
Don't let the sun cover your eyes,
Don't let the breeze brush your eyebrows,
No one can wake you up,
Take an umbrella to block your sleep,
Maybe you heard earthworms turning mud,
Listen to the roots of this grass absorb water,
Maybe you listen to this kind of music
More beautiful than the voice of swearing;
Then close your eyelids first,
I'll let you sleep, I'll let you sleep,
I gently cover you with loess.
I told the paper money to fly slowly.
While appreciating this poem, the author advocates that this poem should have the beauty of music, painting and architecture. Generally, mourning poems always express strong grief and sorrow, but this poem sets out from "three beauties" and writes Corona Hector as a beautiful requiem.
For the deceased who has just passed away, people often doubt whether he is really gone forever, and often have the illusion that he will continue to live around. So "maybe you are really too tired to cry" is natural and acceptable. The word "cry" implies that the deceased died of grief. I was tired of crying and wanted to sleep, so I ordered eagles, frogs and bats not to disturb the sleepers. The mention of these animals also implies that the environment is not indoor, but a graveyard in the wild.
Don't let the sun catch your eyes, and don't let the breeze brush your eyebrows. The dead have been buried underground, where will there be sunshine and breeze? These two sentences are unreasonable, and this "unreasonable" just shows the poet's eager concern. In order to "cover your sleep", it must be "no one can wake you up" and "holding an umbrella for shade" is also a hint of the environment.
People can't hear the sound of earthworms turning mud and pumping water from grass roots, but the dead can hear it, and these natural sounds are more beautiful music than the "curse", which echoes the above-mentioned "crying too tired" and also means injustice to the dead.
The last paragraph uses "I let you sleep" not only for the beauty of music and architecture (keeping the number of words per line and the amount of food unchanged), but also to express the author's sincere feelings. Repeatedly urged, but also reluctant to go. Finally, "I gently cover you with loess, and I call paper money to fly slowly." Obviously, this is Corona Herr, and the words "gently" and "slowly" are in harmony with the sadness and farewell of the whole poem, just like adagio in music.
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Appreciation of Wen Yiduo's Perhaps-Corona Cher
perhaps
Maybe you're really tired of crying,
Maybe, maybe you should get some sleep,
Then tell the nighthawk not to cough,
Frogs don't blow horns, bats don't fly,
Don't let the sun cover your eyes,
Don't let the breeze brush your eyebrows,
No one can wake you up,
Take an umbrella to block your sleep,
Maybe you heard earthworms turning mud,
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Listen to the roots of this fine grass absorb water,
Maybe you listen to this kind of music,
More beautiful than the voice of swearing;
Then close your eyelids first,
I'll let you sleep, I'll let you sleep,
I gently cover you with loess,
I told the paper money to fly slowly.
Perhaps-Corona Hector was used by the poet to forget his daughter Li Ying who died young. It was first published in the supplement of Beijing Daily on July 2nd, 1925. The original poem is entitled "Maybe (for a girl who died of bad karma)". The six stanzas of the original poem * * * were cut into four stanzas when the stagnant water was included, which became more refined and compact. This poem was a sensation at that time because of its novel image, distinct rhythm and deep feelings, and it is still loved by many readers and has high aesthetic value.
"Maybe" has four sections, each with four sentences and nine words. Every sentence, two or four rhymes, and the lines are orderly and even. In particular, the author only uses a full stop at the end of the poem, without a full stop, and there is no other symbol that plays the role of a full stop, which is unique in stagnant water. It emphasizes the integrity of poetry. Under the strong emotional impact, the poet wrote this sad mourning work in one go.
In Maybe, the poet's emotion is tragic and vigorous, like underground magma, rushing away, ready to explode at any time. However, poets with increasingly profound thoughts and repeatedly tempered art skillfully control this passion, which is deeply contained in every word and group of images and becomes the inner core strength of poetry. In terms of language, the poet adopted a cold treatment method, which greatly compressed his feelings and became more solid and heroic. "Maybe you are really tired from crying,/Maybe, maybe you need to sleep,/Then tell the nighthawk not to cough,/Frogs don't howl, bats don't fly," repressed grief and gentle and diluted questions seemed so heartbreaking. The vibrant nature is in sharp contrast with the unfortunate girl, and a huge emotional shock wave flies out of the calm words and hits the readers directly. In the second section, the poet further calls for the peace on the other side for this unfortunate girl with deep love. "Don't let the sunshine catch your eyes" and "sunshine" are used very accurately and precisely, which vividly reflect the calm and silent form of the dead in the dark, and at the same time, they are in harmony with the following "breeze", which together constitute a symbol of infinite vitality in nature. The sunshine caresses the eyes and the breeze caresses the eyebrows. This novel and unique personification technique not only vividly depicts death, but also hides the cruelty of death behind words, and only sets out the real painful realm of death with superficial vitality.
The third section reveals the theme of the whole poem, and it is also the climax of the poet's art and emotion. The first two sentences of the stanza personify death again and point the sharp pen at the society that caused this unfortunate death. The poet used vivid imagination such as "earthworms turning mud" and "roots absorbing water" to imagine the joy of underground girls. Happiness is not in life, but in death. Beauty is not on earth, but underground. Ordinary language implies extraordinary significance and decisively curses that inhuman society. The last two sentences are even more straightforward. The voice of curse is also a world full of ugliness and sin. This is the relentless exposure and challenge of the voice of justice to the dark society. At this time, the poetry has already surpassed the sadness of girls and has universal progressive significance.
The fourth section is a poetic summary of the three sections, like a small repetition of a perfect movement, which makes the poetry more full. Let the poetry vent more freely, so the structure of the whole poem forms an organic whole, which is mobile, stable and self-sufficient. Perhaps is a masterpiece in Dead Water and an outstanding embodiment of Wen Yiduo's poetry creation.
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I hope it helps you.