Without saying a word, smelling at the thunder drum

Author: Pan Yuyi

It was "too hard" to read Yu Fu's "Snail". Holding this book of poems in your hand, it is like seeing a small building with a unique shape, knocking on the door but no one answers. Because he had never "started", he could only speculate: Anqing, Anhui, where Yu Nu was born, was a place with a lot of roots in Zen Buddhism, and I don't know if he was infected by the local style, and his poetry carried a secret and unknown thing. Perhaps, poetry itself is a kind of Zen.

In the late autumn, the yellow leaves are full of yellow leaves, and we wander among them, but after searching in our hearts for a long time, we find that we can only use "incomprehensible things" to describe this beauty, and we can't understand what kind of beauty it is. Similarly, reading angry poems, readers often have a feeling of "inadequacy", but the heart is like the night of firecrackers, the sound is from this to that, enduring, and sometimes resonates with a sentence or scene in the poem, bringing itself into the mood created by the poem.

Yu Nu was an explorer in the poetry world and a retrograde of traditional language habits. He let go of his existing experience and chose an undeveloped, unmodified path that provides the reader with a new style of text. As shown in "Snail", the poems of Yu Fu are like the re-editing of the previous "East Evil and West Poison", weakening the expression of language and enriching people's imagination. Here there may be a comparison, if you draw a circle on the blackboard and define it as a watermelon, it can only be a watermelon, and if it is not defined, it can have many possibilities, such as tires, leather balls, sun, moon. At the same time, in Yu Fu's pen, the part that belongs to the "song" is omitted, and the part that belongs to the poem is highlighted. The abandonment of the forms of flatness and rhyme, although to some extent weakens the rhyme and rhythm of poetry, but the sense of obstacle brought about by the defamiliarization of reading can stimulate the reader's subconscious ability to explore.

In Snail, the word "existence" is mentioned several times. Thoughts, light, animals, people... The poet does not write about the existence of these described objects, but speaks bluntly about the state of their existence. The existence here is an objectivity, and as for the meaning, the poet does not explain it, but leaves it to the reader to experience it for himself. What the reader takes from the poem is not the author's secret, but the rebirth of individual experience in the text.

In the book, the encounter that takes place in the tea bar is unconsciously reminiscent of Shi Jingcun's "Night in the Rain"; and reads" "The morning I open the door, the milkman / Send it back to me with the milk." We say good morning to each other", we seem to have a window opened before our eyes, what we see, how much we see varies from person to person, and it is wonderful to describe the relationship between the author and the reader, but it is difficult to describe it in precise language.

Each poem in the book has a "starting style" like a martial arts routine. In many people's concepts, the starting style is only a polite number of etiquette, which is useless when facing the enemy, but Jin Yong used Yuan Chengzhi's guidance to Liu Peisheng in "The Green Blood Sword" to refute this view: The starting style is not useless, but it depends on whether you use it properly. The starting style of some of the poems in "Snail" is very attractive, the first sentence of "General Linguistics" is "direct feeling is sharp object", and the first sentence of "Record" is "grasping what people say", opening clearly and cleverly pointing out the topic. For example, the meaning of the former is probably to say that language is sharp, figurative of an abstract thing, which helps to improve the reader's understanding, and the reader can better appreciate the meaning of the poem by combining his own experience and sayings such as "bad words hurt"; the latter is more straightforward, "grasping what people say" is not a record? However, after using anthropomorphism, the sentence became more and more vivid.

The "starting style" is followed by the main text of the poem, as a viewer, some can understand, some do not understand, some seem to understand non-understanding, but what does it matter? Just read out your feelings. This is like talking about the "Nine Swords of Solitude", few people can remember all nine moves, but when it comes to "no move to win the move", everyone knows, and every time they talk about it, they are always excited. The same is true of the poems of anger.

Because there is less ink in the chest, I dare not talk nonsense, and can only talk about my feelings. Perhaps these are not the same as the original intention of the poet, but they are an image projected by the text on my heart. (Pan Yuyi)

Source: Henan Daily