This book contains 60 poems by the famous poet Mr. Xu Zhimo. Xu Zhimo (1896— 193 1), a famous Zhang Yi, was born in Haining, Zhejiang. Studied at Columbia University and Cambridge University. After returning to China, he worked as a professor in Peking University and Tsinghua University. 192 1 started to write poems, and once founded the monthly New Moon with Hu Shi, Liang Shiqiu and Wen Yiduo. After the Indian poet Tagore 1924 visited China, Xu wandered around Europe. After returning to China, he edited the supplement of Morning Post and served as the editor-in-chief of Morning Post Poetry. He is the author of poetry anthology, Zhi Mo Poetry Anthology, Cold Night in the Green, Tiger Collection, Paris Prose Collection, Scales and Paws, etc. The first edition of this book is a line-bound edition of Juzhen Song Edition printed by the poet at his own expense in August 1925. Xuan Paper Printing, 196 pages, published by Xinyue Bookstore and printed by Zhonghua Bookstore. 1928, Crescent Bookstore reorganized the book into a paperback, in which 15 poems were deleted, and 1 poem "What is love?" Has been added. The author once said a passage to this collection of poems: "Most of them are the overflow of irrelevant emotions, but the art or skill of any poem ... My pen is originally the most unrestrained wild horse, and I didn't realize my wildness until I read more detailed works." The cover of this thread-loaded magnetic blue paper is 19.5cm in the vertical direction and 13cm in the horizontal direction. White note, handwritten black book title. There is no title page and copyright page, only four words are printed on the back of the lining page: "To Dad". The catalogue of Zhimo poems is not marked with page numbers. There are 55 poems in the book, the first one is "This is a cowardly world" and the last one is "Cambridge".
There are four poems by Xu Zhimo, which are Zhimo Poetry, Cold Night, Tiger and Wandering. In the past, when people talked about Xu Zhimo's poems, most of them only partially affirmed his artistic skills, but often held a critical and negative attitude towards its contents. In fact, the content of Xu Zhimo's poems is also very valuable. After careful analysis, the ideological content of many poems is still worthy of recognition. What are you doing here? /This "fearless" spirit? /Good people are not afraid of death? -/For a person's absurdity,/For a few dollars' reward, I broke into the devil's circle,/gave my body,/and turned into shit in Wulong Mountain Scenic Resort? /the poem "ode to the prisoner" satirizes those prisoners who have no brains and work hard for the death of their masters. In fact, the sharp edge refers to the warlords everywhere, who blindly use the soldiers' bodies and lives to compete for their own territory and seek personal gain, regardless of the lives of the people. The idea of anti-civil war is obvious. The poem "Dashuai" directly exposes the brutality and tyranny of warlords: "Dashuai has an order: after the dead body is killed, it is not necessary to move back (frustrating), just dig a big pit in front of it, throw the discouraged brother in, fill it up with soil, and give him a big mess, and don't remember it, no matter whether his surname is Jia or Zeng!" It's all right, so that their family won't be sad: mom is holding a rotten head, brother is holding hands, and the newly married daughter-in-law has pustules in her waist! "Cut out such a sad and horrible picture, the poet showed his hatred of bureaucratic warlords who constantly provoked wars and trapped the people from the quagmire, and his resentment against atrocities against humanity. Xu Zhimo studied in the United States and Britain. The prosperous material life of the developed capitalist society, the idle life of the upper class, and the literary works of romanticism, impressionism and aestheticism in Britain all left a deep imprint on the young Xu Zhimo. The enthusiasm for ideals triggered his creative desire. " Poetry is really like a flash flood, rushing in all directions. " Later, when he explained his understanding of poetry in Poetry Magazine, he said: "We think that poetry is a tool to express human creativity, which has the same nature as music and art. We think that without a decent expression of poetry, the spiritual liberation and spiritual revolution of our nation in this period is incomplete. "Perhaps it was with this hope and the agitation of the May 4th patriotic movement in China that he waved his sleeves with the idealism and humanitarianism of the British bourgeoisie, quietly bid farewell to Cambridge, which made him deeply attached, and happily embarked on the journey of returning to the motherland. It seems necessary to analyze the core of Xu Zhimo's thought. He declared, "I am an unrepeatable individualist. This is not profound, it just shows that I only know people, I only know people clearly, and I only trust people. In my opinion, the meaning of Krause is only universal individualism; In everyone's conscious consciousness and conscious efforts, there is a truly pure spirit of Demo Crasse; I ask every flower to achieve its possible color and fragrance. "It is not difficult to see that the essence of this thought is bourgeois democratic individualism." Xu believes that the fundamental reason for the development of human society lies in human spirit. His ideal is the maximum free development of individual spirit. The pursuit of love, the pursuit of freedom and the enjoyment of beauty are all included. " Accordingly, we also have reason to assert that Xu Zhimo's humanitarianism is bourgeois. Footnotes are his manifesto. After the May 4th Movement, in China, on the one hand, the revolutionary struggle movement led by China's * * * production party surged, and a large number of literary societies of various schools emerged. On the other hand, the broad masses of people are still at the bottom of society, and their living conditions are very miserable. The harsh reality is in sharp contrast with the poet's beautiful ideal world. He was disappointed, angry and heartbroken. "sir! Sir! Who knows, Gray Life, Calling for a Deserved Life (see Poems of Zhimo) and other works have profoundly recorded the poet's ideological track at this time. He clearly saw it: "poor me, I'm starving, rich man!" " /There is laughter in the gate, a red stove and a jade cup; /"have pity on me, I'm freezing to death, blessed is Ye! The northwest wind outside the gate said with a smile, "Call Hua deserved it!" /"Beggars deserve it" Faced with the bleak description of the bottom people and witnessing the painful life of the people, the poet's spirit felt very depressed and resentful. He wants to shout, open his "broad and rough voice, sing a barbaric, bold and frightening new song" and encourage readers to "go to the people and listen to the' soul moans' of the old, the weak, the sick, the poor, the oppressed, the bored, the servile, the timid, the ugly, the guilty and the suicidal". Because of the enthusiasm for ideals and the depth of love, the pain of disappointment is particularly strong. This makes Xu Zhimo always show more sympathy than criticism, more sadness than anger, more sorrow than shouting, more depression than excitement, and more abnormality. In his eyes, "the country is bankrupt, and everything is bankrupt in morality, politics, society, religion, literature and art." Words such as "despair, destruction, absurdity, sinking, melancholy, desolation, vagrancy and fragmentation" appear in a large number in his works. He was sad that "hope failed to stand firm and was destroyed"; He cursed, "Who dares to say that life is free? Starlight coldly looking at the sky, life floating in the waves "; He suddenly shouted "a steel knife that cuts itself", "Only by cutting off the residue of life can we get the essence of life", and suddenly revealed the feeling of being world-weary and reclusive, preaching that "all hypocrisy, vanity and vanity will be exposed to the power of final judgment" and that "love is the only glory before the Lord". These "broken patterns" scattered in Xu Zhimo's poems reflect the poet's inner contradictions and ideological confusion. Under the weight of the three mountains, he has compassion for the motherland and the people. " In addition to these political poems, Xu Zhimo also has some lyric short poems that are recognized as the best representatives of his creative style, such as Nora in Shi Anzhong, Looking at the Car and Farewell to Cambridge. The common characteristics of these poems are: elegant dictionary, quiet and tranquil artistic conception, full of romance and emotional appeal. Please see: the gentleness of bowing your head is the most,/like the shyness of a hibiscus that can't be blown down by a cool breeze,/Say treasure, say treasure,/There is sweet sorrow in that treasure/Poem Anna! /"Shiana La" has only four sentences, which makes people feel as if they are there. Using "water lotus" is more beautiful than attaching a Japanese woman who is famous for her virtue. Using "invincible breeze" to describe Japanese girls who bow their heads in return for farewell adds to the gentleness and shyness of this image. The soft and sweet "treasure" vividly implies the feeling of parting brought by friends (perhaps lovers) because of their happy meeting. There is no positive characterization, no specific description of the activity scene, and no more story content in the poem. Just a simple action, an ordinary farewell speech, makes people have rich associations and left a good impression, which is really extraordinary. Finally, the poet said "shian Nora" by imitating the pronunciation of "goodbye" in Japanese, which once again rendered this tender feeling and sang a profound echo. Then I left quietly/as I came gently; ..... I left quietly,/just as I came quietly; /I waved my sleeve./I didn't take a cloud with me. Farewell to Cambridge is also a lyric ballad that has been widely circulated and sung for a long time. Beautiful Cambridge once occupied an important position in the poet's life. His outlook on life, art and creative desire were all formed here. "Golden Willow by the River" and "Gorgeous Shadow in the Waves" not only "ripple in his heart", but also have a magical power to urge him to fly in the sky and fantasize about "loading a boat of starlight and singing songs in the starlight". The difference is that the poet left Cambridge, which he loved so much, without "tears" or "speeches", but quietly left as when he came. Only a faint cloud, wrapped in the poet's infinite tenderness, floated quietly in the foreign sky. What an ethereal and transcendental artistic conception this is! No wonder his later wife, Lu Xiaoman, said that he was "fascinated by some fairy-like sentences and made people forget the smell of fireworks." Oppressing my thoughts and breathing, killing the poor bud of hope and throwing me into the cruelty of jealousy and sadness, shame and despair like a prisoner. No need to do more analysis. This kind of mood is very unhealthy, and it is not what a man who really wants to pursue happiness and perfect love should have. So far, this poem can't be called an elegant serenade. Such vulgar and sentimental nagging has neither artistic conception nor aesthetic feeling. The only thing you can see is the poet's increasingly withered and embarrassed thoughts and repressed will. This also shows that a poet, no matter how skillful his artistic skills are and how sharp his creative inspiration is, once he loses his way in the sharp and fierce social contradictions, he winces, hides in the ivory tower, advocates art for art's sake, and indulges in the small ditch of personal feelings, he will inevitably lose his way, can't return, and will never write anything with good ideological and artistic quality that can stand the test of time. This is an objective law in literary creation, and Xu Zhimo cannot get rid of it. (Xu Zhimo is good at writing) To express an emotion in words, that is, when a person sees that the earth is beginning to emit fragrance, there are some secluded corners in the ruins and in the shadow of the grass, from which ardent whispers and laughter come out. (But the times) also need to express another emotion, that is, the cry of the parade that the sky is falling. But he doesn't want to write all this as usual. He should find new forms, new words and new images. "As a famous poet of the Crescent School, Xu Zhimo respects Wen Yiduo's point of view and thinks that poetry should have the beauty of music, painting and architecture. He melted and cast the essence of China's classical poems, Sanqu and folk songs, adopted the style of European romantic poets, actively and consciously cultivated the elements of modern vernacular metrical poems, and formed a novel, unique and fresh poetic style. Admirers admire this poem with passionate emotion, harmonious rhythm, attractive literary talent and profound meaning, and praise it as "a master who laid the foundation of the literary world with one hand"; The backtalker exposed his shortcomings of copying mechanically, obscure, fragmented and artificial, and denounced him as a "clown" in poetry. First of all, Xu Zhimo's poem is a poem expressing his soul alone. Xu Zhimo himself has a passage: "I need to point out from my bones that Xu Zhimo also wrote some boring, decadent and erotic poems." "For example, the first poem" I am waiting for you "in Little Tiger describes the inner activities of an infatuated man waiting for a date. There is such a sentence in the poem: You know, I know you know, it is a fatal blow that you don't come to me, killing the spring in my life. It is as solid as iron in the mine, and generate comes out, excited in the blood and jumping in the soul. When discussing the poetic art of Crescent School and Xu Zhimo, Zhu Ziqing also made a very accurate grasp: "As a poet, Xu is more known to the world. He is not as precise as Wen, but he is equally calm. He is jumping and splashing a kind of water of life that stays up all night. "The spirit of nature emphasized by Xu Zhimo is actually a true feeling from the heart and a kind of inner love. Driven by this emotion, he expressed his pursuit of ideals and beautiful things and his love for nature and love in his poems. It is this sincere emotion that makes Xu Zhimo's poems always look so natural, lacking traces of man-made, emitting a kind of natural vitality like "water of life" and having unique artistic charm. For example, those nostalgic poems "Farewell to Cambridge" and "Aiman Shufei" are masterpieces from the depths of the soul. Because of the beauty in memory and the touch in heart, those scenery are no longer purely objective natural objects. Clouds, golden willows, green grass, waves and Shui Ying are all colored and beautiful because of affection. Cambridge has witnessed the good times of the past, but now things have changed, and there are many unforgettable life regrets hidden here! Every landscape here is full of emotion, and the combination of emotion and scenery is seamless, so it is possible to show the "Chi Mo style" free and easy and helpless. Secondly, the seemingly handy image is actually a painstakingly constructed image. The beauty of Xu Zhimo's poems lies in images. The composition of poetic images has some very personalized methods and effects. These images are familiar to people in nature, in life and in the poems of English romantic poets, but they have unique and novel characteristics after being influenced by the feelings of poet Xu Zhimo. There are usually three ways to construct images in Xu Zhimo's poems: one is to give emotional color to objective images through emotionalization, making them from plain to strange. It not only makes readers feel the things and scenes that belong to their own experience, but also makes readers feel that they contain brand-new interests. For example, in Huang Peng, the descriptions of oriole "breaking through the dense and turning into colorful clouds" and "like spring, like flame, like enthusiasm" are novel here, because there is a feeling of a poet. Another example is Farewell to Cambridge: "The golden willow by the river is the bride in the sunset. "The transition from Jinliu to the bride is caused by the displacement of the poet's feelings. Secondly, metaphor plays an important role in the formation of novel images. For example, in Nora, Shi An "is the gentleness of bowing his head,/like the shyness of an invincible water lotus in the cool breeze". A wonderful metaphor describes the charming expression of Miss Japan when she bid farewell to her friends, and the tenderness of oriental style remains in the reader's memory. Another example is She is Sleeping, in which J's poetic metaphor is used to describe her sleeping state-"a white lotus under the starlight", "a wisp of smoke curling in the incense burner" and "noisy strings are suppressed by spring". Metaphor is used to construct images, which helps to highlight some characteristics of images. It can not only expand the meaning through analogy, but also enhance the image of poetry. Second, grasp the feelings and impressions instantly and freeze them as images. For example, in "Gray Life": "I grabbed the northwest wind and asked him for the color of the fallen leaves. Capturing that unique moment, we can, as the English poet Blake said, "a world in a grain of sand and a paradise in a flower". "./infinity in the palm of your hand,/and eternity in an instant. "Xu Zhimo captured these moments with a poetic pen, which produced a unique interest and a novel interest for readers. Thirdly, the beauty of Xu Zhimo's poetry lies in self-discipline. Xu Zhimo is a representative poet of Crescent Society, and Xu Zhimo agrees with the opinions of Crescent Society poets on the metrical aspects of new poetry. In Xu Zhimo's poems, the form, artistic conception and rhetoric are all beautiful. It is particularly noteworthy that Xu Zhimo's pursuit of musical beauty is almost obsessive. From the perspective of syllables, the syllables and melodies of Xu Zhimo's poems are very natural and harmonious. He once said: "The beauty of poetry lies not in its meaning, but in its elusive syllables." His syllables seem to be assisted by the gods, but in fact, this natural and harmonious effect is also a deliberate effect. One is that syllables are consistent with the changes of thoughts and feelings expressed in poems, and the other is that they are supported by effective techniques. In his poems, a lot of overlapping words and sentences are used to create a desired effect. For example, the "gentleness" and "quietness" in the first and last paragraphs of A Farewell to Cambridge create a special sense of rhythm. For another example, the rhythm and melody of Nora in Shi 'an are very gentle and soothing, and the last sentence ends with "Nora in Shi 'an" in Japanese instead of the crisp and decisive "goodbye" in Chinese. Gentle and lingering, full of oriental female charm. From these meticulous treatments, it is not difficult for readers to appreciate the painstaking tone of the poet Xu Zhimo. Xu Zhimo is also very particular about rhyming. Because the new verse should be close to spoken language, syllables can easily become rambling, and the cohesion and penetration of rhyme feet become particularly important. Xu Zhimo's poems sometimes have one rhyme, and sometimes a poem has several rhymes at the same time, which does not form a preference for one rhyme. This shows that Xu Zhimo's poems are not exactly like Hu Shi's initiative in the rhyme of free verse-new poems "compete in nature and distinguish naturally in tone"-so the rhyme of Xu Zhimo's poems is not only the pursuit of a "language rhythm", but also a "language rhythm". The rhythm of pronunciation can be said to be the rhythm of prose, but the rhythm of form belongs to the strict rhythm of poetry. Xu Zhimo's poems not only respect the expression habits of modern Chinese, but also make a breakthrough in the language habits of modern Chinese. In terms of grammatical norms, there are both the infiltration of China's classical poems and the influence of English poems; In the process of metrical new poetry, Wen Yiduo's "three beauties" are not only effectively integrated, but also his own unique understanding. He is creating and discovering according to his "true poetry". Therefore, his exploration in the art of poetry has made an irreplaceable contribution to the artistic development of China's modern poetry.