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Although Lv Yuan, who first appeared in the poetry world, fascinated many readers with his "children's voice" and dreamy paradise, wandering in the wonderful, dreamy and faint sad realm of his "fairy tale" will also make people unconsciously associate with modern poetry like Bian, which was once all the rage in the poetry world in the 1930s [3]. But even in this period, poets are often like "there is no poem,/it is the poet's harp/who broke it on the bridge,/who kneaded the staff into grass." //Kill those locusts that abuse blue grains,/No evening prayers! /The less you shed tears, the less you need a cross; The more blood, the darker the color. //Not writing poetry, but writing revolutionary history. (Hatred, 194 1 year) The poet's sinister living environment at that time was conveyed in the form of "sensitive tentacles all over the body" [4], and the beacon smoke of war was burning with fantastic "fairy tales". Thus, in the seven years before the founding of the People's Republic of China, Luyuan entered the era of its angry political lyrics. In To the Naive Optimist (1944), The End, Another Starting Point (1945), The Philosophy of Revenge (1946), Galileo Facing the Truth (1946) So in "there is a warrior poet/he sings the victory of truth/he shoots with his song/his poem is blood/can't be poured in a glass" (poet, 1949) "people are alive/like sailing//your hate, your storm/your love, your cloud" (sailing, 65439).
Of course, this "rational color" and the change of poetic style before and after the founding of the People's Republic of China are not only related to the poet's conscious rebellion against the dark autocratic society at that time and his adaptation to the requirements of the times, but also related to his childhood survival experience buried in Luyuan's heart. Luyuan's parents died when he was a child, and he grew up under the care of his older brother 19 years old. The early death of his parents, several sisters who sent others to be child brides, and the poverty of life not only made him lack the happiness of his childhood, but also caused his physical weakness, introverted personality and spiritual loneliness. This realistic living environment can not help but leave a so-called "psychological prototype of suffering" in the poet's childhood memory. Therefore, although The Original Green Plain entered the poetic world in a simple, transparent and imaginative way, this "unique expression" after a careful investigation of the poet's life is not only the spiritual compensation for his unfortunate childhood, but also the difference in concrete expression and creative style. Once the external environment changes again, the poet's self gradually moves towards a broad "self" space in the mature evolution, then this potential factor will appear in due course, releasing philosophical and speculative colors in sharpness and backup. The transition from "innocence" to "stupidity" is not only the general trend of Lvyuan's poetry creation before the founding of the People's Republic of China, but also undoubtedly conforms to the historical characteristics of "creation" such as "July Poetry School" which integrates the times and art [5]
From the second half of 1949, that is, he wrote "From 1949" to another Columbus in 1959, Luyuan entered the "low return period" of creation [6]. During this period, although the birth of the new China made the poets feel extremely happy, they could not go deeper into their lives because they were busy with office work for a long time. Therefore, most of the poems completed in this period are somewhat vague and powerless, which is undoubtedly obvious to Lv Yuan, who has been exploring the spirit of poetry creation. Written between 1953 and 1954, Snow (1953), Flame of Joy (1954) and River Awakens (1954) were created after the poet tried to get rid of the bondage. However, both the opportunity of publication at that time and the imprisonment of 1955 artificially interrupted this exploration.
On May 3rd, 1955, 13, Lvgu "Hu Feng Counter-revolutionary Group" was prosecuted and put into prison. At this point, the creation was basically interrupted for more than 20 years, and it was not until 1979 that the opportunity to publish the work was obtained. However, prison life did not completely depress him. During the seven years of single imprisonment from 1955 to 1962, although Luyuan suffered from purgatory mentally, he still learned the skills of German translation through tenacious self-study. Repeated chewing on suffering and deep experience in the soul not only greatly honed his will, but also laid a solid foundation for his profound understanding of life, society and times. The famous "latent writing" texts completed in this period, Another Columbus (1959), Sign Language Poetry (1959), Facing the Wall (1960), and Rereading the Bible (completed in the ten-year catastrophe) in the same period, In a recent interview, Luyuan once recalled his specific poetry creation after his rebirth in the early 1980s, saying, "I stopped writing for more than 20 years, and when I picked up my pen again in the 1980s, I found myself far away from my past artistic thinking, barely knowing my past works and unable to communicate emotionally. It turns out that I have begun to become an old man. I don't feel and think about many things as before, so the style of poetry and words in my pen is different from before. Over the years, I no longer write passionate political lyric works, nor do I have beautiful poems in the form of fairy tales. What I want to express in writing poetry now is just my own understanding of life. Therefore, my poetry style is relatively calm, and compared with the previous style, I am almost completely different. There are many reasons for this, mainly because I have experienced too many changes, and then my thoughts and feelings can't be as simple as when I was young. " [7] This is enough to prove that when the poet faces poetry again, he has a new understanding in mentality and emotion. However, in this understanding, what is conveyed is still rational. During this period, autumn water articles, high-speed nocturnal trips, short-lived memories, reading Feng Zhi's sonnets, purple rain and so on. It is the concrete and external expression of this "rational color" in the form of typical philosophical poems, concrete symbols and fables, as well as deep understanding and cognition of life.
At this point, under the premise of fully connecting with the poet's life experience, we can clearly see the specific causes of the "rational color" that is often permeated in Lvyuan's poems: in addition to the suffering experience of childhood and the external requirements of adapting to the times and society, the strong change of life background, the purgatory-like career and the maturity and firmness in the passage of time are all important reasons for this rational color. Of course, in this process, we can't ignore the fact that Lu Yuan himself is studious and well-read, and he has knowledge of philosophy, history and literature at all times and all over the world. So the so-called "rational color" is green.
Author: Zhang Liqun reply date: April 26th, 200714: 55: 001# The original poem was developed in a diversified, multi-level and multi-angle way.
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Throughout the course of Lvyuan's poetry creation, we can clearly find that the so-called "rational color" is manifested in the following aspects. The first is a strong color of rational speculation. Poetry and Truth, written in 1948, can't be compared with some popular works in the later period, but in the short system entitled "Poetry has no technical truth, clothes and people have no sophistication", Lvyuan still thinks that "poetry is the brother of human beings/it accuses people of their illusions about life/poetry gives people a high degree of freedom/poetry and truth are common/poetry never praises madness//people must use poetry to find the light of reason/people must use poetry to cross ugly bridges/people must use poetry to open up the wilderness of life/people must use poetry to defeat human tigers and wolves/people must use poetry to move forward all the way/even if they are constantly injured in the middle". Naturally, under this premise, the "rational color" in the poet's poems has gained a relatively stable "writing foundation".
If the "fairy tale" poems of that year often covered up the poet's childhood suffering experience because of innocence, clarity and faint sadness, then the "rationality" in the poems has been exposed in the green plain during the purgatory period. Take another famous Columbus as an example. In this work written in prison, Luyuan compares himself to Columbus who sailed and explored 500 years ago through the comparison and symbol of ancient and modern China and foreign countries. However, compared with Columbus, who sailed on the ship Santa Maria in those years, today's Columbus is a single-celled lonely Santa Maria with no minutes, no day and night.
This Columbus-shaped cutting skeleton
The poor lead a very bad life.
Holding "Song of Songs" in his hand
Staring at the changing ceiling
Drifting on the ocean of time
He relied on Einstein's common sense.
I firmly believe that the front is "India"—
Even if we can't reach India in the end.
He will also discover a new continent.
Here, it is worth noting that after all kinds of hardships, Columbus in history "did not reach India at last/but discovered a new continent"; Today's Columbus in China can only discover the "New World" by "common sense" and "firm belief". At the end of the poem, "Even if he can't reach India in the end, he will certainly find a new continent" has clearly stated that this "new continent" representing truth and purpose was not promised at that time. However, it is such a will that can firmly believe, but it makes the poet deeply express the difficult situation, sense of hardship and broad artistic conception that he can experience through poetry.
Rereading the Bible is another important work of Lvyuan in this period. In this poem, which is called a "double gem" together with another Columbus, Lvyuan combines the fairy tale in the Bible with reality in a different way of boasting and metaphor: The Cowshed Poem Copying N;
Today, Jesus was not only crucified once,
Today, Pilate will never intercede for Jesus again.
Today, Mary Magdalene is doomed to be humiliated forever.
Today, Judas will never think of suicide again.
At this time, there was silence in the "bullpen".
Friends snore one after another.
There are endless checks and explanations on the table.
Tomorrow is endless criticism and struggle.
"I have to give up all hope when I get here."
Anyway, you have some spirit.
I have always believed in atheism;
God has mercy on me.-only people.
The whole poem is not only heavy, profound and sharp, but also saturated with the poet's deep thinking about life and the world with a clear and optimistic mood. Therefore, its own sense of heaviness, critical consciousness and conscious rational speculation have reached an unprecedented height in similar works.
Author: Zhang Liqun reply date: April 26, 200714: 59: 002 # Corresponding to the strong color of rational speculation is the philosophical tendency and intellectual tendency in Lvyuan's poems. Philosophical color and intellectual color are another remarkable feature of Lvyuan's poems, and they can also be regarded as another external expression of rational color. Of course, the so-called philosophical tendency often has an inherent sense of hierarchy because of its meaning. Chen Bingying once said in "On Qingyuan": "Some commentators think that philosophical thinking is the fatal wound of Qingyuan's poems. In fact, on the contrary, the originality of Lvyuan's political poems lies in his introduction of philosophy and art into revolutionary poems and new poems. We have never seen any poet pay so much attention to philosophy as Luyuan, and use it widely, so successfully poetizing philosophy. " [8] Indeed, the philosophy permeated in Green Plains' poems is not the meditation produced by the modern metaphysical school because of the context of the times and the poet's personality characteristics, but a rational drama that combines social reality, revolutionary philosophy and life experience. For example, in Lvyuan's famous political lyrics, readers can not only experience the emotional agitation, but also get a kind of thinking stimulation. Therefore, these works, which are mixed with emotions but not bare thoughts, not only write the philosophy of life, but more importantly, they also lead readers to the philosophy of poetry in an exciting way.
In the process of philosophical representation of Lvyuan's poems, the religious consciousness and emotion that often appear in the poet's works are also very noteworthy phenomena. In fact, many researchers have found the religious feelings of Green Plains in works such as Rereading the Bible (such as Barbara? Horst reread the Bible about the Green Plains in Jesus in China Literature in the Twentieth Century, but religious figures, religious themes and religious colors appear repeatedly in his works, which not only occupies a minority position in the poems of the Green Plains, but also in the images such as "vespers" and "crosses", in the chapters similar to the interpretation of religious stories by poems, and in the purgatory environment after the poet suffered. For example, in Galileo before Truth (1946), a work closely related to the medieval church, the poet's ultimate goal is to extend to real political prisoners, human standards and the pursuit of truth. Therefore, in the end, these so-called religious images become a "symbolic symbol" to express philosophical tendencies, and after the hurricane-like political rationality cools down, they are transformed into a material commitment of a specific philosophical rationality.
Similarly, the tendency of intellectuals also plays an important role in the "rational color" of Lvyuan's poems. But the so-called "intellectualization" here does not simply refer to the intellectual tendency that often appears after extensive reading in Luyuan's works, but refers to the poetic influence that Luyuan's poems accept to some extent and even the relationship between teachers and students. As early as before the founding of the People's Republic of China, some critics pointed out that "the overlap between Dostoevsky's temperament and Goethe's personality represents the most important direction pursued by Luyuan" [9], and the reading and supplement after studious and hard work undoubtedly created "objective conditions" for this kind of intellectual's writing literacy. Therefore, in later works, such as Goethe's "23 Things", West Germany's "Picking Up Ears" and "Autumn Water", the integration of philosophy, history and literature not only shows a far-reaching realm, but also often conveys or aggravates the "rational color" of the poet's poems in the process of the integration of personality, temperament and knowledge. Perhaps because of this, friends who are familiar with Lvyuan's poetry creation will make the following comments: "If there is a lack of artistic appeal in the creation of new poetry in the early days of liberation, it is easy to unconsciously coincide with the potential idealistic tendency in his poetry creation; Then his experience of being forced to think calmly in solitude for many years, his habit of translating literary theories, and the inherent cold argument of his poems all contributed to that idealistic tendency subjectively. " [ 10]
Finally, the fusion of image and emotion is also an important feature of "rational color" in Lvyuan's poems. Poetry that emphasizes "rational color" often excludes the emotion and concrete image of poetry to a certain extent because it pays attention to rational expression. However, if images and emotions are exiled excessively, the reasoning of poetry will become rough and dry. Lv Yuan is a poet who is good at dealing with emotion, reason and image in poetry. Not only did he often create concrete images and symbols of philosophy through his extraordinary imagination, at the same time, his familiarity with ancient and modern Chinese and foreign literature and history also created the breadth and depth of association with many knowledgeable images in his poems. Moreover, many successful philosophical poems in Lvyuan are not obscure.
Consistent with reasoning with images, there is also a strong lyricism in Lvyuan's poems. Many researchers have noticed that Lv Yuan seldom wrote love poems in his life. However, this is not the basis and reason why the poet lacks lyricism. In fact, since the period of "children's voice", Lvyuan's poems have shown frank and frank lyricism; In the era of political lyrics, Qingyuan, with its strong emotional color and sharp and powerful satire, brought its sympathy for the lower class and anger at the dark society to the extreme. However, Luyuan quickly fell into adversity because of the so-called "reactionary group", so the emotional expression became relatively introverted and the image expression appeared relatively profound. However, such realistic conditions have also created a balance of rational expression in Lvyuan's poems. Another Columbus, who reread the Bible and other chapters, was moved by the combination of vivid and touching images with profound philosophy and inner feelings. Since the new period, especially since the 1990s, the almost transcendental mentality and profound rationality in Lvyuan's poems are the natural extension of this multiple combination under the years' elutriation.
As Luyuan said in the preface of a collection of poems: "Poets are in life, not on the stage. Life is far broader, more severe and more difficult to reach a happy ending than the stage. Therefore, a poet can only and should only make exploratory creation according to the diversified nature of life, and he cannot and should not be an ordinary performing artist who shows a set life to the audience with a program on the stage. " [1 1] The "rational color" that runs through Lvyuan's poems is the result of many factors, such as the pursuit of truth, persistence in art, and firmness in years. Although Luyuan did not publicize his pursuit of poetry in the form of theory and slogan, his pursuit of rationality, truth, goodness and beauty of poetry was always accompanied by his creative practice, and gradually integrated into his life during the extension of time, becoming an important way of his existence. Therefore, whether a few words can enlighten readers' minds or the poet himself regards poetry as a lofty and sacred cause is the inevitable result of his difficult, lonely but confident poetry journey. "But there can be no vulgar victory/ideal and fruit in poetry, and it will always be possible in the end." The rational color of Lvyuan's poems is the crystallization of flesh and blood after melting and casting, and its persistence in the process of melting and casting is a great mental journey.
Precautions:
[1] Han Niu: Thorns and Blood-Talking about Qingyuan Poetry, Notes on Learning Poetry, Beijing: Joint Publishing Company, 1986 edition, 74 pages.
[2] Zhou Liangpei: "Qingyuan Poetry", "Poetry Journal", 1992, No 2.
[3] For Lvyuan's acceptance of modernism, especially the influence of Bian's poems, see the preface of People's Poems, Beijing: People's Literature Publishing House, 1983 edition; And Luo Hui: I wrote Green Plain, Historical Materials of New Literature No.2 1983.
[4] The source is the same as [1], 70 pages.
[5][9] Yi Lee: The Value of Art History from "Naive" to "Stupid"-Re-understanding of the trip of Lvyuan Poetry before the founding of the People's Republic of China, Guizhou Social Sciences, No.5, 1998.
[6] For the specific division of the four periods of Lvyuan poetry and the characteristics of poetry in each period, please refer to Liu: "Poet God? Purgatory? White Flowers —— Chapter 12 of July Poetry School, On the Green Plain, Beijing: Beijing Normal University Press, 199 1 Edition.
[7] See Liu Shijie's visit to Green Park, in the afternoon of June 65438+10/October 65438+September 2004.
[8] Chen Bingying: "On Qingyuan", "Research on Anti-Japanese Literature and Art", 1987, No 2.
[10] Han Niu: Thorns and Blood-On Poems of Qingyuan, Notes on Learning Poems, Beijing: Joint Publishing Company, 1986, pp. 74-75.
[1 1] Lvyuan: Preface to People's Poetry, Yinchuan: Ningxia People's Publishing House, 1983 edition.