The earliest vernacular poems in the history of China are eight poems published by Hu Shi in New Youth in 19 17. In 19 18, Liu Bannong and Shen began to publish vernacular poems in New Youth, and modern vernacular poems in China were born.
1920, Hu Shi's personal collection of poems was published and welcomed by readers. It is the first personal collection of modern poems in history, so more poets began to imitate Hu Shi's writing of vernacular poems, forming the first "experimental school" in the history of China literature. The maturity of this school of poetry is marked by the publication of Hu Shi's Trial Collection, so it is generally called China's Trial School of Modern Poetry.
Representative poets: Hu Shi, Liu Bannong, Shen, Yu Pingbo, Kang, Liu Dabai, etc.
Life School Life School (Literature Research Association) is the earliest literary society established in the May 4th New Literature Movement. Founded in 192 1, the representative poets are mainly Lu Xun, Bing Xin, Zhu Ziqing and Zhou Zuoren.
Literary attitude and creative practice tend to be realistic. It is argued that "literature is a kind of work, and it is also a very important work for life." Zhu Ziqing, Ye Shengtao, Liu Yanling and Yu Pingbo, the main members of the Literature Research Association, later established the first new poetry society in modern literary world-China New Poetry Society, and founded the first new poetry special issue "Poetry Magazine" in June 5438+the following year 10. Ye (Mao Dun), Ye (Ye Shengtao), Yu Pingbo, Xu Dishan, Geng Jizhi, Guo Shaoyu, Zhou Zuoren, Sun Fuyuan, Zhu Xizu, Qu Shiying, Jiang Baili, Huang, Lao She, Hu Yuzhi, Liu Bannong, Liu Dabai, Zhu Xiang, Xu Zhimo, Peng Jiahuang, etc.
Poets of literary research society are often called "life school" or "life school" because of their poetic values centered on "life".
Representative poets: Lu Xun Bing Xin Zhu Zuoren Zhu Liu Bannong Dabai Xu Zhimo
Experience and Meditation of Life —— On the Ideological Development of Bian1930s Poetry
Journal of Tianjin Normal University: Social Science Edition
A study of modern and contemporary literature in China.
The author has fans of guāng@①.
(Han Jugu ā ng @ ① Fan)
The high unity of superb artistic skills and profound ideological depth is Bian's outstanding contribution to China's modern poetry, which is also the reason why he is called one of the outstanding modern poets in China. As far as ideology is concerned, I think an important feature of Bian's poetry is that it is the ideological crystallization of the poet's experience and meditation on life. The experience of life means that Bian's poetic thoughts (or artistic "inspiration") are felt, not moaning without illness. Bian Zhilin said, "I will never write a poem without true feelings." (3) The so-called "meditation" means that Bian's poems are not romantic and lyrical, but raise the experience and observation from life (to others and self) to a rational height, that is, what the poet calls "love elutriation, love refining, expectation crystallization and expectation sublimation" (4).
Based on this understanding, I divide the ideological content of Bian's poems in the 1930s into two aspects: first, observing and thinking about life forms other than self; The second is to think about your own life experience. In fact, these two points, as the major theme of "life", run through Bian's poetry creation in 1930s. They are parallel, interdependent and slightly biased.
one
Bian's first stage of creation (1930- 1932) [⑤], as he himself said, "I mainly use spoken language and metrical style to reflect the suburbs and indoor courtyard corners of Beiping that I deeply feel, which is completely the desolate realm of the northern scenery" [⑤]. This kind of works, such as Idle Man, Monk, Dusk, Cold Night, Sour Plum Soup, Selling, Festival, Bitter Rain, Several People, etc. They are all about life forms and attitudes other than self, that is, "fiction and typicality" as Bian said. Perhaps we can pay attention to the reality and sociality of these works, see through one aspect of the life of Peiping citizens in the 1930s, and then examine the poet's attitude, observation and thinking about social reality. Because, Bian Zeng said modestly, he "wrote poetry at this stage, which showed more the fur of the society at that time and paid more attention to the ordinary people and little people in the lower class who died together" [8]. But I am more inclined to pay attention to the poet's life meditation thought contained in these works.
The poem "A few people" shows this idea very prominently. The original poem was written like this: the peddler shouted "candied haws",
Take a bite of ash and leave it alone;
The birdcage holder looks at the white dove in the sky.
Comfortable steps across the Shahe River,
When a young man is meditating in a deserted street.
The radish seller waved a polished knife,
A car full of carrots giggled in the sunset,
When a young man is meditating in a deserted street.
The short beggar stared at his long shadow,
When a young man is meditating in a deserted street.
Someone sighed a bowl of rice,
Some people listen to other people's dreams at midnight,
Some people wear a red flower on their white hair.
Like a sunset on the edge of a snowy area ...
October fifteenth
Repeatedly repeating "When a young man is meditating on a deserted street" in the poem, the interval of repetition is getting smaller and smaller, which obviously highlights the thought of "meditation" in the whole poem. Putting the "meditation" of the "young man" in a very unharmonious situation not only means that the reader is meditating on the contrast between him and others in the deserted street, but also means that the reader is meditating on the contrast between the life of the "young man" in front of him and the life forms of some people he associates with. This "young man" who "meditates in a deserted street" obviously has a distinct personal color. Attending, therefore, we might as well regard the helpless and poor life style and attitude of ordinary people in Bian's works as the result of the poet's external examination of his own life and the resulting "meditation" on life.
The last sentence of an idle person: "Alas! How much time did you spend? " This sentence is obviously the poet's voice, and the question of affirmation actually shows the poet's denial of the attitude of "an idle man" wasting his life time in vain. Painful Rain, Eagle, Festival and other works not only sympathize with the poor life of small people, but also criticize and satirize their helpless attitude towards life. This is what the poet said, "I often use indifference to cover up my deep feelings, or make fun of my bitterness" [1]. But in essence, the theme of this poem implies the poet's thinking about life in the negative narrative. Perhaps because of this, in some other works, the poet clearly expressed his transcendence of reality and present life.
Bian wrote the poem "Climbing to the City" on June 1932+ 10/5, 2005. "Entering the city" is a common theme in China's ancient poems. No matter what feelings of "nostalgia for the past" or "nostalgia for the future" arise from it, there are some realistic thoughts. (1) (2) The two sentences of "unwilling" in this poem contain the poet's double avoidance of the past and the future, or melancholy. However, the theme of this poem is obviously that the poet expresses his feelings of trying to transcend the current self-life. Only four days later (i.e. 193210/0/019), Bian wrote another poem entitled "Cart", which also expressed the theme of denying his current gray life. The whole poem is as follows: dragging a cart of sunset gold,
The mule staggered and stumbled,
Through the endless sparse forest,
Silently raise a large array of loess.
Tell idle people to sit in the distance and dream.
Heroes in myths handed down from ancient times.
Go to an unknown distance—
There is a sigh of Changfeng between ancient trees!
1October 19 (1932)
The image of "idle people" in this poem is similar to that of "a young man" in "A Few People", and it also bears the poet's own shadow. Through the image of "mule", the poet shows the denial of reality (diffuse "loess") from two dimensions: time ("golden sunset") and space ("boundless sparse forest"), and then points the thought of the poem to "dream/hero in ancient mythology/far away from the unknown". Like boarding a city, negation (both denial of reality and introspection of "dreams") contains positive thoughts: thinking and exploring the ideal life. In fact, as early as 1930, Bian expressed her transcendence of reality and yearning for an ideal life through the poem Journey. "Traveling far away" is a denial of the present real life and a yearning for a life to be explored and pursued. In addition, the last verse of the poem ends in a decisive tone, emphasizing the theme of the poem.
When we realize that Bian's works describing the life of Beiping citizens are "lyric poems" (① ③), which contain the author's meditation on life, it is not difficult to see the artistic characteristics of these works. Don't write about yourself directly, just to get a rational perspective of examination and thinking; That is, through the negative description of "impersonal" life form and attitude, the poet expresses his meditation on life and his exploration of life meaning. This may be an important reason for Bian's so-called "I borrow scenery to express my feelings, borrow things to express my feelings, borrow people to express my feelings, and borrow things to express my feelings" [① ④]. Moreover, even if "a young man" in Minority, "I" in Cart "and" Idle Man "in Ascending the City obviously have the personal color of Bian, these images are by no means" self-portraits "of poets. For example, the nature of the word "dream" in "Cart" obviously contains the irony of this kind of "dream" that is unrealistic for idle people.
two
In the second stage of 1930s (1933- 1935), Bian's creation obviously shifted from observing and thinking about life forms other than self to thinking about life experiences directly from self. Although Autumn Window, Dream, Water Rock and other works still objectify the poet's self (that is, depersonalization) through imagery, imagination, thinking by the water and sighing by the meditator, the thoughts of the characters and their meditation are still. The third stage (1935- 1937), that is, the works in the third series of The Carving Insects, are obviously directly triggered by Bian's self-life and emotional life. 〔①⑥〕
In the poem "Sending Running Water" written by 1933 in August, the poet attributed the existence of life and the passage of time to the traditional image of "running water". This reminds us of the common theme in China's ancient poems "The Year of Falling into the Water". 1August, 934, Bian's poem "Water Rock" repeated this image, which more clearly showed the poet's thinking about the "year of water loss". The last sentence of this poem is like this: "water, water!" " Meditate and sigh.
The feelings of the ancients are like running water.
Accumulated a series of sadness.
This reminds us of a passage in the Analects of Confucius: "Confucius said in Sichuan: The deceased is like a husband, not giving up day and night!" Since Confucius, "flowing water" has become a prominent image in China's ancient poems, which contains thoughts on life and its significance in the times. For example, Li Bai's "Into the Wine" says: "You don't see how the water of the Yellow River moves out of the sky and into the ocean, which is gone forever; If you don't see how cute Gao Tingming's mirror lock is, the sun will turn into snow. " Du Fu's poem "Ascending the Mountain" said: "Leaves fall like waterfall foam, but I think the long river always rolls forward." Li Qingzhao's "Wuling Spring" said: "Things are people, not everything", "I am afraid that the boat will not move, and I am sad." Even the twenty-eighth episode of A Dream of Red Mansions, Lin Daiyu's sentimentality and so on, is endless. For Bian, the image of "flowing water" not only has traditional significance, but also has his "retro" thought. That is, through this traditional image, in the meditation on the meaning of life time, modern thoughts are integrated, and lyric sentimentality is transformed into rational thinking. By objectifying himself through "watching people sigh", it shows that Bian has a clear vigilance against the sentimental "sadness" of the ancients and a certain degree of rational reflection on his similar feelings, that is, not only as the object of performance, but also as the object of thinking, trying to get rid of the sentimental "sadness" from thinking. Therefore, next, in Bian's subsequent creation, the result of "meditation" is to sublimate the sentimental "sadness" into the crystallization of positive thoughts.
This idea appeared earlier in the poem "The Round Box". "Where is my fantasy (Tianhe? )/I caught a round treasure box with some pearls in it. " At the beginning of the poem, it shows a more positive "sighing in the stream" and "sadness" thought, that is, it expects to sublimate emotional experience into the crystallization of thought. Then the poet clearly said: Don't go to any watch shop.
Look, your youth has been eaten away,
Don't go to any antique shops.
Buy your grandpa's old furniture.
This is actually a denial of your sentimental feelings. (1) Then the poet put forward his own ideas: Look at my round treasure box.
Follow my boat down the river.
And flow, although the people in the cabin
Forever in the embrace of the blue sky …
In this regard, the poet said that "the three lines at the end of his other poem are for reference" [② attending]. These three lines are: let time become water, sleep on the sofa and be a boat,
The hatchback changes with the white clouds,
I wonder if peach blossoms on both sides of the strait are far away.
Obviously, the poet's implied thought is: in the passage of time, after abandoning the emotional "sadness", we will get a rational clarity and spiritual pleasure by adapting to nature (that is, the passage of time) and everything (similar to the thought of "perilla" in Su Shi's "Former Red Cliff Fu").
Two years later, 1937, Bian's poem "White snail shell" further thought: if the snail shell is washed by seawater, it will be "ethereal" and "dust-free" in the hole, and the passage of time will make people "grow" and gain something at the same time. Because, if you "endure" the tempering of human suffering by time ("dripping through", "sawing through" and "grinding through"), you can get a realm of "ethereal" ("fine dust") beyond the secular world. Bian's thoughts not only gave full play to the enthusiasm of China's traditional thoughts, but also were inspired by Valery. In the essay Growing Up written by 1936, Bian clearly expressed the same thoughts as this poem by explaining the thoughts of Confucius and Valery.
Ms. Zhang said that "White Shell" "this poem just represents the realm of life he reached at the end of the first stage of poetry creation (according to Bian's statement)" [② ①]. This conclusion is very accurate. Seeing this poem as the result of Bian's experience and thinking about life in his poems in the 1930s means that this poem marks the highest realm of Bian's thinking. This is not only the result of deepening meditation, but also the denial and correction of some previous ideological prejudices. Because here, Bian no longer "imagines" a "long journey" beyond real life, nor does he "dream" to "travel to an unknown distance" like a hero in ancient mythology. It is "clearly pointed out that full participation in life is the way of natural growth" [② ②].
Of course, the acquisition of this idea is obviously the result of the author's meditation on his own life experience. In response to others' explanation of White Shell, Bian said that this poem "also symbolizes the ideal and reality of life" [② ③]; The source of this thought, like a round box, is the experience, Tao, knowledge and consciousness gained from the experience of life and meditation. Bian said, "Or forgive me for inventing a name: the beauty of intelligence" [② ④].
(The writer is a Korean student studying for a doctorate in Chinese Department of East China Normal University. )
note:
(1) Wen Yiduo wrote to Cang Kejia on 1943 that Dai Wangshu and Bian were "technical experts" (Complete Works of Wen Yiduo, Ji Geng, page 54); See also Bian's Completion and Beginning: Commemorating the 80th Birthday of Poet Wen Yiduo, which is included in Bian's anthology People and Poetry: Recalling the Old and Saying the New, Beijing, Sanlian Bookstore, 1984.
(2) In a translation of Shakespeare's criticism, Bian said: "Bian is one of the few poets with the highest achievements among modern poets in China". See Bian and the Art of Poetry (edited by Yuan Kejia, etc.), 65 pages, Hebei Education Press, 1990.
346 ⑧ ⑧ ⑧ Bian: Chronology of the Carved Insects (revised edition) Introduction, People's Literature Publishing House, 1984.
⑤ According to Bian's Chronicle of the Carved Insects (revised edition), the time of Bian's creation in 1930s was "self-determined".
Pet-name ruby bian poems quoted in this article, all see "Chronicle of the Carved Insects" (revised edition), the version is the same as note ③, and there is no other note below.
Ms. Zhang, who attended the meeting, discussed the creation of Bian1930s with the title "When a Young Man Meditates in a Desert Street". This article is included in Bian's Zhi Lin and the Art of Poetry. Mr. Zhang is a master of frontier studies, and his monograph "Research on Frontier Writing and Translation" has greatly inspired the author. This book is one of the literature and history series of Chinese Department of Hong Kong University, 1989.
(1) (2) There were many such poems in ancient China, such as The Story of Youzhou Tower by Chen Ziang in Tang Dynasty, A Climbing Trip by Du Fu, Nostalgia at Xiang Jin Ridge in Gui Zhi by Wang Anshi in Song Dynasty, and Eternal Joy by Xin Qiji.
⑦ See Bian's article "Growing Up". See Bian Vicissitudes (Essays), Jiangsu People's Publishing House, 1982. In addition, Zhou Zuoren's Annotations on the Analects of Confucius highly praised this chapter. This article attracted Liang's attention and wrote the article "The Dead Rusifu" (Poetry and Truth, Poetry and Truth II, Foreign Literature Publishing House,1984). Zhou's article was published in the Mercury News edited by Bian (4).
(9) Bian's article "About You" says that these four sentences are "enlightenment lessons" (though not serious lessons) and can be taught to anyone. This article is included as an appendix in Liu Xiwei's Drunk Tales, Huacheng Publishing House, 1984.
② Participate in Chronology of the Carved Insects (revised edition), page 135, with the same version as Note ③.
② ① ② ②《 Bian and the Art of Poetry 》, page 127, with the same note ② edition.
② ③ Zhu Ziqing: Preface to Miscellaneous Words of New Poetry. See Complete Works of Zhu Ziqing, Volume 2, page 3 17, Jiangsu Education Press, 1988.
② ④ Zhi Lin: See the appendix of Drunken Flowers Collection for "About Fish". *
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