Zheng Min's Poetry

The poem "Golden Rice Bunch and Its Birth" (Zheng Min) was written in the 1940s, when I was studying in the Philosophy Department of The National SouthWest Associated University. 1939 was admitted to the National The National SouthWest Associated University. At that time, the system was that freshmen could decide which major they wanted to study when they registered. After some thinking, I decided to change my favorite English literature into philosophy. At that time, my idea was that literature could be taught by itself, but philosophy, the foundation of liberal arts, had to be led by a master. So, I resolutely filled in the words of philosophy department on the registration form, which laid the foundation for me to embark on an interdisciplinary road of writing and scientific research in my life, that is, to study philosophy in order to better understand literature and write poems. Fortunately, as a student of philosophy, when he learns a foreign language, he must learn German. In this way, I became a student of Feng Zhi's German class. Mr. Feng is also a scholar and poet majoring in German literature and philosophy. He offered two courses at the conference, Goethe Studies and German. At this time, his representative works The Sonnets and Translation of Letters about Rilke also appeared. His poems, Goethe's Faust, and Rilke's Letters are all literature deeply saturated with philosophy, which profoundly depicts the road I must take in my life in creation and scientific research. At the same time, I found the aesthetics and philosophy of poetry in my major philosophy class. Among them, Mr. Wang's Kant closely revolves around the discussion of things themselves, and Mr. Feng's History of Western Philosophy outlines Plato's metaphysical idealism for me. Mr. Feng Youlan's philosophy of life made me understand the realm in China's classical poems, and Mr. Tang Yongtong's metaphysics in Wei and Jin Dynasties made me deeply feel a unique detachment spirit of China intellectuals, and these philosophies of combining Chinese and Western cultures are the foundation, quality and spirit of all the literature I have read. From then on, it is impossible for me not to look for them in literary works and experience them. So, half a century later, when I read in Heidegger's book that "Poetry is a close neighbor of philosophy", it deeply shocked my soul and hit the key point that I practiced for many years but didn't realize it. The above is my mentality when I wrote poetry in the 1940s. On a golden evening in Kunming, I walked from the suburbs to the girls' dormitory next to Xiaoximenli Street. When I was walking along a running water and trees, my right hand suddenly flashed into my field of vision. Bundles of harvested ears of rice stand scattered in the harvested rice fields, golden as gold in the sunset, but all of them are slightly hung with ears of rice, which seems a bit. Looking up from afar, I saw the faint blue distant mountains, which seemed far and near, and the flowing water was silent. Compared with the meditation of the golden ear of rice, its sense of disappearance is not so strong, but the meditation of the ear of rice is our permanent idea. Looking back on the philosophy courses and literature courses in universities in the 1940s, what I left in my mind was not concrete knowledge, but philosophy and literature, especially poetry. Whenever a scene touches my soul, I am intoxicated with this wine and can't help writing poems. Maybe this is the poet's call. After much experience, thinking has become complicated. My poet has also changed from a goddess of youth to a thoughtful and wise man. What he handed me was no longer wine, but more rich and mellow white wine. My poems are sometimes incompetent, but life will not go backwards.