Modern poetry, like other literary forms, is the author's emotional catharsis and the poet's reflection on the objective environment. Whether it is pre-Qin poetry, modern poetry since the Tang and Song Dynasties, or contemporary poetry since the May 4th Movement, you can say that it is subjective and has nothing to do with our lives. Nobody can say that. No, I didn't.
This year marks the eighth anniversary of Haizi's death/kloc-0. Let's take him for example.
Haizi was born in a village in Huaining, Anhui Province, where he spent his childhood. His thoughts were completely solidified in the rural environment, so that after he entered Peking University as a genius, a large number of literary creations did not leave his hometown, where farmers grew up. Because he is also the son of a farmer. His roots are there and you can't get rid of them.
Most of Haizi's literary works are famous for their poems. Look at his poems, how can there be "wheat", "land" and "village" and many unique images and feelings in rural areas?
Wheat field/others see you/think you are warm and beautiful/I stand in the center of your painful questioning/burned by you/I stand on the sun's painful awn//Wheat field/mysterious questioner//When I stand in front of you in pain/you can't say that I have nothing/you can't say that I have nothing (reply: Haizi)
You see, how could his childhood and his hometown be missing from his words? Such words, as long as they are familiar with local flavor, will be used by him to express his feelings. Although it is not nostalgia for hometown, even love will write the flavor of hometown in his pen.
That year, the new wheat in Lanzhou was ripe//On the way home/My father who had been on the water for more than 30 years went home//Sitting on a sheepskin raft/Home//Someone pushed the door in at night//Before dawn/I recognized that it was his uncle//My old brothers/Silent all night//Half a foot thick loess/Wheat was ripe ("
The girl I can see/the girl in the water/Please clean up my bones in the wheat field/Like a pile of reed bones/Bring him back in a box//The girl I can see/The girl by the clean river/Please reach into the wheat field//When I have no hope of a pile of wheat coming home/Please clean up my messy bones/Put them in a small wooden cupboard. Bring it back/bring your rich dowry back//but don't tell me/the mother who is drying clothes on the hay with wood (the second author of the poem of death: Haizi)
Among the above two poems, one has a strong hometown flavor, while the other has a little love in it. None of them got rid of the imprint that Haizi branded in his heart when he was a child. Because he is a man who never forgets his roots, an idealist, chasing his hopes with his childhood dreams. Everything started in his hometown and finally ended in his hometown. Luo also said that Haizi was an idealist. He needs his hometown, and books are enough. There is only one radio in his house, and nothing else. His material life is not smooth, and of course he disdains these materialistic lives. Perhaps because of his hometown complex and the idea of running away to find a kind of peace, he owned Tibet and other places in the west that were not polluted by secular and dirty thoughts, and then chose to live in death forever. As has appeared many times in his poems, perhaps the poet can only achieve eternal life through death.
Judging from various factors, Haizi is looking for the root of words from the soil of life. Yes, even modern poetry is no exception. So why do we refuse written form? What's wrong with its existence? As a literary form, it also played an important role in the extraordinary period of the May 4th Movement. Since we are going to prove how excellent we are in the old society with our crazy study of ancient Chinese, we will not forget it, so why don't we also focus on modern poetry? We are a nation that never forgets our roots, yes, so we should also remember the greatness of modern poetry. Instead of refuting xenophobia. Sometimes it seems strange to think about it. At one time, we had to use some modern new things to oppose the idea of respecting Confucius' retro. Now we have to take the idea that traditional culture is rooted in our hearts to resist emerging literature. Contradictions have been circulating and never stopped. Maybe someone will stand up and say what the philosophical theory of new things and old things shows. I think it's funny. I think philosophy is good, and it is also right to learn ancient prose and cherish the past. But what makes you say that it is old? Imagine that our current middle school and primary school textbooks are full of new poems. If it is ten or eight years, will you still see people who hate new poetry? It won't happen again, that's for sure. Imagine that there is no one who writes classical poetry as a leader, but he still has such a high popularity because he has gained eternal power in the social propaganda function of birthdays. Modern poetry has no leader, but it tends to decline. The crux lies in social propaganda. Looking at the whole social environment, you will find that people nowadays have a tendency to look backwards. They always squeeze oil from the bones of the ancients, find something to cater to people's appetite and take money from other people's pockets. I won't talk about the performance of the retro trend of thought. Those words that reflected real life in ancient times are now highly valued by people. As modern people, why don't we pay attention to the life of modern people? We also have modern poetry. It is also a bone of literature, why don't we give it a room to grow? They are all reflections of reality, so we don't need to treat them differently. The future of modern poetry should not be death. Many poets don't want to see such a situation and walk in front of life.
Running in the green wheat field/the light of snow and sun//Poet, you can't repay/the kindness of wheat field and light/a wish/a kindness/you can't repay//you can't repay/a shining star/the loneliness burning above your head (question author: Haizi)
As the poem says, poets and contemporary poets are lonely. However, their existence is necessary. As a group of China people who don't forget their roots, why should we exclude this vulnerable child from this text?