Cuo is a modern poem written in 1954 by Zheng Chouyu, a contemporary poet in Taiwan Province Province, China. The whole poem takes the image of a small town in the south of the Yangtze River as the center, and writes out people's feelings of missing their wives in the war years, which has profound implications. It is one of the representative works of modern lyric poetry and has been included in teaching materials at home and abroad for many times.
Zheng Chouyu said that this poem originated from his childhood flying experience. When he was in primary school, War of Resistance against Japanese Aggression broke out in an all-round way. After graduating from the Army University, my father was sent to the front line of Hubei Anti-Japanese War and transferred to the troops in Zhang Zizhong, Xiangyang. He followed his mother through various escapes and saw many wounded soldiers along the way. 194865438+In February, he went to a village in the south of the Yangtze River, where he recalled the memory of his childhood escape. He artistically wrote these experiences as "mistakes". The hero of this poem is based on Zheng Chouyu's mother.
"Wrong?" Chou-yu Cheng
I walked through Jiangnan.
The appearance in the season is like the opening and falling of lotus flowers.
If the east wind does not come, catkins will not fly in March.
Your heart is like a little lonely city.
Like a bluestone street facing the night.
Without a sound, the spring curtain in March can't be lifted.
Your heart is a small closed window.
My dada horseshoe is a beautiful mistake.
I am not a returnee, I am a passer-by. ...
The poem "Cuo", with a series of images with traditional meanings and Jiangnan customs, combines the bold and broad-minded temperament with the emotional appeal of wanting to say goodbye, creating a harmonious and complete artistic realm. Although these poems are about women and the prodigal son, compared with the traditional in my heart forever, they show a strong sense of history and time and space.
The greatest feature of Mistake is the combination of narration, symbolism and contrast. From the first section, in the narrative context, season, appearance and lotus shape the symbolic meaning of these words. In the first two sentences, a wanderer walked across the south of the Yangtze River in the first person, "I look like a lotus in the season". In poetry, "appearance" obviously refers to someone. As for this person's gender, it will naturally be recognized as "female" under the language and culture regulations. The first half of the sentence "wait" and "season" give "face" narrative content and time limit; The second half sentence promotes and activates the stereotype metaphor of "face is like a flower". The poet is no longer willing to attach a static ontology with a static metaphor, and metaphor is transformed into two action States-opening and falling. Therefore, this sentence is the poet's slice and symbol of a story with plot, action and timeliness. A scene usually unfolded by narrative is symbolically expressed, so the three levels of the story involved in this poem are filled in imagination: a beautiful young woman is waiting for her return (face, waiting); She waited year after year, and time passed quietly while waiting (season); She is also looking forward to it with joy, thinking that her return will come soon (the lotus is in full bloom), but in the end she is lonely and lost, because her return has not come back after all (the lotus is dying).
From the perspective of poetic art, this poem contains such rich content, and its modification of the central word "face" makes simple metonymy gain subtle situation and unique psychological connotation; It also adopts the way of symbolizing the narrative scene, which makes the poem concise and poetic.
If the second sentence is a turning point relative to the first sentence, then the second section is also a turning point relative to the first section-the transformation of narrative perspective. In the first section, the camera is aimed at "I"-hitting the "wanderer" that has passed in Jiangnan; In the second section, the camera is aimed at the "waiting face in the season" above, which is described in detail and sighed, which promotes the lonely heart of the waiting person. This passage is full of metaphors, and different metaphors all point to the same noumenon-"your heart", trying to visualize the psychology of women waiting in the boudoir in the hint of metaphor. It is worth noting that situational metaphors are used here: "The east wind doesn't come" implies silence, "Catkin doesn't fly" is a listless and bored scene, and "Your heart is like a lonely small city" highlights the inner closure (small town) and loneliness of the waiting person. This way of externalizing the heart with pictures and scenes has been repeatedly strengthened, but it is slightly different. "It's like a bluestone street facing the night" is reminiscent of the following picture: a touch of sunset is about to set on the horizon, and bluestone road in a narrow and deserted alley is at the foot. Similarly, the image of the picture externalizes the heart, but the meaning of this picture is hidden deeper, so it is more meaningful. There is a contrast between cool and warm colors here. Although the sunset on the horizon is red, it gives people a feeling of being buried by the coming night. The stone road at the foot is long and cold, but it is the road that the owner can't escape. In the context, the warm sunset has gone far away and will soon set in the west, which may imply that the faint expectation in the hearts of the waiters is only a touch of distant warm color; And cold and cheerless, stepping on the foot is the real life-lonely waiting. Therefore, the picture constructed by this sentence seems to swing open, but it is close to the theme. It implies emotion through the composition and color contrast of the picture, which is more meaningful. Four or five sentences in this section are synonymous with one or two sentences, but they also imply silence. "The east wind doesn't come" is an objective perspective, and "silence" has quietly become the "hearing" of the waiting person, inadvertently paving the way for the following "horseshoe sound".
The third quarter is another turning point. The camera refocused on "I", but it entered the heart of "I": my horseshoe was a beautiful mistake/I am not a passerby. A question soon arose here: Why the horseshoe is beautiful, but it is wrong. Obviously, the second sentence is an answer to the first sentence. This kind of answer can only be explained by returning to the psychological feeling of the "waiting person": because the pounding of hooves aroused the expectation of the waiting person, she mistakenly thought it was someone else; But the pounding of hooves is brought by passers-by, so women are bound to fall into deeper loss again. This section has two important artistic features: first, the setting of light and dark lines: the feeling of "I" is clearly written, and the feeling of "waiter" is very secret, and the feeling of waiter explains the feeling of wanderer; The second is the application of care: The horseshoe of Dada is the care for the second paragraph of Sound, the beautiful mistake and the first paragraph of Lotus. Therefore, the emotional context of the whole poem is more closely linked. Imagine such a scene: when the woman in the boudoir is waiting, suddenly there comes the sound of hooves. This voice, like countless times before, aroused her full expectations. She listened to the sound. It was getting closer and farther away. She finally understood that this was not a returning person, but a passer-by. She once again experienced the suffering of "all Qian Fan is nothing", as if people saw this woman standing up from her chair with great expectation and listening attentively, how like a blooming lotus; I seem to see her sitting in a chair in despair after the sound of hooves has gone away, like a lotus petal withered in the wind.
First, the graceful and restrained style is fresh and elegant. Jiangnan town, a day in late spring and March, longing for his wife and persistence in love. Such a story, if written by Song people, must be a sad and graceful one. Taiwan Province poet Zheng Chouyu's poem Cuo is beautiful in artistic conception and profound in poetry, showing the aesthetic characteristics of graceful beauty.
After reading this poem, Dada's horseshoe clearly entered the reader's eardrum, and such a beautiful picture floated in our minds: in March, the small town in the south of the Yangtze River, thin green leaves grew on the curved willow branches, and an alley paved with bluestone slabs was faintly light blue. In the evening, dada's hooves rang in the quiet alley, from far to near ... dada's hooves rang in the depths of the alley.
Is your long-distance lover back? Her heart suddenly jumped up, jumped to the window, opened the curtains that had not been opened for a long time, and looked at Dada's horseshoe ... Disappointed on her face, she slowly put down the curtains. ...
Second, the lyric perspective of endless thoughts. Zheng Chouyu's "mistake" didn't cry. The sadness of Jiangnan women gives us the feeling that it is so fresh and elegant and endless. "My horseshoe is a beautiful mistake/I'm not a passer-by, just a passer-by …" At the end of these two sentences, the poem points out the title. It turns out that this "mistake" is such a "beautiful mistake" that gives people meaningful memories. At this point, it also points out the lyric perspective of the whole poem.
Third, long sentences and short sentences follow the words. The first paragraph, "I walked through Jiangnan", six words; "The appearance in the season is like the opening and falling of lotus flowers" is fifteen words, with long and short sentences interlaced. In the second paragraph of the poem, "Your heart ..." is a long sentence, and "I" is mostly a short sentence, which is patchy and has a clear rhythm. The interlacing of long and short sentences brings readers more than that.
The short sentence implies that "I" came in a hurry as a passer-by, and we seem to be watching the passers-by in a hurry with the sound of hurried hooves; Long sentences imply that Jiangnan women have been waiting for a long time and miss each other. In this way, the heart moves with words, so why not feel sorry for the persistent love of Jiangnan women?
Fourth, novel and unique vivid metaphor. "In the middle of the season, the face is like a lotus flower", and the beauty of Jiangnan women is fresh and refined; Your heart is like a lonely town, like a bluestone street facing dusk, and your heart is a small window. The novel and ingenious metaphor vividly depicts the image of a homesick woman waiting for her lover to return. Her lover seems to have been away from her for a long time, and her inner loneliness is like "an isolated city" and "the street is open to the night", but this has not diluted her yearning, and her heart is only open to his sweetheart.
To sum up, this poem has several outstanding features:
First, the use of classical images and artistic conception: Jiangnan, Beauty, Lotus, Dongfeng, Catkin, Bluestone, Xiangwan, Yin Yin, Spring Curtain, Window Leaves, Horseshoe and other images full of classical meanings have brought a strong scholarly atmosphere to the whole poem; In the poem, riding the catkins in the south of the Yangtze River and the east wind actually creates an ideal space for a typical ancient scholar, which is the classic imagination space of a traditional scholar. The inner portrayal of women's expectation and loss in the poem actually uses the artistic conception of the ancient poem "Too much Qian Fan is nothing" without trace.
Second, the combination of narrative and picture sense, the way to turn narrative into picture symbols: this poem avoids direct lyricism and turns narrative paragraphs into symbolic pictures, and almost every paragraph can remind people of several intuitive but symbolic images.
Third, intensive bedding and nursing, delicate psychological portrayal: As mentioned above, this poem uses bedding and nursing in many places, which complements the image of a woman waiting in the boudoir. If the first section "The Opening and Falling of Lotus" only makes people understand a woman's expectation and loss in an abstract way, then the second section "Silent Voice" is to listen to a specific expectation and loss in a woman's expectation ear; In the third season, The Horseshoe of Dada and Beautiful Mistakes further entered her heart, and the source of expectation and loss-thinking about people. It is generally believed that this is a love poem: the sympathy of the wanderer "I" for an unknown woman in the boudoir actually stems from his understanding and guilt about the painful thoughts of his lover waiting at home.
However, some people have put forward different views on the theme of this poem. They think that the author of this poem, Zheng Chouyu, is in Taiwan Province Province, and his so-called "crossing the south of the Yangtze River" expresses a feeling of homesickness, so it is not only a "lover" but also a "son" waiting for him. Even, this waiter can't be regarded as a concrete person, but because of the division of history and politics, he can't be reunited, and the group of waiters in the old country are abstract; In other words, this waiting person is actually the mother of the motherland. This poem is the mother's call to the wanderer who can't go back, and it is also the wanderer's deep homesickness for his home country. Considering Zheng Chouyu's age and experience, and his homesickness when he went to Taiwan from the mainland at the same time (Yu Guangzhong has Nostalgia and Four Rhymes of Nostalgia, etc.). ); Considering the principle that poetry cannot express itself, it is also acceptable to understand.
With famous evaluation:
Yang Mu: "Zheng Chouyu is a poet of China and China. He writes in China, with beautiful words, accurate images and beautiful voice, which is absolutely modern. Experienced people will agree that Zheng Chouyu's poems are the most difficult to translate into English, and mistakes are one of the best examples. "
Writer Crystal (Yang Yi): "(This poem) can be compared with the poem of Song Dynasty."
Mao Linying, College of Literature, Huaqiao University: "Zheng Chouyu's early poems (especially the widely circulated lyric poems such as Mistakes) are called' the most oriental charm, classical color and local characteristics' by the theoretical circle."
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