Theme: Spring water, like flowers in the wild
——"Classical Spring Water: Twelve Lectures on Pan Xiangli's Ancient Poetry" press conference
Time: 15:00, March 12, 2022
Venue: Shared space on the first floor of Beijing Book Building
Organizer: People's Literature Publishing House
Recently, the People's Literature Publishing House solemnly launched "Classical Spring Water: Twelve Lectures on Pan Xiangli's Ancient Poems". On the afternoon of March 12, the launch ceremony of the new book was held at the Beijing Book Building, and six heavy guests, including Zhu Yongxin, Li Jingze, Bi Feiyu, Pan Kaixiong, Ouyang Jianghe and Peng Min, gathered together to talk about the past and the present around poetry and life.
A deep love to talk about the wonderful, jian pen across the ancient and modern
Pan Xiangli (writer, vice chairman of the Shanghai Writers Association): "Classical Spring Water" is a poetry appreciation essay that I think I have written best, the most forceful and the most relaxed, and it is close to the poetry appreciation essay of my dreams.
The choice of the two words "spring water" is a sentence that comes to mind by Ouyang Xiu - "away from the sorrow gradually and infinitely, and the winding is constantly like spring water." I think the charm of ancient poetry and its influence on contemporary people are a bit like "winding and turning like spring water", it is not gradually fading away and weakening, but gradually drifting away and becoming infinite.
I myself am particularly pleased that the People's Literature Publishing House has made this book like this, and the concept of binding design and editing is a good reflection of my personal sustenance. What is the pinning on? It is a Chinese's obsession with ancient poetry--reading ancient poetry until it stands up from paper, and reading those poets and lyricists as their friends and relatives. It's not a matter of elegance and vulgarity, but the feeling of the heart and the heart meeting in the depths of time, and then the heart will smile, sometimes shed tears together in the middle of the night. Although their tears were thousands of years ago, one late night, when I suddenly really understood, I felt a tear in my heart for a moment. This tear can flow with the ancients through thousands of years, and that moment is very happy.
I am particularly eager to make people believe through this book that we can meet these high people and these wonderful people in ancient times at a certain moment, tears and tears, smiles and smiles, which can be done. Special thanks to the publisher, they fully understood my very arrogant obsession, and they passed on this breath.
Zang Yongqing (President of the People's Literature Publishing House): Ms. Pan Xiangli is a famous writer who has published works such as the novel "Andrographis" by the Humanities Society, which has been well received by the industry. The publication of "Classical Spring Water: Twelve Lectures on Pan Xiangli's Ancient Poetry" is the quintessence of the author's appreciation and analysis of ancient poetry in the past three years, and it is also the finale of the author's series of ancient poetry essays. The articles in the book were published in the column "Like Flowers in the Wild" in Chung Shan Magazine and won the 4th Chung Shan Literature Award.
This book leads us to immerse ourselves in reading classical poetry, and have in-depth dialogues with the ancients in the depths of time, such as Tao Yuanming, Du Fu, Li Shangyin, Ouyang Xiu, Su Shi, Lu You, and Xin Zhiyi. A deep love to talk about the wonderful, jian pen across the ancient and modern. The book discusses nearly 60 ancient literati, tastes more than 100 ancient poems, and writes small incisions, but it is written with great emotion and a thousand weather. As far as the "Book of Poetry" and as close as "Dream of the Red Chamber", the poems in it are easy to come by, unique and unique, and there are many amazing words.
For thousands of years, poetry has always been the spiritual monologue of Chinese, which has been integrated into the blood of the Chinese nation and has become the cultural gene of the Chinese nation. And this gentle jade-like, mind-like water, and unique spiritual note leads us to explore and appreciate the wonders in the garden of ancient poetry "like a flower in the wild", speaking of our own words and talking about ordinary feelings. The magnificent imagination of the novelist, the thoughtfulness of the female literati, the tao yuanming, Du Fu, Li Shangyin, Yan Shu, Yan Jidao, Ouyang Xiu, Su Shi, Zhou Bangyan, Lu You, Xin Qiyi and other ancient people in the depths of time have been written to life, and everyone has flesh and blood, and they are vivid. The sentence hits the spiritual touchpoint of all sentient beings at the moment, and as soon as it is listed, it is warmly welcomed by readers because of its exquisite language, ingenious solutions, and elegant and generous binding design.
What is even more valuable about this book is that the author not only says wonderful things in golden sentences, but also spans the life of ancient and modern words. Such a collection of essays that arises from love and ends with affection, what surges between the lines is a sincere heart that spans thousands of years and communicates with sorrow and joy. The whole book not only talks about the wonders of ancient poetry in the past, but also talks about life with affection, father-daughter affection, beautiful love, and friendship of the deceased, which is touching to read, and it is a work of "meeting for life" that talks about the past and the present. Everyone is a girl, a talented woman in Jiangnan, straightforward and bright, with a distinct personality. This is the correct posture for opening ancient poetry, such as to a close friend, wearing a liver and a bladder, bold expression, and free passage.
The next pen is open and relaxed, which can be described as "Pan Xiangli's "Human Words""
Zhu Yongxin (Member of the Standing Committee of the National Committee of the Chinese People's Political Consultative Conference and Vice Chairman of the Central Committee of the China Association for the Promotion of Democracy): Mr. Lin Yutang once said that to a certain extent, poetry is a religion that Chinese. In addition to being carried by ancient classics such as the Four Books and Five Classics, china's humanistic spirit is often presented and expressed through more vivid poems, which is accepted and understood by ordinary people. Therefore, poetry plays a very important role in the spiritual growth of Chinese.
Whether it is Su Dongpo's open-mindedness - no matter how his life encounters change, he can calmly cope with it and laugh at life; or Lu You, Xin Zhiyi, and other feelings that can be heroic and brave, but also meticulous and warm, to a large extent, it is a self-mirror image of a life in the process of intellectuals' growth. Therefore, from this book, you can not only learn the poetry and art of the Chinese Tang and Song dynasties, but more importantly, you can learn about Su Dongpo, Lu You, Xin Shuyi, and so on, saying that they are literati or intellectuals, or a life attitude of life prototype and life example.
This time, Pan Xiangli used twelve lectures to present the artistic realm of Tang poetry and Song Ci more intensively, paying attention to these themes and deeply understanding them. I have always liked such a poetic theory that does not write poets purely from the perspective of literature and language, but closely combines the spirit, life, and life of the characters. I said it was "Pan Xiangli's "Words and Sayings on Earth", which is also a very good reading book of poetry for teenagers.
Li Jingze (famous literary critic and vice chairman of the China Writers Association): "Classical Spring Water" can be said to be Chinese emotional and life archives. It takes Chinese poetry and Chinese— in fact, these are two sides of the same coin — and says that Chinese and the emotions in Chinese poetry, the situation of our lives, almost one by one. For example, the poems of Yongshi talk about our sense of history, about Chinese feelings about time, about the eternal mountains and rivers and the earth, and the limited life. Then another chapter is about sadness, and another chapter is about love, and so on.
Classical poetry is a living thing, a huge, fundamental existence, to the spiritual life of our nation. It is in this sense that I feel that classical poetry is not a question of whether to read or not to read, but that we may re-read it from generation to generation. It is always in our reading, in our hearts, constantly becoming something new, something ourselves.
We now see Pan Xiangli as a person, she is reading, this kind of reading is not only to explain classical poetry, nor is it just to show that "I am very learned", in fact, she puts her life and emotions into it to re-read, reinterpret, and re-make these poems her own. In that sense, I think it's a pretty big project, and it's done a lot. The article is indeed good-looking, this kind of good-looking is not to look good, it is that I have cultivated to such a bright degree, and the next pen can be so open and relaxed. We must use excellent sensitivity, extremely keen sense of life, and emotional sharpness to truly make ancient poetry bright and new in our pen, and "Classical Spring Water" should have done it.
Just now Teacher Zhu said a particularly good sentence, he said that this is Pan Xiangli's "Words and Sayings on Earth". Poetry and words are particularly important and great writing traditions in the classical tradition. Her writing does have the charm of our classical poetry and classical words.
"Falling generous Song", writing is more like the archaeology of poetic aesthetics
Bi Feiyu (famous writer and vice chairman of the China Writers Association): "Classical Spring Water" is no longer an exposition of classical poetry, but a writer writing with classical poetry as the starting point, which is my biggest feeling. She uses elements of poetry, in writing her own things.
What makes the whole writing that I find most interesting is that it is more like archaeology—an archaeology of poetic aesthetics. In this archaeological process, she painted us some spectra, or showed us some genealogies. There are two pieces in her spectrum, one is completed with concepts, such as the particularly important love in poetry, and the other is related to time, called nostalgia. What is Nostalgia? How to nostalgia? What kind of expression does nostalgia involve? For example, sorrow, "Hanshan Temple outside Gusu City, Jiangfeng Fishing Fire on Sleep"; such as beauty, feminine beauty. She listed the intensity of sorrow in ten grades, and there are many, many levels of feminine beauty. Are these grades scientific? Can it be put into a computer for quantification? Does it constitute a poetic conclusion? We don't care about it. But this approach is particularly interesting.
Using these concepts, she also selected several particularly important images for archaeology, listing their lineages, such as fallen leaves, residual flowers, and water. These are all supporting images in classical poetry and an important part of the cultural psychology of Chinese. It is both natural and not natural, it is a very strange presentation, the kind of thing that has entered the bones of Chinese civilization. Each of us has its own fallen leaves, its own residual flowers, its own water and water surface. Even when we express everything, we can express it with these images. Pan Xiangli's archeological-like writing method made me feel particularly interesting.
I also noticed that she was a novelist and that she was sometimes naughty. For example, writing About Yan Shu and Yan Ji Dao Father and Son, she is completely a novel idea. Protagonist A and protagonist B are there, you and I are there, and in the process of the novel, what we are presented with is Chinese poetry and Chinese words.
From "Classical Spring Water", it can also be felt that the reader or the author is always changing. For example, the view of Du Fu, the view of Lu You, and the view of Liu Yuxi also affected me to a large extent. I used to think that Liu Yuxi was a poet I liked very much, and in the Tang Dynasty he was top-notch, but I never dared to say this. But in this book, she can bravely say this sentence, and I suddenly feel that I have found a comrade, and even my life has a basis, and this basis is Xiang Li.
I was delighted by her insight. Including when she wrote Ouyang Xiu, relatively speaking, we are more familiar with Ouyang Xiu, and when she said that Ouyang Xiu was a Song Dynasty, it was really good to use a word - she said "the Song that fell generously". In Xiang Li's pen, through Ouyang Xiu, the person, to state Song with "falling generously", I really opened my heart when I saw this phrase.
At the age of 37, he was conquered by Du Fu and understood his father
Pan Xiangli: My father's favorite poet was Du Fu, and he took it for granted—"Of course, Du Fu, who else could he be?" "I first liked Li Bai and Wang Wei, and later I fanatically liked Du Mu and Li Shangyin. I think Li Shangyin is so exquisite, so extremely beautiful, so affectionate, so lingering. Du Mu is so handsome, his poems are so heroic, reading every sentence wants to shoot the case. How could Du Fu, a bitter old man, compare himself with them? Then I had a lot of discussions with my father, and I often argued. Later, I found out that he had a "give up" attitude toward me, and he didn't come to suppress you, but he had an expression, and I later understood that the expression meant "I don't instigate you, one day Du Fu can clean you up."
Then when I was 37 years old, one evening I was so tired that I didn't know why I couldn't see anything. I took out a copy of "Selected Poems of Du Fu", casually turned to one of the pages, and read "Gifts to the Eight Virgins". Wei Bashi is a person with the surname Wei, ranked eighth, and has never been an official in his life, so he is a "virgin". Many people will recite that poem- "Life does not meet, and movement is like participating in business." This night and night, this lamp and candlelight." This poem is also very easy to understand, but I read it very strangely that day, and I felt that my face was cold, and when I touched it, it was actually tears. It was autumn, and I didn't realize I was moved, but the tears came down first. At that moment, I felt that I understood Du Fu, I also understood my father, I understood these Chinese who loved Du Fu and Tang poetry from generation to generation, my predecessors, my masters, and my masters' masters. In an instant, I met my father again, and we met countless of my seniors, my seniors. The moment was so wonderful, it was a typical tear of Chinese.
Pan Kaixiong (famous literary critic, former vice president of China Publishing Group): Xiang Li is still a growing writer, and it is still unknown where her ceiling is.
The influence of her family on her makes her writing more extensive. She started out writing novels, just beginning with short stories, and the one that won the Lu Prize at the beginning of the century was a short story. Now all the short story anthologies, her "White Water Greens" can not run away. Later, I wrote an essay. Ancient poetry appreciation or appreciation, this should be the third book. I don't say that she is very good in every one of them, but at least at a considerable level, no matter what kind of style and which aspect is involved. This must be inseparable from the environment in which she grew up, the education she received, and her own efforts. That's number one.
Second, her characteristics as a novelist are actually reflected in this "Classical Spring Water". At present, there are many books on the market that talk about ancient poetry, and Xiang Li's personality is very prominent. The amount of knowledge behind each of her twelve lectures is enormous. Many of her observations and writing are actually novels. Reading the appreciation of ancient poems written by ordinary scholars in society is completely incomparable with her words, feelings, and pens.
Ouyang Jianghe (famous poet): I just heard Xiang Li tell the story of his father, and I was very touched after listening to it. There is an article in the book about Su Dongpo, and your understanding and entry into Su Dongpo is actually from a calligraphy that Mr. Zhu Dongrun gave to your old father. You look at that word every day, thousands of times, and it has entered your life when you were a child. This entry is what we call the origin of family learning and the role of the scholarly door.
Through Pan Xiangli's book, we enter our reading of classical poetry and ancients through the eyes and reading methods of a writer, and elegantly understand those ancient lives.
Those who wrote classical poetry are the most beautiful and affectionate ancients
Peng Min (Winner of the Fifth Season of the Chinese Poetry Conference, Deputy Director of the Editorial Department of Poetry Journal): I have been reading this book for several days, and I personally have three feelings.
First, I have a lot of similarities with Teacher Pan, when I was young, I was particularly infatuated with Li Shangyin, and I didn't think much of Lao Du. But I suddenly had feelings for Lao Du, actually with Teacher Pan is the same poem "Gift to guard the Eight Virgins", I saw two of them", "When you are young and strong, your sideburns are already green", and suddenly I understood, and I had such personal feelings for Du Fu.
The second feeling, I found that Teacher Pan's book is not quite the same as ordinary poetry readings. The general reading book is popular, all kinds of stories to tell you, telling you a lot of flowers and fascinating. Although Teacher Pan's books also tell stories, she is more likely to re-care about the ancient poems that we are already very familiar with with with the insight of a writer. Some of the findings are interesting. For example, she wrote the love story of Lu You, Lu You and Tang Wan, including those poems that everyone is familiar with. But few books will tell you that after Lu You and Tang Wan divorced, he married another wife, and he never wrote a poem to this wife in his life. He wrote so many poems to an ex-wife who had divorced that he still missed him at the age of seventy or eighty. But for this "person in front of you", not a single poem has been written. At this time, the stroke of God came - Teacher Pan said, which fully shows that "marriage is very close to reality and far from the soul." I think this is a special god.
Third, I found that there are some places in this book that Teacher Pan is particularly bold and explosive. Usually we read poetry books with all kinds of exaggerations - how great this character is, how powerful this poem is, you can just worship it, just give your knees. However, Teacher Pan actually said in the book that Du Fu wrote Zhuge Liang's poems, and the last two sentences of "Transporting Han Zuo will eventually be difficult to recover, and he is determined to annihilate the military affairs" was not written well, and the whole poem was suddenly lowered. For example, many of Su Shi's poems are not well written, and Lu You was particularly disliked by her before, listing many words that the ancients criticized Lu You.
This is where this book and poetry readings in general are particularly valuable. The average reader tends to mythologize the ancient poets—you just look up until your cervical spine is uncomfortable. But Teacher Pan's book, she pulled all these people back to the place where we sat on an equal footing and looked at each other, which was tantamount to pulling them from heaven to earth, from far away to us. They are just ordinary people around us who are very temperamental and very talented. Their poems are, of course, good, but we can also criticize the bad things, which helps to bring ancient poetry closer together and between poets and the general reader. When we give up the upward perspective, it is possible to experience the lives of these poets more deeply, to appreciate the subtleties of their poetry more deeply. I believe that this book will surely lead more readers to both popularization and improvement, and deeper into the field of ancient poetry.
Pan Xiangli: A very luxurious period of time, with so many acquaintances, unfamiliar people, talking about some things that are very far away from chai rice oil and salt.
Finally, I would like to say three words:
First, classical poetry is our secret backyard garden. You can enter whenever you want.
Second, classical poetry is a journey that we can say and go at any time. No need for all kinds of preparation.
Third, classical poetry allows everyone to see the most beautiful, most vulgar, and most affectionate ancient people at any time.
Thank you.
Finishing/Rain Station
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