Maybe copper should be green to emerald, and stagnant water should be fermented into a ditch of green wine.
A few rusty peach petals on the tin can; Full of pearl foam;
Let greasy weave a layer of Luo Qi, and small beads turn into big ones with a smile.
Mold steamed some clouds for him. It was bitten by a stolen flower mosquito.
The emerald green here, the brilliant red of peach blossoms, the light of Rocky and the separation of clouds dazzle us and we have to marvel at this colorful and gorgeous world! This may be because Wen Yiduo, who received an American education in Tsinghua for nine years and studied in the United States for three years, is applying the aesthetic principles of western romanticism (British romantic poet Shelley once said: "In general, poetry can be defined as' the expression of imagination'." ) ("Poetry Debate") for creative practice. With his rich and magical imagination, Wen Yiduo created "rich, dense and concrete images" such as glittering and translucent jade, pink peach blossom, wrinkled Luo Qi and flowing water. These images are superimposed to form a beautiful picture. This picture is quite aura: I am intoxicated with the "pearl-like bubble" in it, and I am trying to explore a wonderful way of self-happiness-"Little beads turn into big beads when they smile"; The flower mosquito, who has been coveted for a long time, seems unwilling to be lonely, playing a cat-and-mouse game with the complacent bubble and sharing countless joys.
1May, 926, Wen Yiduo creatively put forward the beauty of painting, music and architecture of new poetry in On New Poetry, which showed his unique aesthetic value of poetry. A closer look at the above two poems shows that the painting beauty of "stagnant water" is also implicit. Wen Yiduo once summarized the "beauty of painting" of poetry as "beauty of words", which was obviously influenced by western aestheticism. I think the painting beauty of Wen Yiduo's poems is mainly reflected in the artistic conception beauty of images. Wen Yiduo once encouraged poets to boldly "roam on the wings of fantasy and then sing aloud" (Winter Night Review). In fact, this is to guide poets to strive to shape images and create artistic conception. Of course, the beauty of artistic conception should have color and outline, which may be the charm of Wen Yiduo, who was born in painting, consciously or unconsciously pursuing "painting in poetry" The beauty of color and outline of the above two poems (as can be seen from words such as "bead", "big bead" and "small bead") is obvious, which may be Wen Yiduo's specific requirements for the words and language images of the poems.
Dead Water is very beautiful. If it is alive, will it "die"? In essence, this question is very simple. Imagine how you would feel if a vulgar woman with acne on her face, foul language and wobbly walking suddenly came over with heavy makeup, gentle voice and delicate steps. Is it artificial? Is it disgusting? Or disdain? In short, the more beautifully dressed such a woman is, the uglier she will feel. This is the dialectics of beauty and ugliness that works like a mirror. Some western progressive artists introduced this dialectical relationship between beauty and ugliness into the field of artistic creation, and sculptures like Rodin's Homer and Baudelaire's Flowers of Evil appeared, which opened up a new aesthetic world of artistic expression. Wen Yiduo introduced this dialectics of beauty and ugliness into his new poetry field. He wrote in "Winter Night Review": "Ugliness" has an inherent position in art, but artistic skills should make "terror" cover with all the exquisiteness of "beauty" without losing its essence.
In other words, ugliness can be written in beauty, but ugliness is still ugly after all. Writing ugliness to the extreme of beauty is ugliness to the extreme, and criticizing ugliness is even greater. "Dead Water" is a typical work of writing ugliness with beauty, and it is a concrete embodiment of another feature of Wen Yiduo's poetic beauty.
Farewell to Cambridge is a touching and gorgeous lyric poem. Needless to say, it is sad to leave without injury; Needless to say, the ups and downs of rhythm make people catchy; The fresh and bright night view of He Kang alone is fascinating.
As the sun sets, the afterglow covers the willow branches by the river with charming golden yellow, weeping willows, as if a beautiful and gentle bride stood there shyly with a shy smile in the sparkling waves. "I" seems to be the happy groom. I can't help but feel my heart rippling.
The clear river moistens the green grass on the soft mud, dances happily in the soft waves of He Kanghe River, greets the pedestrians proudly, as if announcing the freedom and comfort of bathing in He Kanghe River. That "I" is "willing to be a water plant"!
"That pool under the shade of elm is not a clear spring, but a rainbow in the sky", which reminds people of colorful life. "A ship full of stars sings in the splendor of the stars" ignites people's romance and passion for life.
Many colorful images such as "Golden Willow", "Wave Light", "Youth" and "Xinghui" form a bright and harmonious picture. The picture is charming, the memories are sweet, and the emotions are warm and unrestrained. Xu Zhimo is a talented and elegant poet. Hu Shi, a famous scholar, once summed up Xu Zhimo's life ideal in the article Mourning Xu Zhimo: "There are only three words in it, one is love, the other is freedom and the other is beauty." This is very appropriate. Beauty is Xu Zhimo's life ideal and his favorite artistic pursuit. The picturesque beauty of poetry is also very important to him. However, I think the painting beauty of A Farewell to Cambridge is not so much still water beauty as a meaningful classical beauty.
Xu Zhimo advocates nature and puts his feelings between mountains and rivers and plants. The fluctuation of inner feelings is in sync with the law of natural change, showing a harmonious beauty. The beauty of painting in A Farewell to Cambridge has always adhered to the aesthetic principle of "blending scenes". Through the appreciation of the first few words, we have clearly felt that the beautiful evening scene of Cambridge is the externalization of the poet's good memories of Cambridge. In addition, the painting beauty of Farewell to Cambridge is mainly manifested in the careful choice of words and images. The choice of these beautiful words and images is branded with China's traditional aesthetics. Taking some "golden willows" is the beauty of homophonic communication between "willows" and "staying", which has been the case since ancient times. Although the metaphor of "Golden Willow as a Bride in the Sunset" is novel, it also has the shadow of "Liu Cui will have sunset and fresh makeup in the evening" (Yin Keng's "After Sikongzhai Singing Prostitutes"). Even the boat full of starlight comes from Zhang Xiaoxiang's poem "Boat full of autumn colors, spreading ten miles of lake light" (Xijiang Moon under three winds).
"Dead Water" and "Farewell to Cambridge" are both representative works of the Crescent Poetry School, and their painting beauty certainly has deeper and broader connotations. Limited to the level, what the author said is inevitable, and we have to ask Fang Jia to correct it. However, I want to help us further understand the inner meaning of these two poems, that's all.