Guan? Key? Word: 325 words in senior one of life high school
Word count: 325 words composition
This article is suitable for senior one of life high school
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This composition is about 325 words in senior one of life high school, and the title is "Notes on Milan Kundera's Living Elsewhere". Welcome to contribute.
high school composition
Kundera's art in Milan is always different from the ordinary novel art-even to some extent, Kundera's world is based on poetry and existence without absolute realism or symbolism. Source: Writing Network Novels are works of art derived from his values and thoughts. The book "Living Elsewhere" can be said to be an exploration of poetry and the poet himself in the 2th century.
In the novel, the poet Ya Romil saw the body of Magda, a young nanny, immersed in a bluish-white basin of water through the keyhole. When he was young, he gave such a sigh-he wrote, "Oh, my love in the water!
"Water is an image of sadness, just as the exhaustion of reality is to the ideal, which deprives the poet of the flame in a gentle way. In fact, even if he plays a masculine passion or a poetic passion in his future life, the water vapor escaping from this keyhole is still immersed in his life: he has never left. What the poet fears most is that he can't get the life that truly belongs to the poet-even if it's only one day-and he can smell the gentle fragrance of freedom in one day. That kind of rosin swaying in the fire, like bait, is better than the smell of women.
however, did the poet get it? Or-is the dream of poetry possible to achieve in this era? Perhaps, when Ya Romil's dilated pupils were filled with crystal clear water, and when the flame appeared in his fantasy for the last time (just across the glassy water layer), the answer had been found. He is destined to be just a man in the water.
1. Dreams are reciprocating, and poetry is elsewhere
-Ya Romil, Dream and others
We have seen many marks in our works that are different from the usual methods, as well as an interspersed narrative with strong symmetry (that is, A-B-A-A-C-A): Ya Romil, as a poetic figure, has his life and life. Therefore, "truth" is always vague in the novel. As described by the author, the truth of a poet is passion, but what is passion? Enthusiasm is changeable, which is the most powerful proof of all the scenes in the dream: Ya Romil's enthusiasm lives on the doll he thinks can be controlled, but he can't escape the betrayal of this temperature in the end. For a poet, this is equivalent to losing his life. So we think of the source of the book title: the French poet-in fact, he has only five years of life as a poet-Aarti. Rambo's sentence: poets live elsewhere. What Rambo provides is an ambiguous concept: that is to say, there is no difference between ailleurs and any partout. Poets are vagrants, and this is not contrary to the primitiveness of poetry itself. The Italian Vico once defined that "poetic wisdom" is the product of the combination of soul and essence, that is to say, poets are natural, and based on the wandering nature of people, poetry is also the product of "elsewhere".
There are poems about Ya Romil, and it is true that, as many critics say, they are poor. For example, the poem "Epitaph": "Ah, if you are going to die, let me join you, my love, let us turn into light and heat in the fire ..." It is mediocre, but the emotion is thin in the flood. In fact, the poet is not necessarily a laurel honor, and it is even somewhat derogatory to Ya Romil. But there is no doubt that his most successful works in this life are split: a long and endless dream, and an instant great tragedy created by Xavir.
Rambo traveled in person, while Ya Romil sent his mind to gallop. His amazing life has always been under the bondage of motherhood; Just as he was limited by the gravity of the earth, he chose cowardly love, started and walked close to his own beliefs and calmly, and pushed rebellion and badness to his other personality: Xavir, the host of his impulse and powerful imagination and perception, who he thought had always been and would always accompany him. The softness and beauty of all the symbols in mother's education are in fact full of crisis and subversion in Ya Romil's heart. The dream was hidden, but it was shown again and again that it still existed and vibrated in his life in an extremely regular way. The betrayal of maternal love has never really stopped: the poet is eager to escape from reality and mediocrity, and runs on this road with his own will-dreams are reciprocating, and poetry is elsewhere in life. The little poet in Kundera's works may have never felt the kind of sadness in his life, but he stood out at the end of his life. Xavir, the whole host of his spiritual poems, abandoned him in the abyss like the man he wanted to be.
Ya Romil left the maternal love he didn't need the most, but at the same time, he achieved his life as a poet in an instant. Part of his soul followed his passion, while the other part was completely annihilated.
Second, the lingering mother
-the poet's consciousness: the destruction and salvation of maternal love
Oscar. Oscar Wilde and Lerner. Maria. Rilke, two beautiful immortal figures who inherited poems in dislocation, were once gentle and lovely children in the eyes of their mothers, as docile as girls. However, their later direction may be the only pride that Ya Romil mentioned his mother in his lifetime: he would rather think of his father who didn't have much love for this family and even prevented him from coming to this world than go near his mother who was willing to share everything for himself, as if he was not the only one; He is on the run, but he escaped without moral self-condemnation, but with his own integrity: I need my own love, my own poetry and beauty, my pride and the sun. Poets want nothing to rely on except inspiration and passion, which is what makes them extraordinary and primitive from ordinary people-what ordinary people need is more emotional sustenance, which, in their view, is redundant graffiti, not as good as the monotonous artist's pen given by the painter, and the blank space can be filled by eagerness instead.
Motherhood is a key word that has been playing an important role in the book with the existence of the character mother. It may not be just the word "mom": it is the earth's romantic retention of simplicity and no impurities. Unfortunately, poetry is not necessarily as pure as fairy tales, and its sacredness is not reflected in its virginity in front of life.
Some people describe mother's existence as a "caused" secondary phenomenon: but I think it is unreasonable to look at mother's idealism in another direction only by gender constraints. Mother looks at everything that this life carries with a pregnant sustenance. From another perspective, this is a primitive and inherited ideal, but it is one that is destined to be attacked and squeezed-the poet is almost crazy when he loses this freedom, even though he knows that he has followed the same possessiveness as his mother. The difference between love and motherhood is only the reason and way of possession, but Ya Romil himself split into a spiritual body without father and mother: in this sense, his rebellion against the latter is much deeper!
Kundera wrote that being without father and mother is the condition of freedom-people who have lost their parents can't do it, because this influence will linger, even more terrible than being immersed in their mother's doting all their lives.
He betrayed everything with Xavir, but he was finally betrayed by this tool. His eyes soaked in water are clear, and all he can see is his mother. Maternal desire can be torn a hundred times without dying, and if it dies, it can only be before birth. Finally, the poet may find that a mark of his past life will take away at least half of his present life, and this mark is the wish made by his mother among the stones in the sun: he is like this and will die like this. Holderlin said: "People are full of hard work, but they still live poetically on this land-"Maybe Romil once forgot it, but he finally accepted it inevitably. The fairness of the earth to everyone is that no matter how close you are to the sky, it is your fate to return to the dust.
The land is higher than the truth of poetry, which is why poetry will be on the verge of extinction for a long time. Poetry rebelled against eternity, but it rubbed out the fire that was unprecedented in the history of thought.
3. Moonlight and sunshine outside cellophane
-The torrent will eventually return
"I wish it were a torrent," petofi wrote. Young poets love revolution out of full trust that a single spark can start a prairie fire, thinking that wherever the revolution goes, they will carry it with them, but they don't know that the moonlight and sunshine outside cellophane (Ai Lvya wrote, "I have the moon in one eye and the sun in the other") are just beautiful reflections in the water. The more the revolution washes away, the more unclear the belief becomes.
Rambo's talent vanished after he was 19 years old. It should be said that "it is time to be famous", but it is inevitable that Jiang Lang will continue to boo: in this sense, Ya Romil, who went to another world with tragedy and half of her essence, still has a lucky ending-"early death" is not a bad thing for artists; Most of the people in the art circle who show off their qualifications in their later years are selling their values to the empty younger generation, and these younger generations are undoubtedly impossible to succeed. The general experience is that when the premature death of the spirit is synchronized with the death of the body, the sense of tragedy is the strongest. This is an instant tremor, as if we were used to reading a book after the excitement, and suddenly rose in a calm room. The poet suddenly added poetic meaning to his life, but this meaning is immortal, and it still exists in the minds of the audience after the tragedy is forgotten: the moonlight we see may not be its original perfect appearance, but it shines twice as brightly-the sunlight also penetrates into the corner that could not be penetrated originally, and the settlement and separation in the water become colorful.
the extinction of fire is silent, just like the shrinking old star in the universe. The energy is exhausted, far away from the earth, which is the long night and the starry sky that a great life will face. But the water is still alive. Or freezing or saving, with its tiny specific heat capacity, weakens the endless fear of human beings on this earth for thousands of years. The dream of fire and body is still going on, but settlement is indeed a part of the land's return journey. Nine thousand nine hundred and ninety-nine people will go back there, and some people will start to burn poetry again. Perhaps, Ya Romil can't escape the fate of poetry for several lives.
Does Kundera need to mock his sorrow of failure? No, even, he didn't fail. When he was lying in the cold coffin, he couldn't continue to make Xavir have those endless shuttle dreams. But there is no doubt that these dreams are immortal and will be attached to the bloody and poetic imagination of others. He will die again and again, and come back again and again in other people's memories. Like water, it douses the poet's life again and again, but it excites them to pursue the power of flame again and again-Ya Romil is a man immersed in water, but he can still have the sun and the moon in his eyes, just like Paul Ai Lvya.
Perhaps this is the immortal poet.
The immortal poet is also in the water.