Ah, ah, didn't you see the leaves fall in autumn?
Although I am a prodigal son, I should look for my home.
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My soul is tired of traveling in Greece now.
My soul must go home.
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I heard my people.
My glorious country calls me from afar.
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My soul originally came from Oracle Bone Inscriptions in Yin Ruins.
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My soul is going to the Yangtze River.
Drink Chen Ziang's tears ...
"Are you sitting next to the baby at the end of China's new poem,/weaving with your right hand and rocking the cradle with your left,/Ah, Qu Yuan, the pyramid at the end of the poem, the star of literature/Please accept my worship and lead me forward!" (See "The Sacrifice of Qu Yuan", the sixth issue of Genesis) Although these poems were not included in Yaxian's later poetry collections because of their explicit feelings and thin poetic elements, their mental journey at that time was considerable, which can prove his enthusiasm for China's literary tradition and cherish the historical and cultural heritage of the motherland. It is totally groundless to criticize Yaxian for using some western literary techniques and turning a blind eye to his extensive use of traditional literary techniques, totally denying or even maliciously attacking him.
Yaxian appreciates the language of China's traditional poetry very much and speaks highly of its charm: "In order to establish a new language tradition of modern poetry in China, the author always thinks that accuracy and conciseness are the only way to create language." "Accuracy and conciseness are the characteristics of China's traditional poetry. I'm afraid there is no more concise national poetry than China's classical poetry. The best textbook for modern poets in China to learn concisely and accurately should be their own national poems. Use the least words to express the most meaning, and use limited symbols to express infinity. Our poetry ancestors and poets are great experts! We can't do it without studying! " His poems are the best proof of practice. The language of many poems, such as Beggar and Salt, comes from the folk, which is a common saying, the original mother language of China literature, and a large number of overlapping structures, such as parallelism, overlapping, thimble and line drawing, are also the usual methods of traditional poems (including folk songs) in China. "As for language training, the first task is to use traditional languages. We listened to the local opera in the countryside, the dialogue of grandma and the dialogue of drama evaluation. That language image is rich and free, which is really enough. " Tradition is an inexhaustible treasure in Yaxian's heart and a source of strength for modern poets to enrich themselves. His references to tradition can be found everywhere in his poems. Can you say that Yaxian is not traditional?
He also fully affirmed the lyrical characteristics of China's traditional poetry: "Commentators often say that China's classical poetry is essentially a lyrical (short poem) tradition, which can be traced back to the Book of Songs to the old-style poems in the Ming and Qing Dynasties and the early Republic of China. Almost 90% of the works are characterized by lyricism and conciseness. In China, the long works such as Mulan Ci, Peacock Flying Southeast, and Cai Yan's Poems of Sorrow and Anger are not as good as Homer's Iliad, Odyssey and Indian Ramayana in terms of length. " He believes that this conciseness and lyricism is not a deficiency, but a feature that distinguishes China's classical poems from those of other countries. It has strong artistic tension and rich poetic elements. "This comparison does not mean that China's classical poetry has any shortcomings. On the contrary, because China's classical poetry focuses on lyricism rather than reasoning, it has greater purity and accuracy than western poetry and has become the most economical and concise text in the world. " These opinions hit the nail on the head.
On the sociality of poetry, Yaxian made a deep thinking and analysis from the traditional literature. He believes: "Social consciousness is one of the important qualities of literature, but it is not the only quality; Social significance is one of the important criteria for criticizing literary works, but it is not the only criterion. Literature is a process from an extraordinary stage to a * * * stage. No matter what you write, point or surface, part or whole, individual or nation, as long as it is well written, it has social significance. In short, the real social significance should be explored and set out from the' people' who make up the society. " "However, we can't ask poetry to express and describe anything, but let the poet write his sincere feelings and understanding of the mystery of life with his own talent and temperament on the premise of freedom. Only the works produced in this case have their sincere feelings and significance. " Through the investigation of Li Qingzhao's and Du Fu's poems, his views are further proved. He said with regret: "However, Du Fu is a poet not only because he is a society with strong sociality and caring for suffering, but also because he is compatible with expressing his own feelings. The latter is particularly important in the complete works of Du Gongbu. It is our narrow loss to classify him as a social poet. " Yaxian attaches importance to the sociality of poetry, but does not take direct sociality as the only criterion and advocates pluralism. He doesn't agree with the previous criteria for judging the social effect of poetry: "However, in the history of literary criticism, it is often seen that works with more social phenomena and larger scale are often bowed to a higher literary position, while writers with less social tendencies are placed in a lower position (the most obvious example is that Tao Qian is classified as a China product in Poetry). The author believes that this malpractice is related to the feudal exploitation and oppression of the Chinese nation for thousands of years. Although history has mocked Zhong Rong's identification of Tao Qian as a product of China, we still take the ruler that Zhong Rong (not only him, of course) gave us to identify the identity and height of the poet. History needs a long time to reevaluate. That's really cruel. He also pointedly pointed out: "Lu Xun's early novels were very influential at that time and had the potential to become better novelists, but later he overemphasized social significance, pinned literature on political fanaticism, abandoned novels and rewritten essays ... From a strict literary standpoint, this is a great regret and contradiction. "Maybe it was the need of the social situation at that time, but from a literary point of view, Yaxian's words were very insightful. Not only Lu Xun, but also many outstanding writers and poets have such regrets and contradictions, which have caused immeasurable losses to China literature. Therefore, Yaxian concluded after shouting: "What is worth thinking about is the scale of social mastery. Excessive social consciousness will inevitably affect the artistic expression of writers. " He also painstakingly put forward another well-thought-out viewpoint and made another division: "We might as well distinguish the attributes of excellent poets from' broadness' and' purity': broad poets express * * * and their works have direct social effects, and Du Fu can be the representative. Pure poets, such as Tao Qian, Du Mu and Li He, describe extraordinary scenes with little or no sociality. These two are purely the talent and temperament of the poet, and they can't be forced at all. "Although there is no theoretical basis for this division, the author thinks it is very accurate, original and exploratory, and quite cutting-edge. Although this standard was put forward, and Yaxian's poems paid more attention to personal perceptual experience, he still admitted pertinently: "After much deliberation, we still admit that it seems more urgent for a suffering nation to expect the appearance of a broad poet than to expect a pure poet. "These insights are very profound and in line with China's national conditions.
As mentioned above, Yaxian respects tradition very much and absorbs a lot of nutrition from it. However, he does not stick to tradition, but at the same time he has an anti-traditional spirit. Because relying too much on tradition is just pedantic, stubborn and out of date. "Tradition doesn't just rely on' inheritance', it must go through the stage of' rumination', and we must work hard to find its true essence. Boldly speaking, the true traditional spirit is anti-traditional. The traditional spirit is to constantly seek innovation and create things that were not available in the past. If we persist in maintaining tradition, dare not criticize and change, or even blindly copy the tradition that' literature must be in the Qin and Han Dynasties and poetry must flourish in the Tang Dynasty', that is not our attitude towards tradition. " This passage is a wise saying. Turning to the history of literature in China for thousands of years, which page doesn't say that we respect tradition, are innovating and are deviant? If we blindly follow the old ways and copy the tradition, even the writings of Qin and Han Dynasties and the poems of the prosperous Tang Dynasty will not exist, and the later Song Ci, Yuan Qu and Ming and Qing novels will certainly not come into being. Without the literary revolution around 19 17, there would be no new poetry, let alone the tradition of establishing new poetry. Yaxian concluded: "Every new literary problem, every new literary form and every new literary trend of thought is a reaction to the previous trend of thought, the old form and the previous art, and this reaction is an anti-traditional spirit." Some people cling to the past and often wield sticks to stifle exploratory poets and works, but often forget that "tradition" has long affirmed anti-tradition. Liu Xie's historic masterpiece "Wen Xin Diao Long Tong Bian" specifically discusses this issue. "For tradition, we must never use it abruptly, but transform it in the process of learning, often read it, yearn for it, think about it, and live in the spirit of tradition. When writing, this' emotional history' that is usually subtle and gradually accumulated will be everywhere, and the pen will emerge together!" This kind of emotional discourse undoubtedly has great enlightenment to modern poets. "Only by selectively absorbing traditions and then mastering them can we renew and create new traditions." Such a strong appeal is exactly what modern poets should strive for today.
China's blood will continue to flow in the veins of China poets, and the integration of traditional essence and modern spirit will open up more beautiful poems and enrich the garden of China's poems. This is the expectation of Yaxian, and it is also the expectation of more poetry theorists.