An article used instead of a preface.
Mood at the moment
Xi Murong
I began to study painting formally at the age of fourteen. After so many years, I will still keep my favorite works and I am reluctant to sell them. From Taipei to Brussels, from Munich to Shimen, bundles of canvases followed me, and I was reluctant to throw them away, because I knew in my heart that such works would never be painted again.
Because, just like human growth, a stage has a stage. After this stage, it is imperative to go back.
So, tonight, although there is still a damp and fragrant courtyard outside the window, there are still some records and some manuscript paper under the lamp, but facing the first draft of "Youth without Complaints", I deeply feel that some things in the world will never come back. Like a star that is getting farther and farther away from me. Seeing it getting smaller, darker and colder, and finally disappearing at a distance that I can't reach, I stood in the dark night and could do nothing.
I feel a little sad and disappointed, but I am also grateful. Thankfully, through its light and heat, I wrote some poems that I like very much, so that I can still believe, love and miss it every time I look back.
So in Qilixiang and Youth Without Complaints, I put my works in my teens and thirties alternately, on the one hand, because these works have similar faces, and on the other hand, for my own commemoration, for a long time ago, for the small world that only existed in my heart. If these poems are only regarded as a kind of record, then, of course, I am in the poems, but if everyone is willing to regard these poems as works of art, then I should not be the only one in the poems.
In real life, I am a lucky woman, because with the support of people who love me deeply, I can grow up so wantonly, draw whenever I want, write whenever I want, and do something extremely extravagant for a woman. I want to admit that in this life, I have got the absolute love that I have been looking forward to. All the arrangements made by God are meaningful. I am willing to be grateful and grateful along the established track.
I will live a good life, seize every moment and stop demanding everything.
Of course, poetry still needs to be written, but what I will write tomorrow, or how I will write it, is completely beyond my prediction at the moment.
Charm of life, dear friend! Aren't they all in these places?
Preface to Fei Ming's poems
In the modern literary world, Fei Ming is a writer and scholar with distinct personality and independent spirit. His life is bounded by 1949, which can be divided into two periods. In the early stage, he mainly focused on literary creation, but also studied poetics and Buddhism. There are mainly short stories such as Tales of Bamboo Grove, Jujube Garden and Taoyuan, novels such as Bridge, and Buddhist monographs such as Biography of Mr. Mo, After Mr. Mo flies away, Poetics of New Poetry, and Cognition of Alaiye. In his later period, he mainly engaged in academic research, except for a few writings, including Notes on Ancient Literature and Art-The Book of Songs, Notes on Du Fu's Poems, Talking with Youth about Lu Xun, Studies on Lu Xun, Aesthetic Lecture, Notes on New Folk Songs, etc.
Fei Ming is famous for his unique novels, but he is a poet in essence. As early as the 1920s, Zhou Zuoren once said, "Fei Mingjun is a poet, although he is writing a novel." (Postscript of Taoyuan, Taoyuan Shanghai Ming Kai Bookstore 1928 Edition) In the 1930s, Hexi (Cheng Kansheng) also said that Fei Ming was "a poet after all". (Reading "The Bridge and the Biography of Mr. Xu You", Literature magazine, No.4, volume 1, August 1, 0937) Fei Ming entered the literary world as a new poet, and the earliest published literary works were poems. He integrated the characteristics of poetry into novel creation, and used the technique of writing quatrains in the Tang Dynasty to create an idyllic world far away from the hubbub and picturesque, showing a poetic life form. The language is concise and rich in artistic conception, full of pastoral flavor and artistic conception. His novels not only influenced the creation of writers such as Shen Congwen, but also influenced poets such as Bian. 1937, Meng Shi (Zhu Guangqian) noticed this phenomenon in time. In the book review for Bridge, he said that Bridge "seems to have a significant influence on Bian's new poems, although they may not admit it". (Bridge, Literature magazine, No.3, volume 1, July 1, 0937) Bian in her later years admitted that her "artistic enjoyment of reading poetry" mainly came from Fei Ming's novels. (Preface to the 2nd issue of Selected Works of Feng Wenbing and Historical Materials of New Literature 1984) Bian's poems in the middle and late 1930s are indeed similar to Fei Ming's novels in conceptual writing methods.
Fei Ming didn't publish many poems (nearly fifty) before his death, but he wrote many poems. 193 1 year1October 17, he once said in the article "Poems of Tianma": "In March this year, I wrote a collection of poems called Tianma, and counted 80 poems ... I wrote a mirror in May this year and counted 40 poems." 1958 65438+1October 16 He wrote in Talking about New Poetry: "I used to write new poetry. I wrote a lot on 1930, a total of 200 songs ... "1949 followed by". So Fei Ming has at least 500 poems. Except for some scattered poets, most of these poems remain in the form of manuscripts.
An interesting phenomenon is that Fei Ming pays more attention to his poems than his novels. He talked about new poetry and introduced his own poetry creation in detail. He compared his poems with those of Bian, Feng Zhi, and admitted that they were well written and "beyond my power". On the one hand, he said confidently, "My poems are also beyond their reach, that is, my poems are natural and accidental, but the whole poems are not sporadic. They are poets who write poems, just like I write novels." "My poem is so tasteless that it is hard to understand. On the completeness of poetry, no one's poetry is as good as it. " (Lecture Notes on New Poetry-A Chapter about myself, Tianjin Republic Daily Literature and Art1April 5, 948,No. 1948, 120) There have always been different opinions about Fei Ming's poetic achievements. Although Bian admitted that Fei Ming was a "poet", he didn't think highly of Fei Ming's poems, saying that "there are several auspicious poems in his branch, which are difficult to distinguish and unclear in level. His poems are mixed in language, ancient and modern, even Chinese and foreign, and failed to be archaized in Europe. Most of them are awkward to read, and even less as poems. Although they are free poems, they must have a sense of rhythm and melody. " (Preface to the 2nd issue of Selected Works of Feng Wenbing and Historical Materials of New Literature 1984) Yaxian, a poet in Taiwan Province, insists: "Even reading Fei Ming's poems with the most avant-garde eyes today is still first-rate and the most modern." (Fei Ming, Zen poet, China's new poetry research, Taiwan Province Hongfan Bookstore, 1982 edition)
Fei Ming's poetry creation began in the 1920s and ended in the late 1950s. Generally speaking, the works of1920s, such as Winter Night, Children, Children Grinding Noodles, and the son of a foreign coachman, tend to be realistic and easy to read. In the 1930s, I turned to modernism. My poems were rough and full of Zen flavor, which was the most difficult to understand. After the Anti-Japanese War, there appeared some poetic styles, such as Chicken Crow, Man, Truth and Life. Poetry in the 1950s is close to folk songs, with clear content and no need of interpretation. Therefore, what we want to interpret is his poems in the 1930s. This kind of poetry represents the highest artistic achievement of Fei Ming's poetry creation and is unique in China's modernist poetry. In 1947, Huang once pointed out: "I am only interested in Fei Ming's achievements in China's new poems. He opened up a new road ... this is the way for China's new poetry to approach Zen. " (For Fei Ming, the third issue of the supplement of Literary Spring and Autumn Annals, volume 1, March 1947)
Fei Ming's poems are just like his novels, and some works, especially those in the 1930s, are really quite difficult to understand. As early as 1936, Liu Bannong said, "Fei Ming is Feng Wenbing, and there are several short poems, none of which can be solved." (Liu Bannong's Diary (193665438+10.6), Historical Materials of New Literature 199 1 No.65438 +0) Half a century later, Ai Qing also said that Fei Ming's poems were "more elusive". (Sixty Years of China's New Poetry, On Poetry by Ai Qing, Huacheng Publishing House, 1984 edition) Fei Ming's poems are difficult to understand, that is to say, it takes some effort to understand them. It doesn't mean that his poems are incomprehensible and incomprehensible with words. Once you know it, you will find many novel things, which are amazing and unforgettable. As Zhu Guangqian said: "Mr. Fei Ming's poem is not easy to understand, but after you understand it, you may doubt how good it is." Some poems can be understood from the text itself, and some poems must first understand the author. Mr. Fei Ming is sensitive and bitter, and has the taste of Zen. There is a profound background in his poems, but it is hard to understand this background ... There is no doubt that Fei Ming has taken a narrow road, but everyone has taken his own narrow road, and there will be many novel discoveries as a result. The biggest fear is that everyone is on the same narrow road. Fei Ming once said: "All poets with rich imagination have obscure poems, but they must also understand people." (Tell a Poem, No.3 Art Weekly of Beipingming Daily, 1947 65438+ 10/2) Although this statement is aimed at Li Shangyin and his poems, it can also be regarded as Fei Ming's self-teaching.
According to the available information, Fei Ming wrote three poems himself. The first book is Tianma, the second is Mirror, and the third is a collection of the first two books. Compared with the original, several poems have been deleted, and the topic is Tianma. None of these three poems has been published. Now, the mirror draft has been found, but the whereabouts of Tianma's two books are still unknown. Shen (Kaiyuan) was also a disciple who suffered from fasting. He compiled two books, Waterfront Collection and Zhaoyin Collection, which included some of Fei Ming's poems. Seaside was published by Xinmin Publishing House in Beiping in June 1944, with 33 poems. This book is divided into two parts. The first part is called "Flying Dust", which consists of 3 series, including 6 poems of Fei Ming/kloc-0. The latter part of the title "Lu" is Kaiyuan's own collection of poems. Zhao Yinji (1945) was published by Dachau newspaper in Hankou in May. It is a collection of poems by Fei Ming, including 15 poems. In all fairness, Shen's editing of these two books in Friendship cannot be said to be meaningless and valuable, but he deleted more poems from Fei Ming, which damaged the original appearance of his poems. 1985, Feng Jiannan was invited by People's Literature Publishing House to edit and publish Selected Works of Feng Wenbing. The second album selected 28 poems by Fei Ming, most of which were printed according to the author's manuscript. 1999 Changjiang Literature and Art Publishing House published a set of China Poetry Library, which was selected by Zhou Liangpei. In the third episode, Fei Ming Juan was listed, and * * * received 53 poems on 40 topics. This is the largest collection of Fei Ming's poems at present. Although editors spend a lot of time "pursuing perfection as much as possible", due to the lack of information, the result is still "missing a lot"
This collection of poems presented to readers is a collection of 95 poems from Fei Ming 1922 to 1948, including two old-fashioned poems and two translated poems. All unpublished poems included in Collection will be printed according to the manuscript provided by Fei Ming philosopher Mr. Feng Sichun; What has been published is mainly based on the original publication. In order to facilitate readers to know more about Fei Ming's poetics and poetry creation, there are seven articles in the appendix, such as Questions and Answers about New Poetry, New Poetry Should Be Free Poetry, Past Poetry Literature and New Poetry, and New Poetry Lecture Notes-A Chapter About Me. Originally, I planned to include the poems of Fei Ming after 1949 in this episode. On second thought, I think it's better not to accept them. Fei Ming wrote poems before 1949. If there are any omissions in this episode, they will be supplemented in later editions.
Preface to July poetry
In July, 2002, a lonely and arrogant wild plantain in the deep mountain gave me passion, which made me inadvertently enter the sacred palace of poetry. In these three years, wandering in the ocean of poetry, I realized the freedom of Tianjie after drinking a little drunk, the fragrance of spring flowers and roses in the suburbs, and the loneliness and nobility in the deep valley. ...
More than a hundred poems are the release of fiery passion in July, the dancing of ethereal dragons and snakes, and the light surge of true feelings in my heart. The feeling of writing poetry is wonderful, it can make the lonely inner world gradually become rich and confident, and make you forget the troubles and sadness in the world. Because, you can get the enjoyment of beauty and the highest happiness of mankind!
Having this thin collection of poems is the greatest achievement of my 36-year life journey. I can't forget that the wild plantain in the deep mountains and my former residence, Jiao Yan, gave me the passion and inspiration for my creation. I can't forget the ethereal beauty of spring flowers, autumn moon, summer rain and winter snow, and the grandeur and desolation when stepping on bricks.
Perhaps, this thin collection of poems will quietly disappear in the vast sea of people. In the end, none of them will become immortal chapters and poems for thousands of years, but my heart will still fly freely and proudly with them!
Yin Jinhua
2005 10 Xuan en