Ai Qing's sand

Every poet strives to have his own unique style in his works. I'm afraid there is no poet who doesn't want to have his own style. Defining what style is is a very complicated problem. But in short, style is a feature of the poet's creation, the overall feeling of the character and style of the work, and the overall representation of the poet's nature, character, artistic interest and artistic orientation. Lu Xun said: "... styles, moods, tendencies, etc. not only vary from person to person, but also vary from thing to thing and from time to time." This statement is very pertinent. Ai Qing's style is very distinctive, and we can clearly feel the artistic personality of him and his poems from his poems. Generally speaking, his poems are frank, broad, simple, profound, flowing and rushing. Formed their own attitude, meaningful and heroic style. Famous poems such as Wild Goose River-My Nanny, Towards the Sun and Torch are outstanding representatives of his style. But as Lu Xun said, styles vary not only from person to person, but also from thing to thing and from time to time. The same poet will have many orientations. Great poets, in particular, always have their own set of pen and ink. In front of this great poet, his materials, his means of expression and his artistic feeling are rich. In front of great poets, it is a very broad artistic world ... so it is not difficult for us to understand some phenomena in Ai Qing's creation. In his forest-like masterpieces, there are also euphemistic and beautiful grasses. Although these sketches are not so magnificent, they are also pearls that shine in his poems. Poetry is like sand. Such poems are often ignored by people, especially by some poetry critics, which cannot be said to be a mistake. Learn from Ai Qing, learn from Ai Qing, and such poems should also be put in their proper position. Sand seems to open an ink painting in front of us: "The sun shines on a white sand/our footprints are printed on the beach/we walk by the river/the river stirs in the wind/we call for a ferry/but the sound is carried away by the wind". Quiet riverside, quiet ferry, quiet "we". In this silence, there was a cry of "we", which was blown away by the wind. There is almost no carving, and the simple poem outlines a simple picture, revealing the poet's simple state of mind. It seems too light, there is no wave. The only thing that appeared in the light was a little "scream", which was blown away by the wind. However, this is a very intriguing poem, with the interest of life between the lines. Its exquisiteness makes us fondle admiringly. From this, we also feel how much the poet loves nature, even if it is a small scene in nature, how obsessed with life. This poetic style is not frivolous, nor is it for the sake of beauty. It is another life experience of the poet, which is poetic and artistic. Yes, Ai Qing was influenced by late French romantic poetry and late French symbolic poetry, but his pursuit was different from that of western symbolic poetry. He tried his best to abandon the illusion that western symbolists simply pursued "self" and only paid attention to the performance effect. While paying attention to absorbing some useful means of expression from western symbolism, he paid more attention to using these means in the expression of life experience. Even a sand-like sketch is by no means a mirage or a castle in the air, but an artistic representation of real life. The poem Sand, together with Tree and Yuan Ye, was written in Xinning, Hunan. It can't be said that in this same period, poets wrote such dignified works as trees and wilderness, so they shouldn't write such works as sand. It can't be said that the poet is far away from the overall situation of national survival by writing a sand-like work. In creation, even in the same period, poets in the same place should have a wide range of choices. You can't ask a poet to sing only one song. It can't be said that with a poem like "Trees and Yuan Ye", there is no poem like "Sand". As for the success of Ai Qing's poems, Hu Feng once said: "Not only because he sang what he communicated with himself, it is still a corner of life that we can feel, but also because his songs always flow with his own feelings. His language is not too thin and noisy, and there is no paper flower decoration. But he sang his feelings that were fluctuated by real life in a simple way. Hu Feng's words are apt. Poems of this style, such as Sand, should also be within the scope of what Hu Feng said. In fact, a poem like sand helps us to understand the poet's nature and artistic personality. This poem is too pure to be forcibly carved. When the poet wrote this poem, his heart was so relaxed that people did not feel any heavy responsibility. We can say that the poet's mood when writing this poem is open, which often reflects human instinct. In other words, it is a natural expression of the poet's feelings without any burden. Does this mean "petty bourgeoisie"? Never look at a problem like this, let alone ask a poet like this. If we only use the knife of class concept to cut the quality of poetry, it is really the sorrow of the poet and the history of literature. We called the ferryman/but the sound was blown away by the wind. If such a "call" is too weak to be blown away by the wind, or abandoned because of its "weakness", then it is too monotonous in the singing of poetry. Poetry should be a trombone piccolo, colorful.