4 issues of literary observation recommended reading | Li Li: true love is not strange, the wind is clear and not complicated - reading Ye Deqing's poems has a feeling

True and not mysterious

The wind is clear and not cluttered

——Reading Ye Deqing's poems has a feeling

Author: Li Li

Reading Ye Deqing's poems comes to mind a word on the calligraphy tablet: rubbing. To put it simply, rice paper is applied to the stone stele, and then inked, and the words or patterns on the stele are printed on the paper. Ye Deqing's poetry is also like rubbing, except that he uses his heart to rub the things he has experienced and the scenes he has seen. More precisely, his heart looks at the things and things he encounters, allowing things to imprint his heart, his sustenance, and at the same time letting the heart reflect the soul of things and things. This is mutual metaphor -- mutual metaphor, mutual calling, mutual confirmation, the invisible mind becomes concrete and tangible because of things and scenes, things and things become concrete and deep because of the contamination and deepening of the mind, there are perceptions and emotions and allegories. For example, his "Paper Back", the front of the writing when I was a child, smeared the wrong words with saliva, and broke the homework book. Later, when I grew up, I never had the strength to read through the paper, until I wrote a biography of my deceased father, and it was not: "I can't write for a long time / The tears are dripping on the paper / Through the back of the paper."

This is a metaphor and echo of two things, the same is that both break the back of the paper, but the former is because of childishness, self-defeating, can be seen as physically breaking the back of the paper, the latter because the solemn love soaked through the back of the paper, more emotional elements, especially with the intervention of the human heart, from the original force into intention - real into virtual, two things at different times look at each other, there is an echo, there is a hint and a metaphor. The reader's heart is pried, and it is substituted and awakened, and the poetry rises and begins to spread. Looking at his "Voice" again, the first paragraph of the poem writes about various sounds: bones, bed boards, bamboo chairs, roof tiles, dishes and chopsticks, and the croaking of geese flying in the sky, and then turned: "I don't know what kind of sound it is when people leave their names/ Has anyone ever heard the sound of a grain of dust." At this time, we suddenly realized that he had written these voices in the front as a mirror, and then let them reflect the soul behind the sound behind it, that is, hints and symbols, and finally turned to the character of the human heart. The great thoughts of the poem came out.

Narratively, this is the twist, like an airplane speeding down a runway and then suddenly leaving the ground and taking off. This also shows that Ye Deqing is very good at luck. In writing, potential represents the overall layout and the frontier point and driving force of plot development. In poetry it is the breaking point, the identification point and head wave of emotional running. The things or scenes that Ye Deqing began to write were all potential causes, and then began to use a large number of rankings to create momentum, that is, to pave the runway, so that the reader's thoughts slid along the trend, and then the momentum suddenly turned, jumped upwards, or went against the trend, which is the turning trend. First, it cuts off the reader's habitual thinking, making people stunned, and then Mao Sai suddenly opens up and suddenly opens up, with a sense of openness and wonder like a riddle being said. The things and things originally narrated have degenerated from the archetype, alienated, or reincarnated into something different from God, and the shadows are stacked heavily, as if they were illusory, and I am not me. The meaning of the poem is no longer single, but more directional, and the things that were originally visible have been virtualized into meanings and moods, and have meanings—the feelings that both enlighten thoughts and make people's emotions full of various tastes. The poem has a taste, and the more it tastes, the more real it is, and it makes people sigh, which is a profound and mysterious feeling that is clear and difficult to explain.

This kind of beauty is the mysterious enlightenment, which feels like he has encountered the old knowledge, and finally walked out of the deep cave, with the freshness and wonder of the willow dark flowers and another village, as well as the philosophical sense of concealment and full of interest. At the same time, in the process of writing poetry, miao enlightenment is also a kind of thinking activity. At this time, the focus is on enlightenment, enlightenment to the mysterious, which tests the wisdom and emotional intelligence of the poet, as well as the ability to discover, aesthetically and transform. And all this is not a word for Ye Deqing, although he is tall, but he has a sensitive heart and a special artistic sense, coupled with his deep affection for all things, so he can turn decay into magic, and do not meditate, relying on intuition to make poetry generate in an instant. For example, his "A Lotus": "A lotus on the bathroom glass door / has been budding / Frank to see each other for many years / has been shy to open / Back slightly curved, some humble / I know that the lotus has a cleaning habit / often wipe the glass / put the lotus leaf, the lotus branch / Wipe it clean / The lotus hides behind the frosted glass / So many years, meet me / Still a little panicked / A lotus / This is a reincarnated lotus / On the glass door of the bathroom / Always see through / Never say."

The boundary between life and poetry disappears, poetry is restored to life, and life sees poetry through it, all of which belong to the poet's spiritual heart and carefulness. The heart has spirituality to make the lotus on the glass door come alive, and the heart has the meticulousness to rub the lotus out of the poetry layer by layer, and let it break through the cocoon into a butterfly, into a deep thought, and interesting and emotional. And casual, natural and concise, there is no half-point hanging and blocking, as if with a wave of the hand, the ordinary becomes dangerous and beautiful, and the trivial is ignited into a spiritual wonder. This is the magic, in which the fun and mystery are layered and reciprocated. This is the first element of Ye Deqing's mysterious enlightenment, on the other hand, in Ye Deqing's place, miaowu also contains the meaning of awakening, including introspection, enlightenment and confusion, including emotional and truth dredging, refresh and reconfirmation. Ye Deqing's enlightenment is not only to make Miao Xuan and Xuan, but also not a game, he must realize the true way of life, truly reflect on life and guide life in this way. So his "magic" becomes concrete, useful, and beneficial. For example, his "Hard Bones": "Since middle age, I have been doing subtraction /weight loss, subtracting/subtracting social activities, reducing the circle of friends/ still can't hide from the responsibility of the old heavens / The physical indicators are not up to standard / But there is one thing that has never changed / Bone mass." Bones never lighter /had a crushing fracture of a knee/no bend. / Sometimes people bump into my crotch / Think I'm carrying a murder weapon / The bones are too hard. / I understand very well that a body of greasy / can not be refined / but can burn a few hard bones / a little heavier than dust / That's it."

Although the poem is still a two-stage formula of momentum and rotation, the process is progressive, just like smelting steel, little by little to fake the truth, to the wu cunjing, gradually purified and hardened, the best poem's sharp edge is exposed, that is, the greasy body, although it can not practice the relic, "but you can burn out a few hard bones / a little heavier than dust / This is OK." This is Ye Deqing's experience, but also values, the true core of poetry, and the essence of life that he has realized. The brilliance of the poem is not to initiate reverie and diffuse outwards, but to tighten inward, and to tighten tighter and tighter, deeper and sharper. This poem becomes a forged sword and forged aphorisms, pointing to concrete and clear, like a declaration of personality, with the effect of awakening human nature and pouring personality.

I regard this as the wind and bone of Ye Deqing's poetry, and it is also his character, from which we can see his chivalrous spirit and salvation ideas. This gives his poetry thickness and breadth, and more voluminousness. Those pink-walled Dewa's Jiangnan, bonsai-like exquisite scenery, as well as flowers and birds have become the symbols of his spirit, flowing with his indignation and non-abandonment, care and compassion, poetry has bones, thunder, with grandeur and compassion, as well as deep care and sorrow, pry heart and warm heart. This is evidenced by the poems quoted earlier.

But more than that, this spirit and thought is embedded in the tone, tone and sense of each poem. Therefore, to read his poems carefully, it is best to read the sound slowly - the sound is also an image, even a microscope, which can see through the poet's emotions, as well as a frown that will be tightened and stretched, and a pair of eyes that will look at the world, and a pair of eyes will be kind. The most typical is his "Winter Snow", which begins to come back to life as the sound blooms, the dancing snow, the dim street lamps, the figure of his father and the sound of him stepping on the snow. With the opening of the tone, let us and the poet mourn together that the father and the past that were as clean as snowflakes can never come back, and there are sighs and indignations about alienated human nature, more than reluctance and expectation. And this "Reading Place", not only the heart rises and falls with the sound, but also has to see - the scenery in the poem is in front of us, as if we are readers, playing with the plum and the sparrow, the poem has a strong sense of presence: "I planted a plum / There are a few leaves on the body, I know / After winter, I start to bud / There are a few flower buds, even if dozens / Remember clearly / Every morning, I sit next to it and read / / After a burst of sparrow chatter / Find that the buds on the plum tree are missing / Thin branches are broken in one or two places // It's cold, there's no more grain outside / Poor sparrows are running around / / The bigger buds, not one less / Today, there are a few more popping up / Three or two sparrows crouching on the tiles and looking / Blowing a whistle for them to hear / I pray secretly, those little buds will grow up soon."

The emotions in the poem, though not very fluid, have been transformed into a deep concern for sparrows and flower buds. Originally, the sparrow destroyed the smooth opening of Lamei, but the poet did not condemn it, but was full of pity for the sparrow that had lost its food. On the one hand, I hope that the sparrows can have food, and on the other hand, I hope that the flower buds will grow quickly so as not to be trampled. In the dilemma, there was compassion, which showed the soft heart behind Ye Deqing's chivalry. Old Mu Xin said that a good writer needs a mind, a talent, and a heart. Among them, good intentions are the key to elevating the realm of the work. Kindness is the feeling and pattern of the writer, and it is the fire in poetry. Therefore, good intentions are productivity, whether it is people or works, who does not like the character of chivalrous and unselfish? This also shows that Ye Deqing is willing to cross himself to warm others who are deep in the snow and cold wind. Compassion for the little and the weak, condemnation of injustice and injustice, made his poetry shine with humanitarian overtones and a great warmth draped in cotton. At the same time, the good heart makes him have a pious heart for all things, and affectionate and emotional, Japanese aesthetics call this "material mourning", the mourning is not sadness, is love, but there is pity in love, especially those flowers that cannot last long and withered leaves make them move or even heart-wrenching, always have to sigh and urge. To sum it up in du fu's poem, it is "when you feel the flowers splashing tears, hating other birds and being frightened." This also shows that Ye Deqing often worries about everything, and a little wind and grass can make him move and "xing". This constitutes the psychology and archetype of his writing, that is, the embryo. Ancient people are known to people, and he is to poetry. Things have hearts and minds, and qualities are meant to explore and dissolve things and inner desires. For Ye Deqing, he loves all things, he contemplates all things, but does not dissolve them, but lets them dissolve the inner blocks and distractions, let the heart rely on things, and finally merge with things, and the heart and things are one. Therefore, Ye Deqing is full of reverence for all the things he writes, and he writes them like a cautious word, respecting the natural ecology of all things, and not tampering with their character and growth habits. Therefore, his poems are mostly white drawings, and he carefully and frighteningly imitates the scenery he sees. In fact, there is no need to add branches and leaves, nature itself has endless charm and poetry. The poet is the best poem even though he surrenders his mood to it. So find a word to summarize the quality of his poetry, which is discernment. The original sentence in "Wenxin Carved Dragon" is: "The text is able to discern cleanliness, not to be complicated and clever." It is to be concise, not verbose and complicated. Ye Deqing's poems are plain and clean, and their essence is to write naked, narrate like white water, rouge, rhetoric, exaggeration, talk like usual, try to objectify, rarely add subjective emotions, like sketches in art. At the same time, it is also very comfortable, almost aesthetically sparse, there seems to be a breeze between the words, let us see a teenager who has experienced vicissitudes in the heart and the scenery, talking to the soul, naturally and just right, although simple but meaningful, like a bell ringing over the aftersound lingering in the heart, this is the charm. To sum it up in the words of the Tang Dynasty critic Jiaoran: true love is not strange, and the wind is clear and not complicated.

This is Ye Deqing's poetic characteristic, and it is also his natural pursuit of writing poetry.

concentrate:

This article was published in the 2022 Edition of Yanhe Magazine, Issue 4, Literary Observation Column

The pictures in this article are from the Internet