Since ancient times, there have been many separations from Tang Junlin, 2009-12-26 22:11:55
I am familiar with Mr. Love’s name. I first read it in "Taiwan" selected by Hong Kong poet Lan Haiwen. Selected Poems. His song "Looking Homeward on the Border" actually made me enter his context lightly, and I deeply remembered the name. Later, I read this poem in many poetry anthologies. This poem has become popular in China. Whenever someone mentions it, someone may say his name.
In the past few years, there have been some murmurs about Mr. Love’s poetry in poetry forums, and his poems have been described as nothing. Some of them want to flaunt themselves like the 1980s poetry circles, deliberately using his reputation to elevate themselves in order to attract more eyeballs and increase their popularity; some simply take it out of context without properly appreciating the mystery. They made it nondescript, and a good poem was ruined by them for no reason, but it was still plausible.
Anyone who has written poetry knows that a specific environment reflects the poet's specific state of mind. If you want to appreciate a poem properly, you have to first become familiar with the writing background at that time. "Looking Homeward at the Boundary", like other good poems, has its specific background, as he said in the postscript of the poem: "I was invited to visit Hong Kong in mid-March. On the morning of the 16th, Brother Yu Kwong-chung personally drove with me to visit the border of Lok Ma Chau. At that time, there was a light mist, and the mountains and rivers of the motherland were vaguely visible in the telescope, while the cries of partridges that had not been heard for decades were ringing in my ears. As early as 1979, the Kuomintang and the Communist Party were still in a state of extreme opposition, and people on both sides of the Taiwan Strait were suffering from the pain of being divided by war. Decades of no contact have repeatedly suppressed the poet's deep love for his homeland. Facing his hometown that is within reach, the poet has thousands of thoughts and his heart is full of ups and downs. In the end, he said, "But what I caught back was still a palm of cold mist." What held the poet back was not only the "No Crossing Boundary" sign, but perhaps more of the "cowardly feeling close to home" state of mind.
The poem begins with "While talking/we arrived at Lok Ma Chau", starting from these two seemingly ordinary lines, it inadvertently reveals that the poet expresses his eagerness to see through time. . Because he was too concerned about the homeland he was about to see, he didn't notice the fleeting passage of time.
"Nostalgia magnified dozens of times in the telescope/dispersed like chaos in the wind" and "When the distance was adjusted to a heart-stopping level/a distant mountain flew towards me/knocked me into a serious Internal injuries." The poet used the montage techniques and metaphors in the movie to organically connect some seemingly unrelated images to fully express his nostalgia. This kind of attempt at poetry writing gets rid of the traces of other people's mechanical imitation, making the poems completely natural and self-contained.
Facing his hometown, the homesickness that had been weighing on the poet's heart for decades suddenly erupted from his heart. "I'm sick, I'm sick/I'm as sick as the withered cuckoo bush on the hillside/Only the only one left/Squatting behind the 'no crossing' sign/Hemoptysis", the word "disease" is used in the poem "Cuckoo" and "Hemoptysis" are a series of specific objects, and the two adjectives "withered" and "only" are used to render the dull pain in the heart and the surrounding atmosphere, letting the long-suppressed pain flow out of the pen, and ordinary people will feel it when reading it. A pain.
Pain is not only a cry, but also contains deep emotions. Empty shouting will only show the paleness of the heart, but rich emotions need more objects to reflect it. "And at this time, the partridge pronounces the sound of fire / the smoky cry / sentence by sentence / penetrates the spring cold of March in a foreign place / my eyes are burned red, and my blood is swollen / but you raise the collar of your coat, Ask me later, "Is it cold, or is it not cold?" The traditional Bixing technique may have been instilled in his heart. These verses that he picked up at his fingertips made him feel "eyes red and blood boiling" and "putting up his coat" when he was cold. "collar" forms a sharp contrast, but guides the poet's emotions to a deeper level.
Jin Luji once said in "Wen Fu" that "poetry is due to emotion and is beautiful." Love includes not only the sadness and joy of a person due to the scenery of the four seasons, the prosperity and decline of relatives and friends, but also the feeling that "the affairs of a country are the foundation of one person". Qu Yuan wrote "Li Sao" after being exiled. If Li Yu had not forgotten the hatred of his country, how could he have had the eternal masterpiece "When Will the Spring Flowers and Autumn Moon Come?"
If the poet were writing today when the two sides of the Taiwan Strait are relatively harmonious, it might be difficult to find this emotion!