<h1 class="pgc-h-arrow-right" data-track="1" > generations have elegance, and Korean poetry is new</h1>
▓ Yang Xiaoping
A collection of Han Chenqi's poems
It is difficult to read three hundred Korean poems well, and it is difficult not to compose poems. This is a kind of cultural self-confidence and creative intuition after reading Professor Han Chenqi's "Three Hundred Poems of Han Chenqi" (Jiangsu University Press, 2018) and "Han Chenqi's Poetry Collection" (Writers Publishing House, 2020) by Professor Han Chenqi of Chinese University!
The title of Professor Han Chenqi's speech at the Chinese American Literature Society in New York, USA, is "Poetry for Everyone, Everyone for Poetry", what an ambition! Arrogance is comparable to the five mountains, and talent is both a river. Mr. Han has been deeply engaged in Chinese language research for more than 40 years, with fruitful results, but he is not satisfied with just staying in the exploration of the field of language, and has practiced language theory through poetry creation. Mr. Han did not write poetry for the sake of writing poetry, and the elephant thinking he proposed was of great significance for the in-depth interpretation of poetry and the creation of poetry.
Traditional poetry has gone through thousands of years of ups and downs, melting the Confucian and Taoist culture, how can it be abandoned suddenly? Tang Dynasty poetry had a great influence on neighboring countries in ancient times, as can be seen from the Japanese Heian period novel "The Tale of Genji", which quotes Bai Juyi's poems in many places. Choi Chi-won, a Tang scholar in Silla, wrote in the "Inscription of the True Zen Master of Shuangqi Temple" that "the road is not far from people, and no one is foreign", which was repeatedly applied by Chinese to aid Japan and South Korea during the epidemic last year. Foreign peoples can take pride in learning Tang culture and writing Tang poetry, but we regard it as a grass mustard. At present, the so-called "new poems" of various genres are really various, completely lawless, like the dazzling neon lights in the night market, unable to distinguish the direction; and it seems that in recent years, the popular strange clothes, skirts, socks have long gone.
For more than 100 years, some benevolent people have been painstakingly exploring the development of new poetry. Liang Qichao first proposed a "poetic revolution", but he deeply understood that "breaking the traditional poetic rhythm and literary structure, there is no 'poet's poetry', so he adjusted the goal of the poetry revolution to 'new artistic conception with old style'". Wen Yiduo also saw the drawbacks of new poetry earlier, and he systematically studied the traditional characteristics of Chinese poetry in the "Study of the Bottom of the Law", and put forward the proposition of "regularization" of new poetry, believing that poetry has "three beauty", that is, "musical beauty, painting beauty, and architectural beauty". [Qian Liqun et al., Thirty Years of Modern Chinese Literature, Peking University Press, 1st edition, 1998, pp. 92-108.] We should look forward to the future of poetry, but also should follow the development process of poetry, Tang poetry, Song Ci, Yuan Qu are all variations of Chinese poetry, they are inherited before and after, all of them pay attention to the law, but the standards of leniency and severity are different. Today, Mr. Han has built a bridge for us, a bridge from the source of poetry, "Poetry" and "Sao", to the new world of modern Chinese. Stepping on this bridge, we can not only look back at the crab leaf of Chinese poetry, but also look forward to the internet of the future world. Chinese poetry is still Chinese poetry, just like from the five-word poem to the seven-word poem, from the near-body poem to the song word. The Korean-style kuanshuo style is the new gelatin poetry of the new era.
The most profound impression that Han Shi left on me was the elephant. Traditional poetry criticism has always been more popular in debating the relationship between words and intentions, mainly to explore the question of whether words can be fulfilled. Starting from the image thinking, Mr. Han expounded the relationship between the image and the image behind the text. This image comes from Chinese characters, from traditional Chinese philosophy, and from the meaning of ancient Chinese literature. Xu Shen said in the preface to the "Explanation of Words and Characters": "At the beginning of Cangjie's writing, Gaiyi was like a pictogram, so it was called a text. The latter form is related to each other, that is, the zigzag", which contains the meaning of observation and comparison. Yi said: "Standing image with dedication", this image is philosophically used to express the subjective world constructed in the human mind that is in harmony with the objective world. Mr. Han once imitated Confucius's tribute to his son and proposed, "Its image! Ming Xiang, Ming Self, Ming Ren, Ming Shi, Ming Wu, Ming Xin, Ming Li, Ming Shi, Ming Wen, Ming Jin, Ming Gu, Ming Yi, Ming Xia, Ming Hu Tianxia also". It can be seen that elephants are the DNA of Chinese culture, and in order to inherit and carry forward traditional poetry, it is necessary to understand the elephants in them.
Mr. Han believes that Chinese poetry is a collection of words,ideograms.=ideography. Inspired by this, we conclude that speech is form, meaning is content, and image is a new realm formed after the combination of speech and intention. It should be noted that the words of Chinese poetry include the form of the poem itself, that is, the rhythm of each sentence, the beat, and the word limit, etc., because ancient poems are the product of combination with music, so they can be read catchy. Mr. Han divided the spiritual images formed in people's minds into impressions, images, and elephants, which in turn provided a new interpretation of Wang Guowei's realm theory, the realm has sizes, how to embody it, through the elephant thinking process, mainly to look at the image, take the image, stand up the image, can be presented. Professor Han Chenqi not only used the theory of elephants when interpreting ancient poems, but also used the theory of images in specific creations, for example, when talking about the "Shanghai Guanxiang Line", he pointed out, "In terms of looking at the sky and looking at the weather, standing on the ground and looking at the scene, climbing the tower and looking at everything!" Look at the Han poem "Bright Sky and Red Moon":
Bright Red Moon IC photo
Chan Juan BiHua is blazing red,
The candles shine in the dust of the sky.
Obviously the red moon is like an eyebrow,
The candles shine on the delicate eyebrows of the heavens.
The red moon is clear and the red moon is like a hook,
The Crystal Jade Hook of the Xuan Candle Radiance Heaven.
The bright moon is red and the moon is red,
The gentle and tender eyes of the Heavenly Candle.
Red red moon, red moon like a ring,
The brilliant golden ring of the candle candle heaven.
The moon is red and the moon is as red as the moon,
The candlelight of the sky is red.
Red Moon Red Moon Xi Baohua Red Moon,
Red Snow Moon of The Candle Of The Heavens!
Chan Juan Bihua played with the water and tide,
Candles sparkle the tide of the sea!
Bihua Chanjuan playing with the tide,
Candle lamp heavenly ice mirror sky water!
The poem records the extremely rare astronomical phenomenon of the red moon, the first sentence first records the overall impression, the second to fifth sentence describes the shape change of the red moon, and the first half of each line takes its approximate shape, and the second half of the sentence is enlarged and depicted, reflecting the distance of the viewing and the imagination seems to be in it. The last two sentences are reminiscent of the relationship between the sea tide and the moon from the red moon scenery. The whole poem compares the red moon to a candle, with gorgeous words, loops and backs, grandeur, and with the language form of the wide riot body, it shows the natural landscape itself, and it reads as if people have witnessed a spectacular century wonder.
In short, poetry should have the appearance of poetry, especially Chinese poetry, ancient poetry and modern poetry can not be completely separated, the relationship between the two should be inheritance and development, which is to truly follow the law of poetry development, literature and culture are the same. Du Fu's "late festival gradually became more and more detailed in poetry", and Mr. Han Chenqi's fixing of new poems is also a great blessing in the poetry world. Although Yu is not talented, he also happily echoes a song.
Kuan Sao Ti • Yong Han poetry new style elegant
Poetry and sorrow hang on the sun and the moon,
The elegance of the wind echoes the wilderness.
Ancient songs and laws are absolutely poetic,
The forms of four or five or seven words are varied.
Ring fat swallow thin and thin each has a wonderful,
Yi Hun Bone Strength Wai Kong Jia.
Fear that the remnants of the vein will not survive,
Only then did han gongzhi more yanxin.
Yang Xiaoping close-up
【About the author】Yang Xiaoping, male, from Chengcheng, Shaanxi. In 2020, a graduate student of Chinese language and philology of Jiangsu Normal University and an amateur poetry enthusiast, he tried poetry writing on the Sina Blog under the pen name "Bashang Aping", and his work "Jiang Chengzi" won the third prize of jiangsu Normal University's excellent online works.