I will forget that the coming winter is ice and snow,
Never believe that your sweet voice is cheating.
-He Qifang: "Luo Shirt"
Limited to the title of this book, we only examine He Qifang's early poems.
He Qifang's early poems refer to the poet's creations before liberation, including Prophecy (193 1 ~ 1937), Night Song (1938 ~ 1944) and other works. These works represent He Qifang's unique concept of poetry, and have laid the foundation for the poet in the history of modern poetry in China, which has always been the focus of our research. In these studies, I gained a lot of knowledge. For example, in terms of thoughts and feelings, these poems generally show the poet's loneliness and sadness. In the choice of poetry, they also involve a variety of Chinese and western poetic arts, and take the road of integration of Chinese and western poetics.
But in my opinion, in the research so far, these * * * understandings still lack deeper and more detailed excavation: the combination of loneliness, sadness and Chinese and western poetry art can be said to be the common feature of modernist poetry in the 1930s, and it is also the same choice of many poets of He Qifang's contemporaries, such as Dai Wangshu and Bian. So, in this context, what is the "He Qifang feature"?
1.*** Reward yourself with beautiful women.
The independent characteristics of He Qifang's poems depend on the poet's distinctive world outlook, outlook on life and personality temperament. This difference lies in his flexible psychological ability, which can maintain the most lasting psychological balance in all kinds of loneliness, and seek pleasure from the balance and weave his dreams. He has never been squeezed by loneliness, pessimism and despair under the pressure of life, and he has no intention of making a serious poke at the suffering of life. At any time, he is wrapped in gentle and moist emotions. He doesn't believe that life will really be so dark, and he doesn't believe that the world will lose its true feelings. He is constantly looking for it and welcomes everything with a faint smile. I call this kind of psychology * * * and self-appreciation.
* * * helped him spend a malnourished and underdeveloped childhood, and a dark, lonely and desolate teenager. From a very young age, he used "loneliness and books" to protect himself, intoxicated by the tragic realm of Andersen's fairy tale "Little Woman Fish" and lingering; In college, he hated those "arrogant emotions and things", "created a beautiful, quiet and happy little world full of loneliness, and used some soft poems and essays", dreaming of something beautiful and gentle all day, "being a hazy idealist" and "shutting himself in the dark door, listening to his monologues and praising", and cultural activities often became his self-comfort. This character is still maintained in Yan 'an during the night song period, and the memories of old friends vividly outline a gentle, naive and enjoyable He Qifang for us. "Sometimes, even a person who is qualified to complain often makes you feel that his complaint is just because he is too happy and needs to change. Moreover, it seems that he has been like this for a long time, and it is not accidental. "
In contrast, Dai Wangshu seems to have a lot on his mind, paying special attention to "his subconscious mind, occasionally revealing a decadent and pessimistic tone." Beauty is not his strong point; Bian Zhi Lin is particularly calm and reserved, and unwilling to pour more warmth into his mysterious imagination. "What he needs is not beauty.
* * * and self-appreciation determine that He Qifang's psychological choice favors China's classical beauties and herbs. Wandering in the land of personal spirit in Xiaotian, and inadvertently falling into deep metaphysics, mutual understanding and comfort between people is essential. As far as an adolescent male writer is concerned, the warmest and most intimate comfort is naturally women. He Qifang fantasized about "a skirt with gorgeous skirts" (seasonal fever), reveled in "a sweet sadness in my heart" (footsteps), and was deeply homesick, almost forgetting "the winter of ice and snow". As a non-power role in society, as a victim of social power and order, as a weak person who has to rely on the fantasy of personal spirit to survive in many cases, her experience is superimposed with the lonely poet. As a result, seemingly unreal beauty is becoming more and more kind and exciting, and there is a fascinating tacit understanding. Cao Fang can be said to be a poet's self-metaphor. He consciously or unconsciously "shaped" a noble, pure, sincere and clear self-image. He has a pair of warm hands and sings "Depressed and High-spirited". He flies in the air full of white fog and has "transparent sorrow". He guarded the cold night of tall buildings, and Mix Poplar waited silently. He consciously is ". To a great extent, Fangcao is the poet's dream of narcissism, and it is a good choice for him to decide and shape himself so as to spend a long life.
Under the strict feudal political order in China, the fatigue of ancient intellectuals in China, the tiredness of helping others, and the people who advocated Excellence since the Enlightenment constantly forced them to fall from the center of social power and enjoy life in loneliness. Without self-appreciation, how can they not be schizophrenic and miserable? Without the warmth of beautiful women and the fragrance of fragrant grass, where would they go? What's more, the tradition of beauty and fragrant grass in China's classical poems originated from Qu Sao, and it has been endless since then, and it has become a big landscape in the late Tang and Song Dynasties, especially represented by Wen and Li Shangyin. If the Qusao-style Bellevue Grass still echoes with strong resentment and cries out against society, then the Wen-style and Li-style Bellevue Grass eliminates those painful tones, permeates more warmth and tenderness, and looks particularly delicate, fragrant and beautiful.
The beauty of He Qifang is obviously the style of Wen and Li Shangyin. He is not the kind of hero who can swallow mountains and rivers and do everything, and he has no intention of trekking up and down. His personality and temperament made him agree with the femininity of Wen and Li. When he was still studying in a private school, He Qifang "finished reading six selected poems of Tang and Song Dynasties". He can recite many ancient poems, mostly Tang poems, especially the poems of the late Tang Dynasty and the Five Dynasties represented by Wen and Li. Although these elements of enlightenment education are accidental, they contain the inevitable laws of culture. It is the poet's own personality temperament that creates the possibility for education, fully guarantees the effectiveness of education and consolidates and deepens the effect of education.
2. Chinese and Western cultures and modern choices
Naturally, in the atmosphere of modern culture, it is difficult for our poets to play and sing that ancient love with the tune of tang style Song Yun, and the poetic heart opened in childhood will eventually find a new expression in the context of modern culture.
This seems to determine He Qifang's unique poetic road of "blending Chinese and Western".
Until 15 years old, He Qifang's poetic accomplishment was purely classical, even "I don't know about the May 4th Movement; I still don't know new culture and literature, and even vernacular Chinese is regarded as heresy. " 1927, the poet Zhu Shide taught Wanxian Middle School, which brought him the style of new literature for the first time. Zhu Shide's own poetry was deeply influenced by the Crescent School, which made the poet enter the realm of Crescent School poetry. From 1929 to 1930, when he was studying in China College, he was once again immersed in the artistic atmosphere of the Crescent School. "The principal is the coach of the Crescent School, and there must be many crescent school figures among the professors." "New Moon" magazine is very popular in schools. Young students who like new poems read Xu Zhimo and Wen Yiduo's poems are almost popular. Qi Fang was fascinated by the new poem, and he was also fascinated by the new poem. ""At that time, his favorite poems were Wen Yiduo and Xu Zhimo, and several of their poems often stayed with him. He can recite some good poems ... "In the history of modern poetry in China, Crescent Poetry School is a bridge between ancient and modern, and between East and West. It combines the restraint and rationality of French Barnabas School, the sincerity of "art for art's sake" and China's tradition of "mourning without hurting", giving modern China people a great sense of intimacy. The choice of Crescent School gave He Qifang the initial and, in my opinion, the most important inspiration, and he found a modern poetic style and hazy artistic trend in line with his own nature.
He Qifang stepped into the world of "Art for Art's sake" along the external artistic vein of Crescent Poetry School: French Barnabas School (translated by He Qifang into Bannas), British Romantic School Keats and others, and Victorian poetry was represented by Tennyson and Luo Saidi. These numerous waves of western poetry have a common feature, that is, they are almost obsessed with art itself, and even in the only choice between life and art, they are likely to sacrifice their lives and obey art, because in the eyes of these poets, real life is dangerous and filthy, and people are alienated from each other. "People have been living a lonely life", we are pregnant with "a kind of hope similar to despair", and art has become people's self. It is crystal clear, bright and clean as jade, and it is a refuge for us to talk about * * * and drag out an ignoble existence temporarily. Since the reality is not worthy of our dedication and outstanding struggle, then "art for art's sake"! "No matter the storm, knocking on my closed window, I make enamel and jade carvings." "Looking for comfort and support in this poem of life criticism." It is conceivable that the tendency of western poetry to abandon reality and pay attention to personal artistic fantasy naturally caused He Qifang's feeling of deja vu. Therefore, He Qifang, deeply influenced by the ideal of China's classical poetry and eager to find modern discourse for this ideal, has no time to carefully analyze the essential differences in poetry choices between China and the West under different cultural backgrounds.
He Qifang continued to advance along the development track of modern art and hit it off with French symbolism through the influence of Dai Wangshu's poems. "He was very impressed by Bannas' exquisite art form. What fascinated him most were symbolist poets, such as Stefan Malarme, paul verlaine and Arthur Bo Han. The late symbolist poet Paul valery has long liked it. " However, He Qifang's acceptance of symbolism does not mean giving up the spirit of "art for art's sake" (which is different from symbolism itself). Strictly speaking, he found a most modern and skillful poetic mode for all previous artistic pursuits. Because western symbolism is more similar to China's poems in the late Tang Dynasty and the Five Dynasties, "its fragrance has been influenced by the glamorous and exquisite poems in the late Tang Dynasty and the Five Dynasties, and now French symbolism poems have intoxicated him. One is ancient China, and the other is foreign modernity, and the two blend in his heart. " . Western symbolism poetry promotes the comprehensive maturity of He Qifang's creation, and Prophecy is the artistic summary of this blending.
It is generally believed that "Night Song" shows He Qifang's breakthrough in "prediction", and the poet is very different from "prediction" in terms of the reality of creative content, the sociality of ideological pursuit, the lightness of emotional appeal and the simplicity of language. However, does this mean that the poet completely denied the previous mentality of "beauty and grass" and found a new artistic model? Personally, I think "Night Song" and "Prophecy" are different, but there is no world difference. Night Song has not completely changed the poet's personal temperament of self-appreciation. In a sense, it is just a transformation and development of the psychological choice of "beauty and grass". During the "Night Song" period, He Qifang has clearly regarded the new life in Yan 'an as the habitat of his dream soul and the fiery labor struggle as the ideal life form. He wrote that "culture grows on everyone like wings", "Then we will go to a better golden world ..." (Dream of New China) He enthusiastically described the revolutionary leader in China: "He put the dream of the people of China/. He fantasized that Lenin "sat by the window in the morning" and "wrote a letter to a comrade who worked in the countryside" and said that "he felt lonely. He is tired. I have to comfort him. /Because the mood is not a trivial matter. " In a trance, the poet himself seems to have "received his letter" (nocturne (2)). It is not difficult to see that He Qifang is still immersed in his sweet life dream at the moment, and is still trying to seek spiritual comfort and sustenance for his loneliness and fatigue. All these steaming new lives and vivid life ideals are explained by the poet on the road of personal loneliness. In Night Song, the elegance of social life is always associated with personal fragility and instability, and the poet tries his best to dispel personal sentimentality with the new ideal and new realm of social life. Can we say that these ideal forms of self-motivation also belong to the distant and tortuous projection of the archetypes of "beauty" and "Cao Fang"? Incidentally, in the long river of China's classical poetry and Qu Sao, the earliest prototypes of "Beauty" and "Cao Fang", "Beauty" and "Cao Fang" all have strong political meanings.
3. Characteristics of He Qifang
So, what is the "He Qifang feature"?
In my opinion, it is at least reflected in the following aspects.
The first is the wonderful combination of innocence and maturity in the deep heart. In Prophecy, He Qifang's poetic youth is the most obvious. Joy is as bright as "the wings of a dove" and "the red mouth of a parrot", and sadness is as pure as pearls. Both happiness and sadness come from the special life experience of adolescence, and most of them lack a profound and broad macro and cosmic consciousness. But interestingly, these immature emotions all have a certain "mature" shell. He has a precocious insight into the passage of life: "Southern girl, I am sorry for you. Worrying about your pride, your youth (Farewell) also tells the vicissitudes of history: "You can't see the sails of the Yellow River at sunset,/you can't see three sacred mountains on the sea ……" (Ancient city) He seems to be particularly interested in the "autumn" symbolizing maturity: "Put down the sickle that is full of fragrant rice,/put the fat fruit in a basket between bamboo fences. /A farmer who lives in autumn. " (Autumn) In The Night Song, He Qifang's naivety is characterized by his naivety and fragility, while maturity belongs to the strong social and political ideal he defends.
Perhaps we can regard the combination of young and middle-aged cultures in poetry as the same trend of China's modernist poetry in 1930s. Dai Wangshu has a famous saying: "I am a collection of youth and aging/I have a healthy body and a sick heart." Critics believe that such poems are "typical of modernist poets". In fact, different poets have great differences in how to adjust the ratio between youth and middle age, as well as the ratio between childishness and maturity. Dai Wangshu embraced the fatigue and calmness of the end of the century and the turmoil of adolescence, "because when a girl begins to love me,/I will be suddenly scared first" ("My Sketch"). This seems to be more like the combination of youth culture and old age culture, which has contradictions and conflicts; In Bian's poems, mature middle-aged elements often overwhelm immature youth elements. His love is also full of metaphysics and speculation: "I suddenly realized in Zanhua/that the world is empty,/because it is useful,/because it accommodates your style." (Untitled Five) Only He Qifang, who is good at using the psychological force of "* * * self-appreciation", can eliminate those contradictory and discordant factors as much as possible, and let the young paranoid heart wander freely in the mature and detached air, can we freely combine childish and mature, youth culture and middle-aged culture in the deep heart;
Whose longing is like that of a shepherdess?
Call for tame sheep, my poor heart?
No, I'm dreaming, remembering and thinking about autumn!
How high and round the clear sky is in September!
How softly my soul will fly,
Through the air of a thousand years, like my sighing eyes!
Seasonal disease
He Qifang's careful adjustment of * * * and self-appreciation, beauty and elegance, innocence and maturity, emotion and thought determines the special artistic conception of his early poems, which is muddy, round and crystal clear. The poet especially emphasizes the overall effect of poetry and the connection and agreement between concrete emotions, so as to highlight the sense of unity of the overall atmosphere, the so-called "lyrical atmosphere of repeated gyrations and three sighs." Mr. Luo summarized it as "a static tone" This statement is quite incisive. He is used to melting abstract love in such a figurative and complete space: "The morning light blooms on dewdrops and pomegranate flowers. /The shadow at noon is a slow step/Playing between weeping willows and bodhi trees. /When the south wind blows from the water lily lake/blows away the night, the meta-leaves overflow with the stagnant fragrance,/Because the ivy is dragging everywhere,/Cuscuta is wrapped around the treetops from the grass roots. /The love in the south is sleeping,/The sound of its wings when it wakes up also makes people fall asleep. " (Love) The most turbid horizon and the purest realm of selflessness can only exist in the seamless "pure nature", and human activities themselves are the interference and destruction of the will of the "circle" space. Therefore, when a poet is obsessed with the artistic atmosphere he creates, he will naturally bring some fantasy colors of "leaving the dust and dying", which is really called "falling in the shadow"/the morning dew that no one remembers is the brightest. "A stream without shadow is the clearest." ("Garland")
In Night Song, the subject's "I" is more active, narrative poems are greatly increased, while emotional metaphor strategies are relatively reduced, and crystal clear and moist artistic conception is no longer rare. However, compared with the contemporary popular poetry creation in Yan 'an area, He Qifang's works obviously have a strong literati style, still showing interest in atmosphere and emotional appeal from time to time, and still not forgetting to infiltrate human activities into the beauty and harmony of nature.
There are still young people all over the world,
There are newly opened hearts everywhere.
Young comrades, let's go to the wild together.
Under the soft blue sky,
I want to talk to you about all kinds of pure things.
-I want to say all kinds of pure things. Dai Wangshu and Bian also attach great importance to the creation of artistic conception. Dai Wangshu, who sings in a low voice and feels gloomy, belongs to another type, not a crystal clear and beautiful hometown. His mood has many ups and downs, and many works are not "static", such as "Broken Finger" and "Net Finger". Bian's beating fantasy always jumps out of the unified field of artistic conception, and his thoughts move across the sky of thoughts, leaving behind "lumps" in his works, such as Tears Crossing the River (untitled 4): "The mud crossing the river is on your beam,/the spring across the courtyard is in your cup,/overseas luxury goods are brought to your chest:/I want to study traffic history."
It is not difficult to imagine, from * * * self-appreciation to beauty and fragrance, from immaturity of youth to maturity of middle age, from glittering and translucent images to artistic conception, which especially requires some fine language scrutiny and polishing. A poet must have superb refining ability, screen and select the most poetic language in time, and make appropriate arrangements and adjustments to make it the best adhesive for multiple ideological meanings, thus forming the painstaking carving of He Qifang's early poems. Many poems in the prophecy are exquisite and colorful because of the deliberate pursuit of work, such as "beautiful early death", "sweet sadness" and "joy is like my melancholy", which are common. Every line here is like a big gem, shining on the hat of the Qing dynasty. He Qifang also said: "I like that kind of sharpening, that kind of color coordination", "Those poems in the prophecy are quite carved in language". The style of Night Song has changed, and it tends to be simple and natural, but it has not changed. The poet's subconscious pursuit of rich language is expressed in another sentence: "I sing for boys and girls." /I sing about the morning,/I sing about hope,/I sing about things that belong to the future,/I sing about the power of growth. " (I Sing for Boys and Girls) "Go to the choir, play,/build a railway, be a pilot,/sit in the laboratory, write poems,/ski in the mountains, ride the wind and waves,/explore the Arctic, collect plants in the tropics,/set up a tent and sleep under the stars." (How vast life is)
China's modernist poems in 1930s all pursued the effect of language carving more or less. But careful comparison, each has its own emphasis. The main love poems represented by Dai Wangshu pay attention to the flow and transformation of language, and have made great efforts in this respect, so there is a saying: "Climb an iceberg for nine years,/sail in a dry sea for nine years,/and then you will meet a golden shell." (Dreamer) The poems of Master Zhi, represented by Bian, pay attention to the wonderful contrast and coordination of words and images, and strive for amazing language, which leads to such an allusion: "Green people ring the doorbell/press on the hearts of residents:/Is it a fish that swam across the Yellow Sea?" /Is it a goose flying over Siberia? " (Sound Dust) He Qifang pays more attention to the color and artistic conception of the text, and tries his best to make a bright, gorgeous and emotional picture: "All the southern trees fall like palm leaves,/all the hooves break through the deep mountains, and a bay is full of sorrow." (Seasonal Diseases) This difference is more obvious after the poets' respective poetic styles have changed. Dai Wangshu 1945 "Occasions" said: "If the spring of life comes again,/the old frozen ice will thaw,/then I will see a bright smile again,/and I will hear a clear call-these distant dreams." Or semantic shock. Bian 1938 Road and Railway Workers: "You have worked hard, and your veins are smooth. /New China is jumping there. /1000 trains, 10000 cars/Let's see your fingers. " Or the wit and ingenuity of language and image splicing. Probably only He Qifang continues to use the language function of "Fu" to create the colors and emotional appeal that he is fascinated by.
The above three aspects reflect the unique pursuit of He Qifang's early poems in thought and art, which can be called "He Qifang's characteristics". On the whole, we can say that the so-called "He Qifang's characteristics" are, in the final analysis, the poet's self-appreciation and the ideal that "life is an art" are also the coexistence of the poet's multiple poetic qualities. He Qifang's profound cultural concept, which originated from the self-appreciation of classical poetry, is what He Qifang looks like. He didn't give up, but avoided it. There was no tragedy. All his poems are immersed in gentle and beautiful solutions, and he sincerely expresses his feelings about real life, singing and sighing.