Rain Lane is Dai Wangshu's famous work. This poem, written in 1927, is destined to bear the memories of that era-stormy summer, gloomy and narrow rain lane, lonely man wandering alone, girl sad as cloves. Gray walls, bluestone paths and purple confusion are meaningful memories left by the poet. No matter whether the characters in Rain Lane reveal the sadness of the times or the depression of personal feelings, the emotional experience this poem gives us is a kind of implicit beauty with China classical color. This kind of beauty makes us quiet and immersed in purple melancholy.
1928, another person who quietly visited his old friend, also relished his scenes in the silent Cambridge. On the way back from Marseille, he spread out the paper and wrote a classic poem, "I left quietly, just as I came gently." Never leave, never leave, just like the ripples of He Kanghe River, emitting elegance.
In a turbulent society, these two poems are like two stars, small but bright. They have similarities, but they don't correspond to the general trend of the writing style of the whole society. For example, the musicality of article structure and rhythm, the use style of language, syllables, rhythm, sentence reading, flat tone, or light and heavy tones and other musical elements. Repetition, repetition and overlap, the poet's implicit and hazy feelings, the performance of poetry in strangeness, etc. But what attracted me most was their use of China's classical images, that is, the classical beauty reflected by their use of images.
First of all, these two poems meet the requirements of Chinese poetry writing in terms of overall content and style.
There is a cloud in Shangshu: Poetry expresses ambition. "Preface to Poetry" says: "Poets are also aspiring. The saying that' the heart is ambition and the words are poetry'. " "Wen Fu" points out that poetry is beautiful because of emotion. Based on the poet's personal experience, these two poems write their own profound thoughts on emotion, life and society. We can see that both Wen Yiduo's Dead Water and Lu Xun's Wild Grass have a certain sense of distance from the poet's own life. The ordinary gutter in Beijing is endowed with too much emotion by poets, or we ordinary people can't think about life from the author's point of view. However, Dai Wangshu and Xu Zhimo are different. As ordinary people, we will be attached to the girl we met in the rain lane. We will also be deeply attached to the school where we lived and the He Kang where we spent time with our lover. We can say that these two poems, like those in the ancient Book of Songs, touched us with the simplest emotional experience.
To some extent, I think Rain Lane and Farewell to Cambridge are just the intersection and docking of Jia Jian and Guan Ju's classics. Rain Lane and Jia Jian are both "occasional situations". Every time we see this poem, we seem to see a man in a fluttering suit, playing the piano by the water and singing solo in a sad voice. "On the water side" has become everyone's deep pursuit of a beautiful Iraqi or a distant ideal, and "on the water side" has also become a synonym and a symbol of temptation. The "lilac-like girl" in Rain Lane is also an elusive symbol, which represents the vague and sometimes absent hope in the poet's heart. It is a real "encounter" between Iraqis and modern poets who express their hopes on the water side and cross the Millennium. Of course, Dai Wangshu's experience is more contemporary. He transcends love in the ideological level, and he can activate the readers' imagination of life.
Farewell to Cambridge and Guanju are so * * * connected in love. Poetry about revisiting one's old place is not uncommon in China, and there are also many words about missing school life. However, we can't find a sadder word than saying goodbye to Cambridge, because there is also his memorial to his beloved wife. Lin's "That Night" tells us that this river is a symbol that they walked together. Lin is also the "My Fair Lady" in Xu Zhimo's mind. At the same time, Xu Zhimo uses the same images as Guan Luo to express his feelings, such as "Beauty in the Wave", "Bride in the Sunset", "Girl in Green in Soft Mud" and "Singing in Dreams", just like Confucius' comments on Guan Luo in My Fair Lady, Gentleman's Gentleman's Gentleman's Gentleman's Gentleman's Gentleman's Gentleman. Similarly, I think Xu Zhimo's Farewell to Cambridge perfectly embodies this point. "I left quietly, just as I came quietly. I waved my sleeves without taking away a cloud. " He seems to have said goodbye to Cambridge and He Kang, but this is actually the love he lost in He Kang. Guan Ju's beauty of the golden mean of "being happy but not lascivious, being sad but not hurting" is perfectly reflected in this song.
Secondly, the use of images in these two poems is more classic.
Poets after the May 4th Movement all have their own favorite images, such as Ai Qing's The Earth, The Sun and Feng Zhi's The Snake. The tenderness of Xu Zhimo and Dai Wangshu comes from the traditional image beauty in China.
? In Farewell to Cambridge, "cloud" and "willow" are farewell symbols. Let us think of "sending love to willow", "I have been there, but now I think of it, and it is raining", "Who can't miss home when I hear willow in this nocturne" and "Golden willow by the river is the bride at sunset" reminds us of "sending love to people with willow", just like Lin Daiyu is "quiet" in Baoyu's eyes. Guanju fully embodies the image of "green leek". In the Book of Songs, it is a man who falls in love with a woman who picks leeks. However, Xu Zhimo is willing to be a "girl in green" here, which also shows that he would rather immerse himself in this short and gentle love, and let his memory stay on the boat in He Kang that night forever. Classical images such as "rainbow", "pool", "Artemisia" and "glow" add more beauty. "Yin" is also a way for the ancients to express their feelings. The Preface to Poetry says that "a poet has ambition, his heart is ambition, and his words are poetry. Emotion moves in the middle and is shaped by words. Sigh if you don't talk enough. If they are not enough, they will sing forever. If they are not enough, they will never know how to dance. " "Quietly is a farewell flute". The poet used the traditional Chinese musical instrument "farewell flute" to add more sadness to his parting sadness.
The most obvious images in Rain Lane are rain, lane and lilac. Rain has always played a role in rendering the atmosphere in China's poems. "The phoenix tree is raining, and it drips at dusk", "Sorrow is always ruthless, and it drips until dawn before the next stage", "Why not cut the candle at the west window and just talk about the evening rain", and "Lane" is exclusive to southerners. The persistence in these things reflects the mentality of China traditional literati. "Rain" and "Lane" are integrated into one. "Rain Lane" is a new creation of the poet, which gives us a desolate, long and vicissitudes of loneliness. "Lilac" has been combined with "sorrow" since ancient times. Lilacs wither easily, and people say that lilacs often hurt spring. Li Shangyin's "Bananas don't show lilac knots, and they are all worried", and the Southern Tang Dynasty's "Jade Birds don't say anything outside the clouds, but lilac rains and worries" ... all of them put lilac's melancholy in Qian Qian complex. Dai Wangshu's lilacs are gentler, more elegant and more lonely than those of the ancients. It is attached to the girl with an oil-paper umbrella, which brings us purple melancholy. An ancient incense, an oil-paper umbrella, a lilac, a sad girl, and a wanderer who has never appeared in the poem seem to be shrouded in purple, which is also the poet's mobilization of all senses.
Two enduring poems bring us the same classical aesthetic feeling, which is the perfect inheritance of modern poetry to China's classical literature.