Cai Qijiao, male, born in 19 18, 12, is a famous poet and essayist in China, a native of Yuanban Village, Zimao Town, Jinjiang City, Fujian Province, and a member of the Chinese Writers Association. He lived with his family in Surabaya, Indonesia when he was 8 years old. 1929 returned to China and finished junior high school at Quanzhou Christian School in Fujian. 1934 to Shanghai. When I was studying in the middle school affiliated to Jinan University, I took part in the patriotic movement of students, actively participated in the great national salvation movement in War of Resistance against Japanese Aggression, and began to create works reflecting the anti-Japanese struggle. From 1936 to 1938, 20-year-old Cai Qijiao returned to China to fight against the enemy again. From 65438 to 0938, he arrived in Yan 'an and studied in the Literature Department of Lu Xun Art College. 1939 arrived in the Shanxi-Chahar-Hebei Border Region with some teachers and students of the school, and taught in the Literature Department of North China College of Literature and Art. 194 1 began to publish poems, during which two poems, Hometown and Regret for the Past, won the first prize and the second prize in the Shanxi-Chahar-Hebei Border Region respectively. Hand-to-hand combat, written in 1942 and published in 1953, was repeatedly read by poetry readers and candidates in drama colleges, and became famous for this poem. In the same year, the lyrics "Song of Soldiers" were selected as widely sung military songs. He once wrote scripts and lyrics in the Shanxi-Chahar-Hebei Military Region Anti-enemy Drama Club, such as Night in the Snow. 1945, an army reporter, writes poems and reports. He is an outstanding representative of the Romantic Poetry School who came out of Yan 'an. 1948, engaged in political and social research at home and abroad. From 65438 to 0953, he taught in Beijing Central Literature Workshop, and later served as the director of the teaching research office of the Institute, and joined the Chinese Writers Association.
Give up your career
In 1950s, Cai Qijiao voluntarily gave up his official career and continued to be a poet. In the Great Leap Forward era, when people were scrambling to write carols, Cai Qijiao found a new way and wrote masterpieces such as Hanshui in the Fog and Chuanjiang Song, which faced the historical pain and hardships of life. During the period from 1956 to 1957, many poems were published, which were included in Echo Collection and Echo Sequel (both in 6544)
Hate power
pioneer
In the 1960s, ultra-left thoughts prevailed, but Cai Qijiao "hated power" in his poems. Subsequently, he was "marginalized" many times, even exiled and thrown into prison. After 1962, he engaged in the study of free verse, folk song style and classical poetry. During this period, his poems were rare. After the downfall of the Gang of Four, he regained his creative vitality and became the pioneer of China's poetry in the new period. The collection of poems "Prayer" was written by him in 1970s and 1980s. Its positive attitude towards life, concern for reality and unremitting pursuit of art can still be seen here. From 65438 to 0959, he returned to Fujian as a professional writer and compiled his poems written in the past 20 years into three collections of poems: Feng Ji, Shuang Hong Ji and Fujian Ji. There are 65,438+05 kinds, such as Shui Ying Ji, Zuishi, Selected Works of Cai Qijiao (People's Literature Publishing House) and Cai Qijiao Poetry Gallery (Straits Literature Publishing House).
Expressive technique
Influenced by Whitman and Nie Luda, Cai Qijiao translated the works of Whitman, Nie Luda, Egri Tis, Pass and others. He also absorbed nutrition from China's traditional poems and folk songs, accepted various forms of Chinese and foreign poems, and paid attention to the diversity of themes and forms. The poet's pursuit of ideal, freedom, love and life, in the collision of mind and times, generate sparked poetry and became a witness of the 20th century. Cai Qijiao, who is old, is still as passionate as yesterday. He insisted on writing and has been enthusiastic about cultivating new poets for many years. He has always enthusiastically encouraged and actively participated in social and literary activities. His poetic spirit has influenced several generations of poets. Cai Qijiao is undoubtedly a famous poet with great influence in contemporary China.
Social assessment
poetic sentiment
The beautiful dusk of the lonely poet
-Summary of Cai Qijiao's Poetry Seminar
Wen-Harley
Poetry,1August 6, 986
1986 In early May, Fujian Writers Association organized a three-day seminar on Cai Qijiao's poems, which was held in Fuzhou. Professor Peking University and Wu, editor-in-chief of Poetry Journal, attended the meeting. Zou Difan, former editor-in-chief of Poetry Magazine, and Zhang Zhimin, current editor-in-chief sent warm congratulations. The meeting was presided over by poetry critics Sun Shaozhen and Liu Denghan. Thirty guests attended the Fujian Poetry Forum. The age difference of participants is nearly half a century, and more than ten papers have been submitted. In a relaxed, harmonious, sincere and serious atmosphere, this paper discusses Cai Qijiao's poetry creation in the past 45 years from all directions and angles, and makes an exploratory research speech on the dynamic structure of modern poetry development.
The meeting is full of information, which is a strategic position. Xie Mian said that this discussion has a national perspective and fully demonstrated the strength of Fujian's poetry creation and criticism.
Comrades attending the meeting thought that
Comrades attending the meeting thought. Cai Qijiao is a poet who is neglected, neglected and even almost forgotten by contemporary literary works. He has never occupied a leading position in the field of poetry, and he is not a poet with a vibrating arm. He is singing silently with a unique voice unique to others. After the founding of the People's Republic of China, the poet's creation was standardized (this is a powerful trend promoted by the administration), but he left a unified track and went forward alone. A poet who walks in front of artistic innovation is often lonely and painful. Not being suffocated is happiness! Cai Lao said: "Deep and penetrating loneliness is the price that poets must pay to be different from ordinary people." He is also looking for understanding and singing. "I am very grateful to my colleagues and colleagues for discussing my poems. This is a brilliant event in my loneliness! "
Examine the historical position
When investigating the poet's historical position, Cai Lao sincerely said that he was a springboard and a step, and he stepped on it to jump to the other shore or go to a high place. He has been in the poetry circle for more than forty years, not only has he not retired, but also, as he said in his poems, "the flowers that bloom late are the most beautiful", he has made the poetry circle feel his existence more and more. He communicated with young poets from his spirit of love and tolerance, and many "today" poets became friends with Cai Lao, which is very rare. Some comrades, from the inherent law of the development of literary history, find that when the literary achievements of one era reach the peak, perhaps at the same time, the literature of the next era is sowing and budding; At the beginning of the new literature phenomenon, it was either ignored or regarded as "eccentric" and "heresy", which led to chaos and even destruction. But it is this "strange" phenomenon that may represent the development direction of the times and is gestating a glorious era. The coexistence of realization and gestation, the dual combination of explicit structure and implicit structure of an era, and the vivid course of artistic life are the contradictory operation of old and new things and the continuous transformation and development. In the long dark ages, Cai Lao was a poet in the gestation period. He was different from the mainstream at that time, and even did not conform to the aesthetic fashion at that time. He is a loner in the field of poetry (some of his poems used to be negative textbooks in universities). The poets of the new poetry tide directly inherited the development of implicit structure, rather than the old explicit structure. Cai Lao's poems have been ignored and suppressed in the past forty years. Just like the "Changlin Diamond" sung in his poem, it is buried in the ground not to disappear, but to wait. When the tide of new poetry came, Cai Lao finally ushered in a new era with the poets of the new poetry tide. How young Cai Qijiao looks in this era!
When the poets of the new wave were obsessed with "imagery", they didn't know that Cai Lao had entered the field of modern imagery poetry in China decades ago. Some comrades think that Cai Lao is the pioneer of China's modern imagery poems. Cai Lao's unique suggestive power transcends time and space, and is consistent with the reader's self-experience and interest, resulting in ambiguity and understanding intention because of his unique imagery. The image world in his works is different from the "image" in western imagist poetry. But more attention is paid to the "spiritual product" of things and images, which is the symbol of personality and the externalization of spirit. His emotional views and attitudes have three stages. From early non-meditation (things are things) to meditation (natural humanization), and then to meditation and enlightenment (balance between man and nature), he gradually built his own unique image pagoda. He was once imprisoned and devoted himself to translating Si Kongtu's poems into vernacular Chinese, and his image quality also infiltrated into Taoist aesthetic thought with the unity of emotion and Taoism as the core. He "transcends the image and gets its ring" and "is always silent and subtle". Only by staying silent and detached from things can the mind understand itself, feel things naively and imperceptibly, and grasp the essence of things.
express
Cai Lao proudly declared: "In today's world, only poets and artists can truly live freely and undisturbed." "My happiness is the happiness of dreams, and others can't see the happiness I have. Love is happiness! " Few poets today can be as romantic and free as he is and boldly advocate women. This is the awakening of mankind in the abyss of suffering. He has a heart that never grows old and is not bound by the world. It is manifested in the life chapter of his erratic career, in the free expression of the unity of natural feeling, emotional expression and philosophical thinking, and in his persistent love for women. He is a southerner, affectionate and deep. For decades since the founding of the People's Republic of China, poets have been writing about their love for politics or others, but they have been singing silently and alone in their own love world. In China, nothing is more confusing than love and sex, nothing is more disgusting and taboo than "immoral" sex, and nothing is more likely to cause speculation, misunderstanding and slander than poems given to women. Dare to love, admit love, this is the strong! He likes Ye Ptushenko's poem: I would like to be a woman, even for one day. As long as she has been pregnant once, her heart will not be so cold! Every love poem he wrote is a compliment to women and embodies their aesthetic ideal. Cai Lao's love poems are affectionate, sad and unforgettable, and have permeated many tears of love and life, so they are the most popular.
meaning
Any great man has his own model to simulate life and approach the true meaning of life, light and darkness. The themes of hope and disappointment, love, life and death always run through the long river of Cai Lao's 45-year creation. Comrade Wu recently read eleven poems written by Cai Lao, and keenly felt such a life pattern: love-pursuit-sadness-innocence (the old life pattern was: struggle-failure-struggle again-until victory), and love will always be the original motive force of Cai Lao's creative impulse. Judging from the creative process, Cai Lao experienced a rosy stage and a dark green stage. Poetry in the rose-red period is relaxed, lively, chic, joyful and youthful. Nature arouses the poet's infinite imagination, and the girl's flowers flock between the lines. He is permeated with simple * * * and the spirit and feelings of being masters of the country, and reappears as a victorious winner. After 1957, the poet began to embark on the bumpy road of life. Calm speculation, repressed imagination and tragic rebellious consciousness constitute the lyrical character in the dark green period, and the art is more mature. The fission of the poet's subjective psychology: insecurity. Freedom becomes desire; Praising the solemnity of life, the poet also "struggled in tears and pain, bringing light and joy to the world" (in Cai Qijiao).
Edit this personal work
wave
Hold high the lamp that never goes out all night,
According to the unfathomable shadows around,
Let the desert not dry up,
In the darkness, the heart aroused the love for the sea.
Waves and rocks give off faint light,
Ignoring the warning of the roaring sea,
Pour out ecstatic love like a torrent,
Infected the hearts of every sailor in the night flight.
Like a messenger of freedom.
Breaking into this bleak era,
In order to spread happiness
Endure the storm.
Stand up and fight against suffering.
Life is made up of anger and passion for people.
distance
Between reality and dreams,
You are a mountain with red leaves burning,
It is the intersection of sorrow and joy in the evening;
You are the shadow of a tree, the night breeze,
It is the darkness on the way back.
Between reality and dreams,
You are a swan that keeps its promise.
It was an unexpected encounter on the road;
You are laughter, you are light,
This is the night when fireworks are in full bloom.
Between reality and dreams,
You are a crystal statue,
It was a happy sleep;
You are a fragrance, a flower,
It is a generous and selfless nature.
Between reality and dreams,
You are a complaint that comes and goes without a trace,
It is a bitter yearning for rainy weather;
You are Leng Yue, a distant star,
It is a mysterious abyss.