Generally speaking, my relationship with poetry is personal. This relationship is a relationship between you and me and he doesn't know; This relationship is a relationship of knowing, knowing and not knowing, but it is not enough for outsiders.
My relationship with poetry is an encounter. Poetry is an original existence. Whether you write it or not, the poem is there. There is only one encounter between poets and poems. This encounter has the nature and significance of a certain religion. In other words, only people with poetic wisdom can complete this encounter. Poetry is neither creation nor creation. Only poetry writing and poetry text are creation and creation, but poetry itself is not. Poetry itself is there, and there is no need to create and create. The meeting of poems is the meeting of hearts. At the moment of meeting, poems have been finished. Poetry text and poetry creation only record the meeting at that moment through words. Poetry text is only the skin of poetry. It's hard to draw bones when drawing tiger skin. Therefore, poetry, as a text, is only the guide and navigation chart of our soul poetry, which leads us to discover and reach poetry. It makes poetry closer and farther. The charm of poetry is that you can approach it infinitely, but you will never reach it. When poetry meets the poet, it can be presented, revealed, discovered and become poetry.
My relationship with poetry is mutual. Poetry is another world view. Poetry has made me. If it's not mine, it's not me. I write down poems and turn them into my poems. Without poetry, I would be another me. Without poetry, my life would be another life. Poetry established my value pedigree and spiritual totem. Dig me from the inside, find me, expand the boundaries of my thinking, establish my relationship with the world, and establish my connection with everything. If I don't write poetry, those poems that meet another person will be another kind of poetry. If I don't write poetry, those poems that meet another person will be another kind of poetry text, which will change the fate of poetry text. And I made my poetry bear a distinct imprint of blood and fetus, and made poetry have its own flesh and blood parents. I have dimples when I smile, and so do poems; Where I have a mole, there is also a poem.
My relationship with poetry is a relationship of mutual redemption. Poetry hurts me, but it also heals me quietly. I am afraid that poetry will grow white hair, just as I am afraid that my wife will grow white hair. I hurt poetry, I made it rough, I dug it out of poetry. In fact, I let poetry leave poetry, let poetry walk out of itself and become a branch of ci. Poetry is an orphan wandering in the world from the moment it was born. I didn't take care of them when I was alive. When I die, I only have paper to feed them. Its life is its own, and it is also endowed by time and the public. Poetry and I love each other, hurt each other and comfort each other; Punish each other and redeem each other. I walk on the road of poetry, just like a goat walking a tightrope. The abyss is fascinating and there is no turning back. Treading on thin ice is beyond redemption. Poetry and I calibrated our coordinates in the universe. The sky of poetry is distant and clear, dangerous and beautiful.
Poetic expression of the thought of existence
-read Yang Limin's treat me like an old man.
Bi Guangming?
Yang Limin, a Miao writer, focuses on philosophical thinking in his prose, mainly asking about the noumenon of life, that is, existence. When such philosophical thinking is expressed in exquisite language in a limited space, its text is compatible with the characteristics of poetry and prose, which is not only a highly personalized self-expression, but also a spiritual connotation beyond real life feelings. Treat me like an old man is such a group of prose poems with innovative style.
Prose writing needs to constantly mention oneself in writing, while poetry creation is the constant appearance of lyric heroes in singing. The whole focus of "taking me as the old" is "me". "I" is concerned, which is the ideological orientation of existentialism. The unnoticed "I" may not exist. People can only exist if they are aware of themselves. It is precisely because consciousness transcends existence that existence precedes essence. Yang Limin's prose poems naturally don't intentionally and poetically explain some existential theory, but he is confused about life. Existentialists ask questions, not only because theorists have discovered the essence of human beings, but also because people with reflective ability know and examine their own situation. Modern poets are more introspective. In their internal vision, the modernity of self will inevitably be highlighted. Questions such as "Where am I" and "Am I me" will naturally be raised, because reflection is the thinking characteristic of modern poets. It is a strange saying that "I am the oldest", but in the phenomenological sense, it is the restoration of the essence of human existence, which means that human subjectivity cannot be established by itself-not unilaterally, but only in bilateral relations, that is, the relationship between people and others, people and society, and people and themselves. This is the origin of the drama "treat me like an old man". It needs to constantly seek the true meaning of existence from the contradictory relationship between self and others, body and soul, life and death.
Consciousness of existence is bound to be accompanied by anxiety about identity. "Everyone is trying to be me all his life. The fact is that in the end, everyone will eventually become another person. " (Identity) The poet is aware of a universal fact, but not everyone is aware of it. Among them, a hidden tragedy is: "Theoretically, everyone has a you in his heart. Therefore, in addition to you, there are countless you. " Therefore, in this world, people are fixed and can only perform according to the script. What people do is not all out of original intention. As a social person, everyone can't escape the definition of you by others, that is to say, everyone should be used by others (and in the final analysis, for their own use). Society is the field of individual existence: "as natural persons, we live in the body, as social persons, we live in the identity;" We eat with our mouths and talk with our mouths. " "Eating supports our bodies and speaking supports our identity. Society is a coordinate composed of various latitude and longitude lines, which identifies the identity and position of each of us. " Here, the relationship between "body" and "identity" and the relationship between "identity" and "society" has been fully revealed, and its internal logic reflects the dialectical relationship between people and others and society, which is also a real existence scene. It also tells us that human existence is based on a situation, which has inevitable consequences: "Everyone, for others, is others. But in fact, we have never lived ourselves. Because of me, I depend on him for existence. Be recognized by others, be evaluated by others, and be named by others. " "No one else,' I' exist? This is a problem. "("People who love me always treat me like an old man ") seems to be reasoning, but because it reveals an insurmountable conflict, which has become accustomed to and led to the forgetting of existence, it has a strong poetic nature through the dramatic appearance of language. The poetic expression of the principle of existence is precisely the artistic value of "taking me as the old".
"Loneliness" is another important proposition of ontology. Starting from the judgment that "everyone is lonely", the chapter of "connecting with heaven and earth" makes a poetic statement on the lonely situation that people are thrown into the world:
In a physical sense, everyone lives in his own body.
In terms of time, everyone lives between life and death. This is a journey that can only belong to you. Although the sea of people is vast, after all, no one comes and goes together. You must go all the way to dark.
In the spiritual sense, there are no two identical spiritual worlds. Everyone lives in his own mind, and it is impossible for one person to completely enter another person's spiritual space.
Where you come from and where you go are endless unknowns.
……
Therefore, people struggle with loneliness all their lives.
This kind of performance represents the ideological and artistic level of Yang Limin's prose poetry creation, including his discovery of transcending secular existence and his responsibility for existence, as well as his consciousness of language art and his efforts to make progress in plain. The way the poet found to fight loneliness comes from the depths of cultural tradition, which shows from another angle that a negative attitude towards life is actually more positive. "Many times, we would rather be alone." ("After you left, the Chinese rose bloomed in the yard") This choice can be regarded as the power that art gives life.
The exploration of life and death is also an important dimension of survival thinking. In the view of existentialists, death is the ultimate destination and the limit of life, which is of great significance to the existence of individuals. On the Road compares life to the road, and "life and death constitute the two ends of life". Landing focuses on this topic. "Death cannot be stopped." "Death drives death, and life drives life." "Individual life is constantly dying, in exchange for the endless life of collective life. In this way, human beings can continue. " The poem sketches a picture of human life and death, points out the passivity of individual life and retains the possibility of existence. If the relevant diary is about people's attitude towards death in regional culture, then articles such as Fog and Balcony say that since life is a limited process, transcendence and soaring are the attitude that people's spirit should have. On an Unknown River is a metaphor, implying that life is bathed in the long river of culture and value and is expected to last forever.