This is a poem written by Paz in his early years, with only five short sentences. It is the epitaph of the poet and an ideal of his youth: singing, and distinguishing the truth and hypocrisy of life in singing. Or, identify while singing.
The poet's epitaph, a short poem, expresses his views on poetry creation. The word "epitaph" shows that we should stick to our own views and never change them. He is the author of this poem. Two "yes" sentences express the author's point of view: forgetting, hypocrisy, remembering and truth. Pass is a sober realist. He has a deep understanding of social life. He knows that everything can't be good in "real life", and there must be all kinds of people and things that make fake bodies. He wrote the word "forget", saying that "hypocrisy" should be removed from his mind, and it must never be left in his mind to corrode his soul. He must maintain his own integrity, never go along with counterfeiters, and never be a "hypocritical person". This attitude is very valuable.
Singing means the initiation and expression of emotions, and it is a perceptual expression of natural feelings; Identification: the display of rationality and wisdom, the learning and experience of the day after tomorrow. Singing and discriminating are like holding a stone in the left hand-a "sacred stone full of cracks and symbols", and picking flowers in the right hand-a bunch of "great flowers that grow from the chest of the dead and the dreams of the living". This state of counterpoint and complementarity runs through Paz's life and creation: rationality and texture, sobriety and mystery, sharpness and softness, reality and magic, clarity and fullness, strangeness and balance, passion and integrity. Pass's dancing shoes: both spurs and wings.
Planting the seeds of poetry in Yuanye, which has a vast space and time, has absorbed many ideological resources with amazing absorption, such as Latin American indigenous traditions, modern European and American cultures, and oriental Buddhism and Taoism. Pass's works, or himself, have become a strong, plump, mysterious and elegant "tree of the soul", enriching the wonderful forest of human language.
This "tree of souls" has three main branches: nature, time and language. It seems to correspond to Paz's triple identity: poet, philosopher and critic. Although the three branches extend in different directions, they are intertwined, overlapping branches and covering each other. On top of the three main branches, the branches of "woman", "love", "present", "instant", "rhythm" and "rhythm" incline out from the side escape: each branch has its own scenery and is independent and alive; The whole is harmonious, harmonious and self-sufficient.
Because of this mutual integration and duality, appreciating this "tree of soul" from a single branch will undoubtedly have the risk of splitting its meaning. Drawing lessons from the modern concept of atomic structure, Paz also agrees that elementary particles are not real elements, but interaction fields and relationship fields. I try to describe Paz's "Tree of Soul" alternately from the two main branches of "scope" and "relationship field".