Night Rain 丨 Wan Longsheng: Mr. Zou Dai's due position in the history of poetry - written before Mr. Zou's centennial birthday

Mr. Zou Dai deserves a place in the history of poetry

——Written before mr. Centennial's birthday

Wan Long Sheng

One

Time flies, and it has been 26 years since Mr. Zou Dai passed away. March 20 this year marks the anniversary of his centenary. The Institute of Chinese New Poetry of Southwest University will hold a memorial service for him. As a post-school that he once gave enthusiastic support to before his death and benefited from a lifetime, of course, he must write down the feelings that will never fade in his heart. On the first anniversary of his death, I wrote "Mr. Zou Dai Rest Assured!" On the occasion of the 4th anniversary of his death, I wrote the article "Make You Smile in Heaven"; but over the years, my nostalgia for my husband has indeed not faded with the passage of time. This is because, as I have stated, he is my "teacher of personality, master of art" in the strict sense of the word. At that time, his support, encouragement and help to me in the creation and research of new poems in the grammatical style could not be overestimated in estimating the significance of me. I think that the best way to commemorate him is to give a full evaluation of his outstanding contributions to Chinese poetry during his lifetime, and to further establish his rightful position.

Two

I believe that mr. Zou Dai's achievements in poetry translation will have a lot of exquisite exposition, and I just want to emphasize that he has always tried his best to practice the laws explored in the construction of his new poetic grammar in poetry translation, which is very different from those translators who irresponsibly translate foreign poetry into free poetry.

He participated in the founding of the Institute of Chinese New Poetry of Southwest University, and for many years served as the editor-in-chief of its journal "Chinese and Foreign Poetry Studies", and the graduate students he brought have long been mature, which is a fact for all to see. I don't need to come to Luo. I just think that the poetry circles still have insufficient understanding of Mr. Zou Dai's position in the history of the development of new grammatical poetry (then called "modern grammatical poetry"), and it is necessary to give a new evaluation to make it reach the height it deserves.

Then let me not take the risk and comb through it according to the relevant information I have.

Let's take a look at "The Resurgence of Modern Grammatical Poetry" in the third part of the Handbook of Modern Chinese Poetics in the 20th Century (edited by Lü Jin and Liang Xiaomei, published by Bashu Book Society, 2010). He began by saying: "In the 1950s, He Qifang once advocated modern Gelug poetry, which was aborted because it violated the political forbidden zone. Then he talked about how since 1978, Bian Zhilin first revived the old things, and opened a precedent for the revival of modern grammatical poetry, so that the research and creative practice of new poetry theory "reached a new height" and formed a new situation. Then, in addition to Hu Qiaomu, 8 representative poets with remarkable achievements in creation were also proposed, including Mr. Zou Dai.

Look at the "History of the Development of New Poetry in Chongqing in the 20th Century" edited by Lü Jin and published by Chongqing Publishing House in 2004. In the fourth chapter of "The New Period: The Second Climax of Chongqing New Poetry", the first section of "The Flourishing Poet Team", the first section of the first volume, "Description of the Process of Chongqing New Poetry", Mr. Zou Dai is classified as an old poet, saying that he has "achieved practical results and enjoyed a high reputation" in both poetry translation and modern Gelug poetry exploration. In the first section of the fifth chapter, "Chongqing New Poetry in the 90s", "The Creation of Poetry with Pluralism and Progress", when it talks about the diversification of poetry genres, it is called a representative figure of modern Gelug poetry and has a certain influence.

In the second volume of the book, "Chongqing Poets and Poetry Critics", there is also a special chapter entitled "Zou Dai, Lu Tang, Wan Longsheng and Modern Gelug Poetry", which lists Zou Dai in a separate section (Lu and Wan into one section), which contains 5 aspects. Among them, he praised his creation as "fruitful", and affirmed his "enrichment and development of modern grammatical theory from the perspective of creative practice", and made a more detailed discussion of his contribution to the new poetic grammatical theory from the aspects of asana construction, rhythm construction, inheritance, construction and innovation.

Let me prove mr. Zou Dai's creative achievements in the selection of several important anthologies of new poems that I have mastered:

First of all, the three-volume "Selected Poems of the 50 Years of New China" compiled by the China New Poetry Research Institute, the third volume of "Modern Gelug Poetry Sub-Sections", was selected into his "To Alberti"; as for the "Selected Poems of the New Period of China and Sichuan", mr. Zou Dai's works were selected, of course, it is even more important. Among the other two important Chinese sonnet anthologs, Xu Ting, Lu Dejun, and Tu An's preface, "Selected Chinese Sonnet Poems", were selected into his three works, and Qian Guangpei's "Selected Chinese Sonnets" was not only selected for his 5 works, but also appended his short essay on the experience of the creation of sonnets, "A Little Experience and a Little Hope". His own selection of "Selected Chinese Grammatical Poems" is also unyielding, and 5 works are selected. All these are enough to explain the position of Mr. Zou Dai in the creation of modern Gelug poetry.

The above mentioned Mr. Zou Dai's theoretical contributions in several aspects. I would also like to add to the implications that have resulted. Mr. Shen Yongda's "Poetry Calendar of the Republic (1949-2000)" is a very distinctive new poetic history work. Its fourth chapter, "The 1990s (1988-2000)," sets up a section on the "Yayuan Poetry School", focusing on Tu An, Huang Huai, and Wan Longsheng, and points out that I have made an important contribution to the process of new poetic regularization, "that is, classifying and naming existing patterns of grammar." The source is indicated here, that is, a treatise containing the collection of poems " Thoughts on the Poetic Road " . He then added: "In fact, we should also mention the late income and theorist Mr. Zou Dai, who in 1985 published a book called Selected Chinese Gelu Poems (1919-1984) (Chongqing Publishing House), which classified modern Chinese Gelu poems, but did not name them. In addition, "Chinese New Poetic Grammar" is a new poetic law theory work written by Cheng Wen and Cheng Xuefeng, which has played an important role in the process of building a new poetic grammar. Many of the poems they cite specifically illustrate that they come from this anthology.

To sum up, the evaluation of Mr. Zou Dai in the "History of the Development of New Poetry in Chongqing in the 20th Century" is accurate, but I think it has not yet been evaluated from the height of the construction of the entire Chinese new poetry grid, and it is obviously not in place.

Let me share my opinion on this.

Three

First of all, looking back at the process of "the resurgence of modern gelug poetry", there is no doubt that Mr. Bian Zhilin is a "rooster crying dawn": in March 1979, he stressed the need to inherit Mr. Ichido's unfinished new poetic style construction as a new "beginning" in his article "Completion and Beginning: Commemorating the Eightieth Birthday of the Poet Wen Yiduo" and taking it as a new "beginning"; in July of that year, he also dared to write an article to commemorate Xu Zhimo, pointing out that his poetry can be used as a reference in art and is conducive to the "attack on mistakes" of new poetry. Not only that, but he also took a two-pronged approach, and in 1979, he published his modern collection of gelu poems, "Carved Worm Chronicles", which was published by the People's Literature Publishing House. Secondly, it must be mentioned that Mr. Wu Benxing, in 1980, he published the article "On the Crescent Poetry School" in the second issue of the authoritative "Literary Review", believing that the Crescent Moon Society developed from a comprehensive society into one of the most influential poetry genres in the history of modern Chinese literature, generally going through four stages of gestation, advocacy, development and decline, and its theoretical propositions and creative practices are also rich and complex, but they show their unique characteristics, so they have a role that cannot be ignored and should occupy a certain position in the history of literature. This is nothing less than a reversal of the case of the "Crescent Moon School" and a momentum for the "resurgence of modern Grammatical poetry", which is indispensable.

Then in terms of creation, we can not but first recommend Hu Qiaomu, starting from the publication of "Six Poems" in the "People's Daily" on February 15, 1982, and continuously published excellent modern grammatical poems, until 1988, when we collected "People Are More Beautiful Than Moonlight", considering his special status, it can be said that it was the first to open up the atmosphere and have more exemplary achievements.

Then, as far as the promotion of the development of modern grammatical poetry is concerned, it is impossible to avoid the book "Selected Chinese Grammatical Poetry" compiled by Mr. Zou Dai and launched by Chongqing Publishing House. This book compiles more than 300 new poems from 1919 to 1984, with more than 100 authors, which can be called a great review of the achievements of modern grammatical poetry. The book's inspiration for the surviving selected authors and its contribution to the "resurgence" trend should certainly not be underestimated. Let me just say myself, the excitement of the selection of "The Magical Golden Shuttle" is still fresh in my memory; it can be said that this is indeed an important motivation for me to persevere in the cause of modern Grammatical poetry for decades.

Let's talk about the long sequence of this book. Mr. Zou Dai's modest place name is "A Brief Discussion on Modern Gelug Poetry and Its Development", which is a detailed poetic treatise, representing the theoretical height of the new poetry of the Gelug style at that time. This article quotes He Qifang's requirement for modern grammatical poetry: "It means that the number of tons per line written according to the spoken language of modern modern Chinese is regular, and the time taken by each meal is roughly equal, and it rhymes regularly." Regarding the "division of ton (now called tone step)", Mr. Zou Dai clearly pointed out that it should be mainly two-tone and three-toneton, and it is not necessary to use single-toneton and four-toneton. He also added that "the number of each line is not neat, but each section is symmetrical with each other", and uses Zhu Xiang's "Picking Lotus Songs" as an example, pointing out that "this poem provides a rare example for the creation of modern Gelug poetry to create corresponding forms according to the content." This is actually a response to Wen Yiduo's "tailor-made" saying, and now what we call "neat symmetry" has been called.

Lü Jin edited the book "On Modern Chinese Poetic Styles" published by Chongqing Publishing House in 2007, chapter 6 "New Poetry of Gelu Style" (the name of "Modern Gelu Poems" has been replaced by "Gelu New Poetry", the reason is omitted) in the special chapter of this article, calling it "an important document in the history of the theory of New Grammatical Poetry", "more innovative is his compilation of selected style examples", that is, the "Anthology" classifies and arranges existing modern grammatical poems, thus opening the precedent for the classification of new grammatical poems. Under its enlightenment, the widely recognized "rule of three" of new poems of the lattice style was formed, which led to the implementation of Wen Yiduo's concept of "tailor-made" and showed the superiority of "infinite operability". Practice over the years has proved that this is of great benefit to the study and implementation of new poetry in the grammatical style.

Four

By the end of the last century, for various reasons, the development of new grammatical poetry fell into a low ebb. However, since the beginning of the new century, with the help of the Internet, especially the slogan of the "second revolution" of the new poem represented by Lü Jin, the construction of poetry has become the proper meaning of it, and the new poetry of the grammatical style has been able to restore its vitality and achieve rapid development. At present, the new poetry of the grammatical style has become an indelible existence, and in the Chinese poetry world, the pattern of free body new poetry, new grammatical poetry and Chinese poetry "three-legged standing" has basically taken shape. In this process, mr. Zou Dai, as the pioneer and hero of the "resurgence of modern Grammatical poetry" in the previous period, played a major influence that cannot be doubted. In my memorial essay written after his death, as a latecomer, I once wrote with the words "Mr. Zou Dai, rest assured!" "Speak to his spirit in heaven."

Mr. Zou Dai, taking this opportunity today, I would like to tell you that if you have knowledge in heaven, you can rest assured now! Mr! At this time, we miss you even more and are even more grateful for your immortal deeds! You are not only a pioneer and hero of the resurgence of modern Gelug poetry in the 1980s, but also one of the few masters in the Chinese poetry scene in the 20th century who integrates poets, theorists, translators, selectors, and mentors! We, the inheritors of the new poetry of the new poetry of the grammatical style, must not forget your outstanding feats, we must learn from your perseverance spirit, and always strive for the cause of the construction of the new poetry and the law! Finally, let me offer this poem, the garland woven by this heart flower:

Honorable to Mr. Zou Dai, who presents the kingdom of heaven

——Written before his 100th birthday

Sir, you're fine there

Must be in front of his seat

Talk and laugh with him a lot

There, flowers bloom all year round

There is no continuous war

No frown tightening

There, there were no chains jingling

Xian Shu sang and danced

Poetry never grows old

Please don't worry about the old

Always shake hands between flowers

In the early morning of March 16, 2022, Yumi Sai