Sensitive life is the soul of poetry creation- reading Yan An's long poem "Seven Summers of the Blue Child" Editor: Mu Yu

Yan An's poetic work "Seven Summers of the Blue Child" is a long poem, the whole poem is expressed smoothly, naturally and naturally, and is a rare good poem.

The night I read the poem, I wrote down my basic feelings about the poem. I think that the intuition when reading the work for the first time is the best time to grasp and interpret the work, which is both precious and rare, the use of vivid and appropriate language, the most sensitive expression, and the best exposition that can reflect the essential meaning of the work.

The charm of language: Everyone knows that the role of language on poetry, even the whole of poetic art, all poetry and mysteries must be completed through language. Years ago, some people thought that "poetry ends in language". Reading Yan An's poems, you can fully feel that he has played the function of language to the extreme, even if the text is performed in the foreground and the language is hidden behind, you can still feel that the sound of language is penetrating the surface of the text to reach the truth of things and the convergence of dreams. For Yan An, language is the first principle for him to practice the meaning of life, and in this poem, Yan An uses all his imagination and at the same time tries to restrain the emotions of waiting, which is produced under the influence of these two reactions. So we can have a feeling of inexhaustibility after reading, the real poetry is often hidden behind the words, which is the poetry that cannot be read with sound and cannot be seen with the eyes.

The charm of imagery: Imagery is everywhere in poetry, but there are not many poets who can apply imagery properly, in this regard Yan An is a master, he is like a magician, the independence and combination of imagery are distributed amazingly, all this is so natural, not deliberately arranged, but after a long period of accumulation can be produced naturally. The imagery is rich and colorful in Yan An's poems, even brilliant and dazzling, making people dizzy, and there are accidents everywhere. The variability of imagery is a major innovation in Yan An's poetry, mainly embodied in the opposition of imagery, obedience and contradiction between imagery, and then resolving the contradiction, according to the needs of the work, or living in harmony, or parting ways. Every poem has a different ending, and in this way, he has created us countless works of poetry with extraordinary sound, creating the miracle of intimate combination of personal experience and words, which is his second charm.

Spiritual charm: Spiritual height is expressed in many ways, and in the creation of poetry, the meaning of the spirit dominates. In the final analysis, poetry is a spiritual product, never associated with money and profit, and if there is such a person, I am sure, he is not a poet. Yan An's spiritual height can be read from his works, which is particularly prominent in this poem. Yan An was a poet with a strong sense of life, and a poet who pursued automatic writing to express individualism and individual heroism almost unconsciously. In the Chinese poetry world, there are not many real poets, and real poets have their own characteristics and are never the same as other human beings. Yan An also has a strong will to swim in the spiritual world of the self, and I call this kind of poet a spiritual banish, or a spiritual wanderer. Spiritual exiles never have a fixed pattern of creation, and they cannot remember the works they create, let alone recite their works anytime and anywhere, even if it is impossible. Although all their perception comes from reality, and the mind is outside of reality, they often spend most of their lonely years in a state of absent-mindedness and lack of soul, and Yan An is such a poet.

Dramatic charm: In Yan An's poems, there are traces of Yan An's life experience, life experience and artistic practice everywhere, and this poem is no exception. Generally speaking, the connotation carried by a long poem will be attached to a certain event, a certain life experience, or the experience of the whole life. I think that Yan An's poem is no exception, Yan An spent seven years in Qinghai as a child, which coincides with the seven summers in the poem, and I imagine how many lonely days there are in the seven years that the young Yan An has been away from his parents in Qinghai, and he may have more time to look at the blue sky than other children, and many fantastic ideas have been formed at that time. I suspect that this poem is an account of the blue of the Qinghai sky, coupled with the blue of the sky in northern Shaanxi. These memories in the poem are the concentrated expression of the central imagery of the poem. All poetic imagery, metaphors, symbols, synaesthesia, all the experiences and means of poetic creation come from real life, which is the truth of poetry creation without any doubt.

I completely agree with this view that "Yan An is the most secretive spiritual aristocrat in China", because the spiritual role of poetry is greater than its material significance, so Yan An's spiritual temperament exudes the taste of a poet from the inside out. Moreover, as far as I can see now, as far as the commentary on Yan An's poetry is concerned, no comment can enter the core part of Yan An's poetry, and it can be imagined that our poetry criticism is so poor that it has reached the end of the road. There are still many invisible and unspeakable conditions in artistic creation that restrict our thinking, and the sensitive life is the soul of poetry creation, and Yan An has such a soul.

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