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3.8 is the festival for all women, and on this special day, Xiaolou invited several guests who are not only women, but also concerned and enthusiastic about poetry. Some of them are university workers, some are poetry editors, some are social workers...
Topics in this issue
Women and poetry
(2022-3-6 8:00 p.m. in Xiaolou listening to the rain poetry magazine video number live selection)
Live guests: Liu Nengying, He Qisan, Zheng Hongni, Zhao Yufei
Moderator: Zhang Xuefang Video Recording: Zhang Fan
Live interaction
Poets in Late Autumn:
Dear teachers, filler words have always advocated elegance and beauty, how do you think about modern colloquial words?
Liu Nengying answered:
It can't be said that it has always advocated elegance and beauty, since the word has been enlarged by Su Xin, I feel that I am more advocating the beauty of extravagance, Su Dongpo's "Nian Nu Jiao Chibi Huaigu" and Yue Fei's "Man Jiang Hong" are not beautiful? It can only be said that the initial aesthetic of the word is gentle, and everything is always changing, constantly improving, and improving. Modern colloquialism, as long as it is used naturally and appropriately, can also be incorporated into poetry. Most of the articles of the Tang and Song Dynasties, people who did not have a certain amount of learning, could not understand them, but their poetic works, illiterate people, could also understand, which showed that they also took spoken language into the poem.
How to answer:
Generally speaking, the spoken language has a little mark of the times and has a relatively distinct characteristics of the times, and I myself have made a little attempt in this regard. For example, the ending sentence of my song "Watch someone on the car send WeChat": My daughter's mind is the most delicate, and she sends three times in a row and withdraws it. This poem is written by people of our time at first glance. There is also my recently written "There Are Flowers in the Courtyard": the door has not been entered and the incense has been smelled, and the red is like clouds and white like frost. When I return, I will be beautiful, and the flowers in the courtyard will have emotional intelligence. Both use modern colloquial vocabulary.
Poetry Friends Idle Cloud Wild Crane:
Hello teacher, hard work! When I write poems, I often don't meet my expectations, can the teacher give some advice! Thank you
I have also experienced this stage, this is a very natural thing, just like the child first learned to speak and learn to walk, because the basic skills have not been practiced well, originally to shout Daddy, the result was shouted into a ya, originally to go east, the result of the two legs is not well coordinated, to the southeast direction, this do not have to worry, do not worry, say more, walk more, grow up, naturally will not shout the wrong deviation. There is no shortcut to this, that is, write more and practice more.
A: You're welcome! This situation should be encountered by the vast majority of people. I think to solve this problem, one is to be skillful in the discipline, not to rely on reference books to know the level of that word in seconds; the other is to increase the vocabulary, read more historical classics, and even read more classical novels, which have a lot of very elegant and suitable words to choose from.
Poet Ding Yonghai:
Poetry enters the campus, and teachers are asked to talk about how to operate it more effectively. Thank you!
I am now a writer-in-residence at China University of Geosciences (Beijing), and I often give poetry lessons to students, about poetry into the campus, I think it should be graded, if it is into kindergarten, then let them recite some poems, familiar with the sense of poetry. If you enter elementary school, because there are still many words that primary school students do not know, it is precisely when they learn pinyin that they can master rhyming. In middle school, they must begin to master the basic knowledge of equality and confrontation. At the university level, the basic knowledge is not the focus, the focus is on the idea, structure, technique, aesthetics and so on.
I have no experience in teaching poetry, and I agree with what the two teachers said, especially what Teacher Liu Nengying said about the staged, primary school, junior high school, high school, and university taking different ways and methods. I find it particularly meaningful to sow the seeds of poetry into the hearts of students, and can even be done as a career.
Net name old **:
How do teachers master what "rhyme" to use to express their emotions.
Under normal circumstances, the flat rhyme expresses melodious and gentle feelings, and after reading it, the aftersound goes around the beam. Qi Yun often expressed resentment and depression, and after reading it, the string broke off. Of course, everything is not absolute, it can only be said that it is probably so.
I think choosing prosody words with emotional overtones is an effective way to express your emotions with "rhyme". For example, "gray", "sad", "sad", "worried", these words originally have a strong emotional color. Li Shangyin's famous sentence: an inch of acacia and an inch of ash, it uses "gray" as a rhyme, and the famous sentence of Li Yu, the emperor of the ancient word, asks the jun how many sorrows, just like a river of spring water flowing eastward, he uses the word "sorrow" as a rhyme.
Poetry Friends on the Cloud:
How do several teachers think of laogan poetry?
My husband especially likes to read old dry body works, he feels passionate and catchy. I am very tolerant of the old dry body poetry, he wrote like this, as long as he is happy, what is better than being happy? He has the right to write like this, you have the right to choose not to read, my husband also has the right to choose what he likes, what he likes, is the best.
I think the "old dry body" has its conditions and soil, to use an inappropriate analogy, there are peonies in the world, there are roses, there are moss flowers and dandelions, the world is diverse, I think it is as inclusive as possible. And I generally look at things, I like to look at it from both positive and negative aspects. The people who write "old stems" have at least passed the level of grammar, and it is still desirable at this point. There are also many people who write "old cadres", and they write in groups every festival celebration, so that more people can know about poetry, and it is still okay for them to launch a "mass movement" in poetry, and it should work well. Writing this, can I secretly laugh at one?
Poetry Friend Lanzhou Hongyuxin:
Talk about the creative experience and methods, how to better control the text.
This question is well asked, but it is a bit big, and it is really unclear in three words and two sentences. It is also a little late, there is not much time left today, I suggest that it is best to change the time to talk about the topic.
When I began to write poetry, I wrote everything in the absolute law, and the courage was particularly large, I liked to show my ability, and the words liked to pick a long tune such as "Nine Machines" to write, and later Wrote that the courage was much smaller, which may be more awe. Later, after filling in the words for two or three years, Teacher Liu Nengying told me that the words could be filled in, and they could be converted to write others. In 2018, because my mother was hospitalized in a car accident and had less free time, I naturally turned to the aspect of writing a sentence. After writing two or three years of absolute sentences, teacher Liu Nengying said: Your absolute sentences have been written to a very high degree, and it is time to write others! What she said about my poems, I basically did the empress dowager's will, I tried to change, and then found that it is not that I do not change, but that our working amateur writers really do not have enough time, it is all fragmented time, there is no concentration into blocks, writing longer works can not be done in one go, intermittently and incoherently, which affects the enthusiasm, especially the quality of the works. So I thought if I were to change, I'd have to wait until I retire. This is my creative process and experience, in fact, there are some methods in it.
For how to better control the text, it really needs to be practiced and read more, which belongs to the category of basic skills.
Guest Zheng Hongni, a native of Lu'an, Anhui Province, is a postdoctoral fellow in literature. Professor of the College of Literature and Master Tutor of Fuyang Normal University, Deputy Director of the Branch Center of Fuyang Normal University of the Chinese Poetics Center of Anhui Normal University, a key research base of the Ministry of Education, concurrently serves as a director of the Chinese Lexicology Research Association, a director of the Chinese Poetry Teaching Association, and a specially invited researcher of the Chinese Poetry Research Institute of Shanghai University. Published the poetry collection "Huazhang Neon Cai" and the monograph "The Acceptance of Tang and Song Dynasties for the Literature of the Six Dynasties".
ask:
Hello Teacher Zheng! What is your favorite ancient Chinese female poet (lyricist)?
answer:
More inclined to the lyricist, so it is very clear that it must be Li Qingzhao, although her poems are also well written. Here I follow a more standardized statement, if generally speaking, ancient poetry includes ancient poetry, near poetry, words and songs. If we talk about ancient poetry, we are talking about Cai Yan, and the folk are more familiar with her word - Wen Ji.
Modern women are much happier than Li Qingzhao, and no matter how talented she is, she can only dance and ink in the boudoir.
It is not easy to say that Li Qingzhao has her enviable place, especially with Zhao Mingcheng Qingmei Zhuma, Qin Ser and Ming, such a literary confidant and husband and wife, but not anyone can have ah! Besides, modern men and women pay attention to equality, and women have to work as hard as they do. If ancient women had more spring hatred, the main worry was that the red face was easy to grow old, then what about modern women? Sometimes, like the ancient scholars, they have a "sad autumn" complex. It is necessary to take examinations, take professional titles, and cope with various assessments. When I got home, I still had a lot of housework to deal with, and the ancient precepts of the Xiangfu godson were also rarely to follow. Therefore, there is often both spring hatred and autumn sorrow! At this time, poetry is more needed to regulate, self-salvation, haha.
Li Qingzhao's love is not very perfect!
It depends on which angle you speak from, first of all, we can't use the eyes of modern people to be harsh on the ancients. For example, on the question of Zhao Mingcheng's concubines, it was caused by the ancient marriage system. Then there is the question of Li Qingzhao's remarriage, even if the university people have different views, but I think it is better not to get tangled. Remarriage and divorce did not affect the image of Li Qingzhao, she was a famous lyricist, and at the same time, in that turbulent era, she was also a weak woman.
How did you get on the path of writing poetry?
Influenced by my mother since I was a child, I liked to read poetry, and I copied and recited "Thousand Family Poems" at home during the summer vacation of the year I graduated from elementary school. When I was in junior high school, I tried to write, but I didn't understand the rules, basically imitating it, as if imitating Lin Daiyu had written a long poem about flowers, and copied it to the folding fan myself.
Under what circumstances do you have the urge to write poetry?
It's really hard to say, for me, writing poetry is purely a hobby, not a means of making a living, writing is more casual, impulsive situations are also there, but not every time because of impulse to promote writing. However, impulsivity can lead to not writing, and even affect sleep.
Who do you like more about contemporary female lyricists?
According to the style of the Selected Works of Zhao Ming, I will only talk about the predecessors who have passed away. First of all, of course, we must count Shen Zudi, Mr. Cheng Qianfan's wife, who is also our teacher's grandmother! Before I couldn't buy her collection, I had to copy mr. Cheng's note", "Shen ZuDi's Collection of Words". I especially like her true temperament and attention to the current situation, her little order is tactful and moving, and she sees the skill! The benefits of Mr. Shen's words will not be expanded here, I would also like to say that two female lyricists of the previous generation, one is Song Yiying, a pioneer in the contemporary word scene in Anhui, she has correspondence with Mr. Cheng Qianfan, and has written works for Shen Zudi. There is also Zou Renyu, the founder of the Anhui Elderly Daily, who is both an essayist and good at writing poetry. I was fortunate to receive their guidance when I was a student, and I visited their house many times, and their poems were full of the sense of the times, and the song poems were a good combination of modern and classical, with both mournful and moving eulogies and loud current affairs words. Elder Zou wrote essays in poetry, with a special sense of justice, and was a woman who dared to love and hate.
Guest Zhang Yinan, born in Beijing in 1984, bachelor's degree and doctor of Chinese department of Peking University, former assistant researcher of the Institute of Literature of the Chinese Academy of Social Sciences, editor-in-chief of the poetry journal "Beishe" of Peking University students, is now a teacher of the department of Chinese of Peking University, a director of the Chinese Poetry Teaching Association, the main research direction is Chinese medieval literature, and he has authored "Research on the Poetic Style of Late Tang Dynasty Qi liang", "Learning Poetry with Learning", "Chinese Language Lessons for Young People", etc.
Teacher Zhang Yinan, hello! You are an education worker at Peking University, in your opinion, what is the tradition of Chinese women's poetry writing?
In general, women's poetry writing in ancient China lagged behind that of men, because women were not educated equally. Often only families with very rich wealth and more civilized thinking will let girls study. It is even rarer to be able to read to the extent that they can write poetry. Therefore, the emergence of "talented women" is a sign that a family has completed the clanization of scholars, and it is also a sign of social stability and prosperity.
Under this premise, we should see another aspect of the problem. I don't think Chinese ever saw a talented woman as a "crazy woman in the attic." A girl, as long as she has the opportunity to become a talented woman, will be encouraged and even sought after by the whole society. She will be the pride of her parents, brothers, husbands and even in-laws. People are much more tolerant of women's creative criticism than men. Although this is still far from the equality of men and women that we want today, it shows that our culture has a tradition of appreciating and worshipping talented women, and we should carry this tradition forward without having to snatch the shackles of the "crazy woman in the attic" and put it on ourselves.
All female students and educators who can enter Peking University can be called talented women, what do you think the image of "talented women" should be?
I like the concept that Mr. Ye Jiaying said, "Taxi in skirt".
We are first and foremost taxis, and in the vast majority of cases we only need to abide by the code of conduct of "taxis". As for "wearing a skirt", it is just a little bit of a feature of ours. At the same time, I was still a "cat taxi" and a "hot pot eater".
When people talk about "talented women", they always confuse the characteristics of "talent" with the characteristics of "women". In fact, "talented women" are a kind of women with more masculinity, because traditionally "talent" is monopolized by men. Women who read and read, become poets, have some talent, and are different from traditional women who do not read and cannot read. They have more personality than traditional women, more bold to express their ideas, they can travel, drink, sing, and have more responsibility for the world.
The well-educated intellectual class will generally behave more "mild-mannered", for example, more rational and gentle, polite, moderate, restrained, yearning for and pursuing beautiful things. These seemingly "feminine" temperaments are actually common to the intellectual class and are not unique to talented women. And the "masculine" temperament I just talked about is also common to the intellectual class. That is to say, the talented woman has the negative temperament of the intellectual class because she is the intellectual class, not because she is a woman, and at the same time, she also has the masculine temperament of the intellectual class.
In an era when "skirt-wearing taxis" were rare, the "skirts" on talented women were more eye-catching. Some of the more shallow men attach too much importance to their "female" side, and for these poets who have inherited the Chinese cultural tradition, they only emphasize their femininity. In fact, if you want to find such femininity, why should you go to a talented woman to find it? Our talented women today only need to cultivate the temperament of being a "soldier" well, and do not need to deliberately cultivate the temperament of being a "woman".
Which women have you been helped by when you embark on the path of poetry?
My mentors and the teachers who helped me the most in my poetry studies were all men, and I am very grateful for their teaching and strict requirements for me. Today's women are conditioned to receive an equal education, and they should take the law and not have to feel that they are special.
The women who had a great influence on me did not directly teach me to write old style poems.
When I was six or seven years old, my mother encouraged me: "You can try to write poetry. "My mother was Zhiqing, and the "poetry" they said in their generation referred to modern poetry, and I wrote modern poetry at the beginning. People don't automatically know that they should write poetry, and they need someone to tell her that "you can write poetry", and this person actually plays a vital role in the literary life of the poet. Later, Mr. Li Xiaoyu, who was the editor of the Poetry Journal at the time, saw my poems and encouraged me a lot. She said at the time: "You can actually write old style poems." I resisted, saying, "I will never write old-style poems in my life." "Now it seems that it is really a flag that has long been broken."
What encouraged me in the dark was actually my grandmother, my grandmother's mother. She lived in the late Qing Dynasty and the beginning of the People's Republic, sang poetry with her husband for a lifetime, and left a collection of her own. During the Cultural Revolution, my grandfather had to endure the pain of burning this collection, which was a pity. My grandmother can also write poetry, and when I was a child, I also saw her miss her son, writing two seven poems, both of which were rhymed with water rhymes, and I copied them down, but I also didn't see her other works, which is also a pity.
The poems of my grandmother and my grandmother may not have been particularly good enough to enter the history of literature, and their works have not survived. But they made me intuitively understand women from an early age: they have seriously studied poetry, can skillfully use the rules of grammar and syntax, and can think of using poetry to express their true feelings and record their life events. Later I learned that there were many women like this in the Qing Dynasty and the Republic of China. And they are so close to me, they are connected to my blood.
People always lament that China's cultural context has been interrupted, in fact, think about it, they are not far from us, but our grandmother and grandmother. Although I had not met my grandmother, nor her poems, nor had much intersection with my grandmother, their presence was enough to encourage me to read well and write the poems that they had been erased from this world. Our Chinese culture is so strong that we can be reborn again and again after the fault by reading, without oral teaching, but only need our ancestors to give us a confidence and let us know that we can.
There was also my mother's nanny when she was a child, who had been a maid all her life, did not have the opportunity to go to school, but learned to read and read "Dream of the Red Chamber" for a lifetime. Her presence also touched me greatly. I think that if I had been born in that era, I might have been a squire who had secretly learned to read, a xiangling who had learned poetry, or a little bit luckier, like my grandmother, hiding in a deep boudoir and writing poetry for her husband. I may be humble, but I must be poetic. There must have been people like me in the past, and there will be more in the future.
How do you see the prospects of women's poetry creation?
Female creation, which is rare in Chinese history, is a heterogeneous element. But one of the characteristics of Chinese culture is that it constantly tolerates and absorbs heterogeneous elements. Han Shu's children can rise to the rank of scholar, and children of foreign nationalities can be Sinicized into Chinese, so girls who did not bear the chinese cultural tradition can also take on the tradition of Chinese culture as long as the time is ripe. As long as you are smart enough, China will not waste your talent; as long as you love Chinese cultural traditions, China will not live up to your affection. Just because it hasn't been done before doesn't mean it won't be in the future. I believe that among the women of the future, there will be a large number of first-class poets who will take on the traditions of Chinese culture.
Can you give some advice to girls who are learning to write poetry?
Don't feel that you are anything special, and honestly inherit the poetic heritage created by the ancient scholars, who are mainly male for three thousand years. Don't think about the "natural advantages of women", even if you use a female tone to write, don't directly appear on your own, but learn the way men imitate women's tone. Appearing in your own tone is limited to the time when you chant like the male scholars of the past.
Guest Zhao Yufei, Ph.D. in Literature, is a young teacher at Jilin University. His research interests include Ming and Qing dynasty to modern literature, women's poetry, and online poetry. He has published more than ten papers in journals such as "Literary Heritage" and "Chinese Poetics", and published "Manuscripts of Women's Word History in the Late Qing Dynasty and republic of China".
Teacher Zhao Yufei, hello! One of your research directions is women's poetry, can you briefly describe the ancient Chinese women's literary tradition?
Chinese women's literature has its origins. The Book of Poetry records a large number of female poems, which the literary historian Lin Geng emotionally called "women's singing". However, from then on to the Ming Dynasty, the emergence of female poets was almost accidental and random, that is, those who were outstanding in literary style such as Cai Yan, Xie Daoyun, and Li Qingzhao could also be described as "breaking into the literary world alone". Until the Ming Dynasty, the situation of "tradition and no system" was broken, and the inheritance of women's literary families began to appear, and then in the Qing Dynasty, the development of women's literature began to be called the stars and the sky, and The Grand View, Hu Wenkai's "Examination of Women's Writings in Past Dynasties" included more than 4,000 female writers, of which 3660 were in the Qing Dynasty. Moreover, the female literary circles of the Qing Dynasty and the living conditions and creative consciousness of female writers have revealed some fragments rich in modern atmosphere; in modern times, with the infiltration of ideological resources for equality between men and women, Chinese women's literature has shown a new look. The whole can be summarized as: a long history, generation by generation, to the Qing Dynasty to the peak.
What do you think of contemporary research on ancient Chinese women's literature?
The study of ancient Chinese women's literature actually set off a boom in the Republic of China, the earliest history of women's literature in the Tong Dynasty was born in 1916, and other special treatises, general /anthologies, etc. also appeared on the basis of inheriting the Qing Dynasty literature. In recent decades, under the modern academic norms, from the initial research of Li Qingzhao to the broad, deep and detailed development; especially in recent years, the study of women's literature in the Ming and Qing dynasties can be described as fruitful, and more and more scholars have chosen to turn their attention to this field, which is gratifying. In addition, the study of ancient Chinese women's literature in the field of Sinology in North America has also provided a precious mirror for China.
Gossip, who is your favorite female poet/lyricist?
Research requires broad-mindedness and peace of mind. In terms of personal orientation, I prefer two Hangzhou people - Wu Zao in the Qing Dynasty and Chen Xiaocui in modern times.
Guest Liu Nengying is a member of the Chinese Writers Association, a resident writer of the China Natural Resources Writers Association, a special resident writer of China University of Geosciences, and a student of the 22nd Advanced Research Class of Luyuan University.
Teacher Liu Nengying, hello! The annual March 8th Festival is here again, and on this special day, you are both a woman and a lover of poetry, as well as a poetry editor. You used to work in the "Poetry Journal" agency, and in recent years, you have edited books such as "Poetry Calendar" with Mr. Cai Shiping, do you have any experiences on women's writing and writing for women that need to be shared with you?
A: At this time of year, there is always a topic of women writing or writing women. These two questions, I think are a little far away from me, because although I am a woman, but equivalent to a man, among the objects I write about, there are really not many involving women, occasionally there are a few poems, are adapted, I remember writing:
Bu Operator Tang Qunying
Full of vigor, try to gather in the east. Although it is a woman's body in the boudoir, it is a national double gun.
Life is not the right time, and death is not feared. The first person to form an alliance changed the lord of the country.
This Tang Qunying was one of the pioneers of the Xinhai Revolution, a figure of the same level as the Jianhu Woman, although she was a woman in the boudoir, she was a man with a double gun for the country.
Tomb of The Gurudwara
In the vast desert north, a bunch of yellow sand buried the national color. When I prayed, the green leaves became full of branches.
The demeanor of the Han family has been visible for thousands of years. Not for Junyan, only for Li Yuanshe Ji'an.
Although Wang Zhaojun is also a woman in the deep palace, she seems to be weak, and she is also doing the things of An Sheji's grandfathers who caress Li Yuan.
Xi Jiangyue Liu Grandma
A green shirt made up yesterday, full of white hair this plate. Cloth shoes first entered the Grand View Garden, and everywhere was bustling with eyes.
Life is already bitter, why should the words be sour, always smile and fade, even if there are gods and immortals are envious.
The real writer of women, when women come to praise, is this Liu Grandma.
Of course, in my works, I have also written many nostalgia and tribute to my mother, which is also ashamed to say, and when I look back and read these works carefully, I have not described her from a female point of view at all, my mother's generation, the maternal characteristics are very distinct, but the female characteristics are lackluster. My mother had worked in the fields all her life, and the intensity of her labor, her dress, was no different from that of a man, and I had never even seen my mother braid, hairpin, alabaster, or anything like that.
Although I have a younger brother, he grew up thin, so our family raised me as a boy from an early age, and I remember filling in a song:
Spread out the Raccoon Creek Sand Wild Fun
For the flower by the pond, the grass worm startled me and I startled him. Occasionally, there are watermelons under the steep slopes of locust yin.
Untie the belt and throw the clothes obliquely over the obstacles, and hold your breath to climb the cliff. On the other side, I heard the village woman shouting: Be careful.
From this song, it can be seen that I am a naughty bastard.
So, whether I write as a female writer or for women, I'm ashamed.
Who do you like the most about contemporary women poets you know? What are the characteristics of their works?
Among the several female poets I know, Hongxia Sister is one of my deepest impressions, in 2012 we jointly participated in the "Qin Zhongxing" song and poetry competition award ceremony, she likes to dress up, will also dress, always tidy up beautiful, all year round like to wear skirts, full of women, but the first time to read her work, "Anse Waist Drum", written majestically, flying sand and stones, do not look at the author, really think it is written by men.
At that award ceremony, I also met Wang Qin, an Anhui player, who is one of the same female poets I have seen, like Sister Zhou Yanting, Sister Song Caixia, and Sister Xi Xiaolin, with a gentle appearance, soft and weak, and her poems are also written implicitly and persistently. In particular, Yan Tingjie's sentence "Yuyi Fengting Xiu Timid Wine, long strips are just enough for beautiful hands", which is still lingering. Of course, the above friends have all met, and there are many who have not met, such as Ye Jiaying's "drunkenness on wine, watching flowers until it drifts to zero", Suyi's "Come back to me outside the east wind, look at passers-by through the peach blossoms" and so on.
I don't remember when we met Ho San, (Third, do you remember how we met?) I am a family member of the Natural Resources Bureau, and although the family is closer, every time I read her work, as long as I don't feel good, I don't give her any affection. Her works, every time there is a whimsy, but always neglect the details, which should be a mistake that men are prone to make, I did not expect that as a female poet, she committed more than men. Before always directly in her circle of friends to leave a message, and then think about it, she is also a famous artist, should take into account her feelings, so turn to private chat. She didn't care, and was even happy to communicate with me. I think this is the case with good friends. Giving you a thumbs up in the circle of friends is a very simple thing, just move your fingers, but if you want to point out where you are insufficient, you need to burn your brain for half a day, and you are worried that in case the wording is improper or unsatisfactory, offending people. In this regard, she and I have reached a consensus, and between each other, only talk about the shortcomings, not the advantages. This is also the attitude of publicly commenting on works.
What famous people have you received on the road of writing?
A: In the ten years since I wrote poetry, I have received guidance from too many people, and it can be said that all those who have intersected with me, whether they have met or not, whether they have met or not, whether they have a heart or not, I have more or less been taught by them. I remember once with Teacher Xiong Dongao in Jinjiang, he told me that women writing poetry should have the appearance of women, too rigid and easy to fold.
I think that's true, but it's not all true. I think that whether it is a man or a woman, it should have a duality, Su Dongpo has both the boldness of "going to the east of the river" and the grace of "not thinking about it and unforgettable". Li Qingzhao also has the masculine temperament of "being born as a masterpiece", and also has the delicacy of a woman who "knows whether he knows it or not, it should be green fat, red and thin".
Therefore, my writing is still very casual. Leading to masculinity most of the time, Teacher Xiong is right, female writing should still have a female look, and in the future, it should be written more from a female perspective, or written for women.
The guests are what three Anhui Susong people. Published the collection of words "He Qi Three Words and Three Hundred Songs" (China Literary Association Publishing House), and published the poetry collection "He Qi Three Absolute Sentences Three Hundred Songs" (Huangshan Book Society).
Hello Teacher! You have published two personal collections, and every time your masterpiece is published in Xiaolou, a poet friend will ask you to buy a personal poetry collection. You are a "prolific" female poet in the poetry circle, how did you "meet" poetry?
The encounter with poetry was a complete accident. My father was interested in poetry, and I had an early contact with poetry. For a while, I happened to have free time, so I decided to turn my interest into a hobby and began to read books on grammar. The process of intersecting with poetry is, for me, a process of opening a window. The window opened, through this window, I saw a beautiful and different scenery, and life became wonderful because of this extra window.
Can you talk about the advantages and disadvantages of poetry creation in the ancient and modern worlds?
Some people think that poetry has no soil for survival, and therefore there is no need to survive. This argument is too pessimistic, and I do not agree with it. There is definitely a soil for survival, but it is relatively barren. Wen yanwen is a special script at the official level in ancient China and is a written language. With the development of the times, Wen Yanwen has withdrawn from the historical stage, and now only appears in museums and research documents, and correspondingly, poetry based on Wenyan wenwen does have its particularity, and it has the threshold of grammar to pass. The legal requirements of poetry invisibly set a threshold, and this threshold that is not very high intercepts a wave of people.
I privately analyzed the advantages and disadvantages of the ancient and modern people in poetry creation, and came to the conclusion that there were advantages and disadvantages. I think the ancients had an advantage in the big climate. In ancient times, poetry was used to take the poet, and the poet could make a name for himself, and he could rely on this to make a peaceful step, which was undoubtedly a great promotion and stimulation of poetry, and there was no suspense that Tang poetry and Song poetry reached its peak. It must be admitted that the best times that belonged to poetry have passed like smoke clouds. In addition, poetry is the daily life of the ancients, penetrating into every corner of life, and today's daily life has nothing to do with poetry. Compared with the ancients, the climate is not good, and the atmosphere and attention are also equivalent to cloud mud. Some people may ask: Don't people have any advantages at all? Not quite. Compared with the ancients, we have studied physics, chemistry, mathematics, English, understand more things, a wide range of knowledge, know astronomy, know geography, only study literature, only read dead books is rare, compared with the ancients who have a relatively single knowledge structure, today's thinking is more active, the circle of life is broader, and the writing content is richer, which is our advantage.
How do contemporary people view the "transmission" and "inheritance" of poetry?
The unique language structure of poetry makes it subtle, tactful, with special meaning and beauty, less meaning and more meaning, to one to ten, which makes the content and artistic conception of the poem more divergent, but also more classical elegance, with unique phonological rules, so that the unique beauty of poetry is almost natural. Profound knowledge, profound cultural heritage, especially rich old learning skills, are the reins of poetry writers to control poetry, in fact, this is "inheritance".
Some people say that the poems we write now are high imitations, and I don't agree with this view. I have seen a lot of poetry works of today's people, they have not blindly imitated, many works are so good that people are eye-catching, after tasting the aftertaste full of cheeks, it is no exaggeration to say that compared with Tang poetry and Song Ci, it is not inferior. Why? That is, while inheriting the classical elegance of poetry and mastering the grammar, it has added its own things and elements of the times. The work highlights its own personality and marks the mark of the times, exudes a strong poetic taste of words at the same time, but also with a modern fashion, which is today's poetry author presented to the reader of the genuine genuine product rather than imitation, is completely our own thing, how to imitate?
Now we look up at our predecessors like we look up at the stars, and in thousands of years our descendants will eventually look up to us. To pass the baton of poetry to their hands and pass on the poetry from generation to generation, this is actually "passing on". Some people also say that so many beautiful ancient style essays and ancient style lyrics in contemporary times belong to the category of poetry inheritance? I don't think so. Those things are non-ancient, they are pseudo-ancient, but borrow a little antique flavor to create an antique atmosphere. But there is no need to deny it completely, it is more acceptable to the public than poetry, and the audience is wider. It can be said that it is a close relative of poetry and can play a certain role in inheriting poetry. Of course, I am not advocating a blind surrender to reality. Only by adhering to the principle of keeping things in the midst of change and keeping things in change, carrying forward the spirit of inclusiveness, and absorbing and accepting the useful, can poetry be rejuvenated with new vitality.
It is said that poetry can speak, Teacher He, how do you think about "trust" and "sending" in poetry creation.
The disadvantage of niche literature is that our real life may not need it, but our spiritual life will be better with it. It makes our spiritual world more fulfilling, it can soothe our hearts, and thus become people's spiritual sustenance, which is the soil for the survival of poetry. To create good works, you need to have feelings and sustenance. In addition to spiritual sustenance, the works created must also have sustenance, have unspoken meanings, and extraneous sounds. Beauty vanilla, not the actual beauty vanilla, to see those attached to the illusory mirror of history. Since ancient times, the Qin Dynasty Mingyue, the Han Dynasty Border Pass, the Southern Dynasty Smoke and Rain, the Song Dynasty Remnant Yang... The storms and clouds of history, or entrusted to the ancient alleys, or attached to the qiu'a, we either use poetry or words to live. In the grass, trees, bricks and tiles of nature, the deep imprint can actually be given to poetry, which is "trust". Writing poetry is sometimes like solving mathematical problems, you must be bold in your imagination, careful to verify, and good at generating and spreading. At the same time as picking up the pen, let go of the imagination, spread the paper, do not think of yourself as an ordinary person, the brain hole should be wide open, to be able to go to the sky, to be able to enter the ground, to be omnipotent, this is to be good at "sending". If you imagine its past and present lives, think of its unique features and experiences, it can unfold and develop. A stone can be associated with Jingwei reclamation, associated with Cao Xueqin's "Stone Record", associated with Zheng Banqiao's bamboo and stone diagram, and associated with the vicissitudes it has experienced over hundreds of millions of years. Go deep into things, go deep into the depths of time, explore its three-life cause and effect, write its contrast between the past and the present, write about the rise and fall and vicissitudes, write about their fate, personify them, or make people, people and things treated equally, then grass is not simple grass, stone is not simple stone. In short, everything in the world, the poet can use the raw flower magic pen to give it emotion and life.