Why can't China produce a great poet?

Text /Space (in Vancouver, Canada) Many years ago, after I graduated from graduate school, I applied for a job as a lecturer in a university in North America. The head of this department is a doctor of literature, and he personally interviewed me. Obviously, he knows something about China literature. In the interview, he asked many questions about it. After an interview all afternoon, he told me that I was hired and I needed to inform him whether to accept the job within 24 hours. When I left, he suddenly asked, "I'm curious, why are there no outstanding poets in contemporary China?" After the interview, I was startled by his question as soon as I relaxed. I muttered to myself, "Ah, this ... all the good contemporary poets in China have it. At least Xu Zhimo, Feng Zhi, Bian, Chen, Beidao, Gu Cheng, Haizi, etc. They are all good poets. " He smiled and replied, "I have seen some of their translations. They may be good poets, but they are not great and outstanding poets, because they have never been in contact with the world. On the contrary, China ancient poets are quite good, such as Tao Yuanming, Du Fu and Li Bai. China's contemporary poetry has almost no voice abroad. Why are there no poets in China like those in the West, such as Ji Bolun, Ye Zhi, Haydn Stam, Dickinson, Frost, Cavaliers, quasimodo, milosz, etc. ? "I answered him casually because I was going back to Vancouver and left. Later, I didn't accept the job in that university because I thought it was inconvenient for my husband to change jobs. However, 10 years have passed, and the thorny question of the Dean still haunts my mind: Why are there no outstanding poets in contemporary China? Poets, don't you think this is a question worth pondering? In recent years, I have done a lot of research on Chinese and foreign poetry, and found that the Dean was right-there are no particularly great poets in China's contemporary poetry. Apart from Gu Cheng's "Night gives me black eyes, but I use them to find light" and Haizi's "Facing the sea, spring blossoms", what other sentences have been handed down? Overseas, I know many China poets. Some of them were born here, others were not. Some are written in English, some in Chinese, and some are writing poems while translating. When I met some poets talking about poetry, I found that they all agreed: "It is western poetry that has the greatest influence on me, not China's new poetry." Some friends of poets even told me explicitly that they had never read Chinese mainland's poems. If they don't read poems from 1949 to 1979, I can totally understand. However, why does it exclude Chinese mainland's contemporary poetry so much? The reason they told me was: "My inspiration comes from western poetry." Or, "China's poems are not mature and profound enough ..." Some people say, "They are too rigid and politicized ..." Others say, "China poets pay too much attention to form and like to play word games, but the poems themselves don't have much connotation ..." Another friend who has studied ancient poetry said, "It's too boring, and there are too many complaints, which cannot be separated from the sentimental feelings of young poets. It seems that all the poets in China walk in a word of "sorrow", starting from Li Shangyin, no, starting from Li Qingzhao, and haven't come out yet ... "I don't go to extremes like some friends-I completely ignore China's new poems. However, asking myself, I have to say-I really prefer foreign poetry to China's. So, where did China's contemporary poetry fail? After careful thinking and observation, I finally summed up two points: First, the theme and vision of China's poems are too narrow-too much emphasis on emotions, scars, reminiscing about the past, trivial matters and historical events. Secondly, many poets in China are too kitsch, and their works are inevitably branded with the word "vulgar". Now, let me explain the first point. First of all, what is a poem and what is a poet? Let's take a look at how several famous poets define poetry and poets. Aristotle said, "Compared with history, poetry is more philosophical and valuable, because poetry tends to express universality, while history expresses individuality. Poetry is more philosophical and valuable than history; Because poetry tends to express universality, history tends to express microparticle. Emerson said, "A true philosopher and a true poet are one, and beauty is truth, and truth is beauty-philosophers and poets have the same goal. A true philosopher and a true poem are one, beauty is truth, and truth is beauty, which is the goal of both. ) "Shelley said," Poetry unveiled the beauty of the world's secrets, making familiar things strange. Poetry unveiled the hidden beauty of the world, making the family object seem unknown. ) "R.S. Thomas said:" Through the mind, we reach the level of rationality. It can be described as poetry reaching something strong through the mind. " Many western poets have interpreted the definitions of poetry and poets. In view of the space, I won't go into details here. Looking at these definitions carefully, we can easily find a similarity, that is, western poets think poetry is beautiful, sincere, philosophical, rational and universal. Many of China's new poems fail to meet these points, especially the last few. Some even run counter to the above spirit: not beautiful, not true, not philosophical, irrational and not universal. Are there any beautiful poems in contemporary China? Of course there is. I believe that mainland poets living in China are more familiar with language expression than our overseas poets. This is an enviable point. However, language is only a part of poetry. The philosophy of poetry is its soul and its fragrance. If a poem has no soul, even the most beautiful language is just an empty shelf. It is not unreasonable for me to say that China's poems have a narrow theme and a narrow vision. If we browse China's contemporary poems casually, it is not difficult to find that most of them are based on emotion or life, and love, patriotism and nostalgia are the most obvious themes of poems. China's poetry world looks very lively, and various poets emerge one after another. But these poems, no matter how personal on the surface, always have strong lyricism and repentance, and the traces of describing daily life and social phenomena are very obvious. Therefore, my overall impression of China's contemporary poetry is too close to reality-whether it is a rough description of reality or expressing emotions directly from the feelings of life, poetry is obviously lacking in knowledge, cosmology and fable. However, western poetry is just the opposite. Just give a few examples. For example, the poet Emily Dickinson's "Because I can't wait to die" (Emily Dickinson; Because I can't stop to die); Ralph Waldo Emerson (Ralph Waldo Emerson; Days) Frost's Stopping by the Woods on a Snowy Night (Robert Frost; ; Stop by the forest on a snowy night); Sully prudhomme's suspicion (sully prudhomme; le Doute)； Baudelaire's Man and the Sea (charles baudelaire; ; "Man and the Ocean" ... These poets and poems I have listed are believed to be familiar to everyone. These poets are almost household names in the west, and many people can recite some famous sentences from my poems. Why? Of course, these poems are not only full of artistic charm, but also full of implicit enlightenment to our own lives. Isn't the soul of a poem reflected here? Isn't it because of its soul that a poem can last forever? Contemporary poets in China are not without the influence of foreign poetry. Ask casually, and you will find that most China poets have at least a few foreign poets they like, especially European and American poets. However, I think most of them only learn from them in form, not spiritually. What they write is proof-poetry rarely involves such big propositions as philosophy, environment, nature, soul and universe. To sum up in one sentence, China's new poems are too petty and have not got rid of a woman's sentimental flavor. If teenagers write such poems, it can be understood that their horizons are limited by experience, and the subject matter is of course narrow. However, if you have passed the age of no doubt and there is no trace of "thinking and confusion" in your poems, it is at least naive, if not embarrassing. Of course, China's poems are not without concern for society and reflection of real life. I have studied the current poetry of working and the so-called realistic poetry, and found that most of them are still confined to a certain industry, a certain region, a certain historical event and so on. Therefore, they are still narrow-minded. If poetry relies too much on a certain social environment, it is easy to be politicized or current affairs. It would be good to watch it then. Once the specific living conditions have passed, there is no vitality at all. Poetry can be used to express feelings, to write about what happened in life and society, and to express the poet's sense of social responsibility. But you should keep a little distance from them when you write. In the final analysis, the essence of poetry is "spirit" rather than emotion. If poetry only sticks to personal special feelings, feelings or local environment and can't extricate itself, it will be bound, its intention will become shorter and its color will fade, thus falling into what Aristotle called "specific individuality" and can't extricate itself. On the contrary, it will not have what Aristotle called "the universality of the universe". The famous poet Rilke once emphasized this point to the effect that poetry is not an ordinary emotion, but a sublimation of experience. If you want to impress others, you must raise poetry to a higher and broader level. Poetry comes from life, but it is higher than life. Just like painting, if your portrait is as realistic as your photo, that's good, but where is its artistic value? Shouldn't art "make familiar things strange" as Shelley said? Poetry that is truly inspiring, inspiring, original and shocking is quite difficult to write because it demands too much of the author. A good poet should not only have good language skills, but more importantly, he should be a person who constantly doubts, confuses and seeks truth. What is great poetry? When readers, whether in the East or in the West, read your poems, their hearts will be pounding, as if they felt that their souls had an unintentional collision with the souls of poems. Then, this poem is a great and successful poem. To be a good poet, you need not only a sensitive heart and a social heart, but also a loving heart. Looking back, Lao Zi, Zhuangzi, Tao Yuanming, etc. All writers, poets and philosophers in history have universal consciousness. Their love is embodied in their great love and the idea of the unity of man and nature. Why does history span so many centuries, but the perspective of China's poetry is shrinking? Why is the universal spirit in poetry actually degenerating? When did literature become so petty bourgeoisie? Don't believe it? Look at the current poems by yourself: How many poems reflect the author's humanism and philosophy? After reading his poems, can you understand the author's outlook on life, philosophy and cosmology? How many poems are discussing the conflict between human consciousness and modern society, natural environment and vast universe? How many poems are seeking and analyzing truth, goodness and beauty or the relationship between spirit and flesh? In my opinion, Indian and Japanese poetry is much broader than China's poetry. In India, not to mention others, at least Tagore fully embodies the spirit of "Brahma-Brahma Unity" in Mahabharata and Bhagavad-gita. In Japan, at least one Shuntaro Tanikawa has created his own characteristics. Both Tagore and Shuntaro Tanikawa's poems are full of oriental colors, but this does not affect their depth. The ethereal and cosmic perspectives in their poems are appreciated not only by their own people, but also by the West. Ye Zhi never forgets to take a roll of Tagore's poems when he takes the bus. When I was studying Japanese in the west, a white teacher once talked to me about Shuntaro Tanikawa's poems, and she danced with excitement. Excuse me, where is Tagore in China? Where is Shuntaro Tanikawa in China? Now let's talk about the second point: the kitsch of China poets. I know I will get a lot of scolding when I mention it, and I will also offend many poetry friends and netizens. Scold it. Anyway, my intentions are good and my words are sincere. I'm just saying this impression to discuss with you. My impression can also be changed. When I say that China poets are kitsch, I first come from my own direct experience. I have some mainland poetry friends, some of whom are quite famous. I also have some phone calls and letters with some of them. When communicating with them, sometimes there are some happy sparks. But I found that their knowledge of foreign poets and poems was limited to those Nobel Prize in Literature winners. I'm surprised at this. Besides Nobel Prize in Literature winners, there are many great poets and poems. Wouldn't it be a pity not to read them at all? And these friends, for domestic poets, seem to only care about those celebrities. On several occasions, I mentioned to them some contemporary poets in China who I liked a little but were unknown. They were surprised and asked, "How do you know them? How can you look at those things that are empty? " Nobody. If it's well written, why can't it be read? A poet friend told me that she hates surfing the Internet and always feels particularly tired. I asked her why, and she said she was too tired to visit other people's websites. I said, you can master this yourself. Don't look when you are tired. "Don't look?" She said, "When people come to win my show, I have to repay them." If I don't care about them, how can they talk to me again? "I can't help but shake my head and feel sad. When does poetry need support? Do people say that he likes your poems, which means that you also like him? In that case, where is your sincerity as a poet? Now I understand how the so-called "popularity" came from. I also understand why a rather mediocre poet's work has thousands of hits, while an unknown excellent author is almost ignored. Another mainland friend sometimes calls me to talk about literature. I clearly remember that in his first few years, he was very critical of contemporary writers in China, such as Su Tong, Mo Yan and Jia Pingwa. He said that he never read those "messy" works. But recently I found that Mo Yan was always mentioned in every conversation. I said, "Don't you like him very much?" He replied, "I finally won the Nobel Prize. Anyway, you have to be familiar with his works, or it will be embarrassing to go out and brag to others and say that you don't read them ... "That's why I say that China literati (not just poets) are kitsch. Just because someone has won an award, you should say that he is good; If someone doesn't win the prize, then you don't watch it. Just because he is a little famous or authoritative in the literary world, everyone rushed to join in the cheers. What are your principles as an artist? Because of this, where can there be frank, open, sincere and free communication in literature and poetry? Isn't it disgusting that we poets go through the back door, give red envelopes, be subservient to Nuo Nuo and flatter? However, what is the difference between our own kitsch in poetry and those people? Let's watch an international Chinese poetry contest. At first glance, it is an innovative dialogue platform for poets, and new and old poets are also gathered here, which is lively and beautiful. Out of curiosity, I signed up myself. But soon, I found that this is also a place full of coquetry. Everyone cliques, you brag and I applaud, looking for friends, backing and attention everywhere, forming a vulgar network. A slightly famous person or judge sends something, no matter how dull, everyone will keep up and praise it. What is the difference between this so-called platform for free communication and what the famous painter Mr. Wu Guanzhong called "a brothel in disguise"? On the other hand, the so-called kitsch is actually not just a poetic world, but a common problem in the whole literary, ideological and academic circles. People with strong opinions and deep thoughts, people who study art honestly, people who are pushed to the edge and opportunistic are above them. This universal kitsch environment is really sad. The poet who can lead an honest and clean life without being blackened by this vat is even more admirable. Chu Anping, who was the editor-in-chief of Guangming Daily before the anti-rightist movement under the recommendation of Zhang Boju, a famous Democrat, is such a typical example (see Zhang Yihe's The Last Noble). One of his truthful articles, "The Party governs the world", can actually keep a leader awake for several nights. Romantic, many years ago, in order to express my admiration for the poet Xu Zhimo, I specially picked up a bag of peach blossoms from the West Lake and mailed it to him. I think such a person is so cute and admirable-both poetic and backbone! I often think that if China's literati/poets can be as frank, frank and unyielding as Chu Anping, what a beautiful and charming country our hometown should be! Poets should represent the conscience of society and become challengers of power, not followers of power. It may be too much to ask a poet to be sublime, but a poet should at least aim at pursuing spirit, soul, truth, goodness and beauty. Otherwise, what profound and shocking works can a low-level and shallow have it both ways who is proud of pursuing material, power and fame write? Besides, art has become so vulgar, can it be called art in itself? As a scholar, especially a poet, you should have some pride. However, the poet's arrogance should be reflected in his backbone and strict requirements for his own works. It should not be reflected in being well-known and satisfied with your work. We should only be responsible for the work and should not read anyone. It is absolutely taboo for a poet to please and flatter other people's works against his will in order to make others smile at him. It not only distorts the poet's personality, but also seriously affects the healthy development of poetry. Of course, the occasional kitsch is not uncommon in the west, but if it becomes mainstream in the poetry world and becomes popular, even the poets themselves become insensitive and accustomed to it, then it will be worrying. There is no doubt that poets will always be a minority in society. But less is more precious. And what is the responsibility of this minority as a collective? It is to use their poems to blow a fresh wind to the materialistic society; Is to use their lofty spirit and works to resist power and temptation; Is to let those who muddle along, calm down and examine their souls; Is to raise the soul of the whole nation to a higher level; It is to operate on people who are mercenary, such as doctors, to arouse their kindness, childlike innocence and conscience ... have we done what we should do? You may ask me, "Aren't you a poet yourself?" Why are you so hard on poets? "Why? The depth of love, the depth of hate. I can tolerate shallow and naive works, but I can't tolerate kitsch and hypocritical poets. I am proud that I am from China, but at the same time, I want to say that poetry belongs to the universe. As a poet, when commenting on poetry, I can only stand in the position of the world. I think that the reason why western poets and their works are ahead of China is not only because of the different systems, but also because western poets are more willing to be lonely, more adapted to poverty, more willing to be marginalized, and even proud of it. Therefore, it is easier for their poems to jump out of personal circles and look at human beings, the earth and the universe from a broader, more humorous and more philosophical perspective. Therefore, their thoughts, viewpoints and styles are unique. It is unthinkable to follow the trend and try to cater to the mainstream in western poetry. When we talk about the Cultural Revolution, we always think that catastrophe has left us. Young people seem to think that the absurd Great Revolution only happened to grandparents. What they didn't know was that they themselves were victims of that nightmare. China's economy has developed rapidly, and its GDP has attracted worldwide attention. However, people's thinking mode is still obviously shrouded in the shadow of the old times. The abnormal development of China's poetry (and other literary genres) is a strong proof. In fact, it was not only the Cultural Revolution that had a great negative impact on China's literati thought. It can be said that the way of thinking of China literati has been deformed since the May 4th Movement. The social change and ideological revolution in the past hundred years have not taught scholars how to improve their works, but how to deal with the relationship between people with "strategy" and between people and works with "calculation". The lessons of history make scholars/poets feel sad, fearing that free thinking will bring them painful "consequences", even though it is the only driving force to promote social progress and development. Finally, China's literary/poetic circles naturally formed a strong kitsch school. Others don't say that Guo Moruo, the former poet leader, is a big kitsch. To sum up, in my opinion, the biggest shortcoming of China's contemporary poetry is the lack of originality and the spirit of seeking knowledge and exploring from a broad perspective. Another shortcoming is the poetic virtue of most people: pursuing glitz and catering to the tastes of the public, and poets are not proud of pursuing simple, quiet and noble hearts. If we don't change these two points, China's poems can hardly achieve any great achievements, which can only be appreciated by China poets themselves, let alone produce outstanding poets who touched the world. Ordinary people are vulgar and can be forgiven. But the poet's kitsch is absolutely unforgivable. Mr. Hu Shi, the originator of China's new poetry, once emphasized that one should "not be confused by others" and poetry should "get rid of its corruption and return me to illusion". This really deserves every poet's deep thought and reflection. Vacancy: Graduated from the University of British Columbia with a master's degree, and worked as a teaching assistant in the University of British Columbia. Now I teach in a school in Canada. I love and engage in poetry, novels and drama creation for many years, trying to pursue the meaning of life through creation. He has published short articles in many magazines (including Reader). The short story Snow in the Rocky Mountains was reprinted by the famous magazine 17 and made into a TV series by Hunan TV Station. Kongyin visited Japan at the invitation of the Japanese government. In 20 10, Taiwan Province Province published her first Chinese novel "Sun Grass". In 20 1 1 year, South Africa published the English version of Sangras, and then another English novel Gupi and Sleepwalker was published. Her poems are scattered in newspapers and periodicals at home and abroad. The Chinese-English bilingual poetry collection "The Man Who Carries the Lantern" was published by the United States. The bilingual poetry anthology Today is a Road, and the poetry anthologies Song of the Climber and Simple Heart in Chinese, English and French have been published. He has won the Verdamori Poetry Challenge Award twice in a row. The bilingual poetry anthology "The Man Carrying the Lantern" and "Today is a Road" have been serialized for a long time in Vancouver Weekly and Toronto Weekly of World Journal. Kong Yin's collection of English poems and short stories will soon be published in the United States. At present, apart from teaching, Kongyin also focuses on poetry, Chinese-English-French translation and fairy tale creation.