Narrative lyric poetry occupies a considerable proportion in Xu Zhimo's poems, and Haiyun is one of them. In the writing of such poems, narrative language inevitably persecutes reading. This compulsion comes from modern poetry-because in traditional narrative poems, such as Peacock Flying Southeast and Mulan Ci, narrative language and lyric language appear from different levels, which is clear at a glance, but what has happened or may happen. However, in modern poetry, such as Xu Zhimo's Hai Yun, narrative language and lyric language are integrated, and the narrative function of language can only be determined after reading through. Moreover, the more essential difference is that the narrative of modern narrative lyric poetry is not a direct life experience, nor an experience that may be verified by life (but it is not incredible).
The colloquial and lyrical language, simple and clear image and simple and linear plot development of Haiyun, after reading it, poetic expression will be combined with complete plot explanation. The single lady lingered-singing-dancing-submerged in the sea foam-and disappeared from the beach. This is not a true story of lovelorn self-destruction. But in the final analysis, Xu Zhimo used the plot of this story or similar stories. Xu Zhimo's poems still accept the basic conception mode of traditional narrative poems, that is, the characters have appearances and endings, and the plot has ups and downs. But this character is a virtual character, and this plot is an enlarged behavioral "possibility". In Haiyun, The Single Lady doesn't or doesn't need to contain the meaning of life, moral commitment and ethical will. She is neither like Liu Lanzhi nor Mulan, nor a specific "person" in real life. She is just a possibility in modern life. Therefore, her wandering, singing, dancing, drowning and disappearing are just a "possible course of action", which is a brand-new feature of Haiyun. Girls, the sea, and girls' behaviors at the seaside are all particularly persecuted and boundless, because they are symbols of the suspended spiritual status quo. Due to the infinite expansion of the meaning indicated by symbols and narrative language, the whole poem far exceeds the poetic expression of traditional narrative poems. Although the language of Hai Yun is quite simple, its implication, width and complexity can be understood repeatedly in reading.
The first section is a single lady with long hair and lingering, which makes people miss. Her answer is just "I love the night breeze". The sea is as sinister as life and always more mysterious than life. Its eternity is fascinating. The lonely girl who is far away from life demands "the sea, I sing and you make peace", which is not only heroic and arrogant, but also because of her persistence and firmness in eternal heroism and arrogance. So when storm warning is evil, she wants to "learn from a seagull without waves." Seagull is the spirit of the sea, and spirit and faith are the wings of human beings. Although the girl is thin, her belief is firm. But the ruthless sea will eventually engulf this girl who loves the turmoil of the sea. The struggle against nature and eternity is an eternal struggle. The girl's "waste" has also become sad. However, the girl was not really defeated and disappeared completely. In Hemingway's The Old Man and the Sea, the old man returned empty-handed, but the spirit of "invincible" has since filled the human mind. Zweig's famous prose "Tomb of the Sea" eulogizes the eternal pursuit will of mankind with the eternal melody of music. Xu Zhimo's Hai Yun finally pushed the whole poem to a climax with urgent call, metaphysical questioning and rich lyricism, leaving readers with a broad and far-reaching ideological space.
"Girl, where, girl? /What about your loud voice? /Where is your graceful figure? /Where, ah, brave girl? " I have pursued, fought and sung, so I am brave, so I will still be eulogized and become the source of my pursuit. Hai Yun is an excellent imitation of the eternal rhythm of the sea in the last section.
Unfortunately, Xu Zhimo's conception of "Haiyun" draws lessons from the traditional narrative poem mode, which may make him not create a new narrative lyric expression in the end. But as far as the poem "Hai Yun" is concerned, the expression still has its own uniqueness. On the one hand, the poet is obsessed with the "story" of poetry, on the other hand, he does not appear in poetry in the form of the narrator "I". Not only did he not express "I", but he also hid "I" behind the whole story, allowing the story to unfold leisurely in the lyrical dialogue between the two characters. In this way, the poetic expression of narrative lyric poetry has dual functions, on the one hand, it is the lyric of the characters themselves in the story, on the other hand, it is the strong emotional guidance of the narrative poet. The lyrical effect of the five independent parts of Hai Yun can not be ignored, and the lyricism of each independent part finally meets at the end, forming a lyrical climax with the poet's ideological intention and lyricism.
Original poem:
one
"Girl, single girls,
Why do you want to stay?
The seaside at dusk? ——
Girl, go home, girl! "
"Oh no; I'm not going home,
I love the night wind: "—
On the beach, in the twilight,
There was a girl who sent-
Wander, wander.
two
"Girl, send the girl out,
Why are you hesitating?
In this desolate sea?
Girl, go home, girl! "
"Oh no; You listen to me sing,
Sea, I sing, you come here: "-
Under the starlight, in the cool wind,
Gently swinging a girl's voiceless voice-
Sing high, sing low.
three
"Girl, bold girl!
There was a shady day,
In an instant, there was an evil storm-
Girl, go home, girl! "
"Oh no; Watch me dance in the air,
Learn from seagulls. Is it Haibo: "-
At night, on the beach,
Spinning a slim figure-
Dance, dance.
four
"Listen, the anger of the sea,
Go home, girl!
Look, the sea is fluctuating like a wild animal.
Girl, go home, girl! "
"Oh no; Haibo, he won't swallow me,
I like the turbulence of the sea! "
In the tides, in the waves,
Ah, a flustered girl is in Harmo.
Waste of time, waste of time.
five
"Girl, where, girl?
Where's your loud voice?
Where is your graceful figure?
Where, ah, brave girl? "
The night swallowed the starlight,
There is no light at this seaside;
The tide swallowed up the beach,
There are no more girls on the beach,-
There are no more girls!
Note: This poem was published in August 1925 "Morning News".
About the author:
Xu Zhimo (1897 ~ 193 1) is a modern poet and essayist. Famous Zhang Yi, pen names Nanhu, Yun Zhonghe, etc. Haining, Zhejiang. 192 1 went to study in the uk and became a special student at Cambridge university in London, studying political economy. During my two years in Cambridge, I was deeply influenced by western education and romantic and aesthetic poets in Europe and America. 192 1 Start writing new poems. 1922 After returning to China, he published a lot of poems in newspapers and periodicals. Professor Peking University went from 65438 to 0924. 1926, Wen Yiduo, Zhu Xiang and others launched the metrical movement of new poetry, which influenced the development of the art of new poetry. In the same year, they moved to Shanghai and successively served as professors at Guanghua University, Daxia University and Nanjing Central University. /kloc-in the winter of 0/930, she taught in Peking University and Peking Women's University. 193 1 year1month 19 died in an air crash near Jinan.
Xu Zhimo's poems are fresh, harmonious in rhythm, novel in metaphor, rich in imagination, beautiful in artistic conception, elegant in thought, rich in change, pursuing neatness and splendor in artistic form, and having distinct artistic personality. He is a representative poet of the Crescent School. His prose is also sui generis, and has achieved no less achievements than poetry. His works have been edited and published as Collected Works of Xu Zhimo.