What are the names of the poems of Li Guangtian, Bian and He Qifang?
On February 8, 2000, at 65438, Bian will celebrate her 90th birthday. It is because of this experience that Bian is recognized as the representative poet of Crescent School, an important poetry school in the New Culture Movement. In addition, Bian, He Qifang and Li Guangtian also published a collection of poems "Hanyuan Collection" during this period, so they are collectively called Hanyuan Three Poets.
Li Guangtian, the author of this poem, is one of the outstanding modern prose writers in China. 1929 was admitted to the Foreign Languages Department of Peking University and began to publish poems the following year. 1935 returned to Jinan to teach middle school after graduating from college. He has collaborated with Peking University students Bian and He Qifang to publish the collection of poems Hanyuan. He published eight collections of essays and some articles scattered in newspapers and periodicals, up to 1200. His essay "Independent Creation" is thought-provoking, which combines "poetic perfection" and "novel rigor", and has a unique artistic style. In the history of modern literature in China, his name can be juxtaposed with the names of essayists such as Zhu Ziqing and Bing Xin.
Li Guangtian's poems are simple and elegant, emitting the fragrance of earth, and have a simple and quiet poetic style. Shallow singing and low singing contain a sad charm, and there is no lack of mellow quality. In this poem with the theme of autumn, the poet did not describe autumn with visual images like other poems, but captured the "taste of autumn" from a special angle. "Fallen leaves, ripe raspberries", will the autumn breath be enough for people to paint in the painting? The dream was vague and was blown away by the west wind and breeze. This is a metaphor for the poet's confused state of mind, which makes readers infected by a faint ethereal state of mind.
The three poets of Hanyuan refer to three outstanding modernist poets Bian, He Qifang and Li Guangtian in China's modernist poetry group, and their main representative works are Hanyuan Collection. He Qifang and Bian He Li Guangtian are students of Peking University College of Literature, so they come together to learn from each other. 1934, when Zheng Zhenze compiled the Literary Research Association Creation Series, he asked for the Bian Poetry Collection, and collected all the poems of He Qifang and Li Guangtian up to that time. The place where they study together is called Hanyuan Garden. Although it smells old, they like it and it's fun, so it's called Hanyuan Collection.
Li Guangtian's main works
Hanyuan Collection by He Qifang and Bian (poetry anthology), 1936, Business.
Gallery Collection (Prose Collection) 1936, Business
Silver Fox Collection (Prose Collection) 1936, Wensheng.
Quejimi (Prose Collection) 1939, Vincent.
Outside the circle (prose collection) 1942, Chongqing credentials echo (prose collection) 1943, Guilin Chunchao Society.
Happy group (short story collection) 1943, Guilin working society.
The art of poetry (poetics) 1943, Wu.
Shrub Collection (Selected Prose) 1944, Wu.
Golden urn (short story collection) 1946, Vincent.
Gravity (novel) 1947, morning light
Japanese Essays (Prose Collection) 1948, Wen Sheng
On creation (paper) 1948, enlightenment.
Literary letters 1949, enlightened.
Journey to the West (Prose Collection) 1949, Cultural Work Agency.
Thirty essays 1956, writer.
Spring city collection (poetry anthology) 1958, writer.
Selected Prose of Li Guangtian 1980, from Yunnan.
Selected works of Li Guangtian 198 1, foreign languages.
Selected Prose of Li Guangtian 1982, Hundred Flowers.
Li Guangtian's poetry anthology 1982, from Yunnan.
Li Guangtian's Collected Works (Volume 1-5) 1983- 1986, Shandong Literature and Art.
Li Guangtian's masterpiece 1987, Yellow River.
Ashima (long poem) is based on Dai folk stories, 1960, edited by Humanities.
Characteristics of Li Guangtian's Prose
Li Guangtian (1906~ 1968) is an essayist. No. Xi Cen, pen name Li Di, et al. Shandong Zouping. 1929 was admitted to the Foreign Languages Department of Peking University, and began to publish poems and songs the following year. 1935 returned to Jinan to teach middle school after graduating from college. He has published a collection of poems "Hanyuan Collection" with friends Bian and He Qifang from Peking University. Vice President of Yunnan University, presiding over the daily work of the school (1952), President of Yunnan University (1957- 1959). From 65438 to 0959, he was classified as a "right opportunist" in the struggle against right deviation within the party, and was reduced from principal to vice principal. Zouping county, Yang Jiacun. 1968165438+1October 2 was persecuted to death.
Brief introduction of Li Guangtian
Li Guangtian (1906.10.1-1968.1.2) was born in Zouping, Shandong. 1923 After being admitted to Jinan No.1 Normal University, he began to contact with new ideas and new literature since the May 4th Movement. From 65438 to 0929, he entered the preparatory course of Peking University Foreign Languages Department, published poems in the supplement of North China Daily and Modern magazine successively, and got to know his classmate, Grandma He, from the Department of Philosophy of Bian He. After the publication of Hanyuan Collection, a collection of three poems, it was called "Hanyuan Three Poets". 1935 after graduation, Peking University returned to teach in Jinan and continued to write many essays, which were collected as Gallery Collection and Silver Fox Collection. 194 1 Go to Kunming in autumn and teach at National Southwest Associated University. In addition to prose, he also wrote the novel Gravity. After the victory of the Anti-Japanese War, he taught in Nankai University and Tsinghua University successively. 1948, joined by China * * * producer. After liberation, he served as director of the Chinese Department of Tsinghua University. 1949 was elected member and director of the Federation of Literary and Art Circles. 195 1 vice president Ren Qinghua. 1952 transferred to vice president and president of Yunnan University. He has served as director of the Institute of Literature of Yunnan Branch of China Academy of Sciences, vice chairman of Yunnan Branch of Writers Association and director of Chinese Writers Association. He is one of the outstanding modern prose writers in China, and he has written Quejimi, Outside the Circle, Echo and Japanese Prose.
Bibliography of works:
Hanyuan Collection by He Qifang and Bian (poetry anthology), 1936, Business.
Gallery Collection (Prose Collection) 1936, Business
Silver Fox Collection (Prose Collection) 1936, Wensheng.
Quejimi (Prose Collection) 1939, Vincent.
Outside the circle (prose collection) 1942, Chongqing credentials.
Echo (Prose Collection) 1943, Guilin Chunchao Society.
Happy group (short story collection) 1943, Guilin working society.
The art of poetry (poetics) 1943, Wu.
Shrub Collection (Selected Prose) 1944, Wu.
Golden urn (short story collection) 1946, Vincent.
Gravity (novel) 1947, morning light
Japanese Essays (Prose Collection) 1948, Wen Sheng
On creation (paper) 1948, enlightenment.
Literary letters 1949, enlightened.
Journey to the West (Prose Collection) 1949, Cultural Work Agency.
Thirty essays 1956, writer.
Spring city collection (poetry anthology) 1958, writer.
Selected Prose of Li Guangtian 1980, from Yunnan.
Selected works of Li Guangtian 198 1, foreign languages.
Selected Prose of Li Guangtian 1982, Hundred Flowers.
Li Guangtian's poetry anthology 1982, from Yunnan.
Li Guangtian's Collected Works (Volume 1-5) 1983- 1986, Shandong Literature and Art.
Li Guangtian's masterpiece 1987, Yellow River.
Ashima (long poem) is based on Dai folk stories, 1960, edited by Humanities.
On Li Guangtian's Creative Criticism (2)
On Li Guangtian's Creative Criticism
Ten Years' Poem Grass is an essay-style poem review, with elegant and simple dictionary. This paper makes a detailed aesthetic analysis from the aspects of composition and syntax, format and phonology, words and images. He compared Bian's composition to running water. "I said that this composition is like running water, or like the ripple of running water, which only Pingchuan has." Li Guangtian's unique criticism of close reading is entirely due to his profound appreciation and experience of the poet and his works, and is based on his years of experience in poetry creation, which is commendable. Li Changzhi said in "On Poetics" that critics "scribble like appreciating calligraphy and painting, which is rarely so nuanced in China's modern literary criticism". Through the interpretation of Bian's poems, Li Guangtian came to the conclusion that paying attention to form is not only for the form itself, but also for the content expressed by the form. This article, which represents the characteristics of Li Guangtian's criticism, not only analyzes the works on the basis of profound thoughts, explores the "general spiritual law" in literary criticism, and solemnly defends the skills of new poetry, but also has the critical significance of guiding literary appreciation and helping readers improve their appreciation ability.
In Poems of Meditation, taking Rilke as a reference, he pointed out that Feng Zhi was serious about art and said that Feng Zhi was a meditative poet. "He observed silently, he realized that he confirmed what he had experienced in the life of the universe in his daily impressions, and he saw real poetry or philosophy where we couldn't see it." Feng Zhi's sonnet is "like a horizontal bottle, it can give invisible water a shape, like a wind flag, it can hold some uncontrollable things". The exotic form of sonnets is "because of its ups and downs, gradual concentration and gradual solution, and intricacy and neatness, its rhyme method is inserted and inserted." It was originally the most suitable to express a thoughtful poet. " By observing Feng Zhi's poems, we can realize the poet's noble and powerful personality or life.
In the poet's voice, based on the changes of the times, it shows that the poet Fang Jing has progressed from a slightly decadent and delicate rain scene to a more intense voice. He enthusiastically praised the voice of the times and the voice of the poet. "The poet's voice is our voice, the voice of the times, the poet breathes for us, speaks for us and shines for us." This is the vitality of the poet Fang Jing.
It is precisely because of their profound ignorance and appreciation that these three technical articles combine the feelings, thoughts and experiences of the commentators at the same time, and are integrated with the content of the comments, resulting in a strong aesthetic feeling.
Second, the critic's writing itself should be a good literary work.
Li Changzhi said in "On the Art of Poetry": "A good critical text should have a solid foundation, be critical of the prevailing atmosphere and be readable." Li Guangtian used these three points to practice his creative criticism, which included his appreciation and understanding of creation. Moreover, meticulous poetry criticism obviously has a "solid foundation". Another unique feature of Li Guangtian's creative criticism is that his critical writing itself is readable.
Li Guangtian's critical articles were written by an essayist and poet, which can be read as beautiful prose. Or metaphor, or reasoning, the text is infectious, friendly and vivid to read, and there is no sense of being raw. This criticism method of prose embodies his criticism standard: "Whenever you express criticism in words, you should do it as a creator, because the best critical text itself should be a good literary work". In Meditation Poetry, the work was not criticized at first, but as a poet, he experienced life and poetry with a poet's heart, which is a very beautiful brushwork of poetry and prose. At the beginning of the article, I quoted belinsky's words, "Where there is life, there is poetry", and then a large section of poetic and prosaic language, "Really, where is there no poetry? Poetry is everywhere, only poets can find it and express it. How many poems we ignore, just as how many truths we ignore. Poetry is not necessarily blood and fire, tears and the sea, nor is it necessarily love and death in daily life and ordinary phenomena. He who finds the deepest thing in the ordinary is the best poet. Those temporary things will eventually pass, and those that are temporarily wet by a little rain and dew will eventually dry up. Flowers are bright in color, but they will soon fade, and the fruit tastes sweetest. However, it will fall soon. Some people pursue vanity in life, some people look for fruits in life, and some people only pick those branches and leaves in life.
But the person who lives best and knows life best may be the person who finds it deepest and farthest, but what can be found is not elsewhere, but only in the underground where we practice under our feet, that is, in the soil where everything grows and everything is buried. Who discovered it and showed it, he is not only a poet, but also a philosopher. "The author's criticism is entirely prose-style and poetic, and we can't help but appreciate it.
Taking Rilke as an example, he pointed out that Feng Zhi was a serious artist. This unique prose style is vivid, cordial and natural, which is not only an informative criticism, but also a good prose work. Li Guangtian said in Metaphor of Trees-A Letter to Young Poets: "Poets must love life and experience it seriously. Only those who are loyal to life can become artists and be loyal to art. " These unique literary theories add the core of life to Li Guangtian's criticism, which is not only impeccable in content, but also beautiful in form, and the content and skills complement each other, truly achieving that "the best critical writing itself should be a good literary work".
Thirdly, critics should criticize the current abuses and fashions in the literary world.
Li Guangtian's criticism also criticized the literary atmosphere at that time. That is, against prose culture and formalism. In view of the disadvantages of prose culture in the poetry circle at that time, Li Guangtian expressed his basic views in On the Content and Form of New Poetry, and lamented with disappointment: "When we read these new poems, we often feel pity. We often think that these works are just some materials, even some raw materials. If these materials are put in the hands of a best poet, they will be rearranged, reorganized, washed and cut again, and the result will be completely different. Li Guangtian attached great importance to the content of beauty, and the content of beauty can only be well expressed through the form of beauty. In view of the prosaic culture of poetry in the society at that time, the author asked the poet to "create a more perfect or perfect form". Poetry, with the best form of poetry, is the completion of poetry. The metaphor of the tree is written for young poets, emphasizing the skills of poetry repeatedly. He warned young people "never think that what is written casually is a good poem, sometimes it may be good, but sometimes even prose is not good, let alone a poem". The best poem should be the consistency of content and formal beauty. For this ideal of poetic beauty, Li Guangtian pointed out to people through the art of poetry: "We don't want to say what works look like in prose just because they indulge emotions. We just want to take various problems in Ten Years of Poetry as examples to prove that "form is not only for the form itself, but also for the content expressed by that form". Li Guangtian's literary criticism is very clear about the trend of the times, and naturally integrated into his criticism, so together with his profound taste, appreciation and elegant and simple words, it constitutes the characteristics of his early creative criticism. Belinsky believes that a keen sense of poetry and a strong sense of beautiful literary phenomena should be the first conditions for criticism. Li Guangtian's critical practice has done this well.