Recently, the "Glory of Poetry - Jidimaga's "Apology on the Flame: Collected Poems of Jidimaga" Book Launch and Sharing Meeting" was held in Beijing. Poets Munch, Xichuan, Ouyang Jianghe, critics Tang Xiaodu, Guo Wenjing, Zhang Qinghua, Qiu Huadong, Jing Wendong, writers Li Er, translators GaoXing, Dong Qiang, Liu Wenfei and other guests visited Beijing SKP RENDEZ-VOUS to talk about poetry-related topics with Ji Di Majia.
As the most representative national poet in contemporary China, Ji Di Maga has won many international honors in recent years, and his poems have been translated into nearly 40 languages, and more than 100 editions of translated poetry collections have been published in dozens of countries. The Apology on the Flames: A Collection of The Poetry of Guidimaga is a collection of major poetic works by Gidimaga, which is divided into two parts. The first series is poetry, which selects nearly 200 outstanding poetry works created by poets in various periods, mostly with the theme of people, objects, and customs of the Yi people in their hometown; the second series is the essence of literary speeches and essays by poets in international poetry activities.
Arguments on the Flames: A Collection of Poems by Ji Di Ma Jia, Guangxi Normal University Press, November 2021.
Gidemaga has an advance in Neruda's roaming tradition
In Ouyang Jianghe's view, the most important thing about Jidimaga is his long poetic text. In long poetry writing, there is a subjectivity question: Who is writing? Ouyang Jianghe believes that the long poems of Jidimaga belong to the system of Neruda's long poems, Neruda is a wandering bard poet roaming on the land of South America, and the main body of his writing is the "self" in the sense of the earth roaming, and Jidimaga is also this "self", but unlike Neruda's "self", Jidimaga has developed the roaming tradition. Here, Ouyang Jianghe takes Ji Di Maga's long poem "Snow Leopard" as an example. Ouyang Jianghe believes that "Snow Leopard" introduces contemporary topics of postmodernity such as world cultural topics such as ecological problems, metaphysical interventions with overall nature, the overall sense of crisis of human beings, ecological destruction, and the destruction of nature by machine civilization. In Neruda's time, pre-modernity showed more of a driving and progressive force, "Such a long poem as "Snow Leopard", the topic of human ecological change, in the poem of Guidimaga, has a vivid and far-sighted touch. He had an advance in Neruda's roaming tradition, advancing early modernity to contemporaneity. ”
So, what do you think of the roaming tradition and the tradition of praise presented in the long poem of Gidima? In Ouyang Jianghe's view, this may be related to the subjectivity of Ji Di Maga's poetic text. The "self" of Neruda's long poem, the subjectivity is physical, he himself roamed the land of Latin America, and the subject of his writing has autobiographical significance, writing the physical nature and daily nature of the "self" into the subjectivity and the contact with the people and the relationship with the world, but Guidimaga is different. Ouyang Jianghe believes that Jidimaga has the identity of a spokesman, he is a civilized poet, representing the Yi race, but at the same time, Jidi Maga's study and work experience makes this double, multi-layered subjectivity very interesting, this subjectivity is unique and particularly precious, this multi-layered, including not only the writer, but also the reader, the translator, the critic, the consequential contemporary contains a lot, including some uncontrollable, accidental components.
On January 15, Gidimaga (front right) and others were at the scene of the "Glory of Poetry - The Debate on the Flame: The Collected Poems of Gidimaga" book launch and sharing meeting.
Guo Wenjing's important status is a composer, and he has hardly participated in poetry circles, but he wants to express his respect for poetry, because contemporary literature and poetry are very important to him in his musical creation. After teaching in the Composition Department of the Central Conservatory of Music for more than thirty years, Guo Wenjing found a noteworthy phenomenon: when students choose ancient Chinese poetry to compose, their music presents a relatively simple appearance, while when composing music with modern poetry, music will show a very diverse appearance, and the students' own personalities will also appear. In Guo Wenjing's view, this is one of the meanings and values of the new poem.
Guo Wenjing once composed music for Haizi's last poem before his death, that is, "Spring, Ten Haizi", this work he hopes to use the most extreme beauty to write death, feel the darkness in the bright spring light, in order to complete this work, he broke through the language of previous music. The first time Guo Wenjing collaborated with Ji Di Maga was to write his long poem "Temple-like Snow Mountain" into a chorus, writing about the Kunlun Mountain Plateau in the snowy mountain. Next, he also wanted to write Gidimaga's "The Great River" into music. Guo Wenjing admits that he likes the sense of history, spiritual height and grand scale of Jidimaga's poetry. Guo Wenjing was born in Chongqing, and when he was in elementary school in the 1960s, although he did not read any texts about Liangshan, he heard a lot of talk about Liangshan from adults, "Their talk left me with the impression that it was an extremely distant place, a very mysterious place, and even a relatively terrifying place, full of mystery." ”
Liu Wenfei: Maga gave us the warmth of poetry
As a reader of Jidi Maga, a few poems of Ji Di Maga are exactly the way Li Er entered his poetry, "One poem is: Everyone is born the same, but the way of death is different. There is also a sentence: Someone has lost his identity, and I have not, my name is Jidimaga, I have recited the genealogy in this way, Jidi, Jim, Jiri, Ah Gang, Vashi, Golgoth, Wood, Cow and Cow. ”
In Li Er's view, Jidimaga's writing is about the process of moving from natural people to cultural people, from individual people to racial people. "When we were born, we were all children of nature, and although he was born with the burden of race and civilization on his back, he was still a natural man, but when we died, we became children of civilization. The process of our lives is the process of civilization and the process of re-understanding our race. Therefore, he wrote about his Daliangshan over and over again, wrote that he came out of Daliangshan and then looked back at Daliangshan, which is a review of life and the history of civilization. From this point of view, Li Er believes that it is best to regard The poetry of Jidimaga as a poetry reader of anthropology," Maga's poetry is inherently related to anthropology and can be interpreted from an anthropological point of view. ”
On many occasions, Gidemaga has been called "the poet of the nation, the citizen of the world". So, how should we view the internationality and cosmopolitanism of Gidimaga's poetry?
Liu Wenfei mentioned that in a Russian edition of Gidimaga's collection of poems, the Russian poet Yevtushenko wrote a preface entitled "Poetry Embracing Everything." This is precisely because The poetry of Gidimaga embraces everything, "this kind of poetry must be macroscopic, it must be warm, it must be simple." As a Yi poet, it is of course his advantage to write about his hometown of Daliangshan, but he does not write about the people and things around him in particular specific and specifically in the poems, and the history of his family, he writes from a very general, worldly and human perspective, which is a very important feeling for us to read his poems, as if many people can invariably appreciate this. Liu Wenfei said, "Maga gave us the warmth of poetry, and in the middle of this warmth of poetry, there is his love for his mother, his love for his friends, his love for other poets, and even more his love for poetry, his love for life." ”
In the preface to The Defence on Fire: A Collected Poems of Gideimaga, Yevtushenko writes: "Maga's poetry is a mosaic of the creations of many of the world's finest poets, including the Hungarian freelance singer Yunov, the Russian Futurist leader Mayakovsky, the Spanish anti-fascist Lorga, the Turkish poet Hikmet, the Chilean Neruda, and the Georgian poet Tabidze, who was buried alive by the executioners of the Soviet period." Maga was made up of all these poets. ”
In such an era, in such a big historical context, writing poetry and poets has actually become a topic. So, how did the poet find his place? How to write poetry? How to exist as a poet? At the event site, Jidimaga's sharing revolved around these topics.
Gidimaga said that as long as humanity exists, poetry will not die. The existence of the poet, the poet expresses his views on the real world through poetry, of course, his personal spiritual feelings, but also a very personal thing, but the poet is first and foremost a natural person, once he enters society, enters the culture, or enters a larger civilization, then the poet's individual writing will produce more meaning. No matter from which point of view, the poet himself is a social identity, once his writing becomes a text and then disseminated, then the reader will interpret his works at different levels, and the social significance of his works will of course be fully revealed.
Jidimaga believes that as a poet of an ancient people, he is lucky, and his luck lies in the fact that he is spiritually in keeping with the great Epic Tradition of the Yi people. Jidimaga said, "The Yi people are one of the peoples in the world with the most heroic epics and creation epics, including "The Ancestor of Ashi", "Cham", "Meg", "Zhiga Aru" and so on. According to incomplete statistics, there are more than ten such heroic epics and creation epics, which is also very rare in the history of world poetry. It is precisely because of this poetic tradition that it can be said that all my writing comes from the culture I am familiar with and this strong spiritual cultural background. ”
How to organically connect this epic tradition with realistic writing? This is exactly the challenge that Guidimaga has faced, and it has been groping for a long time. "Writing, in the end, is not just a matter of rhetoric and technology, of course, as a true poet, the importance of rhetoric and language cannot be overlooked at any time. In fact, this is also an extremely important question that I have been thinking about in my writing. The examples of Gidimal's own works from the past year or two, such as the Gillebout Poems and the Late Evening Song dedicated to his father, are actually a personal response to this epic tradition, and at the same time a tribute.
"The Late Song is both a poem of mourning for my father, and if it is more philosophical and metaphysical, it is also a spiritual record of my oldest and ever-lasting death of mankind," Gidemaga said. As a poet, how to find an optimal combination of tradition, modernity and the present scene requires wisdom and creative discovery, otherwise it is difficult for you to complete this fatalistic task that has already established the standard. ”
At a time when all the peoples of the world are standing at the crossroads of the historical process of modernization, how do we move towards tomorrow and the future? In the process of moving towards modernity, how can we preserve and pass on our own history and culture? In the face of this problem, Gidimaga did not approve of the instrumental rationality advocated by the European Enlightenment, because it would make people lose what many people should keep, "Today, we have found that since the industrialization of the world, human beings have had various problems in natural ecology, environment and so on. Therefore, we need to pay more attention to these factors that affect the course of human history, and poets cannot just stay in the tower of ivory and wander away from reality. Of course, how to witness and write about our great era is also something that poets with responsibilities and missions must consider, and at the same time put into practice in their own writing. ”
Author 丨He An'an
Editor 丨 Zhang Ting
Proofreading 丨 Chen Diyan