A big tree - read the "Pengming Love Poem Classic" with feelings

Text/Ma Jiajun

The Shaanxi Provincial Federation of Literary and Art Circles compiled a set of "Century-old Shaanxi Literary and Art Classics", in which the "Poetry Hundred Families" volume includes the biographies and representative works of 41 poets. Because I was also wrongly loved, I was even in the middle of the list of unworthy names and humble poems, so I got a book. I took the time to look it through and found that quite a few of them I knew, or knew. Most of the poets listed in the "Hundred Schools of Poetry" are still alive, except for three or five who have passed away. Very few people write traditional poems, probably only three or two, and the vast majority write new poems. The order in which the poets are arranged is arranged by age. There were only twelve or thirteen people older than me, and the other thirty or so were all younger than me. There are several situations with these poets: some are poets born and raised in Shaanxi, such as Shaling (Tian Lin, Chenggu people) and Xiaolei (Lei Jinqian, Heyang people), who were born in Shaanxi and have been creating in Shaanxi, and are naturally authentic Shaanxi poets. Some are not Shaanxi people, such as Ke Zhongping (Yunnan) and Hu Zheng (Hubei), but after the founding of New China, they have been working in Shaanxi and writing poetry in Shaanxi. There are also not Shaanxi people, who did not work in Shaanxi after the founding of New China, but they once created in Shaanxi, or they began to create from Shaanxi. Such people include Ai Qing, Tian Jian, Guo Xiaochuan, Li Ji, Wen Jie, He Jingzhi and so on. There is also a kind of poet, he is a Shaanxi native, but he went out of Shaanxi and went to work and create in other places, there are not many such poets, and only Pengming is included in the "Hundred Families of Poetry". In addition, I also know that there is a famous poet Wu Mi. Lei Lyric, who writes new poems, also belongs to this type of poet. But there is no income in the book. Maybe it's included in volume two or volume three. Here is just a talk about Pengming's poems.

The only poems included in "Poetry Hundred Families" are "Hometown Can't Be Like This", "To Lovers", "Coal", and "I Am a Rose". However, in the introduction of the biography, I learned that he had more than ten kinds of poems, and I had seen five or six of them. Not long ago, he published the thick upper and lower copies of the "Pengming Love Poem Classic", together with the upper and lower copies of the "Pengming Theory", which were given to me. He did not forget his hometown, specially returned to Shaanxi, and the relevant units held a meeting to solicit opinions on his poetry. I attended that meeting, made a speech at the meeting, and the next day the "Sanqin Metropolis Daily" published the statement. The statement is not long, and is excerpted below:

China is a big country of poetry, and poets are born one after another, that is, they are included in the contemporary volume of the "Dictionary of Chinese Poets", and there are no less than a thousand. The collection of poems of the past should be counted in tens of thousands of volumes. As for love poems, since the "Guan Ju" descended, through Chu Ci, Le Fu, Tang poetry, Song Ci, Yuan Qu, Ming and Qing poetry so far, people are thinner than yellow flowers, standing on the sun, making the lonely Hong shadow, cuckoo crying blood, more do not know thousands.

Poetry has always been eclectic and full of flowers; it can be the Kansai Han copper lute iron plate singing "the great river goes east", or the young girl holding the red tooth plate song "Willow Bank, Xiao Feng Remnant Moon". Poetry can be compared, such as the similarities and differences between Byron and Lermontov and the acceptance of inheritance; poetry can also not be compared, and it is impossible to compare Zang Kejia and Tian Jian with Pushkin and Li Bai. Therefore, when talking about poetry, we should talk about things on the basis of facts, and talk about poetry on poetry. When it comes to Pengming's poems and even love poems, I think we should also implement the spirit of a hundred flowers, let alone have to set up a plan to cut enough.

Wang Yuyang, the first poet of the Qing Dynasty (Tan Xian's "Diary of Futang") said, "The way of fu poetry has roots and roots, and there are xinghui yan, and the two cannot be combined." "Root, from learning; xinghui, from temperament." Those who recite poems do not have to read through the "Thirteen Classics" and "Twenty-Five Histories"; the fishermen and children of the fishing trees, who are prosperous and have come to the club, and who have come out of temperament, can recite them as poems. The scholar and the poet are two different things, the former engaged in science, and the latter created art. "Familiar with three hundred Tang poems, can not compose poems and will also chant" this "will chant" only refers to familiar with Tang poetry, will learn to hum, as to whether you can recite good poems, and become a poet, it is still two things. If you really want to recite decent poetry, you have to rely on your interest and temperament.

Pengming's poems, which come from temperament, are the works of Xinghui, and there is no need to use them to compare with Zhang Sanlisi. Talking about poetry is about whether the poems are natural or cobbled together? I thought that simple poetry, sincere poetry, poetry that came from inner affection, was natural. Pengming's poems are almost like this. Xiangshan words said: "The sunrise river flowers are red than fire, and the spring river water is as green as blue." "Pengming's poems are like rivers and flowers in spring? Its red and green, colorful is indeed true.

Recently, I have taken a section of the Tibetan head poem to write a poem by Yong Pengming, and wish it to go to a higher level:

Pengcheng miles into the clouds,

Ming looked around the world.

Poetry Mingxia shines,

Good words are wonderful.

Such a brief speech would have made it impossible to articulate a meridian to his poetry. But I had written an article about his past poems before, and in the book that was published at that symposium, there was that article, which was already a manual book. Statements can only be brief, and that's it.

I promised to have the opportunity to talk about his new "Pengming Love Poem Classic" after reading it in the future. So I sat down in front of the computer and started writing this article.

It seems that there is a song whose first lyric is "Such a big tree", and I use this lyric as the title of my article. Some people may say: Is Pengming's poetry really a big tree? First, he did not use heroic epic rafters to describe the historical changes of the Chinese nation, and second, he did not summarize the magnificent scene of the vast socialist construction, but only chanted a little personal love, how can we say that it is a big tree? The question here is not to compare poetry to a tree, but whether it is "big" in this tree. To see if a tree is large, not only in the tree itself, but more in the person looking at it. You are a giant, and naturally you look at the tree in front of you; you are standing on Mount Everest, and the tree you see is nothing more than grass. I am an ordinary person with poor eyesight, so I always see other people's things bigger than my own. I have never experienced any passionate love in my life, and I have written poetry, but I have never written love poetry. I was ashamed to write only a few 28-word sentences commemorating the forty years of living with my wife, and it was included in the "Selected Chinese Contemporary Love Poems". Therefore, looking at Pengming's so many and thick collections of poems, relatively speaking, it is naturally like a big tree in front of me. Big is big, how is it still "so big"? Someone may ask this question. I say the word "good". This "good" is not an adjective, not a "good" of "good or bad". It is an adverb and usually has two meanings: "very", "very"; "so", "so". The first meaning, such as saying "the sky is so cold", means that the sky is "very" cold; the second meaning, such as saying "the clouds in the sky are beautiful", is to say "the clouds in the sky are so beautiful". I take the second meaning of "good" here, "good" is "great", and "great" means "so" or "so". "Oh" has no meaning of "very". The title means "such a big tree," not "a very big tree." Let's talk about the word "big". Big means not only huge and huge; colloquially "big man", that is, "tall man", here "big" refers to length. Also, "big" also means "many", such as "large number" and "large number". "Pengming Love Poem Classic" is divided into two volumes, each volume has 832 pages in the main text, and the two volumes have a total of 1664 pages, including 905 poems. (If you add his other poems, there are thousands of poems.) The Book of Verses is 305, and Pushkin's lyric poems are more than 800. The two large volumes here are only part of Pengming's love poems, which shows its "big" (many). Therefore, I call it "Big Tree", and the title means "So many poems!" This is just a fact, not an exaggeration.

Quantity is large, of course, can not be equated with high quality. In Tang poetry, Emperor Wu Zetian had hundreds of poems, but not many people knew about it. Wang Zhizhuo only has a few five or six poems, but even children will recite "The day is at the end of the mountain" and "The Yellow River is far above the white clouds.". However, the quantity is larger, and you can also choose better quality works. Quality and quantity are not completely isolated, and there is a dialectical unity between them.

Pengming's love poems are quite numerous, is the quality necessarily not good? This cannot be subjectively guessed, and a specific analysis is required. When I first read the Pengming Love Poem Classic, I thought that a considerable number of poems in it were quite good. In this review, I do not want to praise it loudly and blindly. I intend to select a few poems and do a specific analysis. Of course, his poems are not classified, and many of the poems in the next volume only have a general title such as "To the Lover", so I can't choose some poems to analyze by class, but just randomly select a few. It is also possible that what I have extracted does not represent the high quality of the poet, and what I analyze is more likely to show the quality of the poem. However, a specific analysis is better than not actually talking nonsense. After this, I will summarize my general impressions of Pengming's poetry in a comprehensive way. That is to say, my commentary text, first microscopic, then macroscopic, does not hesitate to dissect Pengming's poetry.

Recently, I received my "Poetry Exploration Art" published by the China Social Publishing House, which is one of the "Chinese Literary Masters Library". This library contains the works of Li Ruobing, Yuan Ying, Wang Zengqi, Wang Meng, Zhang Xianliang, Yu Qiuyu, Yu Guangzhong, Tie Ning, Wang Anyi, and others, including Peng Ming's "Listening to the Wind on Autumn Nights". This is probably another of his anthologies. A separate poem "Listening to the Wind on Autumn Nights" was also included in the "Pengming Love Poem Classic". It can be used as the title of another book, which is visible to be more important, and I will start with this song "Listening to the Wind on Autumn Nights". Let's look at the original text of the poem first:

In the silent night I heard the fallen leaves singing

Rustle hands play the moon harp

A faint period of sadness

Fluttering past me

It is the wind that reverberates in dreams

I can't help but tick off those sadnesses of my yesterday

Not all of them who kneel down and beg me are my friends

Standing and talking is not all bad for my hopes

The leaves can also play beautiful songs

The corpses on the ground resented the melancholy pathos

You say that a single woman can not be desolate

You say that single men can not grieve

Love without fear is a terrible place of execution

You can know all the content in the middle of it

I didn't squeak just go with the wind over the hill

Autumn nights are so cold and so cold

A vague period of sadness

Rustle fingers play the moon harp

In the cold night I heard the fallen leaves singing

At first glance at the poem, it is quick to see that it stands out in form: the last four verses of the eight verses are the line-by-line reversal of the first four verses. This format has a precedent in Chinese and foreign poetry, which probably belongs to a kind of palindromic poetry. I remember when I was a child, I watched "Wonders of Ancient And Modern Times", which had a sentence on it, "It is twilight when the flowers return to Ma Rufei and the wine is slightly awake", which people cannot understand; only Caizi pointed out: It should be read as "Seeing the flowers return to Ma Rufei, going to the horse rufei wine power; when the wine power is slightly awake, it is twilight, and when the wine is slightly awake, it is twilight to see the flowers." "In 1983, I was living in Shanghai, living in a classmate, and saw her under the moonlight window, still working at night, so I gave her a poem: "The light is born in the moon and the jade window, and the color pen is ambitious." Yang Qi ambition jun pen color, window ying jade lu moon light", the last two sentences are the first two sentences of the word-for-word inversion, such a thing, may also belong to this kind. American poetess Barbara House, who was getting a haircut in the barbershop of Haiti's capital, faced the mirror and was inspired to write a poem called "Mirror Image: Port-au-Prince". The poem is written like this: 

In 

Small 

Barber shop

Monique's /hand fork

Like electric light, like a baton

Raise/direct her customers' hair

Come over: she smoothed the knot

Ladies' brown cheeks/with expensive powder

Sprinkle a layer of/lighter color. The nails and lips are red. 

Her matching lips and nails were stained red, / in the next 

The cubicle seat lady looked at her face/closed 

In the mirror. Her cute brown complexion

Almost disappeared. Oh, pay attention to Ivner

Astute command finger 

Give eternal residence to the shape 

In that little 

Haircut

hall!

The poem is a diamond shape corresponding to the bottom side of two triangles, the upper half is a pagoda poem, and the lower half is an inverted pagoda. The two triangles are symmetrical, as if they were images inside and outside the mirror. This was inspired by the author sitting in front of the barbershop mirror. The entity and the mirror image are reversed. The content of this poem is also upside down. Small barber shop, beautician, haircut process, changing the color of the customer's skin, dyeing nails and lips red; then turning everything upside down: dyeing red lips and nails, skin tone change, haircut, beautician, small barber shop.

After reading such poems at home and abroad, look at Peng Ming's "Listening to the Wind on Autumn Nights": This poem has a total of eight verses, and the last four verses are completely inverted sentence by sentence in the first four verses. Autumn nights, the wind blowing leaves like playing the piano, arousing sorrow, remembering the desolation of relationships and single men and women, the horror of love without fear, the thoughts drifting with the autumn wind; and then turning it all upside down again. Writing poetry is not like writing a paper, writing a paper should be realistic and simple, not vain, less nonsense, can not repeat the instigation. Writing poetry is different, it is indispensable to sing three sighs, lingering pity, can not stop, broken thread. The intermittent whirlwind of feelings naturally causes the cutting of verses continuously, and the rationalization is still chaotic. The inversion of the verse here is not to occupy the poetry line, not to find words, it is to express the fluttering of thoughts and the echo of emotions caused by listening to the wind on autumn nights. If there are only the first four verses, and the meaning has been said, then the psalms appear thin; if the other four sentences are continued, they will be added to the snake, which seems superfluous and cumbersome; if the first four sentences are repeated and lame. Now, the psalm turns the first four verses upside down one by one, bringing out the deep and lingering feelings.

There are many poems written in this way in the "Pengming Love Poem Classic", like the 365 "To the Lover" in its lower volume (about one of the 365 days of the year can be read one day), almost most of them are written in this way of writing from the first half of the poem, followed by the second half of the line by line. For this type of poem, we look at two poems, "Hometown Can't Be Like This": the first is a four-line poem with 8 verses, and the last 4 verses are the inversion of the first 4 verses. To save space, here are just the first 4 verses:

It can't be like this anymore in my hometown

Let my brother and sister live in exile

Some are buried alive

Some died on their way to begging for food

The homeland can no longer be like this

Let my brother and sister feed the jackals

Some are torn apart

Some kill the hills in the wilderness

Let my brother and sister leave your side

No matter how ugly she is, she is also the mother who gave birth to her

Even the poorest is her hometown

Let your children suffer all the bleakness

How warm your arms are

How vast your land is

The second is the 12-verse pentext, and likewise we record only the first 6 verses of it, because its last 6 verses are completely hang-by-hang, one-by-one anti-xing. These 6 verses are:

Let your students wander away

Several times I came back and was left out in the cold

Several searches for my mother were stopped

Is the East not bright and the West bright?

Let your students drift away in a foreign land

Several times I dreamed of the great image of my mother

Several times, I dreamed of my father standing on a magnificent hill

Do you want them to be extremely sad in their thoughts?

Let your students have a home and can't look forward to it

Several times on the other side of the Atlantic

Several times he looked to the east with a sad face

Aren't you their hometown?

Let your students build bridges for others

I have heard several times that the motherland is open

Several times in the middle of the night cheered and sang

Isn't this the idea of loving a mother?

Let your students wander in distant places

A few times I thought about it very bleakly

A few times I think about it, tears flow from your heart

Can't you hold them in your chest

Let your students return to their hometowns

Several times the letters were written with a heavy heart

Several phone calls kept calling out to Daddy

Don't you recognize your own son-

These two love poems are not poems of sexual love between men and women, but an appeal to their hometown. When people talk about love, it seems that they always refer to sex between men and women. In fact, the affection for the object of love has a universal nature, which has national conditions, military intelligence, school conditions, nostalgia, people's feelings, family affection, friendship, sexual feelings... Pengming's two love poems are expressing nostalgia. This hometown, expanded to say, is the homeland or the motherland, that is, it expresses patriotic feelings. Judging from the age of writing, it refers to the situation more than twenty years ago. At that time, the hometown and the motherland were still in poverty, and they had just opened up, and the students in a foreign land were either wandering outside and could not return, or they were working for others. The poet hopes that the hometown or the motherland will become stronger, so that the overseas wanderers will no longer wander; he also hopes that the overseas wanderers will have the feelings of "children are not ugly mothers" and have a loyal and filial heart to their homeland, and can come back to participate in the construction of the motherland. This patriotic spirit, this deep friendship with the wanderers, is sincere, profound, and precious. Of course, the poet himself is not an overseas wanderer, and he has gone far, and there are some "separations". In "Words and Sayings on Earth", when talking about poetry, he talks about "the realm of having me" and "the realm of no self", and talks about "separation" and "non-separation", and one of the examples he gives is: "Baishi 'Cui Lou Yin': 'Here, it is advisable to have word immortals, embrace the yellow crane of Suyun, and play with jun. The jade ladder stared at it for a long time, sighing at the herbs and thousands of miles. 'Is not separated.' To 'wine clear sorrow, flowers dissipate heroism'. Then the partition is separated. Wang Guowei believes that "the language is all in the present, that is, it is not separated." In the words he quoted from Jiang Kui, "game", "gaze", and "sigh" all have the words present, which is the subjective feeling of the words, and the language is at present. The "clear sorrow" behind is wine, the "heroism" is flowery, and without "me" included, it is naturally separated. I thought that "separated" and "not separated" were relative. When we say "gap" in Pengming's poem, we mean that he is not an overseas wanderer, so the people in the poem who look at their hometown on the other side of the Atlantic can only be poets in the virtual, saying "they", not their own personal feelings. However, the poet himself was a wandering wanderer who had left his poor hometown (of course, he had now become a famous poet), standing in the provincial capital and the capital, looking forward to his hometown of Jiaohe Lake. In his dream, his father did not stand by the sea, not by the river, but on the "hill"—the high slope of the loess in the poet's hometown. Naturally, he will have a deep feeling from the bottom of his heart, and will shout loudly: "Hometown can no longer be like this!" Therefore, we do not read it with the feeling of "separation". (Another proof that the poems in the Pengming Love Poems Classics are not all love between the sexes is that there are many poems about friendship in the collection, such as "To My Fifty-Nine Classmates.") I won't go into that here. ）

There are many works in Pengming's poems in which the lower half is the upper half is inverted sentence by sentence, and I will not quote them here. I would like to say another form of psalm, which uses comparative sentences to complete the expression of its feelings. For example, a work called "Bloody Love", its full text is like this:

Why are you so bitter about wanting to kill me?

Not in the summer but in late autumn

A flower that I can't leave

Do you still want to let the desolate tears breed loneliness?

Why are you so windy and fiery

Hurriedly came and hurried past

Like an instant of thunder, like an instant of electricity

Smash the sky of sincerity into pieces

Why are you walking into the desert alone like this

Quietly spilled his own tears

Let the real dandelion

Naked in blood under the merciless knife

There are only three stancles in this little poem, and each verse begins with "Why are you like this...". This way of writing is not only for the sake of the neatness of the sentences, and the sections are thus related to become a whole; but also for the needs of the content. If "Bleeding Love" is not tight enough, but the sentence pattern of the first line of each verse is the same; then "Deep Thought of You" is a sentence-to-sentence comparison, although there is a difference between one verse and one section. The latter verse reads as follows:

For your sake I am quietly growing kapok

I smoked alone in the lonely night for you

For you I'm wandering the long night streets

For you I am writing psalms day and night

For you I often look at the telex on winter nights

For you and I check the letters every morning

For you I often see you in insomnia

Are you still in that remote frontier hotel?

Are you still in that desert-filled wasteland?

Are you still in that impoverished and helpless corps?

Are you still on that dark street day and night?

Are you still waiting for me to appear on that stage every day?

Are you still complaining about me in those tearful eyes?

Are you still reading my letters under that lone light?

Maybe I didn't pick you up in time to come to me

Maybe I didn't think about the difference for so long

Maybe I didn't arrange everything perfectly

Maybe I didn't see you in person

Maybe I didn't expect love to be so tough

Maybe I didn't have the courage to face all kinds of rumors

Maybe I didn't really understand your emotions

…………………

Reading these two poems not only reminds me of Pablo Neruda's "The Logger, Wake Up", but also uses a lot of comparative sentences in the first verse of its sixth chapter:

Give peace to the dawn that is coming. 

Give peace to the bridge; give peace to the wine. 

Give peace to find my verses, 

They rise in my blood

Let the ancient song be entangled with the land and love. 

Give peace to the city of the morning, 

That's when bread woke up. 

Give peace to the Mississippi River, the River of Roots. 

Shirt for peace to my brother. 

Give peace to books, like an imprint of air. 

Give peace to the huge collective farms of Kiev. 

Peace to the ashes of these dead, 

And the ashes of those who died. 

Give peace to Brocklin's black steel. 

Give peace to the postman, and go one by one as in the days. 

To the director of the peace to the ballet, 

He shouted at the Ivy Girl with his horn. 

Give peace to my right hand, 

It just wants to write about Rosario. 

Peace to the Bolivian who kept it secret, 

He was like a tin ore. 

Give peace to you and let you get married. 

Give peace to all the sawmills on the Biobio River. 

Peace to Spanish guerrilla warfare

Broken heart. 

Give peace to the little museum of Wyoming, 

The sweetest thing in there

It is a pillow embroidered with a heart. 

Give peace to the baker and his love, 

Give flour to peace; give peace to you

Everything should grow wheat. 

Give peace to find the love of the bush. 

Peace to all who are alive, 

All the land and running water.

The Chilean poet's "Give Peace to..." is crowned at the beginning of each sentence, and the arrangement is very tight. As a revolutionary poet, Neruda's momentum is magnificent, and the comparative sentences make people read like the Yangtze River, a thousand miles. Because he is talking about a major event of world peace. He also said: "Let the ancient song linger with the land and love", "Give peace to you, let you get married", "Give peace to the baker and his love", "Give peace to the love of the bush", etc., but because his poems are macroscopic poems, he cannot and will not write the joys and sorrows of delicate love. Although the ratio of Peng ming's first poem "Bleeding Love" is not as compact as Neruda's, it is only the beginning of each verse, using the same sentence pattern, and it is only half a sentence, but his poem is a meticulous description of the feelings in the depths of love, so it is another touching effect. In this poem, there are two people, one "you" and one "I", and the psalm uses the tone of what I tell you, and it is a questioning sentence: "Why are you like this...". The poet asks: What are you trying to kill me, what are you doing when you go into the desert? Of course, you won't answer, but the result is serious: what you give "me" is "loneliness," my sky (referring to the heart and everything) shattered, and the ruthless knife stripped away. The pain of love here is visible, perceptible, and meticulous. The verses of Peng Ming's last poem, "Thinking of You Miserably", are the same as the beginning of the sentences, and the arrangement is very compact. It is like a monologue line, to the lover who is not in front of him, a person is talking to himself: the first verse confesses that he misses so much, can't sleep at night, turns the mailbox in the morning, writes poems day and night to express his lovesickness, plants flowers and trees, smokes, can't solve the love. The second verse is to guess the whereabouts and mood of the other party now: is it still in that distant place? Wandering alone on the frontier, in the desert, in the corps, in the dark streets. I thought of the other person crying, complaining, flipping through my old letters. The third verse is to complain about their own big mistakes, pour out their regrets, and blame themselves for not writing for a long time: blaming themselves for not picking her up, not arranging everything, not understanding each other, not considering that they have been separated for too long and too long...

Pengming has many poems that combine the above two forms, which are both comparative and sentence-by-sentence inverted. Such poems include "Dust That Blows Away The Leaves", "The Sorrow of The Light", "Return love"... Wait a minute. Like the previously mentioned "Miserably Thinking of You", it is such a poem, and its second half is the first half of the sentence upside down, the verse is as follows:

Maybe I didn't pick you up in time

Are you still in that desert-filled grassland?

For you I often look at the telex in the winter

For you I am quietly planting kapok

The thoughts and feelings of the second half are the repetition of the first half, not so much repetition as it is the entanglement of thoughts and feelings, which is a profound thought and a long time for the lover. Imagine a lonely poet or ordinary person who has not been away from his lover for a long time, and the thought of his lover is not just to finish at once, he can't sleep at night, toss and turn, think before and after, and feel self-pity and self-hatred, which is something that all people who have come here have experienced. As in another work called "Where Is...", it has eight verses, and the last four verses are also inverted in the first four verses, and the full text of the first four verses is as follows:

There is a courtyard wall enclosed by gardens

Can I enjoy its fragrance exclusively?

There is a theater of grape bunches

Can I taste it bittersweetly

There is the old man with the sea

Can I appreciate Hemingway's mentality?

It's a confused rain alley

Can I imagine Dai Wangshu's pity?

There are old mills

Can I sing the original song of the past?

There are modern sounds

Can you share the changing dance moves?

That's where the leaves fall

Can I resist the soaring wind?

There are lines of poetry where autumn rains continue

Can I light up the bleak bitterness?

The first four verses have a total of eight "There is..., can I ..." because of the interval. The psalms jump, the free associations, some of the tones of stream of consciousness. From the garden herbs, to the confused rain alley; from Hemingway, to Dai Wangshu; from the ancient mill to the modern dance; all the way to the autumn wind and leaves, the autumn rain is continuous. The poem does not seem to say the love between men and women, in fact, the confusion, sorrow, desolation, and bitterness in it are not the expression of the lyrical protagonist's love. The sweetness and fulfillment of love are certainly gratifying; the setbacks and regrets of love are more poetic. Passionate love has to endure the pain of parting, deep love is unattainable, and when it is recalled, it is the most moving thing, and it is beautifully sung, and it is the most moving poem. Don't be sad, poets have always been the most resonant in the autumn of sorrow. Autumn winds and autumn rains are sad. "Amorous parting from ancient wounds, even more can be snubbed in the Autumn Festival." Spring sets off the joy of love, and autumn deepens the melancholy of love. Here I am reminded of an untitled poem by the Russian poet Gers Bakilov:



At dawn, the campfire in the garden is still burning, 

The bald-headed bird is chirping, 

Get ready for the road, summer is almost over! 

But it doesn't remind people of what's so good about summer! 

The gloomy August is annoying. 

It blew through the window ledge and crept in. 

Where are you? Where will you find it? 

The terrace is tightly covered, and the building is empty.

From the early morning, overcooked records 

Repeatedly humming an annoying little tune; 

You have no faith, you are depressed, 

Bow your head and walk away. The path winds. 

How tranquil the sea is, 

The waves rolled lazily forward. 

The grove is all painted with brilliance, 

A patch of rotten golden red orange. 

A damp fog flies from the swamp, 

The aroma of mushrooms emanates from the hole in the decaying tree; 

Someone seems to have quietly sent a message: 

It is said that autumn has come to the earth. 

But you stand alone and worried

Probably somewhere on the street or in the deserted countryside. 

How cold! Autumn is on the threshold, 

But it doesn't remind people of what's so good about summer!

The poem seems to be writing about autumn scenes, but it is setting off the thoughts of distant lovers. Its thoughts are guided step by step logically, not like the free associations and jumps of "Where Is...". It misses its lover in the landscape infection, "all scenery is love language", everything is declarative, and "There is..." is rhetorical or requesting, and the sentences are self-proclaimed. "Untitled poems" imagine lovers standing worriedly on a street or in the suburbs in the autumn fog of autumn forest; the lyrical protagonist of "There Is..." interrogates in distress in the autumn wind and autumn rain: Can I do this, can I do that? Can you get the love of the other party again!

Pengming also has several "untitled poems", his "untitled poems" and Bakilhov's "untitled poems", the same is that they are all caused by excitement, not first have a theme, very clearly what to write, and then conceive and write; but come to Shixing, the sentence gushes out of the pen from the mind, a wave, afterwards or find a certain word in the poem, put a title, or simply called "untitled". Another thing that is the same is that they are all poems about love. But the difference is obvious. Let's take out Peng Ming's "Untitled (1)" and see:

I lay in the vast and beautiful grassland

Face the blue sky with colorful clouds flying

Gently pull on your skirt

Let the breeze blow that water lily

The open face is unobstructed

The translucent eyes are a piece of water spirit emotion

White forehead white shirt

Shawl's soft hair willow like that

Who did I meet

So excited and so carnival

Who am I in love with

So glorious and so brilliant

I quietly turned to the brightly colored water lily

The beautiful reeds are overflowing with aura

The smiling form held his eyes angelically

It is impossible to pick up the grassland that cannot be left behind

Harmonious nature is silent

Sleep under this sky full of cattle and sheep

I walked gently toward the sparkling spring

Gently hold those tearful cooking cigarettes

My mind was racing with bitter childhood

The whims of grief alone

Lie quietly reclining on the prairie

Miss people from afar

Yesterday's wind was so mournful

Yesterday's laughter was so tempting and unsettling

Why is it so hurt today?

Why are there such tears today?

Can you be as plump as the prairie?

Can you be as lively as a cow and a sheep?

Can you show me like a white cloud?

Can you be as drunk in my heart as the stream spring?

Bakiliev's scene is to set off the mood of the characters, and Pengming's scene writing has two roles: one is to outline the environment of the character's activities, those grasslands, blue skies, colorful clouds, clear springs, and water lilies, which are the realistic situation in which the lyrical protagonist is located; the other is the beauty of the girl who is in love with the metaphor, the willow silk, the laughing sun, the cow and the sheep, and the white clouds, which are described or described as the cuteness of the object and the endless nostalgia of the people. This reminds me of the description of Laura by the Renaissance Italian poet Petrarch (1304-1374) in his remembrance and recollection of Laura in the Songbook:

At that time, the breeze blew away her blonde hair, 

Hair curled like clouds, fluttering above her head, 

Although I can't see those incomparably bright eyes, 

There was a strange and moving light. 

Her face rippled with a kind color, 

I don't know if the adoration is true or not, but I think, 

The flammable fire of love is stirring in my heart

Burning in an instant, what miracles will erupt? 

Her steps are light, her posture is graceful, 

Much like a fluttering angel, her voice

Elegant, euphemistic and crisp like fairy music. 

In front of me was the spirit of the heavenly court, 

The radiant sun; even if this beauty is fleeting, 

The golden arrow it shot had left me with incurable wounds.

Here it is also written that a woman's "hair is curled like a cloud", "a kind rainbow on her face", and "a radiant sun", which is also a description of the beauty of women. However, Petrarch focuses on describing the other party, while Pengming focuses on expressing his own emotions. The two are different. The object described in the former is more detailed, while the latter expresses emotions vividly, and his "excitement", "revelry", "sadness", and "lying quietly" show the mentality and state of the bitter lover in front of the reader.

Whether it is Bakilovsk, Petrarch, or Pengming, their love poems are touching to write about the regrets of love. I said that the reason why love poems are welcomed and loved by the vast number of young readers is probably in line with the needs of their spirit. In fact, spiritual needs are also based on material and physiological conditions, which are indispensable to human beings. Sage Cloud: The two great desires of food color also. Existentialism speaks of human survival. For human beings and people, the most important thing is probably these two great desires, right? The people take food as the sky, and people must first eat and live, otherwise they will not survive. A person who does not eat will not maintain his life as an individual. Therefore, people see that man not only seeks the means of subsistence, but also produces the means of subsistence, so that he organizes society and forms certain social relations, and only after that does he speak of the superstructure and ideology. It can be seen that what constitutes the economic basis of society is first of all the production of means of subsistence and food. People live not only to eat, but to live; but to live, to survive, they cannot do without eating. Eat to live. A person's life expectancy is limited, and for man as a class, as a whole, to survive and continue, he must be created by the union of men and women, to produce a new generation, to produce human beings themselves. If all practice asceticism, if they do not marry, and if men and women do not unite, then human beings are cut off and human beings cease to exist. Man is not a hermaphrodite plant or a lower animal, and the opposite sex of the male and female are attracted to each other, which is instinct and nature. But man is not an ordinary animal, he is the primate of all things cultivated by social consciousness, the essence of the universe. People have thoughts and feelings. The attraction between the sexes is not the mating between animals, but the emotional fit. But feelings are superior and inferior. Lust, lust, is a combination of physical needs close to animal nature with other desires such as selfish possessiveness. Noble love is pure affection, the exchange of souls. Carnal desire is low and dirty, love is noble and beautiful. Of course we are materialists, and do not appreciate platonic "love" and medieval chivalry, we pay attention to the dialectical relationship between spirit and flesh. But literature is ideology, and it is different from the same sex physiological medicine. The latter pays attention to the structure of the reproductive organs of men and women, the union of sperm and eggs, conception and childbirth. Literature is a spiritual product, and it should pay attention to the spiritual aspect, so it describes noble love. Animal lust is ugly, then love is beautiful. The ancient Greek goddess Aphrodite (called Venus in Rome) was both love and beauty, and the god of beauty is the god of love. Love is beautiful, and this is the object of poetry chanting. Of course, psychology is based on physiology, and love can occur and be understood, which is inseparable from sexual maturity. Love is the beautiful feeling of young people. Infants and young children do not know how to fall in love. Freud spoke of a child's electriff or oedipus, not of love. The elderly, sexual decline, and then the exchange and union between the opposite sex, is not the pure emotional category of young people's love, but a lot of rationality, thinking, including marriage behavior that takes into account the situation in life and old age. Marriage and love are different concepts, they are not similar concentric circles, let alone overlapping circles, but cross circles, that is, many loves do not lead to marriage, and at the same time, many marriages are not the result of love. There is only one part, the overlapping part, love and marriage are the same, there are lovers who eventually become dependents, and marriage is the result of the sweet cause of love. Of course, things always develop, there is a pair of Xiwang and Li Shuangshuang who are married first and then fall in love, and it is not uncommon for love to break up and cause marriage to disintegrate. Love poems, as the name suggests, are written about love, it is not marriage poems. Marriage without love is, of course, not poetic, and love after marriage is a oriented fact within a family, and its poetry also changes with age and the symphony of pots and pans, that is, love is deeper in the union of spirit and flesh, but its poetry is also covered up by reason and family daily life. People often say that love before marriage is romantic, before the flower under the moon, Qingqing me and I, with a sense of yearning and mystery for each other. Married life is realistic, considering oil, salt, chai rice, and studying who washes children's diapers. Therefore, love poems write about marriages with love, and most of them write about the excitement, yearning, and reverie of love before marriage. Writing extramarital love, and post-marital love will be reduced, writing sunset love, a pair of white-haired old people, and then like a young man and a young man and a woman, the ears are grinding, muttering and muttering oblivion, it will really be ridiculed by grandchildren. The cuteness of love, it is a special kind of comedy, it is joy, comfort, refreshing, pleasant. Not funny, not to make people laugh and taunt. Love poems write about love that is premarital or does not constitute the outcome of marriage. One may have been in love many times, and the last one became the object of marriage. The reason why the previous love was not successful was subjective and there were objective reasons. Subjectively, there is a gap between men and women in all aspects, and finally they can't talk about it and break up, which is not regrettable and can't cause nostalgia. The subjective two sides are similar, life and death are unswerving, but subject to objective constraints such as parental obstruction, external influence, life and death, etc., want to unite but can not be separated, or combined, and then destroyed by the outside world. Both sides are reluctant and regretful. Some are lifelong regrets, such as Lu You and Tang Wan, Romeo and Juliet and so on. Please note! Regretful love is the object of poetry, the most poetic among people's yearning, nostalgia and regret. Therefore, it is poetic to write excitement, intimacy, and earnest whispers in love poems, but it is more poetic to write sadness, despair, and pain. A scrooge, crying about his lost money, is funny. A young girl, crying about her lost love, is beautiful and poetic. Regretful love is a fine work in the historical love poems, and "Hua Shan Qi" and "Chao Tou Feng" are examples. The great poet Heine's best love poems were written for Amalie, Teleser and other women. Because that's unsuccessful love. The poem written to his French wife, Mathilde, is to thank her for her care for the poet at her bedside. Pushkin's most popular love poems were for bakunina, Irina Layevskaya, Kane and other women. What is written to his wife, Goncharova, is nothing more than a poem of thanks, praise and explanation of the traces of the heart and the past love life, so as to avoid jealousy and contradictions of the wife. The first love of adolescence is the fruit of an exciting first attempt at love, which is sweet and possibly bitter. Use all the vitality and poetry to write the first love, miss the first love, and the natural poetry is full of poetry. The subsequent travels of the poet (Heine's study, travel and departure from the homeland, Pushkin's exile to the south and seclusion in the north), love accompanied by turmoil and doom, love poetry became the refraction or focus of the poet's entire life and life. Heine was 44 when he married Mathilde, and Pushkin married Goncharova at the age of 31. At this time, the poets have experienced the ups and downs of life, they have matured, their rationality has grown, and they have fallen in love many times. Therefore, the poems written to the wife are not as beautiful and poetic as the previous love poems that write regretful love. In fact, it is not always the case, some poets, before and after marriage, the love for their husbands or wives is still deep, Li Shangyin, who wants to cut the western window candle, and Mrs. Browning, who wrote "The Sonnets of the Portuguese", are proof of this. However, most of the refreshing love poems still write regretful love. After saying a lot, let's look at Pengming's love poem of regretful love. From the titles of many of Pengming's poems, it can be seen that most of what he wrote was regretful love, such as when he saw "Wordless Monologue", "Desolate Autumn Rain", "Lost Dream Soul", "Sad Flower Season", "Lonely Cruel Moon", "Sudden Sorrow", "Sad Mountain", "Tearful Night Wind", "Despite the Scars", "Silent Sunset" and so on, you will guess a few points. Most of his many "To The Lover" are also regrets about love. Let's take a look at the first half of "To Lover 76":

If you think life is a symbol of eternity

Then please listen under the white clouds

Take the sincerity that was lost with the wind back in your arms

I want to make it clear to you that this is my holy love

If the flag of life were as bright red as blood

Then please take a look at the blue sea

Take the feelings that seem to be gone as if they are not gone as your life

I want to stir up peace in this silent world

If the blood-colored sky casts a sympathetic eye

Then please cherish your sincere happiness

I don't have any reason to break your dreams

Just seeing some inconsequential tragic scenes

If the plot of joy can bring youth back to life

Then please touch my face gently

Sweep away the hot winds of summer and the cold of winter

Completely change the haggard human form on the boat of destiny

If the sky is windy, rainy and cloudy

Then please prove yourself again in the four seasons

I have no joyful obsession and no sad tragedy

Just picking up grievances in the incomprehensible world

Pengming confided in his lover his own requests and wishes, and expressed his pain and grievances. It is the melancholy, haggardness and sadness of a young man who is courted and cannot be satisfied. This reminds us of a love poem by St. Pushkin, a poem of love poetry. When Pushkin was imprisoned in Mikhailovskkoye in 1826, he visited Osipova in the village of Three Hills, from which he wrote a poem called Confessions to Osipova's daughter, Alexandra Ivanovna Bekresova, who lived in the city of Pskov. I quote the full text of this poem:

I love you, even though I'm crazy,

Although this is not an easy task, I am ashamed and embarrassed,

And I confess love on your knees,

It is precisely out of this unfortunate absurdity!

We don't look like each other and we're not the same age...

I should have been self-aware and not delusional!

But I know it from all the signs

The sickness of love has grown in my heart:

I don't see you, I'm sullen, yawning,

When I saw you, I frowned and held my heart;

I can't stand it, and I want to say to you,

O my angel, how much I love you!

When you light footsteps or the sound of your dress rubbing

From the living room to my ear,

Or hear your innocent virgin voice,

My sanity will run out all at once.

You smile – I'm overjoyed,

You turn your face away - I am sad to cut off my liver and intestines,

Your little white hands

It was a reward for my day of torture.

When you bend down naturally,

Sitting there embroidered patterns,

Drop your hair and look down,

I was so moved that I was silent,

Admire you tenderly, like a child! ......

I want to tell you about my misfortune,

Tell me about my jealousy? ——

When sometimes even the weather is gloomy,

You also have to go for a walk, and go far away

Or when you are alone in tears of sadness,

When the two talk alone in the corner,

When traveling to Opotica,

When the music of the piano flutters in the evening wind...

Alina, pity me.

I dare not beg for your love,

Perhaps, because of the depth of my sins,

O my angel, I don't deserve love.

But just pretend,

Your glance can show a thousand charms,

Alas, what a difficulty to fool me about!

It is I myself who am happy to accept the deception!

Belinsky said: Pushkin has mastered the belt of Venus. The belt is the magic weapon of love of Venus, the god of love. Bylinsky's words do not mean that Pushkin has gained love, but that he has mastered the secret of writing love poems. You see this song "Confession", which shows his madness, shame, absurdity, and his excitement when he hears the sound of the other party's dress. Pushkin was confessing his love for Alexandra, even hoping that the other party would pretend to love him. Pengming's golden belt is the care of the other party after the other party has mastered it, hoping that the other party cherishes and maintains her beautiful dreams, and hopes that the other party will listen to the poet's story of holy love like a high-altitude god, see the poet's extreme unpeace, and touch the poet's cheek to give the poet endless comfort. If Pushkin describes a realistic love scene, then Pengming is creating a kind of illusion in his imagination.

Just as Shakespeare's love poems often make love and fraternity inseparable, Pengming's love poems are also universal love. Shakespeare says in his quotient 18:

How can I compare you to summer?

You are not only cuter than him, but also gentler than him:

The fierce wind trampled the tender buds of May's favor,

The deadline for summer outings is too short: 

The sun's eyes sometimes shine too harshly, 

His glorious golden face was often obscured: 

To be crushed by chance or the impermanent heavenly path, 

No fang yan does not finally wither or destroy. 

But your long summer will never wither, 

Or you'll lose your bright red fang, 

Or death boasts that you are wandering in his shadow, 

When you are in immortal poetry with a long time. 

As long as one day there is a human being, or a human being has eyes,

This psalm will dwell and give you life.

As we all know, later generations have examined that this poem was for an aristocratic teenager, not for the opposite sex. It speaks of fraternity. Of course, it is not impossible for posterity to dedicate it to friends of the opposite sex and use it as a sexual love to borrow the title to express. In fact, friends of the opposite sex are not necessarily lovers. The relationship between men and women is complex, don't guess that people are in love when they see men and women coming and going. Generally speaking, there are several levels of relationship between men and women: you know that a man or a woman does not mean knowing him or her, and moreover, knowing does not mean having a relationship, having a relationship, but also depending on the distance and closeness; fellow countrymen and classmates are also familiar, but not necessarily friendship, not necessarily friends; boyfriends, girlfriends, have friendships of varying shades, not necessarily in love, that is, not necessarily lovers. Now "talk about friends" is used as a synonym for falling in love, and the words "boyfriend" and "girlfriend" are used as lovers. In order to differentiate, it has been suggested that those who only have friendships are called "male friends" or "female friends". This is really a snake to add to the snake, asking for trouble. A friend is a friend, and a lover is a lover, and its meaning is self-evident. "Lover" as a noun, there are many meanings, literally refers to men and women who love each other, but if Romeo and Juliet-style boys and girls fall in love, called "lover" or "lover", the problem is not big. If one or both parties are married and engage in extramarital love, the third party intervenes, although they are in love, they can only be called "lover", "lover", "mistress", using derogatory terms. In foreign literature, men and women are engaged, called "contracted couples", called "fiancées", "fiancées", and it is not good to call "friends" and "lovers". The Italian nineteenth-century romantic novelist Manzoni wrote a historical novel called "The Contracted Couple". Once a man and a woman are married and become husbands and wives, they are "husbands" and "wives". In foreign countries, it can no longer be called "lover". After liberation, from the old liberated areas brought a title between husband and wife - "lover". This is a very revolutionary significance for the old society arranged marriages, the union of men and women without love, and the word "lover". But now, if a foreign friend visits your home and you introduce your husband or wife to someone and say, "This is my lover," the foreigner thinks that you, an old and unorthodox, have brought your lover or mistress to the table! Well, stop! Now back to "pan-love": literally, pan-love, that is, to see everything love, here refers to the unoriented opposite sex to produce love, this kind of love, not all with sexual nature, not with evil thoughts or possessive desires. Seeing a handsome man and a beautiful girl, generating love, just like seeing a beautiful work of art, is an appreciative love. Love real-life beauties (male or female) as much as you love beauties in oil paintings. A person with a high heart can't always think of the beauty in the painting, he is just happy and pleasing to the eye. This is what I call pan-love. Tagore proposed the "God of Life" in the "Colorful Collection", believing that "man is above all else" and that God is me. This God is nature, the unity of God and Me, that is, the unity of heaven and man, and the unity of man and nature. All things have spirits, God is everywhere, and to love God is to love life and love nature. Man is the child of nature, according to Shakespeare: man is "the primate of all things, the essence of the universe", and to love nature is to love others, to love all men and women. So Tagore, from a pantheistic point of view, loves flowers and plants, loves the crescent moon, loves birds, and then loves children, loves his or her smile, loves his lively little hands, his clumsy movements, loves their kind mothers, loves young women... It is understandable that a male poet loves the many beautiful women he sees, for this universal love is one of the starting points of poetry, one of the sources of pure, innocent love poetry. Raphael's painting of the Virgin of the Sistine Cathedral, instead of the gloomy, melancholy, awe-inspiring and fearful image of the Middle Ages, is painted as a beautiful, gentle, and beloved young woman. But in the solemn church, in the large halls of the occasion, in the face of the beautiful Virgin, no one will have the evil thoughts of thinking of wrongdoing, and will not be afraid to go to hell to blaspheme the gods. The poet's love for the opposite sex, like this pure love, is a kind of universal love.

There are several of Pengming's love poems", "To the Russian Girl", and I think these love poems have a pan-loving nature. Now look at the first half of its second track (because the second half is inverted in the first half, so it is omitted):

My mood is not what you can imagine

My wish is whether you can treasure it

My sincerity I will tell you

Maybe you silently accept that maybe you don't feel at ease on

My feelings can you cherish

My love is whether you can look up

I don't go crazy like the average person

Maybe you kiss silently or think it's ridiculous

My autumn breeze can you feel cool

I wonder if you can feel the weight

I'm just that stubborn

Maybe you groan silently or quietly resist

You don't know how it feels

But I think it's the world's best place in the world

Maybe the world envies or slanders

But I think that's so chic and beautiful

The discerning person will realize at a glance that there are no memories of the past or nostalgia for the old, and there is no secret between the two people, which shows that the poet and the Russian girl are not lovers of the old times, nor are they a young man and woman with deep contacts. He was only presenting an imaginary mood to an exotic girl he had seen once or twice. He was asking whether the Russian girl could treasure my wishes, my feelings, imagine my mood, look up to my love, and feel the coolness and weight of my love (replaced by "autumn wind" and "happiness"). The poet's love, the result of which is uncertain and ethereal, whether the Russian girl accepts or rejects, is still in the balance, "perhaps silently moaning or quietly resisting". Regardless of the ending, the poet himself feels good, and he thinks that this love is unparalleled in the world, elegant, tasteful, and beautiful. He does not necessarily demand that Russian girls must accept love, nor will he grieve that others will not accept it. The poet simply presents his own love and leaves it at his disposal.

This kind of pan-love, some of which develop into sympathy. In the psychological accumulation of the Chinese nation, "love" is not only connected with "grace", that is, the so-called "love", there is grace will become love, heroes save beauty, and then beauty marries heroes, which is gratitude; and "love" and "pity" are also common, that is, the so-called "pity", because of pity for each other, and love for each other, this is humane sympathy. To say that a petite girl is "miserable" is to say that she is lovely and worthy of sympathy. So love and compassion go hand in hand. Such as this song "Miserable Confusion":

She was like suffering from mental illness

Traveling barefoot to and from the street

Dancing while singing affectionately

Rejoice like a selfless servant

She stood in the house like she had had her tongue cut off

Looking at the distant hometown in a daze without saying a word

Yingying's eyes were full of dazed sadness

Drops of tears shimmered with a long silver light

She never thought about the bungalow with the central air conditioning

I just miss my mother in the grass hut on the slope

Warm sunshine and cold silence and desolation

Constantly wandering on her heavy heart

Perhaps the haggard sadness carries a bit of reverie

Maybe that's the only way to die a drunken woman

In that lonely and unjust rain alley

There rippled on the river that came and went and went and

She has no hope of recovering what she has lost

Just living alone as usual as in the past

Her eyes on all kinds of lust that came along

Always aim hard at the head

The only thing she missed was the hill deep in the end of the world

It was the place where she had been in love for eight years

The only thing she wanted to see was the lover who had been separated for eight years

Because he has brought her countless joyful dreams

Where he is today

There is no trace, no message, no line of poetry

She faced him like this every day in the direction he had gone

She stood alone night by the tree he had embraced when he was far away

He had been remembered kissing quietly with her in the happy little room

I remembered the sadness contained in his blushing face after he had confided in her

Because she knew deeply that what was coming was a miserable confusion

Her lilac-like face shed tears as long as a rain alley

The poems of the poets of the past are mostly in the first person, and the lyrical protagonist is often the poet himself, and the poet is expressing his joys and sorrows, expressing his love for the object, or expressing his sorrow for losing love. But the above song "Miserable Confusion" is in the third person, and it is the bystander describing the pain, confusion and memories of the woman who is not his love. For this woman, the poet does not pour out his feelings with fanatical and excited love for the long-term love of the opposite sex, nor does he describe it with a gesture of indifference and pure objectivism, but the poet sings with a feeling of sympathy and pity, and even infiltrates his own parting and sings with his own deep efforts.

Unlike this kind of description of objective objects, the poet places himself more in a certain situation, writing about the surrounding environment, especially the scenery, and expressing his painful memories and love. Take a look at this song "Cold Winter":

My expectations were dashed in one winter

The cold wind filled the sky

Alone and lonely, I stood on the side of no man's street

The combed mood was also invisibly scratched

Aimless birds hover overhead

Weeping on the edge of a hotel

The last unattended train passed through lightning

The intermittent lights dimmed

Where are you, the goose in my heart

It's getting late now whether you're asleep

Close the window and plug in the latch

The dark house is warm or cold

Without any disguise, I was in a lot of pain

Who can pity the capital city ten miles away

Every time they say it changes my life

The action has been delayed

Invisibly let me miss you more and more in the distance

Maybe fate doomed my heart ship to sink into the bay

I have not forgotten our past

The gentle days and nights

You always sit next to you with a smile

Recite Hasimodo's Psalms several times

Occasionally, towels and red paper fans were sent

Infinite love Infinite love

I remember the snowy days of that late winter

You gently put on my coat and closed the door

Hot coffee on the table

Quietly moved the electric heater to my feet

Let me condense my emotions in a very excited imagination

Bring a sincere life back to life

Today I walk alone on the lonely and sad side of the street

There was not a trace of light in the empty night

The world of five fingers out of sight is dark

How can a miserable traveler find a leisurely happiness

How much sour suffering is contained in the miserable ring of sorrow

The miserable heart sea can not be so sad and tearful

There are two scenes here: one is the winter of the present; the other is the winter of memory. Now it is: the poet wanders in the dark, windy streets, he is so sad, lonely, lonely, his hopes are shattered, his mood is disturbed, his heart is sinking to the bottom of the sea... in short, a desolate picture. And the past was: no matter how cold it was outside, but in the house, warm as spring, the poet had a lover to take care of him, put the coat on him, brought the hot coffee to the table, moved the electric heater to the feet, the two people's ears were grinding, Qingqing me and me, all day and all night, looking at each other and smiling, the two people also read Hasimodo's poems together, in the gentle township, living a tangled little life, how comfortable! Two scenes, two pictures, two realms, two moods. They contrast very sharply. The scenery and emotion in the poem are intertwined and inseparable. "All scenery language, all love language also". Here is an explanation of "Hasimodo" by the way: this is an Italian poet, whose "Water and Earth", "The Sound of the Flute That Disappears", and "Moments are Night" are typical of the "reclusive" poetry of S. Quasimodo (1901-1968). These poems exude a tone of sadness and disappointment. Reading Quazimodo, in a place that coincides with the scene depicted by the poet, a fresh word that evokes more associations.

From the nearly a thousand poems in Pengming's two major books, we have quoted only a few and analyzed them, which can already see some characteristics of his poetry. In my writing, I have quoted the poems of some famous foreign artists in order to illustrate the problem I want to say from the perspective of comparative literature. As we all know, parallel studies in comparative literature are regardless of the noble level, length, or size of the object being compared. I have no intention of elevating Pengming to a high position on an equal footing with Shakespeare, Pushkin, and Neruda, but I have only taken a point to compare the two poems, thus showing the characteristics of the object of my discussion.

Pengming's poems have many characteristics, and I don't have to go to verbose in every way. What is the most important feature of his psalms? I thought there were two points worth exploring: one was its authenticity, and the other was its national color.

Let's start with its truth. This "true" means truth, sincerity, truth, sincerity, sincerity, sincerity. Zhou Zhi: Sincere thoughts, true contents, and sincere feelings are the solid foundation of poetry art; on the contrary, things that are manipulated and moan without disease are not real poetry, no matter how gorgeous. Mr. Ye Hengshan, a Qing dynasty, said in the "Original Poem": "The greatness of heaven and earth, the changes of ancient and modern times, the zhao of Wanhui... Yu Yifa is an article, the form is a poetry endowment, and its path is thousands, and Yu can be covered up in three words: reason, matter, and emotion, and nothing more. However, if the poems are together, is there a definite law? If you first grasp the reason, and if you do it without being wrong, you will get it; if you do it second, if you do it without contradicting it, you will get it; if you finally contract all the feelings, if you can understand it, you will get it. If the three are not easy, then the law of nature is established. Therefore, the Dharma should be reasonable, truthful, and reasonable, and equal to the three. From this we can see that what is reasonable and not false is the sincerity of thought; what is true but not contradictory is the truth of the content; what is reasonable and reasonable is the truth of feelings. Taking it as the criterion, chanting poems is the law of nature. Maybe somewhere rhymes inaccurately, a word doesn't fit, but it's real poetry. In the "Pengming Love Poem Classic", either mourning for the loss of love, or sad for the unattainable hope of love, or rejoicing with a lover, or indignant about the tarnishment of true love, joy and sorrow, all express sincere reasoning, true things, and true feelings. The German poet Goethe had a book entitled Poetry and Truth. I said that Peng ming's book of love poems is a "real poem", a poem about truth, true events, and true feelings.

Let's take a closer look at the real joy, anger, sorrow, and joy in Pengming's poems:

There are not many poems about joy and joy in Pengming's poems, here is a "beautiful love":

Your feminine posture

Your abundance, your radiance

Destined I must come

From the first acquaintance to the present

I really like you

He confesses with lines of poetry all the time

The crazy pursuit is full of expectations

I don't know if you understand the inner part of it

I don't like anything in the world

Just for you to quietly open your feelings

Is it true that beautiful love should also be tied with a nepotism

It's like flowing water from the east into the sea

The brilliant morning glow and the sun and moon are together

It's like you and I interact together

Blind dates are never separated

Gently raise a glass to drink Maotai

………………

The joy of love written here is not half fake (fashionable called "show" is show), that is, there is no half-point of pretense, no twisting posture, no deliberate shyness; the love expressed here is straightforward, generous, and cheerful. The male lyrical protagonist loves the female counterpart deeply, passionately, and even a little crazy, but he is pleased with his love with the other party, shining with the sun and the moon, as brilliant as the morning sun. He appreciates the femininity of the other party, appreciates the plump posture of the other party, and appreciates the brilliance of the other party. He openly professes his love for the other, and he and she are close to each other, drinking happy and festive wine. All this is sincere and true. All men and women who have attained perfect love have probably had similar emotional experiences and experiences.

The love for women in Pengming's poems has no evil intentions or words, and his love is noble and pure. He was reverential of noble and elegant women. Such as this song "Lonely Plum of Winter Night":

Winter sunshine is so monotonous

The red cold plum is so lonely

The world looked down upon her

But my heart beat with excitement for her

The winter wind is so ridiculous

The red cold plum was very cheerful

The world harassed her in every way

But my heart beat for her for a long time

Cold Beauty has the way of living Cold Beauty

Never as flirtatious as the average girl

The world should not regard her as a pure high

But I was a hundred times more proud of her loneliness

Here Mei is used as a metaphor for beautiful and noble women. And put her in contrast with the world around her, describing and praising her. The bright redness, arrogance and loneliness of the plum in the poem contrast with the cold and wind and frost in winter; the purity and strength of the hanmei are also contrasted with the frivolity, beauty and charm of ordinary maidens; the poet's heartfelt love and reverence for hanmei is in contrast with the misunderstanding, contempt and harassment of the worldly mediocre people. In all the contrasts, the poet's state of mind is real, extraordinary, and precious.

The poet's poems of sorrow, sorrow and even sorrow on the desert of love are more, and the feelings they express are deep and touching, and they are also very real. Take a look at a short poem called "Tears of Drainage":

The morning dew of dawn sprinkles on the roses

Warm eyes reflect the brilliance of spiritual wisdom

The deep waves of the heart shine towards you

The rainy season of asphalt sprinkles clear tears

The beautiful cheeks lose color on the rippling waves

Sadly, I dragged a small car and left homeless in the middle of nowhere

You are the wronged soul of the world, I am a fallen man

I wept bitterly in the loneliness of Gu Ying's self-pity

The beauty who quietly fell for you

Gently bury new graves on the outskirts of the mountains

Kiss the earth and the grave and the soul for a long time

If I lose you, I lose myself

If you lose you, you will lose your long-lost loved ones

Such a blow who can not be sad

You go so easy

You go so polite

Leaving me useless poets will only weep

The morning dew of dawn is still shining on the roses

The warm eyes still reflect the brilliance of the intellect

The deep wave heart is still shining towards you

In the mansion, you are still a wronged soul In the Yang world, I am still a fallen person

We don't know if Pengming really pulled a trolley to send his beloved lover to the grave, in short, the yin and yang are separated, and the ghosts and ghosts are forever separated, which is a very sad thing. Morning dew, rain, tears, all mixed together. The lover has become the wronged soul of the underground government, and he is still a fallen person who has no place to stay. The prodigal son travels to the ends of the earth, and the grave where the lover is buried will always remain in his heart. This kind of sadness is that young people who have had this kind of encounter will resonate when they read such poems. This is because this sad feeling is real, typical, and universal.

As a poet, the anger, resentment, and hatred in Pengming's poetry are also very real. Here are two different examples: one is "The Unchangeable Nature" and the other is "Justice is Unfair to the Poet", and we will list them together for a comparative analysis:

For your better studies

I ran around for days and nights

All formalities are completed

You ran away halfway

So that you can work very well

I almost lost my family when I asked an acquaintance to invite me to dinner

You also complain that I didn't do it sincerely

Throw the tea bowl and throw the rice bowl to the sky

You don't wear clothes under a thousand dollars

Expensive slimming teas keep coming

Double portions of the necklace must be replaced each time

Every day, I take a sauna and go back to the massage parlor

Shame on the lower grassroots

Dead-faced lying in bed without clothes or eating

Treat expensive pistachios as fast food

Secretly stealing wild men

Telling lies makes the means pitiful

Mingle with the hooligans

Inside and outside should deceive me

Behind my back, I said gossip again

Even though your actions are abhorrent to the extreme

But I still give you plenty of time to repent

Change your vices completely

It's an impressive sight to behold

But you are obsessed with going into the abyss

Self-righteous use shame as a garland

Even though I've spoken bitterly a thousand times

Even angry taciturn

Justice for the poet injustice:

Don't be so crazy and debauched

Chinese law will never allow arbitrary knives and guns

Don't use your fame to cover up sticks

You writers, poets, critics, scum

Always selling the soul by any means

Greedy little man in sheep's clothing

It is all the devil who strangles freedom, genius and glory

Don't hide under the umbrella of celebrities

Justice and truth will make you tit-for-tat before the law

You ridiculous literary darlings

How many beneficial works have been created for mankind

Could it be that he did something to seduce women

Your deliberate slander is utterly useless

How can a lie cover the truth?

Don't think of swallowing up the poet's justice with your own blood

You have eroded all the literati in the circle with disguised faces

Use the attack on the poet to elevate yourself

I warn you from the bottom of my heart

Or with his tail between his legs, he is conscientiously re-enacting

This will not protect your reputation and status

Fame should be nourished by personality and quality

Status must meet justice with its own works

It is precisely you who have lost this great gene

These two poems are aimed at two kinds of people, the former is his lover, and the latter is the antagonist in the literary world. This lover, hungry, lazy, cruel, profligate, greedy, and fooled with rogues and scoundrels, and even had an affair with a wild man. Although those opposing sides in the literary world cannot create good works themselves, they are good at slandering and slandering and attacking poets. These are scum who sell their souls, greedy little people, who are hypocritical, who are absurd, who lie.... The poet is very angry with both the former and the latter. However, this kind of anger and indignation did not turn into bitter hatred, there was no three-corpse god jumping violently, there was no smoke in the five tricks, there was no anger and scolding; instead, it was severely reprimanded, righteously criticized, and even exhorted these people to change from evil to righteousness. Of course, attitudes towards these two types of people are also different. After all, the lover is a person who has been close to him, and the lover is just not contentious and does not harm the fundamental interests of the poet, so the poem is exhortation, criticism, and hope that the other party will truly change evil and follow good, although these are hopeless. For the villains in the literary world, although the poet is also exhorting, he does not hold out hope, in his view, these people lack the gene of justice. In the midst of irony, the poet sincerely warns these people to be conscientious and wring their tails between their legs. All this shows the poet's generosity and tolerance. The poet's anger here is also real.

Authenticity is a basic requirement for literary character. Truth, in general, is always associated with goodness and goodness. Haven't heard that hypocrisy is good. Something inherently hypocritical and ugly may appear to be a beautiful gesture, but in the end it cannot hide the fox's tail. And the truth does not need to be deliberately dressed up. The basis of reality is natural simplicity. Truth is a talent, a talent that can grasp the essential characteristics of nature. Nature here does not refer to nature, but to nature that goes with the flow. As long as the poet follows the natural heart, the natural feelings, the natural observations, feelings, and experiences, and spontaneously expresses themselves, it is true. Simplicity is the natural overflow of personality, style, and poetry. Rhetoric, bells and whistles, baroque exaggerations, may also show a little truth, but that is inseparable from covering up emptiness, that is, there is something real in it, which will also be discounted and obscured. What really reflects the truth is still simplicity. There is no fictional fairy world in Pengming's poems, no ghosts and no illusory dreams; there is no crater love beyond his experience, no love that cannot be reunited by thinking bitterly across the sea, no fantasy of private affairs with a famous woman, and everything in his poems is the real sadness and joy that the simple and unpretentious reality of young men and women has experienced. A young man in love, a young man who has lost love, reading Pengming's poems will naturally resonate, and the reason for this lies in the truth of his poems.

The second point I would like to make is that his poems are national poems, or his poems have national overtones. Generally speaking, when we say that the poetry of the Chinese nation refers to the classical poetry and songs of the traditional Han people. New poetry is vernacular poetry that was influenced by Western poetry after May Fourth. In fact, Chinese folk songs in the past were vernacular. The new poems are more closely related to translated foreign poems. During the May Fourth period and beyond, many poets were both translators of foreign poetry and creators of new poetry. Guo Moruo, Bing Xin, Wen Yiduo, Bian Zhilin, Mu Dan, etc., their new poems and translated poems are very different. Generally speaking, after advocating the popularization of literature and art, the nationalization of new poetry is finally completed, or it is said that new poetry is national from form to content. Of course, works that imitate the style and tone of foreign poetry are not without them. Such as some obscure poetry, in the end, failed to take root in the soil of China.

We say that Pengming's poetry is national, not just its form. Indeed, he did not write Shakespearean shangli poems, mayakovsky's staircase-like poems, or Whitman's kind of free-form poems. He is almost a folk song, but freer and more comfortable than folk songs. Many new poems are punctuated and do not rhyme. His poems, though devoid of punctuation, are rhyming. This is a characteristic of Chinese poetry. Some of the poems rhyme almost sentence by sentence. Especially those poems that are upside down in the second half, if they do not rhyme, there is no way to reverse. Traditional Chinese poetry generally rhymes with odd sentences (single sentences, out sentences) and even sentences (double sentences, closing sentences) that rhyme. If so, it cannot be reversed. Generally speaking, the steps (tones) of each of his poems are roughly the same or similar in the lines of a poem, and there are no sentences that are too uneven (with individual exceptions). But the nationalization of form is not the same as the nationality of poetry. The national character or national color of poetry lies first and foremost in its national spirit. In On the Poetry of the People (1841), Belinsky said: "The poet is always the representative of his own national spirit, observing things with the eyes of his own nation and pressing her mark." The national spirit is more preserved in the consciousness of the people. "The real artist does not have to work hard to become a people and a nation; he feels the national character in himself first and foremost, and therefore unconsciously presses its imprint on his own work." It can be seen that truth is the basis of the people's and national nature of poetry. He adds: "Literature is the consciousness of the people, and it reflects like a mirror the spirit and life of the people" (A Glimpse of Russian Literature in 1840); "Poetry is true only when it is the people, that is, when it reflects the character of its own nation" (The Poetic Outline of the People and Its Meaning). Poems of the Russian People, 1841), it can be seen that poetry belongs to the people, and it is true only if it reflects the national character. Here, authenticity is in the same vein as people's and nationality. We know that it is the people who form the basis of a people, and that the nation is the larger group of people. Belinsky added: "In his works, the poets of the nation must express, on the one hand, the basic, mixed and difficult to articulate essence represented by the masses of the people, and on the other hand, this substantive definite meaning which is developed in the life of the most cultured strata of the whole nation. (The Works of Alexander Pushkin, 1844). Well, I'll stop quoting Belinsky. In the final analysis, I mean: truly reflecting the people's thoughts and feelings, that is, reflecting the spirit of the nation and the character of the nation. In this way, poetry can be said to have a national or national color. By this measure, I think Pengming's poetry has this characteristic.

To this end, let's take a look at Pengming's poetry. Here are the new numbers I and II to cite the 96th and 80th poems of his "To The Lover":

One

You said you would be back at the end of the month

I leaned against the window and waited bitterly

Spring to winter

I didn't see you knock on the door

You said you came back last month

I silently moved to add the bed cover

Autumn goes to spring

You said you came back in the middle of the year

I quietly bought back the meat dish

You said you came back at the beginning of the month

I walked gently on the balcony

…………

Two

The sunset is faint in the twilight

I look for old love in the past

Red-striped eyes

Like a flame of anger

The waves of the sea wander in the distant sky

The white clouds only looked for residual emotions

I have accumulated many years of grievances

From then on, you will walk up the embankment where the willows are beating

I always seem to hear it

That gentle and gracious call

Sow the seeds of pain into the cracked countryside

The autumn of everything will not be repeated

I wandered deeply in the evening

Lonely tears filled the sky

Sorrow caused by lingering sorrow

How can I not face the heavens with sorrow?

The first of these two poems (i.e. No. 96) says a "waiting." It has the taste of the folk song "Five More Tones". In the folk song, it is said that the girl waits for the lover, and the first moon rises, only listening to the dog barking, but there is no trace of the lover; the second moon shines on the window,...... Until the moon was tilted to the west and the sky was bright, the lover did not come. This poem No. 96 is also clear as the words, waiting for autumn to spring, spring to winter, year after year, without a trace of the Iraqis. The second poem (i.e. No. 80) writes about the pain of not being able to wait or lose a lover. The poet is wandering, complaining, wandering, tears are broken, eyes are red, people are groggy, although they are already very sad, they still cherish the old, still waiting, hoping. This reminds me of one of Liu Yong's poems, "Appeal to Heartfelt Affection": "The rain is sunny and refreshing, standing in the view of the river tower, clear and far away from the water, overlapping the twilight mountains and towering green." Remote recognition of the broken bridge trail, hidden fishing village, to the evening lonely smoke. / In the remnant sun, the pulse of Zhu Lan leans quietly. Gloomy emotions, drunk before drinking. Endless sorrow! The twilight clouds have passed, the autumn light is exhausted, and the old people are thousands of miles away, and the sun and the sky are condensed. "In the words, I hope that the mountains and the waters, the railings will be exhausted, and the remnants of the sun and the clouds will be broken." Where are the deceased people thousands of miles away? This sincere and loyal feeling is a precious emotion of our nation. I remember that the Soviet poet Simonov had a poem called "Wait for Me", which was a song that the soldiers of the Soviet anti-fascist war loved to sing, that is, let the wife or lover in my hometown wait for me to come back after the victory of the war. But Nikolayeva's novel Harvest writes that the warrior returns home to find his wife living with someone else. The American movie "Soul Breaking the Blue Bridge" is not a story in our traditional opera. China's lovers would rather be drowned by the water of the Blue River than default, and have to wait for the arrival of their lovers, even if the lovers come and only see corpses. The "soul-breaking blue bridge" of the United States is nothing more than a translator borrowing a word from a Chinese allusion, and its national spirit is far from ours. When the warrior returned, the lover had already become a prostitute. This is different from how different and distant our Wang Baochuan and other Xue Pinggui have been waiting for eighteen years. This is not far from our military sister-in-law who has worked hard to raise her in-laws, educate her children, and wait for her husband. The spirit of the rich and noble who cannot be obscene, the mighty who cannot be bent, the poor who cannot be moved, who are unswerving, who are loyal and loyal, and who have waited on the bridge for three years is the excellent moral tradition and cultural tradition of the Chinese nation. Pengming's above-mentioned poem reflects this national spirit and, therefore, shows its national color.

Just as any big tree has its branches and leaves, Pengming's psalms are not perfect. Jasper is still flawed, not to mention the poems written by ordinary poets. Things are always divided in two, and even the best poetry will go unsatisfactorily. Of course, when we look at a poet's work, we first look at the mainstream, and see whether his poetry is healthy and sincere. Even for the best poetry, its flaws should not be ignored. However, for a poet's inadequacy, it should not be deliberately picky and find a fork, pointing out that the deficiency is for his future improvement. To criticize the poet's inadequacies should be directed at what he has already written, not at what he has not attained. We cannot accuse Pengming of not writing a heroic epic on the scale of "Armageddon", nor can we use the level of Li Bai and Shakespeare to demand that Pengming surpass the height of his predecessors. That is non-historicist. We are talking about the inadequacy of the psalms that the poet has already written.

First of all, human love is of course a private matter between men and women; but as we said earlier, human love is not the mating of male and female beasts, it is a matter of feelings, and feelings are only available in human society, so love is inseparable from society. The love of two people is part of society. Therefore, to write love poems, we must expand our horizons and write "realized historical content." Since love is a wave in the ocean of society, then this drop of water contains the composition of the whole ocean, the taste of the ocean. Love in common labor, love in common struggle, love in common learning, love in common suffering, is what love poetry often writes; but this love is always permeated with that labor, that struggle, that learning, that suffering, and so on. By placing the love of two people in the torrent of the times, you can see the sun from a drop of water and the world from a grain of sand. This is the height that poets should strive to reach. To measure Pengming's poems from this perspective, he also needs to surpass himself and expand his horizons.

Moreover, the main thing of lyric poetry is to create a touching lyrical protagonist. This lyrical protagonist can be either the poet himself or another character. The lyrical protagonists of Li Bai's "Shu Dao Difficulty", "Will Enter the Wine", and "Gift Wang Lun" are the poet himself; however, his "Long Gan Xing" and the words "Remembrance of Qin'e" are written by a woman. Feminist literary criticism says: Literature has always been created by male writers, in the patriarchal society, male writers write about women, write about love, always from the perspective of men, even from the point of view of machismo, write women as men's catches, and love is always written as men's exclusive world. Therefore, they advocate that women write about women. I think it is understandable to oppose men and women and come to him as a big feminist, and to relieve anger for a while, but to do the opposite is not necessarily the appropriate way. I thought that both male writers and female poets were equals, writing about the same sex or the opposite sex equally. From the perspective of Pengming's poetry, it seems monotonous. It can be imagined that writing about all kinds of love, shaping all kinds of lyrical protagonists, for example, writing the love of female drivers, writing about the love of nurses, writing about the yearning of island warriors for love, and so on. Of course, I'm violating what I said earlier here, asking him not to write something. But I mean, poets should try to broaden their horizons, change their perspectives, write about various lyrical protagonists, write about what they should write.

Finally, literature is the art of language, and poetry is condensed in the most refined language. Marx and Engels said: "Exquisite literature begins with Heine; its mission is to temper the language that is in great need of refinement." "Heine's language is the flame of his poetry, the flower of passion, love and hate, the undercurrent of his intellect and feelings. We say that since poetry is exquisite literature, it should be composed of exquisite language; tempering language is the lifelong unremitting duty of the poet. Mayakovsky said that writing poetry is like mining a mine, and only from a thousand tons of ore can be extracted a gram of radium. Therefore, the highly refined and refined poetic language contains extremely profound connotations in a word, which should be practiced with efforts. There are also some words and phrases in Pengming's poems, which seem strange and irregular, and are not colloquial enough to read. This is something that should be overcome. In this way, the work can be achieved to a high degree of perfection.

(Note: The author of this article has authorized this headline)

(Ma Jiajun, a native of Qingyuan, Hebei, born on October 5, 1929, is currently a professor at the College of Literature of Shaanxi Normal University, a member of the Chinese Writers Association, a member of the Chinese Dramatists Association, a member of the Chinese Filmmakers Association, an honorary president (former president) of the Shaanxi Foreign Literature Society, a principle of the Chinese Foreign Literature Society, a principle of the Chinese Russian Literature Research Society, a former president of the Shaanxi Provincial Higher Education Drama Research Society, a former consultant of the Shaanxi Poetry Society, and a former executive director of the Shaanxi Provincial Federation of Social Science Societies. Shaanxi Province to build socialist spiritual civilization advanced individuals, Shaanxi Province to teach and educate advanced teachers, etc., enjoy special allowances from the State Council.

He is the author of 12 kinds of "Nineteenth Century Russian Literature", "The New Stage of Aesthetic History", "Poetry Exploration", "Exploration of World Literature", etc.; 4 kinds of "The Essence of World Literature" and "History of Western Drama" co-authored with his daughter Ma Xiaoyi; 9 kinds of "History of World Literature" (3 volumes) and "Research on Gorky's Creation"; edited 4 kinds of "30 Lectures on European and American Modernist Literature"; co-edited and co-authored "100 Topics of Marxism-Leninism", "Cultural Research Methods", "50 Lectures on Oriental Literature", "Western Literature in the Twentieth Century", etc. and more than 40 kinds.

It has been listed in more than 40 kinds, such as the Dictionary of Chinese Writers, the Dictionary of Chinese Poets, the Dictionary of Chinese Social Science Scholars, the Cambridge Dictionary of International Biographies (27th Edition in English), the Directory of Experts in Russian Studies Abroad (Russian Edition) of the Institute of World Literature of the Russian Academy of Sciences, and the Classics of Shaanxi Century of Literature and Art. ）