Hello everyone, I am your pen god.
On January 15, 1897, Xu Zhimo, the representative poet of the Modern Crescent School, was born. Today, let's walk into Xu Zhimo's world to understand his story!
Xu Zhimo
Biography
Xu Zhimo (January 15, 1897 – November 19, 1931), originally known as Zhang'an [xù], was renamed Shima when he studied in the United States. The pen names used are Nanhu, Shizhe, Haigu, Gu, etc. Zhejiang Haining Kip Stone people. Modern poet, essayist, crescent poet, member of the Crescent Poetry Society.
He graduated from Hangzhou No. 1 Middle School in 1915 and studied at Shanghai Hujiang University, Tianjin Beiyang University and Peking University. In 1918, he went to Clark University in the United States to study banking. He graduated in ten months with a bachelor's degree and a first-class honorary award. In the same year, he transferred to the graduate school of Columbia University in New York and entered the Department of Economics. In 1921, he went to England to study, and entered Cambridge University as a special student, studying political economy.
Two years in Cambridge were deeply influenced by Western education and European and American Romantic and Aesthetic poets. Laid the foundation for its romantic poetic style. In 1923, the Crescent Society was established. In 1924, he became a professor at Peking University. In 1926, he became a professor at Guanghua University, Daxia University and Nanjing University. In 1930, he resigned from his posts in Shanghai and Nanjing, and at the invitation of Hu Shizhi, he was once again a professor at Peking University and a professor at Beijing Women's Normal University.
On November 19, 1931, Xu Zhimo took the "Jinan" postal plane to the north, but due to heavy fog on the way, the plane touched the mountain and unfortunately died. Representative works include "Farewell to Kangqiao" and "A Night in Emerald".
Literary history
After returning to China in 1922, he published a large number of poems in the press.
In the spring of 1923, Xu Zhimo set up a club in Beijing, choreographed and acted, held annual meetings and lantern parties every New Year's Festival, and also had poetry paintings, Xu Zhimo, out of interest in the Indian poet Tagore's poetry collection "New Moon", nominated to borrow the word "Crescent Moon" as the name of the society, hence the name of the Crescent Moon Society. In the same year, he joined the Literary Research Society.
In 1924, together with Hu Shi and Chen Xiying, he founded the weekly "Modern Poetry Review" and served as a professor at Peking University. The great Indian poet Tagore served as a translator when he visited China.
Before 1925, in addition to composing poems, Xu Zhimo himself contacted members of the Crescent Society to engage in theatrical activities. In October, Xu Zhimo took over the editing of the "Morning Post Supplement", and in the same year, he became a professor at Peking University and went to Europe to travel to the Soviet Union, Germany, Italy, France and other countries.
On April 1, 1926, in Beijing, he edited the supplement of the Morning Post, "Poetry Engraving", at this time, Wen Yiduo had returned from the United States and participated in the compilation of "Poetry Engraving". Except for the third and fourth issues, which were edited by Wen Yiduo and the fifth issue by Rao Mengkan, all of which were edited by Xu Zhimo. The published "Poetry Journal Benyan" and "Poetry Journal Holiday" were also written by Xu Zhimo.
The writers of Poetry Engraving worked the creation of Chinese new gelug poetry and the discussion of poetry art, so the founding of the Morning News Poetry Journal marked the formation of the poetry genre, the Crescent Poetry School. In the same year, he moved to Shanghai with Lu Xiaoman and became a professor at Guanghua University (the predecessor of East China Normal University), Daxia University (the predecessor of East China Normal University) and Nanjing Central University (renamed Nanjing University in 1949). Founded Crescent Magazine.
In the spring of 1927, some members of the Crescent Society gathered in Shanghai due to changes in the political situation and other reasons. At this time, Xu Zhimo also married Lu Xiaoman and moved to Shanghai. Xu Zhimo visited friends everywhere, went to contact, and ran to contact Wen Yiduo, Hu Shi, Shao Xunmei, Liang Shiqiu, Yu Shangxun, Zhang Yujiu, etc. in Shanghai Huanlong Road Huanlong Villa, with Hu Shi as the chairman and Yu Shangxun as the manager, and Zhang Yujiu as the successor. In the same year, Xu Zhimo also traveled abroad to Britain, the United States, Japan, India and other countries.
In March 1928, Xu Zhimo worked as a professor at Guanghua University, Soochow University, Daxia University and other universities, and founded the monthly magazine "New Moon". On November 6 of the same year, he composed "Farewell to Kangqiao", which was first published in the December 10, 1928 "New Moon" Monthly Magazine Vol. 1, No. 10, signed by Xu Zhimo. Crescent was published in four volumes and forty-three issues.
In 1930, he became a member of the Chinese Culture Foundation Committee and was elected a member of the British Poetry Society. In the winter of the same year, he taught at Peking University and Beijing Women's University.
On January 20, 1931, Xu Zhimo, Chen Mengjia, Shao Qianmei, Fang Weide and others ran a quarterly magazine of poetry magazines, and Xu Zhimo was elected as a director of the Chinese branch of PEN and published four issues.
Classic verse
Goodbye Kangqiao
Gently I went,
As I come gently;
I waved softly,
Be the clouds of the western sky.
The golden willow by the river,
Is the bride in the sunset;
The shadows in the waves,
Ripples in my heart.
Green flies on soft mud,
Oil flaunting under the water;
In Zopory on the River Cam,
I'm willing to make a water weed!
A pool in the shade of the elm,
Not a clear spring, but a rainbow in the sky;
Crushed among the floating algae,
Rainbow-like dreams precipitated.
Dreaming? Hold up a long pen,
Drift towards the greener grass;
Loaded with a ship of stars,
Sing in the starry sky.
But I can't put on a song,
Quiet is the parting of the sheng zhen;
Summer worms are also silent for me,
Silence is tonight's Bridge!
Quietly I left,
As I came quietly;
I waved my sleeve,
Don't take away a cloud.
parse:
The whole poem of "Farewell to Kangqiao" consists of seven verses, each section has four lines, each line has two or three meals, eclectic and rigorous, and the rhyme style strictly adheres to the rhymes of two and four, and the rhyme is depressed and catchy. This beautiful rhythm ripples like ripples, which is not only the sound of the pious student's dream, but also the ebb and flow of the poet's feelings, and there is a unique aesthetic pleasure. The seven verses of the poem are arranged in a staggered manner, and the rhythm is slowly spread in it, which is quite a bit of a poet's temperament of "white robes and thin islands in the suburbs". It can be said that it reflects Xu Zhimo's poetic beauty proposition.
Wide sea
I don't need the sky of the wide sea and the sky,
I also don't want to put a huge paper harrier
Heaven goes to play tricks on the wind in all directions;
I just need a minute
I just need a little light
I just need a slit,--
Like a small child crawling in front of the window of a dark room
Looking at the immortal slit in the western sky,
A little light, a minute.
The poem is cleverly conceived. The "no need" and "don't want" at the beginning contrast strongly with the three "ones" below, setting off the author's pursuit even more pitifully. The superficial "no complaint" hides the "resentment" that is unobtainable to the sea and the sky, which is more sympathetic than the direct expression of "resentment". In addition, it is also quite ingenious to use the pure and free nature of the "child" to compare the poet's personality and the pursuit of purity and immaculate feelings.
Xu Zhimo, who "wants to fly" (prose of the same name) all day long, always wants to "cloud travel" (poem of the same name), always writes the "flying" he yearns for with an unsentimental and vivid, dashing and ethereal pen and ink, but in this poem he resolutely declares: "I don't need the sky of the wide sea and sky, and I don't want to put a huge paper harrier, go to heaven to play with the wind in all directions." ”
oriole
A sweep of color flew up the tree.
"Look, a yellow oriole!"
Some people say. With the tip of the tail cocked,
It doesn't make a sound,
The opulence illuminates the denseness
--- like spring light,
Flames, like passion.
Wait for it to sing,
We waited quietly, afraid of startling it.
But as soon as it spread its wings,
Break through the thick and turn into a colorful cloud;
It flew, it was gone,
Gone
--- like spring light, like flames, like enthusiasm.
The first sentence of this poem writes out the color of the yellow oriole, writing out the dynamic, and the third sentence only writes that the yellow oriole is cocked with its tail tip, showing its instantaneous stillness in its instantaneous form, moving and static, vividly writing the appearance of the yellow oriole flying and standing silently on the tree. The four or five sentences gradually changed from the real to the virtual, pouring out the joy, pleasure and hope stirred up by the yellow oriole in front of them.
The first four sentences of the second verse write the sadness that joy passes away in an instant with the flight of the yellow oriole, and the sense of fullness in the front changes to a sense of loss, which makes people sigh. Therefore, the feelings expressed in the whole poem are exactly as the poet said in the preface to the "Tiger Collection": "Pain and joy are a piece of harmony."
This poem expresses the poet's desire to break through the cage, fly high, and spend a free and brisk career. The whole poem is exquisitely conceived, the structure is rigorous, the imagery is peculiar, the artistic conception is beautiful, and it gives people the enjoyment of beauty when read.
Classic quotes
1, my world is too quiet, quiet Enough to hear the sound of my own heartbeat. The blood from the atrium slowly flows back to the ventricles, and so on.
2) In the best of times, I was still walking alone on that flashy street that was flashy but didn't belong to me.
3, many past events in front of the eyes of the scene, become so blurry, once so firmly believed, so persistent, has always believed, in fact, nothing, nothing... Suddenly I found myself stupid, stupid no.
4, life is just the distance from afternoon to dusk, tea is cold, and willows on the moon.
5, to fly you have to fly all over the sky, the wind can't stop the clouds from flying, a wing will jump over a mountain, the shadow will cover the flight of twenty acres of rice fields, and when you are tired of flying in the evening, you will come around the top of the tower and play a circle along the direction of the wind to dream.
6, walking and walking, it is scattered, the memories are faded; looking at it, it is tired, the starlight is also dark; listening and listening, it wakes up and begins to complain.
7, seems to be used to waiting, simply think that waiting will come. But missed in the waiting, those happiness that can be happy. Regret when you lose it, why didn't you catch it. In fact, waiting itself is a ridiculous mistake. Knowing that waiting for a happiness that does not know whether it can come...
8, everyone thinks that they will be an exception, in addition to regret.
9, the sunset, is when I miss the most, to the city you are in, said: I miss you, I don't know, you can hear it.
10. What would it be like to listen to that song at that time? Did we meet at that time? Meet or miss? Or, an encounter without an ending?
Which poem and work of Xu Zhimo do you like the most? Let's share it in the comments section!