Chapter 37 Preface to "The Wind of Hui"

My young friend Wang Jingzhi sent me his collection of poems "The Wind of Hui" for me to read, and later the poems he wrote at any time were sent one after another.His collections have lived in my house for almost a year; during this year, I think the progress of his poetry is really amazing.In 1921, 12, 13, "Snowflake-Cotton" he wrote has this sentence: Do you still think my child is talking nonsense? If you don't believe me, go to the door and feel it, isn't that cotton? What is that if not cotton? Mom, you said it was snowflakes, but I said it was the best cotton, much better than the one I saw in the cotton shop the day before yesterday.

... This is indeed very childish.But he wrote "Small Poems" a year later—on January and August in 1922. If I offended people's accusations, I would look back at my ideal one step at a time, how I felt relieved and scared. This is a very mature poem. When I read Jingzhi's poems, I often have a feeling that his poems are much more thorough in terms of liberation than those of us who have done old poems.When we advocated new poetry five or six years ago, our "new poetry" In fact, the word "liberation" has not yet been achieved, and it is far from being as long as Yuanren's Xiaoqu, and it is not nearly as long as Jin Dongxin's Zidu.Although we have recognized the direction and worked hard towards "liberation", most of the people who joined the attempt of vernacular poetry back then were those who had worked hard on old poetry, and it was not easy to break the shackles of old poetry for a while.Therefore, most of the "new poetry" in the sixth, seventh, and eighth years of the Republic of China was just some vernacular poems in the style of ancient Yuefu, some vernacular poems in the style of "Ji Rang Ji", some vernacular poems in word form and musical form—all of them cannot be regarded as real new poetry.But soon there were many young "new forces" rising up.Among the new young poets, Kang Baiqing and Yu Pingbo were the earliest; they were not deeply influenced by the old poems.

(The old poems attached to Baiqing's "Cao'er" are rarely good) So their liberation is relatively easier.The advocacy of free (non-rhyme) poetry is not insignificant due to the contributions of Bai Qing and Ping Bo.But ghosts of old poems still appear from time to time in the poems of many new poets who have become "halfway monks".Pingbo's "Little Tribulation" is an example: the clouds are bright and clean, my clothes are full of clouds, and his skirts are soaring through the ages, following the blue atmosphere; why do you have to bow your head? Mourning our unmarried couple.

Go bow!Look down - look down! Look at the bottom, my heart is shaking; look at the bottom, tear up the fragrance of the lotus on my body. The tone, wording, and realm of this poem are all influenced by old-fashioned poetry.Until the last year or two, another group of young poets came out, and the influence of the old poetry on them was even weaker, so their liberation was more thorough.Jingzhi is the most promising of these young poets.His poems are sometimes childish, but childishness is far better than obscurity; his poems are sometimes too revealing, but too revealing is far better than obscurity.

What's more, childishness is always full of a fresh flavor, which often has a fresh flavor that we who call ourselves "old-fashioned" can never imagine.The last chapter of Ru Jingzhi's "Moon Night": I couldn't close it that time, so I wrote a letter to Yi from the crystallization of love. But I didn't dare to send it, for fear of being seen by outsiders; but I sent it from my left eye to my right eye, and this right eye took the place of Yi. ... This is a fresh flavor unique to childishness, and we "old" people can only look at it and admire it.Let me give another example:

Lang'er opened his wrists, rolling them together one after another, hugging the Sand Monster and kissing intimately. Just kissed, but was pushed back by the wind. He couldn't bear to go, and seemed to growl in anger. Ah, he's coming here in a vicious way again! He hugged the small stone tower near the sand, and kissed more intimately. He climbed up the little stone tower. The snowflake-like spray breaks up—sprays. Laughing, he laughed out loud happily. But the wind pushed him back again. Waves, rest up! You have left E—— All traces of your love are left to Yi. Don't you get tired of being so perpetually busy? ("seaside")

There is childishness here, but lovely, childish freshness! As for "Tailu", it cannot be generalized.Poetry is inherently shallow and deep, but it is not all about revealing or not revealing.The poems of Li Shangyin's school and the lyrics of Wu Wenying's school can be said to be hidden, but they can't hide their shallowness after all. In "Three Hundred Chapters": Take the other person and throw it to the jackal and tiger; if the jackal and tiger don't eat it, throw it to Bei; if Bei does not accept it, throw it to Youhao! It's very revealing, but it doesn't hurt that it's an expression of deep affection.If there is really profound content, it is okay to write it directly and expressively.The "reservation" mentioned by the ancients does not mean that it is not revealed without asking for explanation, but that it can penetrate through a layer. On the contrary, I feel that straightforward narration cannot achieve the poet's original intention, so I have to ignore the details, go beyond the details, and grasp a point. The key point is to seek another method of "deep and simple".

Therefore, when discussing the depth of poetry, there are three levels: the ones that are shallow and simple are the bottom; those that are deep and deep are superior; those that are deep and simple are the top.Jingzhi's poems have passed through all three realms.For example, "How Dare to Love Iraq" I did the year before last: I loved Iraq very much,——I loved Iraq very much. Although I love Yi in my heart, I dare not love Yi on the face. If I love Yi, how can I arrange Yi? He forbade me to love Yi, how dare I love Yi? Naturally, this is due to the aftermath of my early poems, which is a fault of "simple entry and simple explanation".But the same subject,

He wrote another way last year: Please don't treat me like that, it's a last resort, because you have been occupied by him. We are nothing but honest and sincere friends; but he always harbors unnecessary doubts. He cannot understand us, what an abominable separation! Your letter to me— It still contains your true heart—— Has been torn by his jealousy. ... He reproaches you cruelly, and forbids you to tell me your heart; he is cruel and mean to me, and I am sorry for the misfortune! Because you have been occupied by him, this is a last resort, Please don't treat me like that--

Definitely, definitely not! ("Unwilling Request") This is the way of writing "deep and deep".The dew is very dewy, but this poem can be regarded as a naked love poem after all.After a year, his insights seem to have improved, and he seems to be able to surpass the cumbersome facts, so this year he changed his way of writing again: I would like to gather the hearts of the world one by one, and dissolve them into I made one; it hangs in the clear sky like the moon, for everyone to see clearly. I would like to gather the hearts of the world one by one, wash them with the sunshine of benevolence, and return them to people, so that the misunderstandings will disappear from now on. ("I Wish")

This way of writing can be regarded as "deep and simple".I don't know how other people feel when they read this poem, but after reading this poem, I feel that there is a deep sadness in it, and I feel that this kind of poem is "a poem of a poet". There are also some of Jingzhi's poems that I don't like to read.But there are indeed many good poems in this collection. I very much hope that those who read poetry in China will not let the prejudices in their minds bury this booklet.Prejudice is unavoidable for everyone; some people may think that Jingzhi's love poems are suspected of immorality, some people may think that a young man should not write such groaning love poems, some may think his long poems are too complicated, maybe Some people think his little poems are too short, maybe some people don't recognize these poems as poems.However, we should admit that our prejudices are the easiest to make mistakes, moral concepts are easy to change, poetic genres are often changed, and human emotions have individual differences.What's more, those of us who are more deeply influenced by old poems are more likely to fall into the mistake of prejudice when we look at new poems with old glasses.I often admit that I am a woman with bound feet. Although I try my best to let my feet go, I am afraid that I will not be able to restore the original shape of the "natural feet" after all.Now I look at these completely liberated young poets, like a woman who has bound her feet and then let her feet look at those girls with real natural feet jumping around, jealous in her eyes and happy in her heart.They gave me a lot of "Smoker Phi Lichun", and I am very grateful.Four or five years ago, when we first wrote new poems, we only asked the society for the right to try freely; now these young new poets ask the society only for the right to try freely.For the sake of social development in all aspects, we should recognize the freedom of experimentation for all those who experiment with literature, art, and life.This attitude is called the attitude of tolerance (Tolerance).The attitude of adding research to tolerance can be understood and appreciated.The great resistance to social progress is ruthless intolerance.Jingzhi himself once made a very moving appeal: the injured great poet Yingge, when he was about to die, cried to his friend: It doesn't matter if I was sacrificed; I just hope that you gentlemen will beware of the tyrant in the future, and make good use of your youthful flowers! ("Damaged") June 6, 1922 "Hu Shi Wen Cun Two Collections" Volume 4