In 1931, Liang Zongdai toured the Italian mountains
Liang Zongdai (1903-1983), famous poet, translator, writer and professor. In 1924, he studied in Europe, and was very close to the literary masters such as Paul Valery and Romain Rolland; he was proficient in French, English, German and Italian, and translated the poems of Wang Wei and Tao Yuanming into French, mainly translating "Narcissus", "The Peak of Everything", "Shakespeare Sonnets", "Faust", "Montaigne's Test", "Rodin's Treatise", "Staggered Collection", "Goethe and Sorrow", etc.
On poetry
Shima:
A letter was hastily drafted this morning, and it has been mailed. At lunch, I carefully read the "Poetry Journal" and felt that the phrase "the spiritual life of the author of the Poetry Journal" mentioned in the previous letter was too general. Now let me say a few more words.
I thought that the appreciation of the bottom of the poem could be divided into several stages. At the very least, a good poem should make us feel the author's ingenuity and make us admire his artistic skills. Going up further makes us feel that this poem has a need for existence, that it is written on a need, whether it is oppressed or stimulated by the outside world, or the maturity and overflow of the inner life, in other words, it makes us feel that it is the bottom of life. To go up further is to make us feel that it is under life and forget - we can say that it is buried - the author's ingenuity. If we compare flowers, the first can be said to be a paper flower; the second is a vase flower, which is folded from the bottom tree of the author's soul; the third is a raw flower with a full vitality, the so-called "water hibiscus", we only see its bottom branches and leaves in the wind, its bottom color shines in the sun, and we can't see the planter's bottom heart and handwriting. This is the highest realm of art, and it is also the only way that all first-class poems must reach, whether it is as long as Qu Zidi's "Departure from Sorrows", Ouyang Xiudi's "Autumn Sound Endowment", Dante's "Divine Comedy", Cao Xueqin's "Dream of the Red Chamber", Gothic's "Faust", Hugo's (Editor's Note: Hugo) bottom "Satyre" or Fan Lexi's (Editor's Note: Paul Valery) bottom "Sea Tomb" and "Young Goddess of Destiny"; or as short as Tao Xie Di Wugu, Li Bai Du Fu Di Song Line, Li Hou main lyrics, Gothic, Shelley, Verlendi short songs... For in Faust we may feel the author's quest, but it contains a permanent search for the soul to enrich life; in The Young Goddess of Destiny, we may feel the struggle between the artistic and the expressive, but what it writes is a deep— beyond words—intelligence struggling to be concrete. As for Tao Yuanmingdi's "Knot in the Human Realm", Li Baidi's "Sun in and Out", "Chang'an A Moon", Li Hou Lord's "Rain Outside the Curtain", "When is the Spring Flower and Autumn Moon", Gothic's "Wanderer's Night Song", "The Song of the Harp player", And Shellede O world! O life! O time! Verlaundy's "Autumn Song", "Moonlight Song", "White Moon" (referring to the original, of course)... It is also the author's bottom spirit refers to an easy sound that accidentally knocks out from the bottom of the great universe, round, inclusive, eternal... Super-magical. This is naturally our ideal.
But what about reality? The bottom work of the "Poetry Journal", I boldly say that at most we can impress the author's bottom art. As far as Sun Dayu's "Trick" is concerned, the simple Chinese characters are caused by endless sonnets, and the author's bottom wrist is already out of reach, although due to the relationship between the bottom of the poem, the rhythm has not yet been very flexible, and the rhyme has not yet been very sonorous. However, the title is "Trick To Extinction", the content is that the world changes color after the trick is extinct, and the mountains and rivers are transformed; what is the reader's impression? Have we ever felt the author's despair or went on to sympathize with the author? I also know that the emotions evoked by the highest literature and art are more beautified or softened than they actually are! The tragic story of Keats-de-Isabella always has a warm feeling in our hearts after reading it; Shakespeare's black ink tragedy "King Lear" has a duke of Albany at the end, and a few good elements of Edgar comfort us from the lowest hell of the human heart after a large amount of cold sweat comes out of a glimmer of light, just as Liangshan Bodi Lu Junyi woke up from a nightmare of catastrophe in a blue sky and daylight world. But, how! After reading "The Secret", our heartstrings did not even have the faintest vibration! We only see the author exerting his strength to describe the heavens and the earth in the mind of a desperate person, and we do not feel that the most delicate desperate blood flows in the verse! Not to mention that every word is at the same time sound and color is righteousness, and this color and this meaning simultaneously reveal a realm, just as in the Wagner opera (Wagani's previous ensemble was often only an instrument as the master, the rest of the foil) all ensembled the same mood, seamless, spiritual and flesh perfect poetry!
Why is that? Isn't it because there is no warm or abundant life, both internal and external, as a background? We know that poetry is the highest expression of our bottom self, the purest crystallization of our whole personality; Madame Blannin's bottom sonnet is written by a multi-talented and sick woman who suddenly suffers from the shock of love after middle age; Verlendi's "Sagesse" was written by a passionate person after driving people to prison for the wind and waves of life; "Faust" is a lifelong enjoyment of material and spiritual happiness in the world and the last breath is "light!" light! "The Truth Seeker himself is portrayed at the bottom; 'The Young Goddess of Destiny' is a music of deep thought and multifaceted wisdom that overflows from the silence at the end of the twenty-odd years... About this layer, R. Rilke M． Rilke, with S. Georg e，H． V． Hofmanstal was also a great modern German poet and Translator of Van Le Hittides) in his masterpiece aufzeichnungen des M. L． Brigge) has a very deep passage that I'll turn it over to show you now: "... A man's early poems are so meaningless that we should spend our lives expecting and collecting, if possible, a long life; and then, in old age, we may be able to write ten lines of good poetry. For poetry is not, as the masses think, emotion (which we have had for a long time), but experience. To write a single poem, we have to observe many people and many things in many cities, we have to know the beasts, we have to feel how the birds fly and we have to know the posture of the little flowers in the morning. To be able to recall many distant roads and remote places, unexpected encounters, eyes looking at its approaching separation, the mysterious childhood that has not yet been enlightened, and the parents who are easily angry, when he gives you a gift that you do not understand (because it was a joy for others) and the bizarre and changeable child disease, and the days spent in a quiet and closed room, the morning of the sea and the sea itself, and the nightly travels of the high-pitched cries that fly with the stars - and these alone are not enough, and you have to enjoy many different carnivals of the night I heard the moans of the woman in childbirth, and the slight cries of the babies who fell to the ground, and the room that once sat at the bottom of the bed of the dying person, and the bottom of the deceased, where the open, outer bottom sound rushed in. But it is not enough to remember them, to be able to forget them, when they are too crowded, and to have a lot of patience to expect them to return. Because the memories themselves are not yet this, it is necessary to wait until they become our bottom blood, eyes and postures, until they have no name and cannot be different from ourselves, then we can hope that in a very rare moment, the first word of the poem can be extended among them. Therefore, I think that chinese poets today, if they want to make a great contribution, on the one hand, they must pay attention to artistic accomplishment, on the other hand, they must live warmly and fiercely, go to the folk, go to nature, go to the arms of their lovers, go to your own soul, or if you feel that you have three heads and six arms, seven hands and eight feet, then go together, let you go! Always live with enthusiasm. Of course, I dare not say that modern Chinese bottom youth do not have a warm life at all, especially in the arms of lovers! But living is a layer, living and feeling is a layer, feeling and writing is a layer, writing out can make the reader feel another layer... So the poets of China today are really difficult to intersect!
It's only true! In addition to production and tools, there are two or three thousand years of glorious poetic tradition - that is our bottom sea search lamp, but also our bottom reef - where the eyes wait for us, yes, I am convinced, and I am sure that the richness, greatness, and brilliance of the history of Chinese poetry are so rich, great, and brilliant that it does not allow any nation or country in the world. Because in the past five or six years, I have hardly lived with the great poets and thinkers in Europe every day, but every time I return to Chinese poetry, it is tantamount to returning to my hometown with bright scenery, not only that, it is like discovering a taoyuan with "delicious herbs and colorful fallen", which is generally fresh, generally surprises you, and makes you lose your soul. "I don't know what standards he takes and what measures he uses, but the light words of today's Chinese thinkers and irresponsible words are the world's patents!" Oh young people of China! Oh young people of China! Your inexhaustible lost way really knows what a miracle is! Because there is a long glorious poetic eye looking at us, we cannot but look at it, we cannot shed it longer than the short amount. In other words, how can we read an ancient poem without feeling superficial, jerky and chewing wax? Further, how can we use the poor, crude, unwashed tools we have at hand—because we are unwilling to do so, perhaps because we cannot, accept them all—to create a novel, but equally harmonious, equally immortal world? Because the current bottom problem, according to my private opinion, is no longer a question of the bottom of the old and new poems, but a question of the bottom of China's poems today or tomorrow, how to inherit the glorious history of these thousands of years, and how to accept this endless treasure house without shame. But this kind of difficulty is not unique to today's Chinese poets, which poet in the world should not inherit the past and the future? That great poet does not want to create his own tools and create a realm of his own? However, the times are smooth and counter-handed.
I am now going to talk to you about Mr. Liang Shiqiu's letter. As I said in my previous letter, there are only two clichéd pertinent phrases in the whole letter, the rest are either superficial or scratching their boots, and "those who write free poetry have now found freer jobs, and small poetry writers can no longer write smaller poems..." A few sentences are simply nonsense. I have often said that irony is the easiest and most difficult: the easiest, because denial, cold arrows and cold words are the most unnecessary and irresponsible actions; the most difficult, because there is no long experience, deep thinking is not easy to pinpoint. So I think that the irony is the art of the old man's bottom (only the old and the young in thought, not the age bottom), and it is, just like the shiny green spots on the ancient clayware buried in the ground for a long time, the natural sharp edge after the thought is ripe. At present, many domestic writers insert two sentences in the east and two sentences in the west, all of which are aimless and only make people shallow and boring disgusted. Just a few words from Mr. Liang Shiqiu: Who is the person who wrote the free poetry? Who wrote the poem? Who are the few honest people who are loyal to art? Is it only a few poems that have been cast in the Morning Poetry Journal before—good or bad—to be loyal to art? Before the birth of the Poetry Journal, no one who made new poems thought of "poetry" and only thought of the vernacular? Does poetry have no artistic value? Among you, you can find more than a few poems as innocent and poignant as a few songs in Guo Moruodi's "Xiang Lei", especially in the following section:
The white clouds on the Nine Ridges Mountain have gathered and disappeared;
The water in Dongting Lake is tidal and tidal.
O cloud of sorrow in our hearts,
Tears in our eyes,
Never go away!
Always just the tide!
Or like the second verse of Liu Yanling's "Sailor":
He was afraid to see the moon blink,
The waves of the sea,
But he remembered
Pomegranate flowers bloom brightly next to the well,
The man was setting up a bamboo pole
Dry her blue cloth clothes.
So simple, so fresh! (There are several capitals in your bottom "Little Song of Falling Leaves" and "Starry Spring Water" in the bottom of the ice heart Zong Baihuadi's "Drifting Clouds" are very good poems.) However, these are all the works of the people who wrote freelance poems in the early days, which is naturally insignificant. So let's try to find out from the ancient poems, are the five in the ancient poems a small poem? Does Wang Weidi's "Collection of The Tales of The Dragon River" lead us into a tranquil and transcendent Zen realm in each capital? Are there not half of your great poems as meaningful as they are? Another example is Chen Ziangdi:
I have not seen the ancients before,
I didn't see anyone after that
Thinking of the heavens and the earth,
Alone but drooling!
Isn't it a very small free poem! Have you ever ascended in the twilight? Have you ever looked down from the heavenly wind at the reckless Pingwu? Did you ever feel a mighty and desolate sigh in that instant? How many of the ancient and modern Chinese and foreign bottom poems can make us feel the world spirit so truly? How many songs are so active in that urgent call to eternity? Can we have a hunch in these few twenty-two words that a China, no, an unprecedented glorious era in the history of world poetry is coming, just as the sound of the waves miles away foretold a vast spectacle? Can you find one or two lines in the poems that have this kind of bold founding atmosphere?
But this is still an old Chinese poem, too traditional! Let's talk about your typical, Western poetry. The deepest and greatest of German lyric poems is Gothic's Night of the Wanderers, and I have now listed both the original and the translation below (because this kind of poem cannot be translated at all), and you see how pitifully small it is at the bottom! ——
About all summits
Is Rub
In all of them,
Spurest of the
Chew a touch.
The Voglein are silent in the forest.
Just wait, soon
You rub too.
The peak of everything
voiceless
The tip of everything
Not at all
Silk Wind Shadow.
The birds dream deeply in the woods.
Less to be done, Oh yes
You are fast and quiet.
It's just a pitifully small space! (The whole poem has only twenty-seven notes) and is a very untidy free poem. Yet the shock he gives us in our hearts is no less than a symphony of sorrows. Why? For it is a great, musical soul that exhales by chance in the most exuberant moment (the original poem was written by Goth with a pencil on the wall of a hunting house in the forest of Illeux). Occasional exhalations, but the best of my life, all exhaled in this breath. I remember a French painter, I don't know whether it was Millet or Corot, one day painting a landscape in Fontainebro, suddenly saw two bulls fighting, immediately pulled out a blank piece of paper, and spent five minutes to draw a beautiful sketch. A shepherd boy saw it, went home at night, and began to write. But after three days of painting, it was still not a donkey and not a horse. Run to ask the painter why. The painter smiled and said, "Child, although it is a few minutes, I have spent my whole life on these few strokes." "Isn't that a good lesson for us?
I also wanted to quote a few small poems by Shelley, Verlen, Marame, and Han Bo (Rimbaud), very small and very small poems. But without citation, your understanding of English poetry is much more advanced than mine. And the poems of Malaying and Han Bodi, except for a very few two or three poems, are almost untranslatable, because almost every poem of the former is cast into an immortal diamond with words, and each word is knocked by him like a reed. The latter is a strange place in the space of genius, although it is only like a meteor flash (his poems are written from fourteen to nineteen years old), and its fierce and compelling intense light can not be conveyed in another language. And, Shima, why should I nag you? I am convinced that your understanding of poetry is short-sighted beyond the "old and new" and "size"; I am convinced that you are the one who can understand and feel the "eternity of the moment".
The whole universe is shaking and shaking on my shaft!
The whole universe trembled and fluttered at the bottom of my branches!
This is what the young goddess of destiny said by the vibration of Shu Qi, feeling the coming of the yang spring, comparing herself to a rose. Didn't gothic literary influences also say? A ray of sunshine and a shadow of a flower have the same indelible influence on the formation of his personality as Flurt and Diderot (a French essayist who was at the same time as Diderot and Flutter). Shima, the pulse of the universe, the mystery of all things, the secret of the human soul, unless there is a spiritual heart fast hand, who can understand and catch it? Who can distinguish and appreciate it from the poems of the Ganges Sand Number? What is the bottom critic in today's China?
As for the syllables at the bottom of the new poem, although it is too soft and brittle, I would like to interject a few words, because it is almost half the life of the new poem. Unfortunately, there are no equivalent reference books, and the study of the syllables of new poems cannot be left without going back to the source. Now I will only bring up my opinions.
I used to be extremely opposed to breaking the old shackles and making new ones, but now it's different. I think that the shackles are also a good thing (in fact, the rules and grammar of the bottom of the text are not shackles), especially if you are willing to bring them, as long as you can move freely in the shackles, Van Le Shi Ong tried to say to me: "When making the bottom, it is best to set some kind of conditions for yourself, which is enough to make you feel stronger, more confident and more self-reliant every time you put down your pen, regardless of the success or failure of the work." In this way, no matter what the external fate of the work, the writer himself will not feel the whole disappointment. "I seem to have heard stories of chivalry flying against the walls when I was a child. It is said that they have worn iron locks on their feet since they were young, from light to heavy. After years and months of this, once the iron lock is removed, it is as light as a swallow - naturally there are also broken foot bones in the middle. But those who break their foot bones, even if they don't wear iron locks, can't fly over the wall, right? Therefore, I am in favor of those who strive for new poetry, as far as they can make many laws; it is better to cut the lines of the poem neatly and neatly, or to list the feet like italian or sedan-style sonnets; if you wish, you can also adopt the Method of Yin and Yang Rhyme at the bottom of French poetry, that is, the bottom rhyme of the flat voice cannot be rhymed with each other, and in a section there must be a flat rhyme, for example:
While singing in mincur mode(阳)
Winning Love and Opportune Life (阴)
They don't seem to believe in their happiness,(阳)
And their song is mele au clair delune,(阴)
Although they also sang in a low voice and sang praises (仄)
That victorious love and a happy life;
Finally dare not be confident that they have a good dream, (仄)
Their bottom song is scattered into the moon (ping)
But there is a prerequisite: thorough understanding of Chinese characters and vernacular musicality. Because each script has its own special musicality, English and French are completely different. Going against the grain, even if you have great skills, it won't help. I also have a few comments on this layer:
Most of the syllables at the bottom of chinese characters are based on pauses, rhymes, flat and clear (such as upper and lower flat), and have very little relationship with the neat bottom of the row and column. Since the beginning, the number of words at the bottom of the "Book of Poetry" and the "Chu Ci" has not been uniform, such as Qu Yuandi's "Mountain Ghost" is seven words throughout, and a sentence suddenly arises in the middle
The rest of the hall is now gone
The coming of the nine words is not abrupt, but there are infinite falls. The strictness of the poetry, the entanglement of the syllables, and the grace of the wind are more than words; and the word style is becoming more and more uneven, from Li Baidi's "QingPing Tone" to Jiang Baishidi's "Dark Fragrance Shadow", the degree of evolution is extremely obvious. Naturally, from more than four words, each line can accommodate many changes and setbacks, such as Wang Changlingdi
Cold rain and river night into Wu,
Ping Ming sent a guest to Chu Shan Lonely.
Relatives and friends of Luoyang asked each other,
A piece of ice heart in a jade pot.
How melodious is it? Moreover, our bottom verses are easily more than ten words, and we also have to learn Western poetry bottom sentences (French Enjambement English Encroachment), which may as well be cut neatly and change in one line or several lines.
But we should be careful that the length of the sentence is closely related to the author's temperament (lesouffle) and the content of the work. Try to see that the poets in history have used the most cross-sentences than Shakespeare, Milton, and Hulu, because their talents are all Atlantic. And Shakespeare only in the late-year script, only in the late end of the year, to do a thousand cross-sentence meteorological grand view. That is, the long sentences in the song line of Li Baidi in our country are as follows
It was difficult for Gao Zhao shu dao to go to the qingtian
Is it also a kind of cross-sentence? And Su Dongpo, who is iron-plated and copper-piped, in a very strict poetic style, also sometimes can't help but escape the track, such as the word "up" of "Xiao Qiao is married for the first time, majestic and heroic" is obviously a foul to step over the next sentence. As for those Mediterranean-style crystal clear, clear-sighted, implicit writers (With the exception of Malami) such as Lassin (J. Racine), but not for the special expression of a certain meaning or emotion, not easy to use, the most significant is his masterpiece "Fiter" in the final two lines of her nephew declaring her bottom love:
And Phedre au labyinthe with you descended
Would be with you found or lost.
And Fett walks with you into the labyrinth
Will live with you or die together.
Because these two lines were the focus of her declaration, the non-divided flame that had been pressed in her chest for several years had to be spit out in one breath, but when it reached the "Common Center", she swallowed it again, and only after half a sound did she say "or die together". From this point of view, the sentence is to cut the partner's bottom temperament and mood of the ups and downs and stretches, the so-called "grandeur is the length of the rhythm and the height of the sound"; in other words, its bottom existence is to adapt to a musically urgent (imperious) inherent needs. What was the experiment with the new poetry world?
...... Son, that autumn is the milk swallow
In flight; year after year, year by year looking at them among the beams
Go around in circles, the mother does not know that miss you that cry...
What reason is there for "flying" and "going around in circles" not to fly under "milk swallow" and "beam" and fly to "one year" and "mother is not", if it does not want to list the words "swallow" and "between" into rhymes? Of course, the existence of poetry can often also produce demands. There are no cross-sentences in Chinese poetry, and there are no cross-sentences in Chinese poetry. But this may be because the monophonic Chinese character is known for its simplicity, and we do not feel its bottom needs: the most obvious example is that we read ninety-six lines of "Leaving Sorrow" or "Autumn Sound Fu" with less than 100 lines is equivalent to reading a thousand lines of Western poetry. In any case, now that we know Western poetry, we finally feel that this is the old Chinese poetic style—I don't mean to say old Chinese poetry, because the great genius must be able to use the limited tools at his disposal to create an infinite world: the Renaissance bottom painters did not have the subtle analysis of light and shadow as the modern Impressionists, and their bottom creation was not reduced, if it did not exceed the Impressionists; what is more wonderful is that the Chinese Tang and Song dynasty painting poetry, with ink alone, can create a kind of musical flowing ethereal painting - in any case, In the end, we feel that this is the only shortcoming of the old Chinese poetry, and it is also a rule that the new poetry should adopt from the Western poetry.
I'm going to say a little bit about rhymes now. Didn't I say "rhyme" above? This is because I think many of the rhymes of the poem are discharged for the eyes to see rather than to the ears. This is too far away from the original function of the rhyme base. Of course, I am also well aware of the interlacing of the senses derived from the "Correspondances" of the Porterles, while modern poetry pays special attention to the architectural beauty of the poetic bottom, such as the porteliers' "Harmony at the Dusk Bottom" the bottom rhyme is sixteen lines circling down like a valse dance, the Malami wing fan uses five extremely light eight-tone four-line poems, representing five goose feathers, and the Van Le Hittite "Ode to the Cylindrical Column" is built into a towering cylindrical shape with eighteen six-tone four-line poems. But the so-called "echo" is to write a poem or a line of poetry at the same time and appeal to our bottom five senses, the so-called architectural beauty is to help this effect to occur at the bottom, and it is not to replace the ear with the eye or the ear for the eye. Try the first section at the end of "The Trick"
Heaven and earth are so old and decayed!
I was afraid the world was going to spit him out last
A breath. No wonder God is going to be shabby,
Alas, the white clouds have exhausted the brilliance they have always had.
"Kan" and "splendid" are separated by more than thirty words, and they have fundamentally lost the function of coping and bottoming, how can they still stir up endless ripples in our bottom spring? Moreover, the flat voice is also too incongruous, and only ten of the forty-four words are flat voices (a big disadvantage at the bottom of the vernacular is that there are too many words in the voice). It's not about receiving special effects on the mood. For example, French poetry was originally the most taboo for dummy uses such as T or SZ, but it was in Van Lexi's "Sea Tomb"
The net insect grafts the dryness
But there is infinite beauty, this is because in the author's bottom mind and the sea and the sky are generally blue, generally clear, generally only the tide of thought, the slight surge of light, thus constituting a golden and golden quiet temple between the universe and the soul, suddenly came a crisp cicada sound - this cicada sound is described by a few T and a few E sounds. Although the reader cannot see the word "cicada", as long as he can appreciate the music of the French base slightly, he will not mistakenly hear that it is the sound of cicadas. How much in line with the fact that we often only hear cicadas and don't see them! Another example is in "The Song of Smith's Eyebrows"
Scissors
The high-pitched sounds of the cies and cries of the
Then as long as you know a little French, you will also hear the sound of clipping saws from these many S and Z (S bottom diacritical) and I. This kind of expression originally comes from ancient times, because the bottom sound of each word is closely related to the original of the meaning (such as the consonant characters of the Chinese bottom). However, it was only when Marame and Van Lehi reached the peak. Therefore, dumb or discordant sentences are occasionally used to express special situations, which not only hinder but also increase the music in the poem. In general, it is necessary to seek coordination. I used to feel the "Xiang Tired" in the past
The sun shines on the cave waves
There is an inexplicable harmony; when I think about it later, it is alluded to the old poem "仄平仄仄平". It can be seen that the ancients paid so much attention to equality, which was not unreasonable despotism. We do new poetry, the regiment does not have to (in fact, why not?). So follow the rules, but if it is to create poetry, this is also an element that cannot be ignored.
The rest, such as double-voice rhymes, are the elements that make up poetry (both Chinese and foreign). There are many people who know, very few people who use it, and even fewer people who use it just right. There are also semi-harmonic sounds (Assonance), or each line, or two lines echoing each other, and the new poet also uses it. If used properly, it is enough to increase the sonority of the poem, especially the verses of more than ten words. And Li Yishan bottom
There are light thunder outside the hibiscus pond
The word "outside" is simply the first sound at the bottom of the word "thunder", and I seem to hear the thunder faintly coming from far and near. How wonderful! Of course, when the poet writes at the end, he does not necessarily consciously seek this effect, but one is based on the close relationship between the sounds and meanings of the text itself that I have mentioned above, and the other is based on the author's sharp sense of acceptance of the external sound, inadvertently making up, the so-called "magic hand" and "becoming a wonderful text in the world".
Also, I don't quite understand — it's about the rhythm — Mr. Wen Yiduo said in an accented tone. All I know is that there are a few pauses in a chinese poem (I can't find a better word now).
When is the spring flower- the autumn moon-
The past - know - how much
The small building - last night - the east wind again
The homeland -- can not look back - the moon is bright.
I also only know that there is a difference between the Chinese bottom characters, but I can't tell the difference, except for a few imaginary words at the bottom of the vernacular, the light one and the one. Because Chinese is a monophonic word, almost every word has its own independent and equally important sound base value. That is, as Mr. Wen said
The old man and the burden fell,
If you want to barely distinguish between light and heavy, then "old, burden, wrestling" are all accents. I was afraid that I would not be able to trust Chinese, and asked Zhu Feng Zhijun (who is now studying German poetry here, a comrade who is very sincere and sincerely loyal to art, and he is now engaged in the translation of Rilke's "Letter to a Young Poet"), and he agrees with me. Regarding this layer, we have to learn from the West again, since the new poetry base has arisen, most of it is due to the contact of the Western poetry base. We know that English and German poems are based on accents as the rhythm base, but because each word (regardless of the length or short bottom stress is placed at the end), the rhythm of the French poems has to be based on "nombre" (nombre) instead of the accent. (Both Greek and Latin rhythms are based on "quantity" or length, and both French and Italian are the descendants of Latin, but not "quantity" but "number" is more sufficient evidence.) So french poetry is, in a certain sense, easier and more difficult to do than English-German poetry, such as the "A Iexandrin" body, filling each line with twelve tones, but these twelve tones are full or extremely depressing, but it is difficult and difficult. (The French commentators always say Ce vers a du nombre, which does not mean that the verse is full of twelve tones, but praises its rhythm.) For this reason, and because the prose at the bottom of the French language is already very rhythmic, French poetry pays special attention to rhyme and semi-harmonic, and the plain poem (Blank verse old translation of no rhyme poem) exists in French poetry, but the work is unique. According to my impression, the musicality of the Chinese text, at this level, seems to be closer to French. The Chinese bottom prose is also very rhythmic, and I doubt the fate of the "accented rhythm" produced by the Su poems and the Su poems in China. But I'm not sure. Mr. Wen may have a unique opinion and would like to be able to teach him without hesitation.
Do you remember what I told you in Paris? I don't believe that a great literary era can be so easily produced. Try to see the decline of the Tang Dynasty inheriting the six dynasties, after the early Tang Dynasty four masters of the hypocrisy, until Chen Ziang revealed a brilliant golden age at the bottom of the dawn. Moreover, in our modern times, just as the cultures of the East and the West (this term has a language disease, for the convenience of writing, let's use it), we must absorb the two as much as possible, penetrate, melt and open up a new situation - not for the use of secondary school for western learning, let alone blatantly imitate the West - it is an overnight, ten years and eight years at the end of the year! Therefore, in our current work, on the one hand, we naturally have to look at the far sky, and on the other hand, we have to go from the most humble step of the recent past. What I mean by this is that it is now up to each person to experiment with his own tools, or, more precisely, to experiment with and refine this common tool by his own method. Just as the young warbler failed to shake the marble of the night like the Apollodian harp, it only pecked at it once or twice, chiseled and chiseled to test its bottom mouth, to test its bottom throat. Another example is that before the music team was introduced, each of them tried the flute, tested the flute, and tried the strings; as long as each did his best, the four-stringed piano was not self-conscious, and the drumming was not self-abandoned, but even the quiet of the audience's bottom piety was indispensable, and one day they would play wonderful music.
Shima, I don't have a phantom for myself for a long time. I am confident that I can measure my strength, and obviously the heavenly Goth also said that self-knowledge is impossible (this is naturally only a matter of the depth of knowledge). I only prayed and waited patiently for this instructor to come to us—perhaps he was already among us, because it was difficult to discover genius, otherwise, how could I perform one example after another in history: England's De Keats, Germany's Holderlin, And France's G. tragedies such as de Nerval) and Du Fu, who was as bright as the sun, also had at that time
Ercao's body is broken with his name
Do not waste the ancient flow of rivers
…………………
Talent should be difficult to cross the number of gong
Whoever is out of the ordinary today
A kind of indignation? Before catching a glimpse of him, he had to work in peace and prepare to lay flowers for him; if there were no flowers, lay leaves; if he could not even collect the leaves, at least he had to sweep away a section of the street or corner. If the opportunity is good, the result of the labor base may not be equal to zero; if it is not good, there is only hope for others, hope for those who come. Effort is our base, and the harvest is an accident. Is it a sight to behold? Literature and art were originally the public instruments of the world, although the masterpieces of literature and art always had to be enlightened by genius; a great movement had to go through a long period of brewing and undercurrents before it suddenly opened up. We must affirm our ultimate loyalty, as long as we have dedicated ourselves to the goddess of art and for Chinese culture, sacrificing the last drop of blood. This dedication is our bottom reward, and this sacrifice is our bottom glory. Isn't it, Shima?
Well, I didn't write it, I just wanted to say a few words, but I didn't expect to bear my work for three or four days, I'm afraid you are impatient. This kind of problem is always exhausting, do you remember? Two years ago, next to the Jardin du Luxembourg in Paris, I didn't stop talking for three days and three nights when I met, and I didn't even have time to visit. This letter will be treated as if it were our overnight conversation in Paris.
Please ask the two good Meng Zhen on your behalf.
Di Zongdai 1931, 3 and 21 on the banks of the Niga River in the Haidei Mountains in Germany
(Published in the second issue of poetry magazine in April 1931, issued by Shanghai Crescent Bookstore)