【Free Banishment | To The Knowledge】
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One
Accidental Literature | A Selection of Love's Poems
Choose poems for you
About the Author
Luo Fu, whose real names are Mo Yunrui and Molov, and pen name Ye Shuo, is a native of Hengyang, Hunan. In 1949, he went to Taiwan. In 1951, he was admitted to the undergraduate class of the Taiwan Political Engineering Cadre School, and after graduation, he joined the Taiwan Marine Corps. He graduated from the Taiwan Military Officers' Foreign Language School in 1959, served as an adviser and English secretary of the Vietnamese "Advisory Group" in 1965, and returned to Taiwan in 1967 to study in the English Department of the College of Arts and Sciences of Tamkang University. He retired from the army in 1973 and taught at the Department of Foreign Languages at Soochow University. He later lived in Vancouver, Canada. In 1954, he participated in the founding of the poetry journal "Genesis" and served as the editor-in-chief for more than 20 years. He is the author of poems such as "The Wound of Time", "Spirit River", "Death of the Stone Chamber", "Magic Song", "Drifting Wood" (2001), etc., and the commentaries include "The Mirror of the Poet" and "Anthology of Love's Poems", as well as prose collections and translations.
twilight
Dusk was coming to an end, and the footsteps in the courtyard were lighter
Under the lamp, an empty wine bottle sang in the wind
I hurried past here
Walk towards a pot of fire that will be extinguished
Outside the window was a mountain, it was smoke and rain, it was April
Farther away is no one
A green pine struggled to hold the sky
Then I heard the sound of the rings spinning eagerly
This is the forbidden garden, and the fog is rising
When the face melts into twilight
You start crying
Fallen leaves are holding funerals for the fruits
The Rhetoric of Death
gunshot
Spit out the smell of mustard
My skull exploded in the tree
That is, to form a pomegranate
In the middle of the sea
i.e. salt
Only the equation of blood remains unchanged
At the reddest moment
joke
It is the language of fire, wine, flowers, delicate urns,
Clubs are the rhetoric of death
I was killed
I was created as a new form
hoofer
Choke
A red dragonfly flew out of the cymbals
Sticking to the surface of the water
Soft abs
Still
The roar of all eyes
Rivers and rivers
From your waist to the east
And into the sea
It was a whimper in our chests
Flying flowers flying flowers
Your arm
It is what the five strings and seven strings can bind
Swing room
The pods burst
Flocks of butterflies fly wildly
Rise, rise again
Slowly turn around
A water lotus suddenly opened a thousand fingers
The clasp sounded
Alpine flowing water in our hearts
Border lookout township
Talk and talk
We arrived at Lok Ma Chau
The fog was rising, and we were looking around in a daze
The palms of my hands began to sweat
The nostalgia that expands dozens of times in the telescope
Chaos is like the emanating from the wind
When the distance is adjusted to a heart-pounding degree
A distant mountain flew in
Knocked me in
Severe internal injuries
Sick and sick
Sick like the withered cuckoos on the hillside
Only one remains
Crouch behind the "no cross-line" sign
hemoptysis. And at this time
An egret startled from the paddy field
Fly over Shenzhen
It folded back again
At this time, the partridge pronounces fire
That smokey cry
Sentence by sentence
Penetrate the spring cold of March in a different place
My eyes were burned and my veins were stretched
The sting is followed by the vernal equinox
Qingming season is not far away
I actually understood the cantonese rural pronunciation
When the rain turns the reckless earth
Translated into cyan language
Here! You said that Futian Village is shuiwei again
The dirt of the homeland is within reach
But what I caught back was still a cold mist
Because of the wind
Yesterday I was along the river,
Stroll to,
A place where the reeds bend down to drink water.
By the way please chimney,
Write a long letter for me in the sky,
Sloppy is a little sloppy.
And my heart,
Then bright as the candlelight in front of your window,
Slightly ambiguous,
Inevitably,
Because of the wind.
It doesn't matter if you can read this letter,
Importantly,
You must make sure that before the daisies have all withered,
Get angry, or laugh.
Hurry up and find my thin shirt from the box,
Hurry up and comb your dark and soft charm in the mirror,
And then with a whole life of love,
Light a lamp.
I am fire,
May be extinguished at any time,
Because of the wind.
Love on poetry
I've always thought of poetry as a significant beauty, but this "meaning" is usually hidden in things and left to the reader to feel for himself. Poetry must have its meaning, and there must be an otherworldly beauty. In recent years, the "lower body" faction that has emerged on the mainland has focused on depicting sexual organs, and then stimulated another group of people to form a "garbage faction", opposing all civilization, order and values, shouting out the slogan of pursuing "sublime", and spurning all elements of poetic aesthetics, including symbols, metaphors and——— rhetoric. In fact, I think that "sex" or "garbage" is a phenomenon, such as only as a subject matter, why not into poetry, the question is whether the poet can find a certain meaning from it, and manage the spirit and form of a poem, an absolute beauty, an indisputable truth.
I would like to talk in detail about the similarities and differences between Surrealism and Chinese Zen Taoism, and the possibility of merging the two.
The ancients liked to use Zen metaphors for poetry. Poetry and Zen have an ambiguous and appropriate relationship, and Yan Yu of the Song Dynasty and Wang Shizhen of the Qing Dynasty have both put forward the idea of the integration of poetry and Zen, especially the poetry of the Tang Dynasty on the mainland. In fact, in traditional Chinese literature and art, there is a kind of flying, flowing, detached explicit quality, and there is also a quiet, serene, silent so-called "antelope hanging horns, no trace" hidden quality. This is the essence of poetry, the essence of Zen, and the essence of Surrealism. I think that a poet, especially a poet with a strong sense of life and the courage to explore the deep meaning of life, often disdains to be too close to reality, using poetry to describe and copy the appearance of life, his reflection on reality, the contemplation of life, and the metaphysical thinking, all of which are completed by his unique aesthetics, and its unique feature is the combination of surrealism and Zen, and the formation of an aesthetic with surreal characteristics and Chinese philosophical connotations. A surreal poet strives to grasp the inner reality of man through the exploration of dreams and the subconscious, while Zen attaches importance to seeing the clear mind, pursuing the consciousness of human nature, filtering the desires in the subconscious and sublimating into a kind of extraordinary wisdom, so as to understand the origin of life. The poems that combine the two not only make new adjustments to the real world, but also make new interpretations of life. Here I excerpt a conversation from a Zen master to illustrate the similarities and differences between Zen and the surreal spirit:
Zhao Zhou asked from the Zen master Sam Nan Quan: How is the Tao? Quan Yue: Ordinary mind is the Tao. Teacher: Can you still be interesting or not? Quan Yue: The proposed direction is obedient. Master also said: Do not argue that knowledge is the Tao? Quan Yue: The Tao does not belong to knowing, it does not belong to ignorance, knowing is an illusion, not knowing is unremembered, if the True Path is not doubtful, it is like too vain, and it is so open-minded, how can it be strong and not yes!
The so-called "fun direction" in the dialogue refers to logical reasoning, and the discernment of the "knowledge" of the Zen path is immediately distorted and falls into illusion. Surrealism is anti-rational and therefore advocates "automatic language", which is very similar to the way Zen behaves.
Zen Buddhism has the so-called "talking head", which serves as a medium for expressing the zen blade in order to seek enlightenment. For example, ask, "How is the Buddha's intention?" Answer: "Zhenzhou big radish head." Or: "Qingzhou cloth shirt weighs seven pounds." The questions and answers in the meantime are irrelevant to each other, and they seem to be nonsense, but they have profound truths. What exactly does the Buddha mean to come to the West? The answer is not right, I have to take care of him left and right. Zen is neither "this thing" nor "not this thing", but mainly to cut off the control of reason, and this expression is not similar to the automatic language of surrealism?
However, as far as the creation process of poetry is concerned, the transformation of language is a key, the subconscious itself is not poetry, Zen itself is not poetry, if the creation of poetry is completely dependent on the subconscious and automatic language that is not controlled by reason, or only by Zen enlightenment, this kind of poetry is either chaotic or unpredictable. Therefore, I have always advocated a kind of restrained surrealism, if there is a kind of "Chinese surreal poetry", it should be the organic fusion of surrealism and Zen, this kind of poetry should be between the conscious and the subconscious, rational and irrational, reality and surreal. I have always believed that the power of poetry does not come entirely from within the self, but from the unity and superposition of the poet's inner reality and external reality. These are my opinions that I have been consistent for decades, and I have also written some experimental poems under these ideas, such as the well-known "Golden Dragon Zen Temple" is obviously a poem written in a surreal way, showing a Zen interest that cannot be analyzed by reason. In brewing this poem, I integrated the life of the subject into the object of things, sublimating the subconscious mind into a poetic realm. When writing such poems, we should pay special attention to the restraint of language. The poet is a man who dreams awakely, and in the gestation stage he may be enslaved by the subconscious mind without realizing it, but it is of the utmost importance that he must be the master of the language when it is transformed into living imagery.
I am one of Taiwan's most avant-garde modern poets, and in my early years I was at a time inclined to Western modernism, especially fascinated by realism. But after middle age, I have a new realization, thinking that if a poet wants to grow and thrive, he must accept the irrigation of national culture and the influence of traditional aesthetics, and finally only by integrating Chinese and Western wisdom, tradition and modern concepts can he have the opportunity to rank among the world poetry circles and be worthy of the title of "poet".
The following introduces another traditional aesthetic concept, called "irrational and wonderful", which has no reason to talk about. The poets of the continental avant-garde have a saying that "poetry stops at language", and I think this may be an experimental theory of language. The French poet Maramé once said, "Poetry is not written with thought, but in language." I think I only accept the first half of this sentence, and I don't fully agree with the second half of the sentence. Because I believe that "poetry is a meaningful beauty", this beauty can not be a narrow sense of beauty, not the same as thought, but an implication, an interest, a realm, a substantial connotation closely related to life, which may be close to what Mencius called "fullness is beauty". Poetry is not only about language, but also has a wonderful and profound meaning behind language.
From the perspective of language, poetry and prose are different, the language form of prose is a carrier, this carrier and its content can be separated, but poetry is different, the connotation of poetic language can not be separated is the whole. Prose is like walking, poetry is like dancing, walking we all have a certain purpose, when you achieve that goal, how you walk past it does not matter. Dancing is a beautiful melody formed by a beautiful movement, and the dancer and the dancer are inseparable, like poetry, are a whole thing, and when the dancing person stops, the dance is gone. Poetry is one with its content, while prose can be separated.
Based on these concepts and drawing on the creative experience accumulated by poets over the past thousands of years, I have been pursuing an ideal, that is, based on traditional Chinese aesthetics, and then referring to the concepts and expressions of Western modernism, especially surrealism, to construct a modern Chinese poetry that conforms to the characteristics of The Chinese language. It's something I've been doing for decades. I am now working as a modern poet in Taiwan and overseas, almost as I just said, some of the Western expressive techniques are combined with traditional Chinese aesthetics.
The first thing I want to do is to refer to the coefficients from classical Chinese poetry and explore surreal elements from the works of the ancients. As a result, from the poems of Li Bai, Li Shangyin, Meng Haoran, Li He, and even Du Fu, I found a factor of the same surreal nature, that is, "irrationality." In the poems of these ancients, I also found a remarkable, very mysterious thing, which bypassed the rational thinking of logic and directly touched the essence of life and art, which was later called the aesthetic concept of "irrational and wonderful". "Irrationality" is also "irrationality", which is an intrinsic factor of the coincidence between classical Chinese poetry and Western surreal theory. But the problem is that merely being "irrational" or "irrational" makes it difficult for a poem to acquire its organicity and integrity artistically. The brilliance of classical Chinese poetry lies in this "wonderful" word. In other words, poetry is by no means merely "unreasonable" for the sake of "irrationality", but must ultimately achieve a wonderful artistic effect.
My surreal approach is not so much influenced by Western aesthetics as it is inspired by traditional Chinese aesthetics. In particular, from the traditional Chinese aesthetics, I put forward the two core theories of "beauty is not self-beautiful, manifested by people" and "unreasonable and wonderful", the main intention of which is to remind you that you who love poetry, as well as friends who are engaged in poetry research and creation, must not ignore or even abandon the value of mainland traditional culture and classical poetry. We do not need to go back to the road and return to any tradition, but we may as well look back at the tradition, re-understand, reflect and evaluate the poetic aesthetics and creative achievements of our predecessors, and find back the eternity of the long-lost classical poetry imagery, so that our contemporary poetry is more vital and creative.
Excerpt from Feeling the Beauty of Poetry
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