Pen name: Ji Ling.
Gender: male
Date of birth and death:1910.12.8-2000.438+02.2.
Ethnic group: Han nationality
[Edit this paragraph] Introduction to Bian
Bian (19 10-2000) is a native of Tangjia Town, Haimen, Jiangsu Province. Modern poets and scholars. He used to be a professor of western languages in Peking University (1949- 1952) and a researcher at the Institute of Literature of China Academy of Social Sciences (Grade II), enjoying lifelong treatment; He was a member of the first and second foreign literature review groups of the State Council Academic Degrees Committee; Vice President of China Shakespeare Research Association; He has served as a director of the Chinese Writers Association and is currently a consultant; I was a guest in Oxford, England (1947- 1949). In his early years, War of Resistance against Japanese Aggression went to Yan 'an to engage in temporary teaching and joined the army at the front line in Taihang Mountain area. After returning to the southwest rear area, he worked as a lecturer, associate professor and graded professor at Kunming Branch of National Southwest Associated University, and was demobilized to work in Nankai University in Tianjin for one year. 1946.
[Edit this paragraph] Bian Zhilin's life
Bian 1929 graduated from Shanghai Pudong Middle School and was admitted to the English Department of Peking University. She was closer to English romantic poetry and French symbolism poetry, and began to write new poems. 1933 graduated from English Department of Peking University. At school, I studied under Xu Zhimo, who was deeply appreciated. Xu Zhimo not only published Bian's poems in the Poetry Journal edited by him, but also invited Mr. Shen Congwen to write an inscription. It is because of this experience that Bian is recognized as the representative poet of the important poetry school "Crescent School" in the New Culture Movement.
Bian appeared in the poetry circles in 1930s. Although he was influenced by the "Crescent School", he was more obsessed with French symbolism and was good at drawing nutrition from China's classical poems and forming his own unique style. His poems are exquisite, full of associations and strong leaps, with special emphasis on knowledge, drama and philosophical thinking. He is good at discovering the content of poetry from daily life and further excavating the profound connotation that ordinary people can't reach. His poems are obscure and profound, and obscure and intriguing.
Bian's new poems widely absorbed the nutrition of China's ancient poems and western modernist poems, and became unique, full of wisdom and philosophical interest. They are important representatives of "modernist" poetry in China literature in 1930s. During War of Resistance against Japanese Aggression's period, he visited Yan 'an and Taihang Mountain, and his poetic style changed. He praised the people's fighting life.
The poet advocates that "people who have not gone through the artistic process cannot become works of art, and we believe that content and appearance are inseparable". Bian's creative attitude is rigorous, and he tirelessly explores the transformation and expression in the "artistic process". Even in the external form of new poetry, she deliberately pursues change and innovation, not to mention the image and content of poetry. Some poems have been translated into many languages and become the special research objects of overseas scholars. In more than half a century, the poet has made unremitting efforts in poetry creation and theoretical research, successfully experimented with and introduced a variety of western modern poetry forms, opened up a new landscape for the development of China's symbolism and modernism poetry, made great enlightenment and important contributions, and achieved considerable artistic achievements.
[Edit this paragraph] Creation process
/kloc-When I was 0/4 years old, I bought a book of poems named Stars by Bing Xin for the first time and became interested in new poetry.
1929 graduated from Shanghai Pudong Middle School and was admitted to the English Department of Peking University.
1930 began to write poems, and since then he has published new poems and translated articles.
Sanqiu Grass was published in 1933.
1935, Fish Collection was published.
1936, Li Guangtian and He Qifang published Hanyuan Collection, so the three poets were collectively called Hanyuan Three Poets.
Since then, Bian has been a professor of western literature in Peking University, a researcher at the Institute of Literature of China Academy of Social Sciences, a vice president of the Shakespeare Research Association of China, and a director of the Chinese Writers Association. She is a famous translator of Shakespeare and English poetry. To sort it out, his poems pay attention to syllables and pursue the agility of words, which shows the dissatisfaction and thinking of young intellectuals at that time.
During the War of Resistance against Japanese Aggression period, Bian taught in Sichuan University and The National SouthWest Associated University successively.
1938 ~ 1939 visited the anti-Japanese democratic base areas in Yan 'an and Taihang Mountain areas, and taught at Lu Xun College of Literature and Art.. This trip prompted him to create a collection of poems, letters of condolence and reportage "772 regiment in Taihang Mountain area", praising the anti-Japanese soldiers and civilians and describing the life of the troops in the anti-Japanese base areas.
1940 teaches at National Southwest Associated University, Kunming.
1942, poetry published in ten years.
1946 to teach at Nankai University. The following year, at the invitation of the British Council, I went to Oxford for research.
1947 went to Oxford University as a researcher.
From 65438 to 0949, he returned to Beijing and worked in Peking University, Peking University Literature Institute and China Academy of Social Sciences Foreign Language Institute successively, mainly engaged in the research, criticism and translation of foreign literature.
195 1 year published poetry anthology, turning a wave. 1979 published the anthology Chronicle of the Carved Insect 1930 ~ 1958.
1949, professor of western languages department of Peking University, 1953, researcher of literature institute of China Academy of Social Sciences.
1964, research fellow, Institute of Foreign Literature, China Academy of Social Sciences. He has been engaged in the translation and research of works by foreign writers such as W. Shakespeare for a long time, and has translated works such as Tracing the Source of Shakespeare's Tragedy and Selected Poems in English. In addition, he also published a collection of poems, Man and Poetry: Recalling the Old and Saying the New.
[Edit this paragraph] Bian: People are in the scenery.
-Wen/Tong Ming Dow
Mr. Bian had never been out of the house for several years before his death. Zhang, an enthusiastic young man, visits him from time to time. When he came back, he told us one of his findings: "Mr. Bian likes to eat potato chips." "Why?" "He likes to hear the sound of potato chips being crushed." I listened to Zheng's words and thought, Mr. Bian is really lonely.
After writing Feng Zhi and Li Jianwu, I want to talk about Bian. These three are old-timers who are good at learning, but young people called them different before the Cultural Revolution. We don't care if Feng Zhi, director of the Institute of Foreign Literature, is called Director Feng, but we affectionately call him Comrade Feng Zhi. Li Jianwu is a non-party member, and we respectfully call him Mr. Li, or Mr. Kengo; Bian Zhi Lin, let's call him Lao Bian, but he is the best among the old-timers to blend in with young people.
Mr. Bian is polite and modest, but he is often unexpected. He is an expert on Shakespeare, but in the early 1960s, he wrote a heavyweight book about the German playwright Brecht-Brecht Impression. He is a poet, but what he sent to Beijing Evening News in the early 1960s was the prose Lost Room. This article, published for two days, tells the story of his bedroom leaking rain. Very humorous, resentful but not angry. Beijing Evening News was the only evening paper in Beijing at that time, with a huge circulation, and Mr. Bian was once quite popular among ordinary people in Beijing. Once I went to the hospital, the doctor saw the name on the medical record and asked, "Did you write Lost Room?" Mr. Bian is in distress situation.
Mr. Bian is very old-fashioned, honest and frank, but he likes to beat around the bush, so some people think he is wordy, but Mr. Bian said, "Even if he is wordy, he is very cute." This is because Mr. Bian is cute.
As I said, "detour" is Mr. Bian's unique way of thinking. His articles, such as "Brecht Impression" and "Lost Room Inscription" mentioned above, are all deeply wonderful by his "detour". I now feel that even his famous poem "Broken Chapters" seems to have traces of Bian's "Winding".
You are watching the scenery on the bridge, and the people watching the scenery are watching you upstairs.
The bright moon decorated your window, and you decorated other people's dreams.
With the "winding" of "the people watching the scenery are watching you upstairs", the connection between man and nature is tacit, and the people watching the scenery on the bridge have also entered the scenery, so Bian has opened up a new aesthetic space for us. From then on, we read Li Bai's "Never tired of looking at each other, only looking at Tingshan", and we have the association of "people in the mountains and rivers", because the poets who never tired of looking at each other and Jingting Mountain have become our aesthetic objects.
Broken Chapter is Bian's immortal work. When Mr. Bian died, the headline of a newspaper was "The person who wrote" Broken Chapter "died".
[Edit this paragraph] Appreciation of Bian Shi's Broken Chapter
Most poets regard Bian's Broken Chapters as a philosophical poem with profound implications. In fact, reading it as a romantic poem is full of poetry! Picturesque artistic conception, rich and meaningful feelings, endless drama flavor and unique theme are really unique in my heart.
This poem is written like this:
You stand on the bridge and watch the scenery. The scenery watcher is watching you upstairs. The bright moon decorated your window, and you decorated other people's dreams.
The last part of this poem depicts a picture of tourists looking at the scenery during the day. Although it is written about "seeing the scenery", the pen and ink do not splash on the description of the scenery, but inadvertently reveal the bridges, buildings, tourists, and the running water, cruise ships and shore willows that can be inferred from it ... It is like a faint ink painting, leaving the vague background to the readers to imagine, and the focus of the picture falls on the people watching the scenery on the bridge and upstairs, which is even more important.
The "you" who "stood on the bridge and watched the scenery" was obviously ecstatic in the face of the beautiful scenery in front of him. From the side comparison, it can be seen that he didn't notice that "the person watching the scenery is watching you upstairs". What is intriguing is that the upstairs man who came for "seeing the scenery" boarded the tall building, but what he saw in his eyes was not the scenery, but the "you" who stood on the bridge to see the scenery. Why don't people upstairs look at you and see the scenery? What deeply fascinated those eyes and touched that heart? This patient and patient "look" is really romantic, which makes the originally peaceful and pleasant picture suddenly rippling and swaying in Chun Qing, and conjures up many interesting dramatic scenes: "You" who is indifferent to the scenery must be a handsome young man who travels around the world, and the person who falls in love with others upstairs must be a lonely, lovesick and affectionate woman who is hard to find a bosom friend. The eyes of a sentimental, stupid, sad person who is ashamed to speak his mind? It's really "falling flowers are intentional, running water is ruthless", and how many such encounters are there on the journey of life, love at first sight, fleeting and unforgettable love! It is with these two short lines that the poet left a picture of Yongheng Zhang, which, like the spark of calcium carbide, evoked memories and reverie of the indescribable and indescribable scene.
In the first section of the poem, realistic brushwork and songs convey the deep affection of the people on the bridge for the hidden scenery, and the infinite kindness of the people upstairs to the people on the bridge, which constitutes a dramatic scene of "falling flowers intentionally, running water ruthlessly". But affection is always annoyed by ruthlessness. Ruthless scenery and people who are indifferent to the scenery on the bridge can repay those who are passionate and affectionate to themselves with the same kindness? Faced with this common scene in life, it often ends with helpless regret and endless melancholy memories. The poet gives us a wonderful answer full of fantasy and warm feelings with a unique romantic pen in his next poem.
Time moved to the moonlit night. The people on the bridge and upstairs returned to the rest place with their own satisfaction and deficiency. But who would have thought that in this silence, people's emotional investment during the day was unconsciously rewarded.
"The bright moon decorated your window", isn't this the warm return of natural scenery to people who are indifferent to the scenery on the bridge during the day? From the window of "You" decorated with "Bright Moon", we can see what beautiful moonlight scenery will show in the eyes of people on the bridge at the moment! Bridges, water, buildings, boats, willows ... everything outside the window is dissolved in this elegant, soft, misty and ethereal moonlight, which is so mysterious, so wonderful, so sweet and so comfortable compared with everything under the bright sun during the day. Facing the beautiful scenery under the moonlight, how can people believe that the natural scenery is indifferent and incomprehensible? How can we not arouse people's strong love for nature? If you love nature, nature will love you-this is the meaning of poetry!
Natural scenery returns the amorous feelings of people on the bridge in its unique way, and in what way should people on the bridge return the good intentions of people upstairs? The poem "You Decorate Others' Dreams" gives a fascinating answer to this question, thus giving a pleasant vent to the hopeless unrequited love of people upstairs in real life.
This "decorated" dream is undoubtedly a deep dissection of the mystery of the soul for its owner, which clearly shows how intense the secret love suppressed by various external factors is. And the person on that bridge can change from the person in his eyes to the person in his dream, isn't it because he is the right person? Although there is no direct confession of love in the poem, this rosy dream shows how warm and clear the love without confession is, and it is even more exciting to reflect on the "appearance" of the day. Isn't it more exciting to think about how much amorous feelings are wrapped in that bland "eyes"?
If we only use the composition of "thinking day and night, waking up every night" to express the wonder and charm of unrequited love, it would be too mediocre and conventional. The subtlety and novelty of the poem lies in that the owner of this dream is not only the protagonist of the dream, but also retired from the active position of this love contest, and the person on the bridge is no longer an unconscious lover. In his dream, he plays the role of the giver of love as a master. He is trying his best to "decorate" his dream, and he is also "decorating" his dream according to the wishes of the people upstairs. We don't need and can't describe this wonderful dream in detail, but we can say for sure that this "decorated" dream must be extremely sweet, extremely happy, extremely romantic and extremely beautiful. In a word, the fallen petal of the people upstairs finally got a warm and generous return from the flowing water of the people under the bridge, far exceeding the hope value. Here, the motto "Falling flowers are intentional, running water is ruthless" has been accompanied by thousands of years of life, always giving people regret and regret, and has also lost its truth.
But dreams are dreams after all and cannot replace reality; Decoration is just decoration, and there will always be an illusory face. The next day, the sun is shining brightly, and the people upstairs wake up from a deep dream. What kind of mood will it be to "freshen up and lean on the Wangjianglou"? But I believe that people upstairs who have fully enjoyed the sweet dream of "falling flowers are intentional and flowing water is affectionate" will definitely be freed from ordinary people's faint sadness and will devote themselves to a new life with better vision and deeper love.
When we are enjoying the unusual theme of this little poem and lingering in the implicit and meaningful artistic conception of this little poem, why should we make a boring and rational analysis of it like interpreting an abstruse philosophical proposition?