Chapter 19 19

In the spring of 1931, Lin Huiyin moved to Xiangshan in the western suburbs of Beiping to recuperate.Many articles said that she lived in the famous Jingyiyuan Shuangqing Villa, but her cousin Lin Xuan recalled that Lin Huiyin actually lived in a row of bungalows near the villa.During those years, Lin Xuan went up the mountain to visit Lin Huiyin who was ill.He still remembered that the bungalow fell on the slope, and there was a corridor in front of the house.Lin Huiyin lived in the first room, her mother lived in the second room, her daughter lived in the third room, and the fourth room was used as a kitchen.Liang Sicheng was in the city on weekdays, and drove them home on weekends for Sunday.

Friends often came to visit her in twos and threes, including active writers like Bing Xin, Ling Shuhua, and Shen Congwen, as well as friends who were not in the literary circle like Jin Yuelin, Zhang Xiruo, Luo Longji, Zhang Xinhai, and Han Xiangmei.Xu Zhimo should be the one who came the most. He wrote to Lu Xiaoman: "The meeting (up the mountain) this time is different from the last time. It is also because there are rumors outside, so I am extra cautious. We have only met three times, and there is no joy to speak of. "("Love Eyebrow Xiaozha") These words are just to coax Lu Xiaoman, and in the documents preserved to this day, there are more than three times when Xu Zhimo went up the mountain.Saying that there is absolutely no pleasure is nothing more than worrying about his wife being suspicious.If Xu Zhimo went up the mountain alone, he would be accompanied by Lin Xuan, and the two temporarily stayed at the Ganlu Hotel next to a bungalow.

During Lin Huiyin's recuperation period, she had more leisure time to read her favorite literary books.At night, with a roll in hand, burning a stick of incense, wearing a white nightgown, and bathing in the melting moonlight, she can't help but feel a little self-indulgent.Lin Huiyin expressed emotion to Liang Sicheng: Seeing her like this, "any man will faint when he comes in."The husband deliberately angered her: "I didn't faint." The clever Lin Huiyin was confused for a moment, but she didn't expect to say this to the wrong person, because the man who deserves to hear it must be a man other than her husband.

At this time, Lin Huiyin began to create literature, perhaps because the poet could not help himself in the beautiful environment, or because of the influence of Bing Xin and Ling Shuhua, and of course Xu Zhimo's instigation was more important.Before that, she only published a translation of Wilde's fairy tale "The Nightingale and the Rose" in "Morning News" in 1924.In Lin Huiyin's first published works, except for the signed pen name "Chichui", they all use the real name Lin Huiyin. When "Poetry" magazine published Lin Huiyin's poems, the signatures were mistakenly planted as Lin Weiyin and Lin Weiyin, and readers easily confused her with Lin Weiyin, an active Shanghai school writer at that time.The editor made a special statement to correct it, but the confusion continues.Lin Huiyin said, I am not afraid that my works may be misunderstood as his, but I am afraid that my works may be misunderstood as mine.She was worried that this misunderstanding would continue, so she changed her signature to Lin Huiyin, and it will be known in the world under the name of Huiyin in the future.

"Who Loves This Constant Change" is one of her first published works: Who loves this constant change, her actions? Urge a burst of rain, wipe the sky clouds, the moon, The starlight, the shadow of the sun, are all her tricks, Not to mention Fengluan and Jianghai stealing a moment of peace. Proudly, she is on that absurd mission: Watching the flowers bloom and the pistil tree wither, the girl becomes a mother; Make the rivers freeze into ice and snow, and the sky and the earth change their appearance; The hustle and bustle of the city, and then become a vast night silence!

Though millennia have been manipulated in her grasp, She never forgot the slightest humbleness. No wonder she laughed that eternity is a lie made by men, To comfort the disappearance of love, the pain of death. But who can understand this illusory reincarnation, Who has boldly loved this great transformation? If this sonnet is Lin Huiyin's debut work (the poems published at the same time as it are "Still" and "That Night", it is difficult to distinguish the creation time), then it shows the world that Lin Huiyin's poetry is at the starting point. Just make a difference.At that time, there were many female poets who wrote about personal disappointment. Their works were lingering and sentimental, and they were too attached to the traces of specific life.Although this poem does not completely get rid of personal feelings of frustration, the writing is sublimated to a metaphysical exclamation, which is not without a little philosophical meaning.In line with this, the images of the sun, moon, nebula, mountains, rivers and seas in the author's pen naturally add a bit of broad-mindedness and vigor to the poems.The last question of the poem leaves the infinite reverie to the readers.

Of course, it is often the poems about love that attract readers the most.A young man had tears in his eyes after reading the poem "That Night", and bought a book about Lin Huiyin for his beloved girlfriend. That night my boat rolled out of the river's heart, There are dense stars in the clear blue sky. That night your hand held mine, In the perplexity, the starry night is closed and heavy worries. That night you and I set a direction, The two each recognize their own life. To this day my ship is still floating on the sea, The thin mast is often shaken in the wind and waves.

Till now the sun hovers only behind me, Layers of shadows remain around me. I still remember the day of that night, Starlight, tears, and the white riverside! To this day I still miss your plowing on the shore, Red flowers and yellow flowers are blooming vividly. That (which) day I hope to go to the top floor, Honey generally brews the nourishment of that memory. That (that) day I will step on the arrow with wings, Watching you shoot a full string in your garden. That (that) day you will hear birds singing, That's what I'm waiting for your admiration. That (which) day you will see the scattered shadows of flowers,

That was the border where I broke into that year! (This poem was only discovered in 1991. The author of this book provided it to Mr. Liang Congjie, and it was first included in the Beijing edition of "Anthology of Modern Chinese Writers? Lin Huiyin".) Some researchers identified this poem as a love song written by Lin Huiyin to Xu Zhimo.Everyone can read the work in their own way. It is a matter of opinion for them to read it that way, but others may wish to see their wisdom and not require readers to read it in this way. "Poetry has no meaning", just like the Chinese folk custom "Looking at the clever clouds on July 7th". Clouds float in the clear summer sky, and it is said that there is nothing wrong with being like a horse or a dog.Lin Huiyin said before his death: "Only God knows what it is to write poetry! Readers and authors, readers and readers, authors and authors have opinions on poetry. History tells me that tradition is to be forever different. , when quarreling endlessly. Because honestly speaking, no one still knows what it is to write poetry, except for what this text expresses, I can barely describe it with many abstract nouns and some concrete metaphors. A peculiar intuition that yields a most unsatisfactory answer." ("What Happened")

When reading poetry, it is better to be empty.The West has a tradition of writing poems singing about the abstract theme of "love", and Lin Huiyin is learning from the West when writing poems.It is difficult to justify yourself when you read it with prejudice.It is assumed that Lin Huiyin was in love with Xu Zhimo first, and it is inevitable that the more I read it, the more it looks like the reappearance of that night's tryst in Kanghe, Cambridge.In fact, Lin Huiyin and Xu Zhimo left without saying goodbye when they left London, and there was no scene of lingering hand in hand.Depending on the indexing ability of some researchers, some verses cannot be indexed thoroughly. "To this day my boat is still floating on the sea, / My thin mast is always shaking in the wind and waves." The erratic life in the poem is quite different from the current situation where Lin Huiyin lived and worked in peace and contentment when he wrote the poem.The poem was written after she got married. If she really wanted to sneak into Xu Zhimo's love garden one day, where would she put her husband Liang Sicheng?This poem was published in the "Poetry" magazine edited by Xu Zhimo, why Lin Huiyin was so ostentatious."That Night" was published under the pen name "Chichui", and "Who Loves This Constant Change" published at the same issue was originally signed by Lin Huiyin. I guess this is to avoid misreading and causing boring rumors.

Another song "Don't Throw It Away" was criticized by Liang Shiqiu (Ling Yu) as being obscure and difficult to understand. Zhu Ziqing defended it in "An Interpretation of Poems", arguing that it "is an ideal love poem, entrusted to speak for one party to the other". ".After Zhu Ziqing's interpretation, this poem has repeatedly entered various anthologies and has been widely appreciated, and it is also regarded as a response to Xu Zhimo's work.Zhu Ziqing didn't say that, he only said "entrusted to be the person involved", that is, he didn't refer to any particular object.Zhu Ziqing had many relationships with Lin Huiyin and Liang Sicheng. Not long before writing this article, he met Liang Sicheng on the train and had a long talk.The so-called pretense is not a lie, it is also a method of creation.The researchers of wishful thinking indexing ability neglected that the writing time of this poem was the summer of the second year when Xu Zhimo flew away.The man has passed away, how can the poem repeatedly say "you still have to keep the truth!", "you ask the night to answer that sentence-you still have to believe it".There is a saying that "telling things" is a major feature of Lin Huiyin's poetry, and it is the reason why it is higher than those works that are only lyrical. up". (Lan Dizhi: "Lin Huiyin's Literary Achievements and Status in Literary History") If you read Lin Huiyin's poems as an index, you will become more confused the more you read.Even if the index seems to be clear, the emotions that contain universal meaning are limited and reduced to the feelings of individual experiences, which will inevitably affect the imagination of Taste Lin's poems. To put it another way, even if there are love poems that refer to them, not all of them were written by Xu Zhimo.Some articles, if they insist on indexing, should also be indexed to other men. For example, "Memory", written at the end of 1933, seemed to be written for Jin Yuelin. "Part 1" seems to be for Liang Sicheng.Why do you say "none of the songs are about the love story between her and her husband Liang Sicheng"?The puzzling reason is that "the husband doesn't have much time to read poetry". (See Lan Di's article) The prejudiced researcher simply summed up the content of Lin Huiyin's poems as a "core", which is to write about her "experience and growth in love, so as to explore the meaning of love in life, and the meaning of poetry in life." status.” The original intention of the researcher was to fully evaluate the achievements of Lin Huiyin’s poems, but in the end, he misinterpreted Lin Huiyin’s poetry as a single seedling, which was contrary to his original intention.According to the statistics, the proportion of love-themed poems in Lin's poems is actually limited, and the works she recites most are the works that directly express her life feelings.She often records a small picture of life, such as "Sitting", "In front of the Wisteria Flowers" and "A Summer Night in the Mountains". Naturally, they are not simple descriptions of trivial life, and they will definitely give readers a taste of life.She sometimes records a ray of unspeakable thoughts, such as "Day Dream", "Ticking the Bodhi Leaf" and "August Sorrow", and the poet's seemingly abstract thoughts are always attached to the image. Therefore, Sometimes it is difficult for you to classify it as a record of life or an expression of thoughts.The most typical one is "The Bell at Midnight": the bell pinch and knock the desolation of the street listen-- The round sounds, straight down time silent throat. like crying, like mourning, make this dark mid night buried that never sees the dawn Hollow—— light - heavy, ... - heavy - light... This swaying sound, Whose idea is it put away the rest of the anxiety As the wind chills— one after another Throw it to those who have not yet dreamed. The moments in life that were not unusual in the first place, in Lin Huiyin's pen, create a strong atmosphere of sadness, which is deeply touching.The night seen by melancholy people is naturally desolate, and the desolate night makes people more melancholy.The poetry blends with scenes and has a very artistic conception, which is close to the standard of "no separation" mentioned by Wang Guowei.The emergence of new Chinese poetry in a "ladder style", most people think that it started with Guo Xiaochuan in the early days of the Republic. He studied Mayakovsky and came from the former Soviet Union.After reading Lin Huiyin's poem, it can be said that this kind of poetry style in China already exists in "ancient".Shen Congwen's "On Reciting Poems" written in 1938 mentioned the problem of poetic form, and he already mentioned the poetic world of the 1930s, "or imitate Mayakovsky's style of poetry, and the two characters form a new style of stair-shaped , became popular for a while.” This article criticized “Revolutionary Poetry” and at the same time praised Lin Huiyin, and it is conceivable that Lin Huiyin might have read Mayakovsky’s. Lin Huiyin has a poem "I imagine I am talking solo gently" ("The Small Village in November"). Her poems are basically all monologues and self-talk.She didn't write it for publication, and the publication was just to meet the demands of her editor friend.Could it be that she is tall and widowed and often feels lonely?Could it be that you are lonely, so you are so talkative?When she is alone, she is very lonely, so she is very sentimental, and at the same time, she is also very sad.She said, "Life without emotion is death"!She pursues the perfect quality of life, but the reality is always full of flaws.The poet's mood is inevitably depressed, and the word loneliness appears repeatedly in her poems.It can be said that it is a weakness, but it is not difficult to get readers' understanding, and its presentation is so poignant and moving.Autumn is here, and she has a lot of things to say in her heart. The poems marked with the theme of autumn include "Autumn, This Autumn" and "For Autumn", and the titles that contain the meaning of autumn include "Faith in the Red Leaves" and "Walking Alone in October" , she still has a lot of poems, although Qiu Huai is not clearly reflected in the title, they still talk about Qiu Huai.Most of Lin Huiyin's poems are short, but the poems written for autumn are relatively long. "Autumn, This Autumn" has more than 70 lines, and "Faith in the Red Leaves" has a total of 100 lines, which are her two longest existing works. (Mr. Liang Congjie said that Lin has a lost long poem "The Harsh Song", the length of which is unknown.) The tuberculosis suffered by the poet was incurable at the time. Perhaps she felt that she had entered the autumn of her life ahead of schedule Not much.But Lin Huiyin was unwilling to admit that it was the winter of her life. She firmly believed in her talent and urgently needed an autumn harvest.That belief is just like what is written in the poem: "But (my) heart doesn't believe it! Empty pride / Turning in the autumn wind, the heart still cries / Ideal love and beauty, compete with white clouds / Compete; smile and kiss with the setting sun; same tree, / same flower , with incense, and even with autumn insects/screaming in the crevices of rocks, we must go hand in hand;/with frogs running and swimming on the water,/to go blindly to seek blind days,--/to paint another picture with realistic enthusiasm, /Pick the red leaves all over the mountain to make flowers!" This is the most admirable thought in Lin Huiyin's poems.She cherishes life, but never drags along.She wrote: "If my heart were a lotus flower, / A stick of lighted wax was held out in the middle, / Although Yingying is only the cut light, / I want it to proudly hold out the splendor;" "Count it once A traveler in the universe, /Knowing this exquisite life and calm death,/This erratic journey is just—/That is, a beautiful and beautiful dream." Beauty is not only a poet's dream, but equally beautiful is to indulge in this dream mind. Don't get me wrong that Lin Huiyin only sings softly, focusing on her personal emotions. Her field trip experience and her humanistic spirit enable her pen and ink to be thrown out of the window of the "wife's living room".The poet's existing poems are only more than 60 poems (Lin Huiyin did not publish a collection of poems before his death, until 1985, Mr. Chen Zhongying and Chen Yu collected them into a volume, and published "Lin Huiyin Poetry Collection" for the first time, including fifty-five works. "Lin Huiyin's Wencun" edited by Chen Xueyong in 2005, with a total of 67 poems), there are quite a few works that lament the suffering of the people or describe the lives of the people, but unfortunately they have not received the attention that readers and research experts deserve. focus on.For example, "Shimmer": There is no light in the street, no lights, There is one hanging in a corner of the shop corridor; He and she put the fate of their family together Vague, give it all to the darkness. There is no light in the street, no lights, On the shop window, there is half a light on the oblique corner. Family-sized, modest heads, Side by side, sleeping soundly on the kang. There are snowy nights and muddy outside; There is not enough rice in the casserole for tomorrow; Hut, hold on to the twilight, There is a lack of everything that is needed in life. What is missing is a handful of dry firewood; a glass of water; wheat flour... For this food and drink, there is no faith at all,— Life is already, fixed, by strength alone, On the shoulders and arms, to support the guts of that life. Tomorrow, and tomorrow, and tomorrow... Everything is limited, who says hope,— Even in dreams, in dreams, flashing, Is it still this lonely light? There's a lamp on the street corner, a little light, hung on the shop porch; shone on the window sill; He and she, the fate of their family I understand, leave everything to this miserably. Facing the lingering poor under the twilight, the poet can hardly remain indifferent, and the concise pen and ink have very moving power. Poems with the theme of "outside the window" include "New Year's Pass", "On the Journey", "Tea Shop", "Small Building" and so on. Ignoring these works, it is impossible to understand Lin Huiyin's poems comprehensively, and it is impossible to understand Lin Huiyin's personality completely.Many female poets at the same time as her, either shouted for the people but were shoddy, or carved their words carefully and forgot the suffering of the people's livelihood. There are really few fine works such as Lin Huiyin who express the content of "outside the window" in a beautiful form in their works. . Lin Huiyin's poetry is beautiful, but it has nothing to do with femininity; it is tough, but far from rigidity.Even small poems that don’t seem to have much content, she still has to make them exquisite and tasteful, such as "Sitting Still" which describes trivial things "inside the window" is such a treasure: Winter has the meaning of winter, Cold as a flower,— Flowers have floral fragrance, and winter has memories. A dead branch shadow, thin and smoky, Dragging a stroke of painting in front of the window in the afternoon; The sun is fading in the cold, gradually slanting... that's the bottom (ground) talk like a guest I sipped my tea in silence. From the life that ordinary people think is very ordinary (some are not even life, but a momentary static in the river of human growth), it is enough to see Lin Huiyin's delicate and sensitive temperament that is different from ordinary people. "Six O'clock in the Afternoon", thirty-one years after it was published, another poet Shao Yanxiang talked about this poem to someone by chance, and the other party could recite it in one go: "Six o'clock in the afternoon, / embellished in your In life, / there is only the seemingly light, / the fading sunset, outside the window / a fallen leaf is spinning!..." The female poet's works of quatrains are as popular as "moonlight in front of the bed". Lin Huiyin once used "New Moon" as a place to publish poems (in fact, the number of poems published in "New Moon" is very limited), and also had many exchanges and discussions with Xu Zhimo. Her works were selected into "New Moon Poems", and the researcher Therefore, she is regarded as the "New Moon Poet" without grounds.But Lin Huiyin didn't like this laurel crown.Although she is a female, compared with the male poets of the New Moon, such as Xu Zhimo, the most famous of them, her poems are so pure and elegant, absolutely free from decadence, frivolity, and even occasional vulgarity (someone from Xu Some poems are difficult to get rid of this problem).Among them, the works that chew on life have more strength of thought.She uses the line-drawing technique of novels in her poems to sketch scenes and characters, and supports the strong poetic flavor with life pictures, which adds a bit of freshness to the poetic style.If you don't count Shen Congwen, who was selected into "Selected Poems of the New Moon", there are few New Moon poets who are good at writing novels like Lin Huiyin. Lin Huiyin once compiled a collection of poems for himself, and a publication notice (the title of the book has not yet been determined) was published in the "New Poetry" magazine published in the spring of 1937.Perhaps because of the arduous investigation in the field, the editing process was delayed, and when she returned, the full-scale war of resistance had already broken out, and she also missed the only chance to publish a collection of poems during her lifetime, which is extremely regrettable.After many searches, later generations finally published "Lin Huiyin's Poetry Collection" in 1985, which was nearly 50 years since she decided to publish a collection of poems, and 30 years since she died of illness.