On June 30th, the 11th lecture of a series of large-scale literature lectures on "Classics by Famous Writers" held by October College of Literature was held in October College of Literature. On the same day, Shu Cai explained Baudelaire's Flowers of Evil, a masterpiece of modern poetry, to the literary lovers present.
Shu Cai is familiar with the evolutionary history of western literature and the writer's mental journey. On that day, he reappeared the spiritual childbirth process of Baudelaire's Flowers of Evil, and understood the significance of Flowers of Evil to modern poetry in a simple way.
Baudelaire was the most famous French symbolist poet in the19th century. In the field of literature, he opened the curtain of modernist literature with Poe, Dostoevsky, Kafka and others. His Flowers of Evil is a groundbreaking work, which challenges the classical aesthetics of western poetry that has lasted for hundreds of years, pays attention to discovering the shining beauty in ugly things, and tirelessly sings for the pale flowers on the edge of hell. The Sai Ren-style singing of Poems, like Pandora's box, opened the door to modern poetry. Thus, poetry has entered a brand-new and subversive development dimension.
In his interpretation, Shu Cai cut into the writer's life and quoted widely, reappearing Baudelaire's romantic and decadent creative process in detail and depicting a unique life landscape that breeds modern aesthetics.
When talking about China's modern poetry, Shu Cai pointed out that one source of China's new poetry is obviously poetry translation. In the history of China's 65,438+000 years of poetry, more than 50% people are both poets and translators. He pointed out, "In poetry translation and poetry creation, the relationship between specific poets and translators is not simple, but S-shaped. Dai Wangshu must be interested in Baudelaire, Allen Poe and others when he wrote Rain Lane. He opposed his previous poetics and thought that poetry could not only be subordinate to musical effects. As far as the meaning and artistic conception of poetry are concerned, he saw the power of symbol in Baudelaire's works. "
As for the present situation of China's modern poetry, Shu Cai thinks that "the post-70s poets are fundamentally different from the post-60s poets. They want to be in full bloom, presupposition, symbol and metaphor in the language, and they really want to use the language incisively and vividly. Living language must be given to you by people in your own life and life in your country, that is to say, doing things with living language is a great awakening of post-70s poets. They combine language with the body. Language itself is the body, and what kind of people speak what kind of language. "
Shu Cai believes that poetry is everything that happened in the past time and space, and knowledge will only be meaningful if the poet has the ability to connect with his present. Poetry has its own special knowledge archaeology, not knowledge. If poetry is knowledge, the world is completely boring. The explosion of knowledge and information now needs a poet who can give himself new ideas, make unprecedented discoveries about what happened and express his feelings in an unprecedented way.
"I think this may be the philosophical condition for poetry to survive." The tree said.
On that day, "Famous Scholars Telling Classics" was a public welfare literary brand activity, and the time was 2065438+April 2007. The target of the lecture is students from universities and colleges in the capital and people from all walks of life. In the form of "famous lecture hall, refined and popular * * * *", each issue selects a masterpiece from domestic and foreign literary classics, and invites famous experts, scholars, writers and artists from Beijing and the whole country to interpret the artistic achievements and spiritual connotations of writers and works in a simple way.
It is reported that since the lecture on that day, the series of lectures on "Classics by Famous Scholars" has entered the modern literature unit from the western classical realistic literature unit. (End)