If I love you-
Unlike climbing Campbell,
Show off yourself with your tall branches;
If I love you-
Never imitate spoony birds,
Repeat monotonous songs for the shade;
It is not just like a fountain,
Send cool comfort all year round;
It is not only a dangerous mountain peak,
Increase height and set off dignity.
Even during the day,
Even spring rain.
No, these are not enough!
I must be a kapok beside you,
Standing with you as the image of a tree.
Roots, close to the ground;
Leaves, touching in the clouds.
Every time a gust of wind blows,
We all greet each other,
But no one,
Understand what we said.
You have your copper branches and iron stems,
Like a knife, like a sword, like a halberd;
I have my red flowers,
Like a heavy sigh,
Like a heroic torch.
We share cold waves, storms and lightning;
We like mist, flowing mist and rainbow.
As if we were separated forever,
But they are lifelong dependent.
This is great love,
Loyalty is here:
Love-
Not only love your strong body,
I like your position,
The land under your feet.
"To Oak" is Shu Ting's famous work, and Shu Ting himself admits: "10 years, I have written a lot of essays, and the total amount has far exceeded poetry. But most readers only remember my poems and often equate my name with an oak tree. " In the book True Water Without Fragrance, she recalled the prototype and creative process of To the Oak.
1March, 977, Shu Ting accompanied Mr. Cai Qijiao for a walk in Gulangyu. "The theme of love is not only a treasure in his teacher Jiao's poems, but also a highlight in his life. He is very frank about this. " That day, he lamented that most of the beautiful women he met were simple-minded, while talented women were often unsatisfactory. Even if there are beautiful and intelligent women, they must be fierce and shrewd women, which is daunting. Shu Ting, a young man, argued with Mr. Cai Qijiao that all men in the world want women's appearance, wisdom and personality to be perfect, thinking that they have the right to choose and use. In fact, women also have their own choice criteria and deeper disappointment. At two o'clock that night, Shu Ting finished writing Oak in one breath, and the next day she took Cai Qijiao to Beijing to show it to Ai Qing. North Island often went to accompany Ai Qing at that time. After reading this poem, Shu Ting and Beidao began to correspond, and Beidao conveyed Ai Qing's opinion, so "Oak" was changed to "To Oak". "This poem spread, and I kept meeting girls with both talents and looks, complaining to me that there was no oak tree." So Shu Ting wrote goddess peak as a supplement. "It's better to cry on your lover's shoulder all night than to exhibit on the cliff for a thousand years."
Shu Ting's poems are novel in conception and full of lyrical colors. Exquisite language and distinctive personal style. To the Oak Tree is a beautiful and profound lyric poem of hers. The poet ingeniously chose the two central images of "kapok" and "oak tree", which contained delicate, euphemistic and profound feelings in the novel and vivid images. The love it expresses is not only pure and hot, but also noble and great. It is like an old and fresh song, which touches people's heartstrings.
The poet takes the oak tree as the object, expressing the passion, sincerity and firmness of love. The oak tree in the poem is not a concrete object, but an ideal lover symbol of the poet. Therefore, this poem, to some extent, does not simply pour out one's passionate love, but expresses one's ideals and beliefs about love. It is expressed through a kind and concrete image, which is quite meaningful to the ancients.
First of all, the oak tree is tall, charming, deep and rich in connotation-"high branches" and "shade" are one meaning, and the method of setting off is adopted here. Poets don't want the love of vassals, nor do they want to be a smug flower attached to the high branches of oak trees. Poets don't want to give love, to be a bird that sings for the shade all day, to be a fountain of wishful thinking, and to be a mountain that blindly supports the oak tree. The poet doesn't want to lose himself in such love. Love needs to be based on equality of personality, independence of personality, mutual respect and admiration, and mutual affinity.
[3] What the poet wants is the kind of love that two people shoulder to shoulder and help each other in the same boat. The poet compares himself to a kapok, a kapok standing side by side with an oak tree. The roots and leaves of these two trees are closely connected. The poet's persistence in love is no less than the ancients' "I would like to be a lovebird in the sky, and I would like to live together on the ground, with two branches in one tree." . Oak and kapok stand quietly and firmly. When the wind blows, swaying branches and leaves greet each other and they are connected. That is the language of their world, the harmony of their hearts, and the silent understanding.
Two people are guarding it like this, two determined trees, two fresh lives and two noble hearts. A brave guard, every branch is always ready to stop attacks from the outside world and defend the world of two people; One is a passionate life, with red flowers, willing to cheer for him and light up his future when he is struggling. They share the threat of difficulties and the test of setbacks; Similarly, they enjoy the splendor of life and the magnificence of nature.
What poets want is such great love, the same greatness and nobility, the same thoughts and soul, rooted in the same foundation, sharing weal and woe, and being dependent on each other in cold and warm.
Poetry expresses the poet's ideal view of love with novel and magnificent images and appropriate metaphors. The metaphor and peculiar image combination in the poem represented the new form of poetry at that time, which was of groundbreaking significance. In addition, although novel images are used in poetry, the language of poetry is not obscure, but colloquial, with fresh aura and subtle hints in novelty, giving people unlimited imagination.
Shu Ting, a poetess, is one of the three giants in the field of obscure poetry, which keeps pace with Beidao and Gu Cheng. Her poems, not limited to Alan Yu, maintain a detached and distinct personality, thus smearing a dazzling track in the literary sky. Her poems, from images to vocabulary, are full of southern flavor and feminine flavor. Just like this song "To the Oak Tree", how vivid and touching the language and images are! And the kind of love she sang, from humble to pure and beautiful, can be described as an ideal realm with strong appeal, which makes countless young people yearn for and look forward to.
Shu Ting was once a world-famous poet, and To the Oak was once a poem that spread all over the world. Twenty years ago, there were different comments. Although the misty poetry school has long fallen into a cold silence, Shu Ting and To the Oak are still worth talking about.
To the Oak Tree is a love poem with no vague meaning. The poet uses meticulous and fluent thinking logic to show bright and beautiful images. In the 80-year history of China's new poetry, perhaps there is no other love poem better than it. What's more commendable is that it was written in March 1977, and it was the earliest love poem after the Cultural Revolution.
Zhi Oak clearly shows a kind of love view of independence, equality, interdependence, mutual support, understanding each other's existence significance and cherishing their own survival value.
Let's enjoy this classic poem about love word for word.
The poem To Oak uses the monologue tone of "kapok tree" to talk with "oak tree", which is pioneering in poetry creation at that time. Oak is a timber tree with compact and tall wood. Kapok is also known as the hero tree, and its image is tall and straight, which is the tallest among the flower trees. We have to admit the poet's careful design when choosing the material of poetry creation: oak is so suitable to represent the masculine beauty of men, while kapok is so suitable to represent women's self-reliance and equality with men. Through the artistic technique of quasi-materialization and the inner monologue of kapok tree, the poet sang his own personality ideal and his independent and affectionate love view. As soon as this poem was born, oak and kapok became a group of symbolic images with brand-new character in China's love poems. The establishment of this group of images not only denies the old love description mode, but also transcends the principle of mutual love and is full of humanistic spirit: sincere and noble mutual love is based on their independent positions and personalities. This view of love is very ideological and artistic, and it is extremely heavy.
At the beginning of the poem, two assumptions and six negative metaphors are used to express my love view: "If I love you-/I will never be like Campbell climbing,/I will show off myself with your lofty branches; /If I love you, I will never learn from spoony birds,/and repeat monotonous songs for the shade; /It is not only like a source,/It brings cool comfort all year round; /It's not just like a dangerous mountain peak. /increase height and set off dignity. /even sunshine/even spring rain. " -she doesn't want to climb on each other and show off her vanity by virtue of each other's greatness; Nor is it wishful thinking to drown in each other's indifferent shade and sing unrequited love songs alone. As a woman, she should be affectionate, considerate and gentle by default, but she thinks she can't stay in this affectionate state. She admits that bedding and foil can make the other person's image more prominent and powerful, but she feels that this function still does not express the full power of love. For each other, I want to offer the warmth like "sunshine" and pour out the affection like "spring rain"; This is the whole truth in love. But she was not satisfied with these: "No, these are not enough! /I must be a kapok beside you,/stand with you in the image of a tree. " The poet made it clear that she is not an accessory, but a foil and ornament of the other party. She must stand on the same side as the other party-you are a person, and I must be a person with the same spiritual temperament; You are a tree, and I must be a tree, equally tall and straight; You stand, I must stand, standing between heaven and earth equally. In short, the images of the two must be the same.
But this agreement does not mean bullying and squeezing each other, nor does it mean that there is no difference between the two, just for the sake of "roots, close to the ground,/leaves, clouds touching each other." /Every time it's windy,/we greet each other,/but no one/understands us. "Men and women in ideal love should stand side by side like oak trees and kapok, and convey and repay each other's love with the grip of roots, the caress of leaves and the mutual greetings in the wind. This is a couple who are hand in hand, and even a breeze can cause a thrill. They are soul mates, and no one can understand them. Kapok said in an oak tree and his own proud tone, "You have copper branches and iron shafts,/like a knife, like a sword,/like a halberd; /I have red flowers,/Like a heavy sigh,/Like a heroic torch. "Obviously, kapok deeply understands the characteristics and values of her and the oak tree; They can't replace each other, but should give full play to their respective advantages. Here, she unabashedly praises the male beauty and masculinity of the oak tree, which is majestic and sharp; Also praised the flexible temperament of their own women: isn't that rich safflower a sign of youthful beauty and feminine beauty? However, why are all the red flowers of kapok like "heavy sighs"? We can feel the unique voice and emotion of this poetess: this voice bears painful scars, and this emotion is stained with sadness. At that time, many pains, hardships and struggles of society, relatives and individuals were melted in this kind of voice and emotion! This heavy sigh is so real that if you throw it on the ground, it will splash tears and blood spots!
With her sensitivity, sobriety and profundity, Shu Ting shouted out women's yearning and pursuit for independent personality, sound mind and equality between men and women. She is not fettered by the world, and expresses a mature intellectual woman's yearning for ideal love. She went on to write: "We share cold waves, storms and thunderbolts,/We * * * enjoy fog, flowing haze and rainbow." True love, of course, must share joys and sorrows. On the surface, they seem to be separated forever, but in essence, their roots and leaves are intertwined and are "lifelong dependent". It's just that this kind of love has a special meaning in Shu Ting's eyes: "This is great love,/and here lies loyalty:/Love-/Not only your great body,/but also your persistent position and the land under your feet." Shu Ting put forward her own unique views on the "loyalty" of love here: the loyalty of love is not only to be loyal to each other's "stalwart body", but also to stay in the admiration of appearance and the combination of body, but to go further and incorporate each other's career pursuit, ideals and beliefs into their love arms, and to blend and possess each other completely in spirit; Not only in form, but also in thoughts and feelings, it is considered as "great love" to achieve perfect combination, consistent position, consistent belief in life and consistent pursuit of goals.
The whole poem is bright, beautiful, refined, generalized and condensed, and the author uses the expression technique of quasi-materialization of lyric subject. The object of the poem is oak, but kapok. The style of writing is also unique. Instead of depicting the beauty and straightness of Kapok's appearance, it uses a series of subtle metaphors to compare Kapok's personality, characteristics, beliefs and ambitions from all angles. Then psychologically, she further exposed her love view and portrayed it from the personality characteristics. In the depiction, the two images of "sigh" and "torch" are compared, which further shows kapok's plump personality. Then compare the images of "cold wave" and "fog" to contrast and render the typical environment of love images of kapok and oak. This shows kapok's love for oak trees in all directions. Clever artistic contrast, vivid image and implicit and gentle tone constitute the independent characteristics of the whole article. At the end of the poem, it is both empty and real, meaningful and philosophical, which opens up the theme, rationally sublimates kapok's love view, reflects the image symbolizing love with the light of ideal, and makes kapok's loyal and beautiful image more upright, so full, beautiful and vivid!