On the thinking mode of cosmic life with dialectical synthesis and intuitive understanding
Gu Cheng's poems do not pursue the historicity of the theme and the primitiveness of the spirit, but always present fairy-tale purity. In this purity, there is also nationality, which is reflected in dialectical synthesis and intuitive understanding of thinking mode.
The basic feature of dialectical thinking is the universal connection between universes. There are also differences in dialectical thinking between China and the West. Western dialectical thinking emphasizes the struggle and exclusion of opposing sides, and takes one side to destroy the other as a way to solve contradictions. The main feature of China's dialectical thinking is: "Understanding the world itself is a harmonious or harmonious process. In this process, the differences and conflicts between all things are ontologically untenable." ⑾ "Attach importance to the interdependence and reconciliation between the opposing sides and aim at dynamic balance". So emphasize the whole, pay attention to synthesis, and despise analysis.
"Poplar" is a poem written by Gu Cheng when he was eight years old. The poem has revealed the poet's dialectical thinking: "I lost an arm/I opened an eye." Everything has its ups and downs. If one aspect is lost, it must be compensated in other aspects. This has a potential connection with the ancient people's view that everything is a cyclical cycle and movement change. For poets, this kind of understanding is not obtained through analysis, but a vivid understanding on the natural level. Speaking of my fantasy: "I am dreaming,/I am disillusioned,/I always forgive disillusionment,/I never let go." The poet expressed his helplessness through the contradiction between fantasy and reality. It can be said that this dialectical thinking is more emotional and a reflection of life. The dialectical thinking of a generation: "Night gives me black eyes/I use them to find light" is philosophical and the further development of dialectical thinking on the social level. As for the novel X in his later poems: "The earth is a drop of blue water/there is a faint flame in the middle", dialectical thinking has returned to the original level of nature.
Although it can't be said that dialectical comprehensive thinking or any other thinking is closer to the truth, as a form of thinking, it can often make poetry have a philosophical understanding besides emotional singing and achieve the unity of sensibility and rationality. Without rationality as a deep meaning, sensibility will be thin. At the same time, this way of thinking gives poetry a national color, echoing the distant ancient civilization of China.
Intuition is also an important aspect of our national thinking form. "It is characterized by the direct penetration of the subject into the object." [13] We advocate grasping the world intuitively, rather than understanding the world through concepts, judgments and reasoning. Liu Changlin pointed out in China's Systematic Thinking: "According to the cosmology of Yin-Yang and Five Elements, China's aesthetics believes that nature and human beings are interrelated, isomorphic and isomorphic, so he firmly believes that natural scenery can accommodate people's hearts and emotions and discover people themselves in nature." This enlightens us that intuitive understanding is not so much the extensive application of analogical reasoning as the result of realizing the "heterogeneous isomorphism" relationship between nature and human beings. Gu Cheng thinks: "Poets don't need so much rational logic, judgment, classification and causality when they perceive and express. He used the same instinct as electricity to complete this connection in an instant. " "Poets always discover unprecedented, new and unknown connections between the world and people through inspiration-insight." 14. Take the formation of the poem The Sun is Sweet as an example. The poet thinks so and does so. "Some lamps are lonely/at night/don't say anything" ("Some lamps") is to experience people's loneliness and incomprehensible mental situation from the loneliness and silence of lamps. "You,/look at me for a while,/look at the clouds for a while. //I think,/You see me far away,/You see the clouds are very close. " From the transformation of physical distance and psychological distance between "you", "me" and "cloud", we can realize the estrangement, vigilance and harmony between man and nature. "Pull the branches apart layer by layer/watch the tree stand and sleep" (Bridge) From the relationship between the tree and the bridge, we can realize the diversity of life attitudes. "People refused this sadness/raised colorful shields to the sky" (Rain) changed from an umbrella in rainy days to a gesture of refusal. The correspondence of rain-sadness, umbrella-shield and lift-rejection presents a compound jumping relationship.
Just as Taoism advocates "sitting and forgetting" to keep the pure peace of mind, so as to directly fit with Tao. When Gu Cheng entered the state of "no self", his main way to contact the world was intuition. And this kind of understanding is more jumping and direct.
Intuitive understanding and dialectical synthesis are often combined. For example, "white poplar" is an intuitive understanding at the same time of dialectical synthesis. There is no logic to analyze the relationship between broken arm-opening eyes and the rise and fall of things. This is an epiphany. Similarly, distance is full of dialectical color in intuitive understanding. The spatial distance between "you" and "I" is very close, but the psychological distance is very far. The spatial distance between "you" and "cloud" is far, but the psychological distance is very close.
Xie Mian called the poets who emerged in the "new poetry tide" the "new generation". "Rise" is precisely because of the solid soil, which is the profound accumulation of China's national culture for thousands of years. Similarly, the influence of western culture is always rooted in the acceptance and integration of traditional culture. A native of China can accept western living habits, but the essence of his spirit will never be replaced. Poetry lies in innovation, but without foundation, innovation is impossible; Innovation without background is just a show off. Gu Cheng's poem is a simple and beautiful flower in the fertile soil of national culture. The view of nature that "everything is one with me" in his poems makes his poems childlike and pure. The value orientation of sublimation from moral realm to heaven and earth realm makes poetry break away from authoritative discourse and realize the return of essence; As far as the thinking mode of dialectical synthesis and intuitive understanding of observing the life of the universe is concerned, poetry exudes a strong national cultural fragrance in foreign artistic techniques such as time-space transformation and stream of consciousness. It was forwarded.