Zhang Guangjie
A dewdrop on a grass stem, so small. The sky in its body
Also so small. It's like a map in one hundred thousandth
It shakes slightly, and there will be 100,000 acres of wheat rippling
100,000 ridges of sorghum, dancing the red silk dance of the sunset
However, these are so small that they are the smallest pectoral muscles in the motherland
If, the Yellow River is stretched by the sea
If the blood vessel is scalded by a naked child
It is still so small, so faint, so fleeting and fleeting
My hard forehead was like the morning sun rising from the top of Bayankara Mountain, a night of whiteheads
The appearance of dew in traditional poetry is mostly related to the bleak journey and the short sigh of life, such as Cao Cao's "Short Song Line": "When it is a song to wine, what is life? For example, the morning dew, going to the day is more bitter..." In the time dimension, the shortness of dew is analogous to the shortness of life, which is already an overly familiar way of association. Therefore, this poem takes a different path, from the spatial dimension, from the small and subtle ends of the dew, expanding layer by layer, like ripples, constantly extending to a wider space on the surface of the water of thought. In this way, when readers see the reading expectations triggered by the title, they are broken through layer by layer to update the reading experience.
The poem is short, but the tone and rhythm change is relatively rich, the whole poem does not stop at a key, but from the bass to the high note, from gentle to agitated, from subtle to grand, there are many changes in the middle, ups and downs, like the process of the convergence of thin streams into the river and the sea, after each small turn, it will enter a more open water. The opening sentence, "The dew on a grass stem, so small," is low in tone and soothing; the next sentence, "The sky in its body, is so small." Like a map in one hundred thousandth of a thousand", the tone rises, connecting the dew with the sky and the map, and the space is opened up; the third sentence introduces a more open scene: "one hundred thousand acres of wheat" and "one hundred thousand ridges of sorghum", the dew is like a small shaky convex mirror, refracting the vast scene, and from static to dynamic; the ensuing turning sentence "But, these are so small, is the smallest piece of pectoral muscles of the motherland", and then pulls the field of vision back and suppresses the high tone. This is the rhythm of the first part: or - Yang - or. In the second part, the two sentences beginning with "if", produce strange and comfortable changes in rhythm and sentence pattern; the tone continues to climb, and the space continues to expand, but soon, the sentence "is still so small, so slight, so fleeting", so that the tone drops again, it can be said to drop to the lowest point, to the mournful silence; the last sentence, at this lowest point, suddenly bottoms out, rises to the top of the mountain, and the more powerful the sound, almost broken, and then abruptly stopped. The rhythm of the second part is: Yang - or - Yang. In such a small space, it is not easy to make many changes in imaginary space, language, sentence form and tone. The poem itself is like a drop of dew, so small, but it seems to contain a lot.
Guest Comment: Zang Di
Poet Profile
Zhang Guangjie, a native of Luoning, Henan, a member of the Henan Provincial Writers Association, a contracted writer of Luoyang Academy of Literature, and the vice president of Luoyang Prose and Poetry Society; he has published more than 400 poems and prose poems in newspapers and periodicals such as Poetry Journal, People's Daily, and Xingxing Poetry Journal; his works have been selected into "2000 Chinese Poetry Selection", "2002 China Best Prose Poems", "2018 Chinese Prose Poetry Selection", "2019 Chinese Soul · Selected Poems of 100 Prose Poets" and other anthologies; he is the author of the poetry collection "Black Coffee and White Coffee", and co-author of "The Starting Point".
Expert Profiles
Zang Di was born in Beijing in 1964. He graduated from Peking University, received his Ph.D. in literature in 1997, and was a visiting scholar at the University of California, Davis from 1999 to 2000. He won the 2000 Poetry Award from Writer Magazine and is currently a professor in the Department of Chinese, Peking University.
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