Written by Kwan Chung Yao
Bend the whole rope close-up
Mr. Qu Quansheng, an outstanding new poet of the new frontier, was born in the ancient city of Chang'an, which is full of Han and Tang poetry, and has been influenced by the classical poems of "The Book of Songs, Feng Ya Song" since the era of enlightenment and study.
In the early sixties of the last century, facing the sacred moment of the call of foreign enemies to invade the motherland, he resolutely gave up his college entrance examination studies to join the army and embarked on the westward military vehicle. As a veteran soldier, Qu Quansheng has spent most of his life in the barracks from an ordinary soldier to a retired lieutenant general, including more than 30 years in the western frontier.
The desolate and majestic scenery, the bloody battles with real guns, the hardships of military life, the dreams of the hometown hot land, the training grounds, the marches, the night sentry posts, the leisure time of the holidays, the literary and poetic hearts of the young soldiers have always been burning silently, this writing is more than 60 years, and more than 400 new poems have been dedicated to the contemporary Chinese poetry garden. No matter from the time span, the quantitative dimension, the breadth of the subject matter, and the artistic height, no one can stand out, thus establishing the historical position of the poet and his works leading the creation of contemporary new Biansai poetry, and its classic and distinctive artistic style indisputably freezes the poet in the new Biansai poetry circle that is used in the past for the present.
Since the beginning of the country, there has been a definition and concept of territory, and the frontier refers to the frontier. Frontier poems are poems with the theme of military and civilian life and natural scenery in the border areas, developed in the Han and Wei dynasties, flourished after the Sui Dynasty, and entered the golden age of development in the Tang Dynasty. There are less than 200 Biansai poems before the Tang Dynasty, and there are more than 2,000 Biansai poems in the "All Tang Poems", which are mainly classics based on the seven-word rhythm, which are the main themes of Han poetry in the Tang Dynasty.
The reason why Biansai's poems have been regarded as classics by scholars throughout the ages is determined by their profound connotation and degree of extension. In terms of ideological tendencies, most of the Biansai poets actively joined the WTO, pursued fame and fame, and generously served the country; in terms of aesthetic taste, the Biansai poets often pursued a majestic aesthetic realm of "possessing all things and crossing space"; in terms of subject matter, the poems mainly reflect the grandeur and hardships of the military life related to the Biansai conquest, the grandeur or cruelty of the war scenes, the joy of triumph, the sadness of defeat, the praise of the just war, the condemnation of the unjust war, and so on.
Biansai poems are the most ideological, imaginative, and artistic part of Tang poetry, and are generally written by generals or civilian officials who accompany the army. Through the description of the hard life and natural scenery of the ancient battlefield, it expresses the feeling of homesickness and the noble sentiment of defending the country. In the Tang Dynasty, there were four great poets: Gao Shi, Wang Changling, Cen Shen, and Wang Zhilian. In addition, the great poets of the Tang Dynasty Li Bai, Du Fu, and Wang Wei also wrote poems that have been passed down through the ages. The famous sentences of their poems have been widely circulated and immortalized for thousands of years, and their historical and practical significance in social life has long surpassed the scope of the original Biansai poems.
For example, Wang Changling "wears gold armor in a hundred battles in the yellow sand, and Loulan will never be returned if it is not broken"; Wang Zhilian "why should the Qiang Di complain about the willows, and the spring breeze does not pass the Yumen Pass"; Wang Han "drunk and lying on the battlefield Jun Mo smiled, and a few people came back to fight in ancient times"; Cen Shen "suddenly came like a night of spring breeze, and thousands of trees and pear blossoms bloomed"; Gao Shi "did not worry about the road ahead without knowing himself, and no one in the world knew the king"; Wang Wei "The desert is lonely and the smoke is straight, and the sun sets on the long river"; Li Bai "came to the battlefield and no one returned"; Gao Shi "asked where the plum blossoms fell, and the wind blew all over the mountain all night"; The reason why Du Fu "shoots the man before the horse, captures the thief and captures the king first" and so on, is not complicated because they are classics in the sea of excellent Chinese cultural poetry.
As history entered the 20 th century, in order to defend the peaceful labor during the period of socialist construction, a new generation of border soldiers and civilians reclaimed the frontiers, safeguarded the integrity of the motherland's territory from being violated, fought back against the invading enemy in self-defense, and composed a touching song of victory with their lives and blood. The boiling scene of swallowing mountains and rivers, singing and crying, and the common hatred of the army and the people in the frontier united and fighting, inevitably stimulated the poet's creative passion, thus giving birth to a new frontier poem that praises and praises the romance of the present day.
The former general Qu Quansheng's new Biansai poems have formed their own artistic style on the basis of inheriting and developing the Biansai poems since the Tang Dynasty, and are the representative works that have emerged in the creation of the new Biansai poems. In terms of form, there are not only seven words of law, but also five words of law, sometimes add words, rhyme ancient rhyme and new rhyme according to the situation and strictly follow the rules of the rhythm, while taking into account the unity of form and content, not sticking to the constraints of the classical rhythm form to rhyme and sadness, is the exploration of innovation and the times in tune with the rhythm of the new side of the poem classics. In terms of content, the epochal nature of the poems is more distinct, which is not only full of the patriotic dedication of the revolutionary heroism of the soldiers of the border area, but also filled with the atmosphere of revolutionary romanticism, and abandons the negative feelings of feudalism that are gloomy and sad in the history of the poems.
For example, "Spring Exercise in the Desert": "The eagle chases the rabbit on the mountain, and the horse bit stops the wind, but when he hears the sound of the horn, he holds the longbow with his iron arm"; "Class Teacher": "The hatred of Kunlun in Bazhai has not been extinguished, and he is left to sharpen his saber every day, and the wolf smoke re-invades the realm for no reason, and he dares to slash the enemy chief to sacrifice Shunyao"; "Luntai Camping": "Leaving the Baili Gorge of the Tianshan Mountains in the south, the yellow sand flies on the city of Luntai, and the countryside passes a few miles in his dreams, but he does not know that he is at the end of the world"; "Jiaohe Overlook": "Immediately crossing the river and listening to the Hu Ji, the wind blows the Han and Tang Sands in the Western Regions, where is the ancient castle in the past, and the broken walls and ruins fall together"; "Night Song of the Alashankou Frontier Station" "The wind rolls up the black clouds at dusk, the stone walks and the sand flies in the night, and the dragon city is flying again, how can the bear peep into the country"; The desert rolls up with black clouds, and the warriors stretch their nets. Strict prevention, strict prevention, the sentry card is solid"; "Drunken Flower Yin, Building the Road to Kunlun": "Looking at the Kunlun people from afar, the road is broken and the west wind is fierce. The night covers the end of the world, provoking a round of moon. The iceberg is silent, and there are three feet of snow under your feet. Sweat through two layers of cotton, follow the predecessors, ten fingers dripping blood" and so on.
A glimpse of the whole leopard. These poems in Qu Quansheng's new side plug poems are by no means an old cadre like "Bole loves horses but not people". It has a sonorous rhythm, a golden iron horse in content, a magnificent and intense theme, and a very distinct and prominent classic art style. Feng Qiyong, a cultural master, once wrote an article in the "People's Daily" praising Qu Quansheng's new poems, saying that "Qu's poems are simple and dignified, have an open momentum, are full of rational thinking, and reveal a kind of soldier's masculinity, strong patriotism, and heroism," and "many words and sentences can become famous sayings and sentences to circulate"; Zhou Taozhi, a Xinjiang writer who is familiar with the life of the Western Regions, praised Qu Quansheng's new poems: "This is an infatuation with traditional Chinese culture, and this kind of inheritance, This spirit is precisely the reason why China's Chinese civilization has lasted for 5,000 years. ”
The appreciation and recognition of Qu Quansheng's new poems by everyone in the academic circles is not the beauty and compliment of ordinary cultural people. The reason why Qu Quansheng's new Biansai poems can have a unique attainment and status in the poetry arena is that the poet inherits and carries forward the classics of the fine tradition of Biansai poems, so that the newly created new Biansai poems have become new classics. If today's new frontier poems depart from the principle of classicization of historical inheritance, it is inevitable that they will decline and disappear in the long river of China's excellent culture.
In addition to the need to show the content, it just proves that this classic form of artistic expression is subversive and unbreakable, and it is the inheritance and reproduction of classical rhythmic poetry rooted in the subtle soil of national culture. Its combination rhyme, crisp and easy to remember, concise and catchy expression is far from being a substitute for the free or stepped poetry style of Western hazy poetry.
For example, "Song of the Red Women's Army": "The soldiers have heavy responsibilities, women have deep grievances, smash the iron chains, and the women have to turn over"; "The White-Haired Girl": "The daughters of other families have flowers to wear, but my father has no money and can't buy them, so he pulls on a two-foot red head rope and ties them up in front of the mirror"; "Songs of the Long March": "The Red Army is all iron and steel, they are not afraid of difficulties, the officers and soldiers are united in their joys and sorrows, and the revolutionary ideal is higher than the sky"; "Sister Jiang": "What is there to fear in the severe cold of Sanjiu, and a heart is open to the sun"; "Sing a Mountain Song to the Party": "Sing a Mountain Song to the Party": " Sing a song to the party, I compare the party to my mother, my mother only gave birth to my body, and the glory of the party shines on my heart" and so on. In the red land under our feet, why are these well-known famous passages and phrases so deeply rooted in the hearts of the people and widely circulated? It would be superfluous to compare them with the new Biansai poems and give a lengthy explanation.
A good content does need a good form to express, and this form can only be the most classic, the most popular, the most Chinese, and therefore the most vigorous. The profundity of ancient texts, the genre of Peking Opera, the exquisiteness of Jiangnan gardens, the routines of martial arts Tai Chi, the cooking of famous dishes, the brewing of elixir and jade liquid, etc., are all famous for their classics and have a long history.
With the passage of time and the improvement of the cultural quality of the whole nation, Qu Quansheng's classic new Biansai poems will gain more and more fans.
The author of this article is Guan Zhongyao