"At that time, I liked dusk, suburbs and sadness, but now I yearn for morning, downtown and tranquility." Borges said this in the preface of the poem "The Passion of Buenos Aires".
When a person enters old age, he needs the strength of "morning, city and quiet" to delay the universal arrival of darkness. To write poetry is to write about the morning light, the noise and quiet wind in the city.
He said: "Poetry is only allowed to be excellent." Poets are only allowed to be excellent, just like rocks in the sea, mountains in fog and grass in dew.
He added: "A poet should regard everything, even misfortune, as a gift to him." Misfortune is often the starting point of a poem, such as blindness. But only excellent blindness can make the Argentine poet see the moon and her lover like a moon clearly.
He continued: "I feel uncomfortable reading aesthetic books. I feel that I am reading the works of astronomers who have never observed the stars." I smiled and thought of some brilliant poetry critics who didn't read or write poems.
He is still saying: "Prose is a complicated form of poetry." His prose spread to Buenos Aires and the vast suburbs and the world around him in poetry collections. His essays are peaches, pears, fruit trees, orchards and fields. ...
Compared with poetry, prose can be "addition", complex, rambling, rich in gold and jade, and hiding evil people and practices. Poetry writing must adhere to the principle of "subtraction" and express shock and attachment with just a dozen or twenty lines of "too late".
"The opposite of poetry is not prose. The opposite of pure spoken language, that is, the opposite of poetry, is not prose. Pure prose is never "poetic" It is as poetic as poetry, so it is as rare as poetry. " This sentence of Heidegger also won my heart.
Borges and Heidegger's view of prose shows that prose only allows Excellence and rarity, and it hides an excellent and rare heart-poetry.
"When the fire goes out,/we explore the connection with the stars." /kloc-the poem of George Meredith, an English poet and novelist in the 0/9th century, Borges used this as an example to illustrate his point of view: "Poetry has two tasks: one is to convey accurate facts, and the other is to move us as close as the sea."
George meredith had a lonely childhood, and his mother died when he was five years old. My father is a tailor. He buries his head in the sewing machine all day long. The star forgave the miserable people in this world, appreciated and praised the brightness and warmth of the fire, and was full of pity and gentleness for those who finally looked up at the sky after the fire went out-generation after generation, generation after generation of fire, secretly added luster to the star, from eyes to flames.
George Merediz, Borges and Heidegger made the language accurate and as touching as the sea. They are all so extraordinary and rare.
Most people's writing is nothing more than writing a bathtub, a bathtub, and announcing that they are standing by the sea, confident, safe and mediocre.
Second, the raindrops on my forehead
Song of Innocence and Experience, the earliest romantic poet and printmaker in Britain, is divided into two parts: the early Song of Innocence and the late Song of Experience.
This title reveals two attributes that a good poet should possess: innocence and experience. The same is true of a good life: let innocence and experience blend together and fill life all the time.
"At the end of life, only experience is not necessarily right. Naive enough to follow experience, there is no other way. Innocence will be enriched by experience and poor by conceit. " Zagajewski talked about Blake's Song of Innocence and Experience. An old man who lost his innocence is frightening and boring.
I wonder if Zagajewski has read this passage in Rilke's Notes on Malt: "I clearly see that childhood is an endless truth. If I insist that my childhood has passed, then my future will abandon me. "
"We have completely become what we fought when we were twenty years old." Mexican poet and writer Pacheco's Reunion of Old Friends is only two lines. I think of those bloated, fatuous, boring, obscene and cunning figures and faces at the class reunion-just like the parents of a group of girls in their early years.
I don't know if Pacheco heard this sentence from Amihai: "My poems help me not to violate my childhood beliefs. I turned against those who betrayed me because they betrayed their beliefs. " Amihai represents those before the age of 20 against me and us? After being wrapped and transformed by miscellaneous secular experience, he successfully lost the innocence of dawn and was proud of it.
Great writers also have hidden resonance, such as Zagajewski and Rilke, Pacheco and Amihai.
I have seen personal portraits of Zagajewski and Rilke. Both eyes retain the innocence and melancholy of childhood. Rilke's eyes, in particular, are so wet that they can shed tears at any time, just like the branches are quivered by water drops in the rainy season.
A naive person who refuses to be "something to fight" at the age of 20 is rare and respectable-he may stand on my opposite side in the name of "ridiculous" and "naive"? In the lineup of a new generation of teenagers, they seem abrupt and lonely. I need to read and write poems. In reading and writing, let me go back to my original time and position-difficulty. It is difficult to be an accurate reader and a unique poet.
"Poetry is the sweat flowing in the pursuit of perfection, but it must be as fresh as the raindrops on the forehead of the statue." I will never forget what Walcott said. Of course, this statue should be a Buddha statue, not a memorial to a great man. I don't know if Walcott thought of Blake when he said this-the forehead of Buddha, plus raindrops, is experience and innocence.
The forehead of the Buddha is the best watershed for raindrops. Buddha's head, where raindrops flow, is kept fresh. The raindrops on the Buddha's forehead became rich.
The raindrops of Buddha's head are poems, songs of innocence and songs of experience.
So the task of Buddha statue and rain is very heavy. Fortunately, girls and teenagers before 18 years old can bear similar responsibilities in the rainy season and in the shower room, sharing the pressure of a little Buddha statue.
Third, the role of poetry for a farmer
Olaf haug, a Norwegian fruit grower and poet, wrote "Chicken with the Wind": "The blacksmith made him/…/Until one day he rusted/rusted and lived in one direction-/That direction is the north/This is the direction where the wind comes the most."
After reading this poem, I understand why my back is bent after middle age, bending towards the ground and low-that is the direction where the wind of childhood comes the most. Rust is all over me in the form of wrinkles. ...
"If you can write a poem that farmers think is useful, you should be happy. /You will never understand the blacksmith. /The hardest thing to please is the carpenter. " Poetry.
"When I woke up this morning, the window pane was frosted./I had a fever in a beautiful dream. /The stove pours warmth from a piece of wood it appreciates/all night. " Winter morning.
The above two poems are still Hogg's poems. Hogg himself is a farmer. It is not difficult to write a poem that is useful to yourself and the people in the surrounding fields, just like planting a useful walnut tree.
Haug likes Tao Yuanming in China. It is not difficult for Tao Yuanming to work in the frost field at the foot of Nanshan and write poems useful to farmers. "Meet without gossip, but sing Malone. Sang Ma is long and I have a vast territory. " Tao Yuanming's neighbors all know that he is a poet, and the topic of conversation is focused on Sang Ma instead of the empty temple world.
The effect of a poem on the farmers around the poet is probably that they find that the person who writes the poem is also the person who cultivates the fields and takes care of the fruit trees, and can "pour out the warmth all night". The poet knows the source of his warmth: the juice of plants flows in the language, spreads the branches and leaves, attracts bees, and bears the fruit of thoughts in withering-away from the indifference of iron and the numbness of wood.
On 20111,I attended the opening ceremony of the Poetics Research Center of Tongji University. Luo, a professor at Fudan University, sat on the podium and rambled: Fudan and Tongji have a good relationship-20 years ago, I came to Tongji from Fudan and rode my bike directly through a meadow and vegetable fields, and it took me half an hour to get there; Now it takes half an hour from Fudan to Tongji, and it takes a detour by car from high-rise buildings, inner ring viaducts, residential areas and other buildings.
Sitting opposite Professor Luo, I thought to myself: the relationship between Fudan and Tongji 20 years ago was a large area of grass and vegetables, farmers, butterflies and bees, which was very good; The relationship now is steel, glass, cement, speed, noise, smoke, advertising, and ... not bad.
Twenty years later, it is no longer possible to write pastoral poems between two universities in Shanghai that have lost their sense of estrangement and distance. But it is also necessary to write pastoral poems.
Max Weber, a political scientist, put forward two images in the study of bureaucracy: "hard shell" (system and organization) and "gear" (alienated and instrumentalized person). Tao Yuanming was a scholar-bureaucrat who escaped from the "hard shell" and "gear" and returned to the field in Sang Ma. This is actually the power of poetry to restore him to a farmer.
A ripe walnut passes through the shell system, forming an infinitely fragrant autumn. But the meaning of this "yue" depends on the existence of the shell. The significance of Tao Yuanming lies in his comparison with countless people who generally turn gears.
Hogg doesn't know these things about China. He has a very general relationship with blacksmiths and carpenters in small towns and all over the world.
Fourth, life in the mirror.
Liu Yuxi's poem: "There are few empty surprises in the world, but many condensed rituals. The new leaves in Fanglin urge the old leaves, and the waves before the water are the waves after. "
When I was young, I recited the last two sentences and ignored the first two sentences. When people reach middle age, the first two sentences are striking and shocking.
"The old country is surrounded by mountains, and the tide is lonely. In the old moon east of Huaishui, I also came to the female wall at night. "
When writing about Nanjing, Liu Yuxi is like writing about a person's middle age: his weak body is like an empty city in the old country, surrounded by endless loneliness, flapping his shoes and trousers, and the moon shines from the clothes rack in the dead of night. ...
Another poem by Liu Yuxi is even more famous: "On the side of a sinking boat, Qian Fan crossed, before a sick tree, Wan Muchun crossed. Listen to your song today, for the time being, with the spirit of a glass of wine. " It's still like writing about middle-aged and elderly people: a person looks back at the adolescence of 10,000 mu of Qian Fan by the diseased tree of a sunken ship, and if he wants a glass of wine, he must wake up.
Recently, I saw another Tang Dynasty poet, Li Yi, with a strange name. As a newcomer in poetry, he is definitely not as eye-catching as rachel. His poem "beginning of autumn looked in the mirror the day before" is also a middle-aged mood, and its title is as straightforward as a new poem. As the poem says, "Everything is sold out, but life is in the mirror. Only two temples will snow, and tomorrow will welcome the autumn wind. "
"Everything is sold outside the body": all the world is outside the body-the body is the boundary, and the territory is gradually shrinking within the boundary; Byakki Smoker Sheng: In the mirror, in this pool of autumn water, salvage youth and midsummer? "Only the snow on the temples will lead to the autumn wind tomorrow": Snow on the temples, even if you dye your hair, can't restrain it, to welcome the arrival of the chill.
Zhang Zao, a contemporary poet, famously said in Byakki Smoker: "When I think of what I regret in my life, plum blossoms fall all over Nanshan." Looking back in the mirror, the regret is clearer.
A good woman is always like a bride, a good poem is always like a new work, and a good poet is always like a newcomer. Let every year on earth be a new year.
Fifth, maintain the ability to worry.
Hong kong poet Huang canran's du fu;
"Compared with his poems, how small he is; /His life is short of money, just like his life. /It only leaves us a rough image. /It makes carefree troubles and pains strong. /God wants him to be noble, let him be ordinary; /His days are like white rice, and every grain is hard. The soul of China is looking for a suitable carrier, and this exile is its stable home. /Compared with him, history is just an episode; If the war knows about him, it will definitely stop fighting. /pain, but also want to find depth in him. /God gave him an unremarkable body,/It was full of mountains and rivers, scenery, chaos and love,/Let him live alone for an era. "
Du Fu, a native of Henan, was a poet, and his image of caring for the country and the people was passed down from generation to generation. "a person lives for an era." Different from hermit poets such as Tao Yuanming and Wang Wei and poets who are "very much like China poets", Du Fu is more like a modern western poet-independent, happy-go-lucky and frank, because of his critical realism. Du Fu is an intellectual, while Tao Yuanming and Wang Wei are literati.
The poet Huang Canran paid tribute to Du Fu with this poem, that is, to the feelings of home and country and the spirit of critical realism. It is a question whether the poet can "pretend mountains and rivers, scenery, chaos and love" in the present era of crowing. It is a question whether the "soul of China people" can find a "suitable carrier" in the contemporary era.
"I'm just a tear that lingers for a long time in history/I can't find a face to wipe on." Poems by Taiwan Province Contemporary Poet Love. He is just a teardrop that lingers for a long time, flowing from Du Fu's face, eyes and heart? Like a meteor, I can't find the position of a cloud. Flowers, can't find a branch. Sentence, can't find the place where the poem comes. The deceased couldn't find a stone or a name.
The "Three Farewells" with Du Fu, such as Love, Yu Guangzhong, Zheng Chouyu, Zhou Mengdie, Yaxian and so on, have a strong response in Taiwan Province's modern provincial poets. From Anshi Rebellion to the Pain of Taiwan Strait. It is poetry that dispels and intensifies the homesickness of generations of Han people.
Zheng Chouyu's name comes from Xin Qiji's poem: "Listening to partridges in the mountains and worrying about the night in the river." Worried Xin Qiji rode on a horse and looked at the occupied Central Plains by the Yangtze River. The sound of the partridge is creepy.
"There is a group of people, sensitive people, who formed a community with musical instruments and fire. The people who run this club are mainly women. They are the earliest witches. The wizard shouted to the sky, which is the beginning of the poem. " Zheng Chouyu believes that the origin of poetry is sound and light. Therefore, the musicality (sound) and quality (light) of poetry, like musical instruments and flames, can stir people's hearts and suppress dullness.
Poetry, the soul of China people, is to find a suitable carrier, that is, to settle down among witches, poets and exiles. Wandering in a foreign land can be comforted by sound and light. Is that partridge the poet's past life and afterlife?
"I'm not sad enough to become a poet. But I am awake enough to be a cripple. " Gioran, a Romanian writer and thinker, is like paying tribute to Du Fu and Xin Qiji who are in trouble. Qi Aolang's words also made me awake-everything I experienced was so shallow, light and powerless that it was not enough to support a poet. I am turning white paper into waste paper. Of course, waste paper is also meaningful. It pities and accepts a person who is gradually abandoned by time, and relieves loneliness and sadness.
Chiolang was born in rural Romania, graduated from philosophy department, lived in seclusion in Paris for 60 years, refused to socialize, regarded meditation as a job, and regarded language as a companion-he consciously chose a sad road instead of a happy salon, cruise ship or highway.
At present, in China, the writers' lineup is full of happy and chaotic successful people and speculators: staying in villas and hotels, appearing on TV, evening papers, seminars and summit forums, like a beaming groom, making language the best man? Cynicism and nihilism are everywhere. Taking Du Fu and Xin Qiji as reference, it is a proposition faced by contemporary poets and intellectuals to maintain the ability of "worrying" about human destiny and the quality of "being strong" and avoid an invalid and ineffective writing and speech.