▲ Pay attention and let poetry light up your life
Dumb Stone, now lives in Chengdu. He is the author of poetry collections "Selected Poems of Dumb Stone", "Poems", "Spark Hotel", "Before Sunset" and so on.
Hermits
front
into the kitchen, like a general going to the front
Look at the trenches. The iron utensils lie beside the green vegetables and turnips,
They don't leap like tigers—
The hunger of life cuts the path recipe,
Where are the dangerous trenches?
It's all about the taste of the tongue.
We who exchange bodily fluids on the tip of our tongues,
In the end, failed to be for the other side
Dig a bomb shelter to hide in the flames.
Watch the snake molt, and live to see loved ones
A change of clothes means a lot of difference.
The skin of water is the skin of a gentleman.
The astral stream is a thorn in the flesh of man,
The place where it is served should be a little particular.
If you don't pay attention to it, the chopsticks will pay attention to it.
After counting them, it's better to decide not to
Leap like a tiger. Tableside
Snorkeling, can't keep up with the speed of fruit peeling.
childhood
Childhood image? As a child, to the future
Each "I" submits satellite cloud images.
Transfiguration, you, not necessarily
I can really catch the hand that breaks through the fog.
A fish that is not swimming, from A to B,
All in a soft and confined body of water.
Satellite cloud image, dispatching various resistors,
There will be bumps along the way, trembling and the hum of electromagnetism.
When a meteorite comes to the end, sometimes
Fireflies, sometimes white-haired and irritable cracks.
The finest hair quality at that time, neighborhood,
Admire the red of the sandstone when the hillside splits.
If you are old, climb the plum tree,
Bite into the crisp, sweet, emerald pill-like bones of a meteor.
plane
Someone, like a shipwreck, left us,
or a vague trail, sucked into by the desert,
When someone left us, it was like a buzzing airplane.
The last person to open the file that day,
When I was a child, I lived in a remote mountainous area, and I didn't see it with my own eyes
Seen airplanes: lush woods, covered
Overhead, even if the silver bird flies 10,000 meters in the air,
He could only hear the faint sound of the water mill above his head:
When you grind hard, you can slightly surprise the cochlea.
At the age of seventeen, he entered the city and saw a huge metal for the first time
The aircraft was stunned. So he swore that:
To die, to die like an airplane taking off and roaring.
"Yes" vs. "No"
"is" the way the world runs,
You and I have heard of it, and my brows trembled slightly,
Standing posture under the rib moon.
"Not"? It will be because of all things, in particular
The vast and invisible mystery of morning dreams
And a big win. Feel it early
A century is said to have originated from a mist of mist
A bit of shade. What are you
Rust, raindrops in the home, want to give
Fountain of fire and starlight, with a new name.
Moss in the jar
青翠喜爱着雨水,withering
Associated with villains.
Frolicking with raindrops, someone
Get cool scars.
You may also catch it yourself,
The moon is hot.
The scab shell is slightly purple, please pass it on to future generations.
Fight with villains, someone
More ferocious than moral. wilt
As a result, there are many forms of waterfalls.
Rainwater in the tank,
Invisible tubers, muffled and heavy.
Gather momentum
Chinese New Year's Eve is approaching twilight. The orange-tailed grey bird,
Still towering and yellowing water shirts
And oil green holly flies between. Fly
Silent. I watched silently for a while,
Probably who wore the fine ripples on the body.
From one place, wet the other,
And in another place a new grave was erected.
A kind of white noise. The streets droop,
The birds are very patient in the snorkeling of the iron blocks
Finding an almost dangerous balance –
It may not matter who I am over there,
There are some good fireworks, you can listen to:
At the moment she is black mycelium. The heat of the Chinese New Year's Eve dinner,
Momentum on the stove. Ignition, will drain
There was a bang. It's all strong, golden clouds.
Essay: Talk about the land machine / dumb stone
Lu Ji is of course a well-known character. Born in a famous family in Eastern Wu, his grandfather Lu Xun was an official to the prime minister, and his father Lu Kang was the great Sima. Lu Ji wrote "Zu De Fu" and "Shu Xian Fu", praising his ancestors fiercely and responding to a certain kind of dark call and pressure on his body. Lu Ji's life was full of ups and downs: being an official, losing his country, living in seclusion (up to ten years), wandering eunuchs and playing roller coasters in the sea of eunuchs. Whether it is a spring breeze or a stumbling stumble, Lu Ji has never given up his "ambition of the clouds", and he is always full of enthusiasm for traveling to the eunuchs - this is not only due to the commonality of ancient intellectuals "ruling the country and leveling the world", but also related to his special birth background.
Lu Ji's indomitable and courageous attitude towards the career of the eunuch also played a role in his special contribution to poetry. Wandering eunuchs will inevitably leave their hometowns to travel, and the ancient Chinese people attached great importance to "safe land". "Antu" means to live in peace, and there will inevitably be conflicts, contradictions and tensions between the endeavor of the eunuchs and the emotional appeal of "Antu". It is an extremely stubborn concept of the ancient Chinese. Even if the mountain blocks the way out of his house, he is not willing to move away from the hot land, but wants to dig the mountain for generations and move the mountain away...... Oh, Yugong moves mountains. There is a more realistic reason for "Antu", that is, to provide for the old age of the parents, that is, in the "Analects of Liren": "When the parents are here, they will not travel far, and there must be a way to travel." The emotional appeal of this "safe land" in traditional Chinese culture has long been strongly reflected in poetry, and has gradually become overflowing—that is, the sadness of wanderers and the longing for their homeland and relatives. We noticed that these works emphasize lovesickness and sadness, and the form of emotional experience is still thin. They do not deal with the motivation or purpose of "swimming", and then affirm it; Nor is it connected to the ontological thinking of life in the sense of time and space. Before Lu Ji, there were already many such works.
On the other hand, under the impetus of desire and the power system, the gentry class had to leave their homeland and puff up their eyes to seek development in order to realize their life ambitions. This kind of style of traveling and traveling eunuchs was especially prosperous in the late Han Dynasty. In this way, the motivation and purpose of the tour need to be affirmed culturally and psychologically, and even the majestic ambition of a man can be shown from this. Before Lu Ji, there were also poetry works that advocated the courage to be the first to travel and publicize its legitimacy, such as Fu Xuan's "Yu Zhangxing: Bitter Phase": "Men are portals, and they fall to the ground to generate gods." Ambition is all over the world, thousands of miles to look at the wind and dust. In these poems, the sadness and lovesickness of traveling away from home are no longer exaggerated, and between the lines are filled with the cultural and emotional impulses that justify the name of the eunuch journey.
A closer examination of Lu Ji's previous poems reveals that the poems of the above two dimensions have never come together in the same work—these two aspects are really conflicting or even contradictory—and when a writer is unable to deal with the complexity of this experience, he can only let the two develop into a poem (Cao Zhi did this, for example). In the history of classical Chinese poetry, I think Lu Ji was the first poet to bravely face this complexity and make a special contribution – his travel poems are full of tension – and Jiang Yan intuitively felt this, and it was from this perspective that he structured the chapters in his poem "The Detention Minister" by Lu Ji. In one of the most famous poems of Lu Ji's poems, "Two Songs in Luo Dao", there are the following lines:
"Always on the long road, whimpering and kissing. By asking what the son is, the world network baby me. ”
Obviously, there is not only a deep sorrow for leaving home (whimpering and close relatives), but also a firm inquiry into the motivation and purpose of the long journey, and a kind of affirmation of the long journey. The term "World Network" has a rich meaning, not only referring to the constraints of social laws and etiquette on people (Ji Kang uses this word in this sense: "follow the law and reason, and do not break the World Network"), but also contains the potential requirements and pressures of Lu Ji's family background for him to pursue the eunuchs, and also contains Lu Ji's personal ambition to make contributions - that is to say, through the subjective identification and objectification of the "World Network", Lu Ji first realized the mutual embedding and mutual generation of individuals and groups; On this basis, the sadness of leaving home and the attitude of striving to be the first are no longer just contradictions of emotional interest, but also "exhale" and "suck" of mutual support and summoning in the author's personal experience. Please see the second part of "Two Songs in Luo Dao":
"Traveling far and wide, the mountains and rivers are cultivated and wide. Zhen Ce Zhi Chongqiu, Anlu Zun Ping. The sunset hugs the shadows, and the morning is longing. Suddenly, he leaned on the high rock and listened to the sad wind. The dew falls Su Hui, and the bright moon is a He Lang. I can't sleep on the pillow, and I think about it alone. ”
Because of the faithfulness to the complexity of the experience of traveling, the poem does not simply slide to the pole of lovesickness and sadness of leaving home, nor to the other pole of the so-called majestic and lofty aspirations, but preserves the two in the "thoughts" of "hugging the shadow and sleeping in the evening, thinking about the future" with a more subtle and spatial meaning, and absorbs and internalizes them, and the form of emotional experience presents a melancholy texture. Of course, the "thinking" here is not only homesickness in the geographical sense, but also speculation, fear and secret longing for the political future; In the same way, this "thinking" is not only a question and a reflection on the individual's present, but also a consideration of the background and life experience and the thinking about the future social existence. Because of this, the "sadness" of "listening to the sad wind" that appeared later is no longer simply the sadness of homesickness caused by the cultural complex of "safe land", but also the sadness of life in the ontological sense. In this poem, the portrayal of a large number of actions, viewed separately, although it has not been able to get rid of the corresponding clichés of past literature, but its high frequency in the flow of language appropriately echoes Lu Ji's always trying to make a difference in the ups and downs of his wandering career.
As a well-known character, Lu Ji is not only manifested in the achievements of traveling poetry, which provided the first successful attempt to deal with complex empirical forms in classical Chinese poetry, but also in his extensive dabbling and practice of various poetic genres that had emerged at that time. The clear rationality, meticulous and layered sensibility of his writing of "Wen Fu" shows that he is the first real expert in writing in China, and he discusses many issues, especially the process of conception, very thoroughly. Like Cao Pi, he was one of China's first scholarly poets, and his poetic achievements were easily inadvertently belittled in the poet community—perhaps, when we take a more impartial standpoint, we will find another landscape?
"Headline Poets" No. 971 in total
Poetry Monthly, No. 6, 2024
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Editor: Xinyu, Second Judge: Man Man, Final Judge: Jin Shikai
