Ishigaki Aya (Japan)
Those who wait will not come,
Who can't wait for someone!
Having said that,
But I'm still waiting.
It's too far to call you,
People who don't even let me see their backs,
Right across the horizontal line,
Come near me like a flood.
Although it is close to me,
But never get my body wet,
Just far away from me now,
Wandering impatiently.
I'm in the middle of a hill,
Thirst is like sand
What caught my attention was that,
Only the undulating sea view.
(translated by Luo Xingdian)
Ishigaki Aya (1920——) is a famous contemporary Japanese poetess. Born in Tokyo. 1943, under the guidance of the famous poet Masao Fukuda, he founded the women's poetry magazine Fault and began to publish poems. From 65438 to 0959, a collection of girls' poems, Pot and Fire in front of me, was published, because it praised the beauty's sexual life with lofty feelings from the standpoint of the people and working women, and truly showed the female world, making her one of the most outstanding female poets in postwar Japan. Her other representative poems include House Numbers (won the 10 H prize) and Poems of Ishigaki Aya (won the 12 Tamura Toshihiko Award).
Seascape is selected from the collection of poems "Pot and Fire in front of me", which is the representative work of the poet's love poems. With the theme of "seascape", the poem captures a spiritual landscape of "within reach" in gray tones. Poetry seems to describe a date, and one person is waiting for another. But "those who wait don't come,/those who can't wait!" /That being said,/But I'm still waiting. At the beginning of the poem, there is a well-known tragic atmosphere: "Those who wait don't come" is the affirmative tragic answer. However, people who are obsessed with love often have a heart of hope, no matter how clear the answer is. A wise man will surely say, "Who will wait for someone who can't come?" The sensible person who was taken away by the burning of love is "still waiting" for the person who knows he can't come. Without such infatuation, would it still be love? This poem uses these simple strokes to outline an image of wholeheartedly devoted to love, and captures the unique psychological modality of lovers, showing it incisively and vividly.
"Calling for someone who is too far away from me to see,/coming from the other side of the horizontal line,/approaching me like a flood." Hope sometimes exists between despair and hope. If it's hopeless, it's enough, but you can only see the person you love. Although the distance is far away, too far to hear the call and too far to see the man's back, the image is clearly an existence. This kind of love situation, as if nothing had happened, often gives lovers even bitter torture, and the scissors are still chaotic.
"Although it is close to me,/it will never wet my body,/it is just far from my current line,/it is impatient." Loved people don't know why they won't leave happily, and they won't throw themselves into it completely. He flooded in from time to time, but left an insurmountable distance between two hearts. He seems to be struggling in difficult choices. This should be a loved one with extremely heavy psychological load and unspeakable difficulties.
"I'm in the hinterland of the hill,/thirsty as sand. /What caught my eye/was only the undulating sea view. " These words tell the bitterness of "I" and tell the bitterness of "I": "I" am trapped in the depression on the hill, suffering from "the thirst like sand" alone, which is already a kind of suffering, but the sea view that fluctuates from time to time is in my sight. The surging tide, since it "doesn't wet my body" and doesn't quench my thirst, is visible to me and always arouses my unbearable thirst. This was originally the suffering of the soul who fell into purgatory in Dante's Divine Comedy: there are fresh fruits on the tree and sweet springs underground, but it is an elusive temptation of suffering and a profound spiritual disaster.
There have always been many poems about seascapes. Rambo of France wrote the fantasy of the sea in Drunk Boat, Malarme wrote the longing for the sea in Sea Breeze, Claudel wrote the longing for loss in Going to the Sea, Pushkin of Russia wrote the longing for freedom in Going to the Sea, Mayakovski wrote the longing for grandeur in The Atlantic, and Shi Yuan Ling wrote No Hope with the delicate feelings of women. This inseparable state is a kind of synaesthesia experience when human beings are in love. From the surface of the poem, it seems to write a date and wait, but in fact it is all people's inner feelings about love, as if they are always waiting, expecting and yearning. Love always flashes between people, at arm's length, between hope and hopelessness, just like "the ups and downs of the sea view."
The choice of images in poetry is meaningful. "Seascape" focuses on "sea", but it is actually just "scenery", which itself contains an elusive disappointment. Falling into the poem, this "seascape" ups and downs into two spiritual landscapes. A soul is thirsty and looks at it in vain; A heart was hesitant and restless, and finally ran to the "Ting Line" with uncertain distance. There is often a long distance between souls. No wonder for thousands of years, countless people looking for love have been making heavy and sad gasps.
The language and even the style of poetry are simple and plain, just like a person talking faintly and plain as words. People who wait for "waiting" will not come,/who will wait for uneven people! /That being said,/But I'm still waiting. "This kind of language, highly refined and pure, is as natural as a spring, but it also attaches importance to the inner world like a spring, and digs and expands the territory of the soul without publicity.