How to overcome the confusion of poetry and song creation with literary friends of the years

Defamiliarization of poetry and one of Wang Kenan's other thoughts: great poetry attaches importance to rationality. The birth of a good poem can only rely on emotion, but the birth of a great poem must be integrated with reason. There seems to be a paradox here. In fact, reason and emotion are unified. When a person reviews his writing, there is neither pure perceptual writing nor pure rational writing. It is impossible to write hysterical cries or philosophical papers. Critic Miao Yu said: "Rationality in poetry is a shocking force and a light that shines on people's hearts." Well said. A poem is born in this way: first, there is an emotional impact (for various reasons), then there is an artistic feeling-fragments of images in the mind, and then these fragments are influenced by some "dominant elements" to form the original poem, and then they are combined with reason to form the light of wisdom, and then they are written in one go to illuminate themselves and a small number of people (it is always inappropriate to illuminate human beings). Poetry is rational, which does not mean that it can be aimless. The most taboo in modern poetry is discussion. For example, some of Mr. Kitajima's early poems, which are suitable for reading in the square, are full of discussion and dripping fun, but ... are gradually moving away from the artistry of poetry. Poetry is a pot of old tea, which makes people taste it, and it will never end. Have you seen how the water of the Yellow River flows down from the sky? How about coming? Keep it in a ravine, keep it well, raise fish and shrimp, plant lotus flowers and have a taste. Poets in the Song Dynasty tend to "take argument as poetry" and only reason abstractly, which is not acceptable. Many poets in China have a special interest in the occasional "famous sentence" (epigram in poetry), as if once there is an epigram, this sentence becomes a patent, often ignoring the overall pattern. Although the epigram in the poem can be said to be "the jewel in the crown of poetic image", its birth is not passive water, but naturally born on the basis of the whole poem It's not worth giving up the whole plan for this sentence. Thinking 2: Unfamiliar writers in poetry writing prefer to write prose, and feel that prose is loose and free. Prose writing pays attention to "defamiliarization", and only defamiliarization can increase readers' reading aesthetic feeling. "Sailing on the sea depends on the helmsman, and everything grows on the sun", which is too familiar and has no aesthetic feeling. The English poet Oscar Wilde once said, "The first person who compares beauty with flowers is a genius, the second is a mediocre person, and the third is a fool." A lie repeated ten thousand times can be brainwashed into a "false truth", but a lie is still a lie. Poetry writing should stay away from lies and lies, and poetry should "transcend". Some experts have verified that "defamiliarization" comes from Russia and is an important concept in formalism poetics. No matter where it comes from, as long as it is useful to improve the level of China's modern poetry, we should digest it well. Defamiliarization refers to the violation of common things in content and artistic expression (text), awakening the beauty hidden in the reader's heart with a new emotional and formal expression, or awakening the reader's stupidity with a blow (quite like enlightenment). It is worth noting that. "Defamiliarization" also needs to be discovered. If it is not found, it will not attract attention. If you are unfamiliar for the sake of strangeness, it will make it look like a fool, but it is better not to be unfamiliar. For poets, the defamiliarization revolution should start with the creation of images, which are the most basic things in modern poetry architecture-bricks and fragments, and fragments are revolutionary, so as to have the overall effect. When it comes to the overall effect of defamiliarization, we have to say context. Context is greater than image, and the magic of a poem lies not in inventing a novel image at the end, but in creating a charming context (in line with the characteristics of "this one"). When the image enters the context, it enters the multi-directional selection. Image is conceived, conceived and produced from the inside on the hotbed of context. As Blake said: "The way out of convention points to the temple of wisdom", entering this special context means entering a magical art palace; Everything in nature can be revived, deformed, pure and really like a child. Poetry with great temperament is beyond the times, that is, entering the next era in advance. We can take the poem of the great French poet rene char as an example. "We live in lightning/lightning is in the eternal heart", "A poet can't stay in the constant temperature layer of language for a long time/if he wants to go on his own way/he should get together in bitter tears". How many poets can write poems close to their hearts now? All great poets are full of inner struggles. Their own hearts are constantly ravaged by anger and gentleness, love and disappointment, eulogy and satire ..... tortured by this series of elements related to the creation of great works, and finally tortured great works. To some extent, greatness comes from asceticism. Rene Char tells us what a great poet is. William carlos williams, a famous American poet, said that Charles was "a poet who believed that the power of beauty could correct all wrong things". Camus also said, "Facing the nihilism of his time ... every poem of Charles points out a road of hope for us" ... It's sad to think that China's poems are far away from everyone's spiritual life and have become the cause of a few people. The defamiliarization of poetry can be close to the "novelty, variation and originality" of poetry text. Poets can't do nothing in the face of the difficult external world, but should keep positive and enterprising, strive to deconstruct and discover, create opportunities for experience and form their own aesthetic ideals. It is worth mentioning that not every poet can write in a strange way. Everyone has different talents, different degrees of ideological precipitation, and different abilities to create the artistic world. Therefore, all poets cannot be required to write in strange ways. Besides, defamiliarization writing is risky and difficult. Thinking 3: Narration can occupy a certain position in modern poetry. Narrative elements have always been the weakness of China's modern poetry. Narrative elements can control empty preaching and hysterical shouting. It is not surprising that some poets, especially young poets, can't find the north because of the absurdity and fast pace of social life, so it is not surprising that the lower body writing has appeared. This is related to the overall atmosphere of the times. This era is an era without ideals. It's a little pale to just let the poet bear the ideal. We can continue reading the poems of rene char, a great French poet. He is very important to French contemporary literature, and he has brought new elements to French poetry. "In front of you is this 20 mu of land/I am its laborer/its secret blood, its miserable stone/I have nothing else to think about" (dismissed school teacher). Great poets are always good at combining different elements and contradictory things wonderfully, and then revealing fresh life to readers. Great poets are grateful, especially in their hometown. They have given many poets, but they can't write excellent poems, and they have no face to meet their elders in Jiangdong. Many excellent poets in China began to write narrative poems. In this respect, I read more plain narrative poems by female poets in Jiangsu and Zhejiang, where there are plenty of fish and rice. Her "Visual Record" describes the mountains, lightning, rice fields, meteors, rivers, mills, lingering light rain, waterwheels, all kinds of birds and the mystery of the earth in my hometown ... very touching and powerful.