Recently, Professor Shen Ling of the School of Humanities of Xuzhou Institute of Technology published a paper in the "Straits Humanities Journal" entitled "Poetry with Roots and Soil Xiuyue is hometown Ming - On Shulan's Nostalgia Writing", which is another result of the careful research of Xuzhou humanities scholars on Mr. Shulan and his poetry creation, in this process, the Local Literature Room of Pizhou Library and the Shulan Poetry Historical Materials Room provided Professor Shen with the services within his ability, we are pleased for this, and congratulate the publication of the paper. It is hereby reproduced for the benefit of readers.
Poetry to the root of the earth Xiu Yue is the hometown of Ming
——On Shu Lan's nostalgia writing
#作者简介
Shen Ling, Master of Arts,
Professor of School of Humanities, Xuzhou Institute of Technology.
Abstract: In the contemporary Chinese poetry scene, Shu Lan has left a rather distinctive figure with his writing on the homeland of the mainland of the motherland, and his poems are few and exquisite, but the academic circles lack the attention they deserve. This article takes Shu Lan's poetry collection as the investigation text and the writing of his hometown as the research object, discusses the homesickness complex in Shu Lan's rich nostalgia writing from three aspects: the thought of humanity, the thought of landscape and water, and the thought of home country, and tries to enter the emotional world of Shu Lan's "turning around and blowing black hair, looking back and looking back at the snow full of white heads", and excavating the deep feelings of home and country in his poetry text.
Keywords: Shu Lan; "Country Wine"; Nostalgia Writing
Fund Project: This paper is the phased result of the Jiangsu Provincial Social Science Foundation project "Compilation and Research of the Integration of Xuzhou Poetry in Past Dynasties" (20ZWB003) and the Xuzhou Social Science Foundation Project "Xuzhou Cultural Celebrity Shulan Research" (20XSZ-124).
I. Introduction
As a poet, Shu Lan is not a prolific writer, from publishing his first poem under the pen name Lin Qing in 1948 to the present, he has published four poetry collections and five children's poems after 70 years of cultivation. Fortunately, poetry is not expensive, and in the contemporary Chinese poetry world, although he does not have the fame of Yu Guangzhong, Luo Fu, Zheng Shuoyu and others, he is by no means a poet without style. The Taiwanese poetry critic Jiang Xia once pointed out that "endless nostalgia for his hometown" and "occupies most of Shu Lan's poetry". It is precisely because of writing more about the people and things in his hometown in northern Jiangsu that Shulan has won the reputation of "local poet". At the same time, as a poetry critic, he also achieved rich results. Since the early 1960s, Shu Lan has invested a lot of time and energy in collecting new poetry historical materials for research, and in 1980, the Chengwen Publishing House successively launched three modern poetry histories, such as "New Poetic Writers and Works in the May Fourth Era", "New Poetic Writers and Works Before and After the Northern Expedition", and "New Poetry Writers and Works during the War of Resistance". Since then, he has published historical works such as "Chinese Maritime Poetry" (1985), which provides "some relatively rare materials" for the study of new Chinese poetry. In the 1980s, he also contributed to the collection and collation of Chinese folk songs, compiling a 65-volume "Collection of Chinese Local Songs". However, for such a cultural person who has a certain influence in both the creation of new poetry and the study of new poetry, the attention paid Chinese mainland is obviously insufficient, and the existing research results are still concentrated in the 1980s and 1990s. Because he left Taiwan and settled in North America as early as 1989, the research on Taiwan gradually disappeared. Based on this, this article intends to take Shu Lan's poetry collection as an investigation text, explore his lyrical writing of rich nostalgia, and enter his emotional world of "turning around is the wind blowing black hair, looking back and then full of snow and white head"[5].
Shu Lan: New Poetic Writers and Works during the War of Resistance Against Japanese Aggression,
Chengwen Publishing House Co., Ltd., 1980.
2. "Only the hometown is the best and most beautiful"
Shu Lan became famous for "Country Wine", and Chinese mainland attention to it also began with "Country Wine". In the mid-1980s, Liu Fuchu[6] and Yang Ran[7] were the earliest papers on Shulan's poetry that appeared Chinese mainland, but because they were limited to discussion of one poem, they inevitably ignored the observation of the whole picture of Shulan's poetry. Published in 1989, Shu Lan's Poetry Research Collection[8], which focuses on the introduction and study of Shu Lan's life, poetry and poetry history, is the first collection of Taiwanese poets in Chinese mainland. This research collection has three characteristics: one is to take local researchers in Shulan's hometown xuzhou as the main force; second, the collection of research results on Shulan's poetry on both sides of the Taiwan Strait and Hong Kong has concentrated on the papers of seven Taiwanese and Hong Kong researchers; third, in addition to the mostly interpretations of individual poems, there are also some reminiscent articles. Zou Jianjun's [9] thesis that followed was focused on Shu Lan's poetic theory. In 1991, Xue Jiatai's [10] thesis discussed Shulan's early poetry creation from both content and artistic aspects, which is a representative result of a comprehensive investigation of Shulan's poetry research in that year. Chenglan [11] mainly studies the artistic characteristics of Shulan's poetry. Huang Jiayan[12] concentrated on the two poems "Rural Wine" and "Bottle Bamboo". In 1995, the book "On Shu Lan and His Works" was published in Taiwan by Shu Lan's "Seagull Poetry Society", which contained 39 articles on Shu Lan and his creations, which was another collection of studies on Shu Lan across the Taiwan Straits and Hong Kong after the "Shu Lan Poetry Research Collection". It can be seen that the study of Shulan's poetry in mainland China and Taiwan is almost synchronized. After entering the 21st century, the "country wine" is still there, but the study of poets seems to have drawn a rest and stagnated. It is only the fact that some selected poems, dictionaries, and textbooks published in the mainland [13] and Shu Lan's poems appear from time to time tell us that Shu Lan has not completely stepped out of the reader's reading horizon, and that his simple and thick lines of poetry have taken root in the history of contemporary Chinese poetry.
Edited by Xue Jiatai: A Collection of Studies on Shulan's Poetry,
Staff Education Press, 1989.
Shu Lan was born in 1931 in Daichang Village, Daixu Town, Pi County, Jiangsu Province, and successively studied at Dai Wei Shangzhi Primary School, Xuzhou Dapeng Middle School, Zhongshan Chenguang Middle School, Xuzhou Xinxin Middle School, and Xuzhou Zhengde Middle School in Pi County, and spent his full youth in his hometown. In September 1948, on the eve of the Battle of Huaihai, Shu Lan went south with the school, then went to Taiwan, and moved to the United States in 1989. Shu Lan, who was born and raised in his hometown, like all the provincials of that generation who fled to Taiwan Island, suffered from a strong sense of nostalgia. In the following decades, whether on The Island of Taiwan on the other side of the strait or in San Francisco on the other side of the ocean, he constantly chanted the customs and objects of his hometown in his poems, and reviewed the people and things in his hometown. For him, nostalgia for his hometown is "the most important thing to do in stabilizing life". Nostalgia has naturally become Shu Lan's poetry after leaving his hometown and leaving the mainland, and he supports his simple and timeless nostalgia with his nostalgia for his relatives, friends, neighbors, hometown life and customs. In the memory of that distant hometown, every grass and tree, one cavity and one tone, one wind and one thing are all soaked with hard thoughts. A little nostalgia, strung together into the largest proportion of his poems of nostalgia.
(1) Humanistic thoughts
"Every child has a moving story / Because they all have a great mother." [15] The weight of the mother in the poet's heart is always heavy. Shu Lan, nicknamed "Black Five Sons", is the fifth oldest in the family and lost his father at the age of six. Because of the early death of his father, he was greatly influenced by his mother and had the deepest feelings with his mother. The mother of the child is worried, and the son of the thousand mile does not remember the mother of the hometown.
The niang-entrusted person brought a photo / Older than the old lady thirty-six years ago / The niang-entrusted person brought a message / Said she was very good / I hope we are good / / Look at the appearance of the mother / Listen to the tone of the mother / We will not think of us for thirty years / The mother will not miss us / Read us / / But the person who carried the letter said: / Your mother missed you / The eyes are not very good / The body is not good / Some time ago there was a disease / It is a person in her eighties //[16]
Shu Lan left his hometown at the age of seventeen, and in the polishing of thirty-six years, he has long gone from youth to old age, and his mother is also elderly. For more than thirty years, the relatives of each other have been worried about each other and worried about each other in the near-nothingness of each other's news. A kind of acacia? Impressions of "My mother is beautiful / Eyes are big / Nose is straight / Lips are red / / My mother loves to clean / Dress neatly / Be polite to people / Do a lot of things every day //" [17] And the cruel flow of time shatters the poet's good memories of her mother, and the no longer young mother has problems with her eyes and body in the erosion of the years and the day and night of the distant wanderer. The poet's mother, like the countless hard-working Chinese mothers of the older generation with which we are familiar, is tenacious and reticent. All the bitterness swallows by itself, all the tears swallow itself, turns the heaviness into relaxation, and leaves only peace of mind to the children, so that it will give the poet the easy illusion of "listening to the breath of the mother / We will be outside for another thirty years / The mother will not think of us / Thinking of us". Behind the illusion is unbearable pain and sorrow, because the plain words quickly added by the believer not only tell the truth about the mother's health, but also reflect the true feelings of the mother who loves and cares for the son, the son who misses the mother, feels guilty about the mother, and worries about the mother.
On Mother's Day in 1986, the poet wrote a children's poem "Old Grandmother":
Old Grandma is a Tang poem / She has rhymes in her speech / Rhymes in walking / Clothes and hair / Have rhymes / / Old Grandma is as old as Tang poems / People used to understand / Now more people understand / People like her / More and more // [18]
On Mother's Day, the poet gave the old grandmother a beautiful hymn. The specific portrait beauty of a woman who speaks, walks, and has rhymes in her clothes and hair is already understood in the poem "My Mother". If "My Mother" is a brush stroke of the "mother" image, then this "Old Grandmother" is a condensed ink painting, which outlines the charm of the mother between the dyes and rubs, and conveys the poet's praise and thoughts for the mother. China is the country of poetry, and Tang poetry is the peak of poetry, "Lao Grandma is a Tang poem", using material metaphors for people, comparing Lao Grandma to this brilliant peak, how glorious and glorious the woman who is compared is. At the same time, poets who have studied classical poetry under the influence of their uncles since childhood are full of admiration for the splendid culture of the motherland. "Once upon a time" can be described as his youth in the mainland, "now" is a vicissitudes of living in Baodao for thirty-eight years, and the long-term space barrier does not cut off the poet's longing for his mother, his love and attachment to Chinese culture, but because he has not touched the land that produced the magnificent Tang poems for a long time, he has become more yearning, so "there are more and more people who like her." The "old grandmother" here is not only a beautiful image of the mother, but also a symbol of China's long history and culture.
The mother who gave birth to herself in suffering is undoubtedly the biggest concern of the poet in a foreign land, in addition, the big brother who is strict with himself and the long-term worker in the family are also vividly in the memory of the poet's hometown. Shu Lan's eldest brother, Dai Shuchang, was nine years older than Shu Lan, an intellectual with high literary attainments, deep patriotic feelings, and rigorous academic discipline, who returned to Xuzhou after graduating from Peking University and founded Dapeng Middle School, and Shu Lan was strictly disciplined by Shu Lan when he studied at Dapeng Middle School and other schools. [19] The eldest brother is like a father, and for Shu Lan, who was lost as a child, the eldest brother had a great influence on him. He has written two poems for the eldest brother, and the "Worried Man - Sketch for the Big Brother" created in 2005 outlines the personality of the eldest brother: "That person is half like Yan Hui / Yan Hui is in the ugly alley, people can't worry about it / Hui doesn't change his happiness / That person is also in the dark alley / But in the worried country and worried about the people / / That person is half like Fan Zhongyun / Fan Zhongyun is worried about the worries of the world / After the world is happy and happy / And in the worry about the birth and old age of mankind // " [20] The poet first compares the big brother with Yan Hui, Yan Hui is poor and happy, "A piece of food, In the dark alley, people can't bear their worries, and they will not change their happiness", and although the eldest brother lives in the dark alley, he "worries about the country and the people"; later, he highlights the compassion of the eldest brother's "poor years and worries about Li Yuan" with Fan Zhongyun's noble qualities of worrying about the country and the people, bearing hardships and enjoying himself in the past. Another poem, "Yao Sacrifice Big Brother - Mr. Dai Shuchang", is a mourning work, with the word "brother" gently starting sentences, evoking the memories of the big brother's life and the admiration and love for the big brother, simple and touching.
Dai Shuchang accompanied Shu Lan back to DaiChang Province
The hometown people who entered the poem not only had their own relatives, but also their own townspeople, such as the "children who collect firewood" who "took the dried branches back to their mothers to warm",[21] such as the "big collar" in "Cicada", "you are playing the trumpet / learning from my family's big leader",[22] the "big collar" here is the local Northern Su dialect, referring to the big workers who work at home all year round. The poet recalls from the sound of cicadas in his ears the busy scene of the wheat field in his hometown during the summer cicadas chirping, and the cut wheat is pulled to the field, spread out and dried, and the big leaders drive on the livestock to direct them to pull up the stone and crush the wheat to get the wheat out of the ears. "Trumpeting" is the sound of the big collar shouting when driving the cattle. From the sound of cicadas around me, I remembered the distant sound of trumpets from my hometown, so I used people as metaphors, but cicadas could not really compare with the big collar I was familiar with, so I turned to things. "It's just that you are like a parrot / hiding in the shade / never being able to scream / a drop of sweat / / " , after many years of hard work by the great leaders, the poets in the southern country are still so real in their hearts, revealing the goodness of the poet's heart. Therefore, we see that whether it is a child who collects firewood or a big collar who plays a trumpet, their image has endured for many years and will always be in the poet's memory of his hometown. In the scenery, the scenery moves with people, and the harmony between the human scenery is Shu lan's homesickness.
(2) Thoughts of landscapes
The phenology of Taiwan Island is completely different from that of the poet's hometown in the Central Plains, and the four seasons from time to time cause the poet to return to the past and return to his hometown of landscape that he was once familiar with.
A waxing moon / You dress up beautifully / Beautiful like the scenery painting on a Christmas card / At this time we are also passing the old calendar year / / You use a lot of goose feathers / Inserted in the wig of the hut / Make earrings with glass / Make a dress with moonlight / / Between your white coral-like jade fingers / There is a group of white butterflies / Revel in / In the thick rural tone of the north wind // [23]
"Snow Country", the hometown of falling snow. This is a poem describing the snow scene of the hometown, the cold winter moon, the goose feather-like snow has fallen, falling on the thatched house, falling on the path behind the village in front of the village, flying above the village. The harsh cold of winter completely dissipates in the beautiful imagery of white corals and white butterflies, without the "withered image" in "Winter"[24]. In the poet's imagination, the hometown wrapped in silver is like a light and flowing holy woman, which is the beautiful snow scenery of the northern country that evergreen South China does not have and has not seen for decades, picturesque, yearning, and nostalgic, especially the strong rural sound in the north wind. The poet once said: "The bigger the snow falls, the more homesick you are"[25], a sentence that tells the original reason for loving snow and loving snow, and that "a lot of goose feathers" should be the poet's immovable nostalgia.
Snow nostalgia
Hometown is not always an intoxicating picture, and in that month of that year, there was famine, there was flooding, and there was also the misery of the people's livelihood. "That year Kowloon ruled the water / A cow ploughed the field / The old Yellow River vomited up and down / The Yellow Damzi galleon drove to my family's wheat field / / That year / No seed blossomed and bore fruit / My mother gave birth to me / Feed me with tears / / " [26] According to Shu Lan's birth year, "that year" should be 1931, and the flood of this year is called "Jianghuai Water" by the history books. According to records, between July and September 1931, fierce winds and rains, flash floods, and river flows were irrigated, and a rare flood in a hundred years tore through the polders along the rivers and lakes in the Jianghuai River Basin, and the disaster areas covered eight provinces and cities in the Jianghuai River Basin. [27] "The waters of Huaiyi and Si are flooded at the same time, and they cannot be contained, and the tide of the river rises, and the lake roars, and all the areas along the river, along the transportation, and along the coast, stretch for more than a thousand miles, and are not poisoned by it." [28] Kowloon was overwhelmed by the water, the cattle were not prosperous, the flood flooded his wheat field, and the grain was harvestless, while the poet born in September, swaddled with his mother's family, who suffered the fear and famine brought about by this catastrophe. The mother "fed me with tears", that is, wrote about the disaster scene of the people's unhappy life, and also wrote about the hardships of the mother's raising herself, and also wrote about the suffering of the times with her own sorrow.
(3) Thinking of the homeland
Whether in Taiwan or San Francisco, the customs of the hometown have gradually drifted away. But in the poet's heart, the past is only time, and the imprint of life in the first seventeen years of life is timeless and has never faded.
There is a delicacy in our township / We call it sorghum paste / In the black kiln can illuminate the shadows / That is the only liquid bread that the townspeople have in winter / / Our township has a kind of clothing / We call it a cotton jacket / Patches are stacked with patches / That is the fire dragon robe of the villagers in winter / / There is a kind of building in our township / We call it a thatched house / The walls are adobe / That is the sweet nest of the townspeople / My township does not need any means of transportation / Only believe in my two feet / No matter how difficult it is to walk / You can walk without shoes // [29]
This poem entitled "Life in My Hometown" was created in 2005, when the poet had been away from his hometown for nearly sixty years, although the time had passed and moved, but when he looked back at his hometown through the wind and smoke of the exile of a koshi, everything in his hometown was as clear as yesterday. It's just that the daily life of those suffering peasants in northern China was completely uneaten, hungry, and unmoving in the mood of homesickness, "sorghum confusion" became "delicacies", patched "cotton jackets" became "fire dragon robes", adobe "thatched huts" were "sweet nests", barefoot walking disappeared from hardship, this transformation from poverty in history to richness in reminiscences, came from the poet's deep friendship of loving the hometown and homesicking son who did not feel the ugliness of his mother.
The moon is the hometown of Ming. Although "the moon is born on the sea, the end of the world is at this time", but the moon is always good for the hometown, and using the "moon" image to express homesickness is the tradition of Chinese literati, and Shulan is no exception. In the poet's view, "You are the concern of a loving mother / The nostalgia of the wanderer"[30], in his most influential poem, "Country Wine", the poet made new and unique associations between the traditional "moon" and "nostalgia". "Thirty years ago / You looked at me from the head of the willow tree / I was young / You are round / People are also round / / Thirty years later / I look at you from the head of the coconut tree / You are a glass of country wine / you are full / nostalgia is also full / / " [31] Thirty years ago, during the Mid-Autumn Festival, the poet was still on the mainland, and it was the highlight of the reunion with his family to spend a good full moon, so "you are round / people are also round". Thirty years later, during the Mid-Autumn Festival in 1978, the poet had long since left the mainland to live on Taiwan Island, and for well-known reasons, he could not hear from his relatives in his hometown for thirty years. How about Big Brother? Is the willow tree in front of the door still there when I was young? Everything has sprung up one question mark after another in the bottom of my heart, paving ripples of nostalgia. Looking around, no one spoke, the shadow of the coconut replaced the willow tree in his heart, looking up at the sky, only the round of the bright moon seemed to be familiar. My heart is sent to the bright moon, and the moon poet at this time is embodied as a cup full of rustic wine; borrowing wine to pour sorrow is even more sorrowful, the cup is full, and the sorrow is also full. The novel "country wine" became a symbol of the moon full of nostalgia, an innovative move for the poet in the image of the moon.
Moon nostalgia
The moon in the sky, the trees on the ground, and the cicadas on the trees all contain the poet's nostalgia. "I'd like to go back/Preferably before Arbor Day/When there's still a spring coming//Back to my hometown//When the summer comes/The trees spread their green wings/Let the people of the village come here/Come here to doze off and do needlework//But as long as I think about those trees/Nobody knows who planted them/Those trees/I'm at ease// So I'm going to go back/Preferably before Arbor Day/When there's still spring coming/Back to my hometown//" [32] Thinking about those summers for the townspeople to cool off, What kind of wandering restlessness should the trees of the hometown that can provide firewood for the villagers in winter be at ease? The trees of the hometown have become a good medicine to soothe the wanderers who cannot return to their hometowns and relatives. The "Cicada" that is associated with the trumpeting of the family because of the sound of cicadas in a foreign country is also full of nostalgia. Even the bamboo in the bottle in front of you can evoke deep and distant nostalgia.
Although / I live well / And / Only a few drops of water / / Although / In the limited daylight / My branches / Can still photosynthesis / / Although / The roots are stretched and stretched / But they can never touch / Give birth to my homeland / / [33]
The seemingly ordinary statement suddenly emerges at the end of the sentence, which can't help but give people a sense of surprise. The three "though" preludes are all for the final turn of the word "but". Relying on a few drops of clear water, limited sunlight can thrive in the bottle of bamboo, "the root whiskers stretch and stretch / but always can not touch / give birth to my homeland", the bottle bamboo in front of me, the distant hometown, in the root whiskers can not always touch the helpless sigh of the native land of life, nostalgia is pervasive. Looking back, there are not only the moonlight of the hometown, the wind and objects of the hometown, the people of the hometown, and the scenery of the hometown.
III. Conclusion
Because of its unique social composition and historical development, nostalgia poetry has a long history in Taiwan. From the end of the Ming Dynasty, when the literati who moved to Taiwan wandered and missed their relatives, to the nostalgic writing that broke through the personal sorrows and joys and were full of national anxiety during the Japanese colonial rule, and then to the large number of geographical nostalgia and cultural nostalgia that emerged after the Defeat of the Kuomintang in Taiwan, during which an unknown number of moving nostalgic poems and an unknown number of outstanding nostalgic poets appeared. The nostalgic writing of mainland poets who went to Taiwan in the middle of the 20th century is undoubtedly the most magnificent and touching scenery in Taiwan's nostalgic poetry. Yu Youren's "Looking at the Mainland", Yu Guangzhong's "Nostalgia", Ji Xian's "A Locust Leaf", Luo's "Border Looking at the Hometown", Shu Lan's "Rural Wine", Zheng Shuoyu's "Border Hotel", Rongzi's "Nostalgia in Late Autumn", etc. are all masterpieces of nostalgic poems in Taiwanese and overseas Chinese poetry. However, although "'hometown' is the deep collective unconscious of the deep psychology of mainland immigrants to Taiwan, 'nostalgia' activates and summons the common psychological experience of 'hometown' in the hearts of the people from the mainland who have gone to Taiwan." [34] But in the specific expression of nostalgia, poets have their own characteristics. In terms of the lyrical category of nostalgia and physical geography, Shu Lan's obvious narrowing, the people, scenery and objects he reads are focused on his hometown of Pi County in northern Jiangsu, fortunately, the concentration of emotions is not affected by the grandeur of the space, on the contrary, only its "narrowness" is more "specialized" in the township, which has achieved his reputation as a "local poet". Moreover, the natural imagery of his hometown also happens to be a supplement to the geographical field and natural imagery of "Jiangnan", which frequently appeared in Taiwanese nostalgic poetry in the 20th century. [35]
Gangnam nostalgia
Liu Xi zaiyun, a Qing dynasty: "In the past, the words Yonggu and Yongwu were vaguely just Yong Huai, and there was me in the cover." [36] Shu Lan's nostalgic writing is this kind of "there I am" chant. Although there is no intensity in the world, between the shallow and plain lines of poetry, he expresses his thoughts of humanity, landscape and country, writes his nostalgia, and writes his identification with traditional Chinese culture. The poet emphasizes: "My poems / are family affection love and friendship / is my thoughts my feelings". [37] In July 1989, when the poet returned to his hometown to visit his relatives, he rushed to write a long poem "Return" overnight, in which he wrote: "There is no glory / Can compare with the soil of the hometown / There is no rich / Can compare with the mouth of the hometown / I have traveled all over the world / Only the hometown is the best and most beautiful //" [38] There is no doubt that "searing nostalgia" has always been the main theme of Shu Lan's poems, and "it is necessary to go back after all"[39] has always been the poet's nostalgia. Although in the selection of materials, there is no "nostalgic poet" in the afterglow of the sign of "nostalgic poet", "from the size of heaven and earth to the small crickets, including all things" [40], in terms of quantity, there is no landscape such as the works of other nostalgic poets, but its "poetry with roots and soil, the moon is the hometown of Ming" The nostalgic writing is simple, sincere and ingenious, which not only determines the influence of ShuLan in Taiwan's modern poetry crowd and even the entire Chinese poetry population, but also highlights whether in the East or the West. Its unchanging deep feelings of home and country. At the same time, together with other nostalgic poets in Taiwan, he demonstrated the psychological foundation of the Chinese nation toward reunification with the strong sense of homeland of the Chinese nation. [41]
This article was originally published in the Straits Journal of Humanities, No. 2
[Taiwan, Hong Kong and Macao Literature and History Observation] column
bibliography
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[1] The four poems are Lyric collection (1962), Country Wine (1984), Overseas Chanting and Others, and Evening Prayer (2012).
[2] The five collections of children's poems are Playing with the Shadow (1981), Caterpillars and Butterflies (1985), Ying (1986), Selected Poems of Shulan Children (1989), and Little Sparrow Armor (1994).
[3] Jiang Xia: "Shu Lan, a Worker Who Connects poets", "Rural Wine", Taipei: Cuckoo Publishing House, 1984, p. 81.
[4] Zhang Jianyong, "Commentary on the "Series on The Study of Modern Chinese Literature" published by Taiwan Province (thirty volumes)," Literary Review, No. 5, 1983.
[5] Yu Guangzhong: "The Prodigal Son Returns", "Kite Complaint", Nanjing: Jiangsu Literature and Art Publishing House, 2017, p. 64.
[6] Liu Fuchu, "A Little Opinion on the Appreciation of "Rural Wine"", Appreciation of Masterpieces, October 1985.
[7] Yang Ran, "Intriguing Taste of 'Rustic Wine'", Appreciation of Masterpieces, December 1984.
[8] Xue Jiatai, ed., A Collection of Studies on Shulan's Poetry, Beijing: Staff Education Press, 1989.
[9] Zou Jianjun, "Shu Lan's Poetry", Journal of Xuzhou Normal University, No. 3, 1990.
[10] Xue Jiatai, "The Will of the People and the Return of Art: Reading Shu Lan's Poems and Thoughts", Taiwan, Hong Kong and Overseas Chinese Literature Review and Research, No. 1, 1991.
[11] Cheng Lan, "The Artistic Style of Shu Lan's Poetry", Taiwan, Hong Kong and Overseas Chinese Literature Review and Research, No. 3, 1997.
[12] Huang Jiayan, "Penetrating and Leaping, Seeing Wonder in Peace: Two Appreciations of Shu Lan's "Nostalgia Poems"", Writing, No. 12, 2001.
[13] After entering the new century, Shu Lan's poems in the Chinese mainland selection of dictionaries, poems, and textbooks mainly include "Selected New Poems of Jiangsu In a Hundred Years" (Jiangsu Phoenix Literature and Art Publishing House, 2017), "Selected Modern Poems of Taiwan" (Modern Publishing House, 2017) edited by Li Shaojun, "University Language" edited by Zhang Xinke (Higher Education Press, 2016), "Appreciation of Famous Pieces of Chinese and Foreign Poetry" edited by Dong Xiaoyu and Han Min (Southwest Normal University Press, 2014), and "Selected Famous Poems in Chinese and Foreign Languages" edited by Peng Yanjiao ( Southwest Normal University Press, 2014). Chinese Modern and Contemporary Lyric Poetry (Hunan Children's publishing house, 2008), Three Hundred Appreciation Dictionaries of New Poems (Shanghai Dictionary Publishing House, 2008), Miao Yushi's 200 Short New Poems (Hundred Flowers Literary and Art Publishing House, 2001), Taiwan Patriotic Poetry Dictionary (Beijing Publishing House, 2000), edited by the Institute of Literature of the Chinese Academy of Social Sciences, etc.
[14] Jiang Xia, "Shu Lan, The Worker Who Connected poets", On Shu Lan and His Works, Pingtung: Seagull Poetry Society, 1995, p. 8.
[15] Shu Lan: Duck Lake, Selected Poems of Shu Lan Tong, Taipei: Cuckoo Publishing House, 1989, p. 117.
[16] Shu Lan, "The Words of the Believer", "Rural Wine", Taipei: Cuckoo Publishing House, 1984, pp. 40-41.
[17] Shu Lan: "My Mother", Selected Poems of Shu Lan Children, Taipei: Cuckoo Publishing House, 1989, p. 59.
[18] Shu Lan: "Old Grandmother", Selected Poems of Shu Lan Tong, Taipei: Cuckoo Publishing House, 1989, p. 60.
[19] See Ah Peng, "The Moon is the Hometown of Ming: A Brief Discussion on the Taiwanese Poet Shu Lan", edited by Xue Jiatai: A Collection of Studies on Shu Lan's Poetry, Beijing: Staff Education Press, 1989, p. 170.
[20] Shu Lan, Evening Vespers, Taipei: Xiuwei Information Technology Co., Ltd., 2012, pp. 23-24.
[21] Shu Lan: Under the Tree, Rural Wine, Taipei: Cuckoo Publishing House, 1984, p. 26.
[22] Shu Lan: "Cicada", "Rural Wine", Taipei: Cuckoo Publishing House, 1984, p. 10.
[23] Shu Lan: Snow Town, Rural Wine, Taipei: Cuckoo Publishing House, 1984, pp. 38-39.
[24] Shu Lan: Winter, Rural Wine, Taipei: Cuckoo Publishing House, 1984, p. 35.
[25] Shu Lan: "Send Ping'er", "Rural Wine", Taipei: Cuckoo Publishing House, 1984, p. 49.
[26] Shu Lan: "That Year", "Folk Wine", Taipei: Cuckoo Publishing House, 1984, p. 36.
[27] Ask Yu, "A Brief Study of the Floods in Jiangsu in the Past Hundred Years", Humanities Monthly, Vol. 2, No. 8, 1931. Reprinted from Kong Xiangcheng, "Flood Disasters and Social Risks in the Republic of China Period: A Case Study of the 1931 Jianghuai Flood", Oriental Forum, No. 4, 2008.
[28] Jiangsu Flood Yizhen Association: "Jiangsu Flood YizhenHui Yizhen Jiluo", 1932. Reprinted from Kong Xiangcheng, "Flood Disasters and Social Risks in the Republic of China Period: A Case Study of the 1931 Jianghuai Flood", Oriental Forum, No. 4, 2008.
[29] Shu Lan, "Life in My Hometown", "Late Vespers Collection", Taipei: Xiuwei Information Technology Co., Ltd., 2012, pp. 122-123.
[30] Shu Lan, "The Moon," The Evening Prayer Collection, Taipei: Xiuwei Information Technology Co., Ltd., 2012, p. 71.
[31] Shu Lan: "Rural Wine", "Rural Wine", Taipei: Cuckoo Publishing House, 1984, p. 12.
[32] Shu Lan: Under the Tree, Rural Wine, Taipei: Cuckoo Publishing House, 1984, p. 27.
[33] Shu Lan: Bottle Bamboo, Rural Wine, Taipei: Cuckoo Publishing House, 1984, pp. 16-17.
[34] Liu He, "On the Narrative Type of "Nostalgia" in Taiwanese Literature Again", Journal of Ningbo University, No. 1, 2013.
[35] Yi Lingwen, "Back to Jiangnan: The Special Complex of Taiwanese Nostalgic Poets," Chinese Literature Review, Vol. 6, Chengdu: Sichuan University Press, 2019.
[36] Reprinted from Qu Zhengwen: Readings of Famous Passages of Chinese Dynasties, Beijing: Linebound Bookstore, 2014, p. 562.
[37] Shu Lan, My Poems, The Evening Prayer Collection, Taipei: Xiuwei Information Technology Co., Ltd., 2012, p. 157.
[38] Xu Feng and Xin Ying, "I Belong to My Hometown", On Shu Lan and His Works, Pingtung: Seagull Poetry Society, 1995, p. 120.
[39] Shu Lan, "I'm Coming", "Rustic Wine", Taipei: Cuckoo Publishing House, 1984, pp. 22-23.
[40] Huang Weiliang, Phoenix bathed in fire: A Collection of Commentaries on The Works of Yu Guangzhong, Taipei: Pure Literature Publishing House, 1979, p. 8.
[41] Zhang Xiaoping, "The Realistic Generation and Cultural Connotation of Taiwanese Nostalgia Poetry", Chinese Literature, No. 4, 2004.
The picture shows Professor Shen Ling consulting the materials in the Shulan Poetry Historical Room of Pizhou Library.