Xi Murong's poem "Sand Wind", tell me what information you collected from the poem?

Published: 2004-11-01 00:00:00 Popularity: 329 Postmaster

"Motif" and "Prototype" Talk about "Nostalgia"

On the second In the history of Chinese new poetry in the tenth century, "Nostalgia" by Yu Guangzhong is undoubtedly a masterpiece handed down from generation to generation. Its popularity and popularity are rare among new poetry works. For such a famous new poem that is almost universally known to women and children, it is obviously not enough or even missing the point to just be satisfied with a superficial appreciation. We should explore Li Dezhu and further seek the underlying reasons for its great success. This will not only lead to a deeper interpretation of the poem, but also derive the regular factors for the success or failure of the new poetry art from the success of the poem. The author believes that to interpret Yu Guangzhong's "Nostalgia" and to decipher the secret of "Nostalgia"'s great success, we should focus on its motif nature in connotation and archetypal meaning in expression.

"Motif" and "archetype" are terms in Western literary theory. According to Jung, they refer to "primitive images" in the sense of mythology or psychology ("The Concept of the Collective Unconscious") , "is an image that appears repeatedly in the course of history" ("On the Relationship between Analytical Psychology and Poetry"). The two are both related and different. Raymond Tousson believed that a motif is "a background or a big idea", and Goethe said that a motif is "a spiritual phenomenon that humans have repeated in the past and will continue to repeat in the future" (Westein's "Comparative Literature and Literary Theory") . Frye pointed out that archetype "is a typical and recurring image", which can "connect a poem with other poems" and is "a symbol that helps to integrate and unify our literary experience" ("Literature as a Whole"). Contact", see "Myth - Archetypal Criticism"). Botkin said: "There are some themes that have a special form or pattern, which has been preserved from one era to another; and this form or pattern is related to the soul of the person who is moved by this subject. Corresponding to a certain pattern or combination of those emotional tendencies in poetry; we can conclude the consistency of such themes in poetry" ("Archaetypal Patterns in Tragic Poetry", see "Mythology and Archetypal Criticism"). Based on the above mentioned remarks, it can be seen that motifs and prototypes are original, typical, repetitive, and patterned. Motifs focus on subject matter content and emotional concepts, while prototypes focus on image techniques and expression forms. They appeared earlier in the history of literature, so It is in line with the common emotional psychology of the nation and has typical significance, so it is constantly repeated. In the process of repetition, it gradually accumulates into a pattern, which affects and restricts similar creations in later generations. Corresponding to the terms of Chinese poetic theory, "motif" and "prototype" are roughly equivalent to the "poetry" or "poem ancestor" in ancient poetry theory.

1. The Motif Nature of "Nostalgia"

The reason why "Nostalgia" has achieved great success is first of all because its subject matter selection has the nature of "motif", and what it expresses is The emotional connotation is universal and completely consistent with the emotional connotation of nostalgia-themed poems in the history of Chinese poetry.

In poems with the theme of nostalgia, homesickness and homesickness, nostalgia and family affection are often intertwined and inseparable. The essence of homesickness is longing for relatives, and the essence of nostalgia is family affection. This is determined by the patriarchal blood relationship nature of ancient Chinese society. The ancient Chinese people's strong sense of clan kinship gave birth to the ethical and moral concepts of "father is kind and son is filial, brother, friend and brother are respectful", which effectively restricts the emotional direction of homesick people. "The Book of Songs Wei Feng Zhi'an" is the earliest "motif" work in the history of poetry that expresses that homesickness is actually homesickness, and hometown sentiment is actually family affection. "Preface to Mao's Poems" says: "In "Zhi'an", a filial son goes to war and misses his parents. Yea." Judging from the actual work, Zhengren, who is away from home and serving in the field, misses his parents as well as his brother. Missing one's parents is called "filial piety" and missing one's elder brother is called "fraternity". This is in line with the Confucian ethical concept of "filial piety and brotherhood". When the soldiers climbed high and looked into the distance, they vaguely heard the instructions and instructions from their relatives in their hometown who were considerate of the hardships, reminded to take care, and wished for safety. This technique of "writing opposite each other and thinking about each other at the same time" created another "prototype" in expression. The form was followed by similar works in later generations. There is also "Tang Feng Bustard Feather", which also expresses Zhengren's strong worry and resentment about being unable to support his parents in his eager homesickness.

Chen Jikui's "Review of Poetry Reading" praised: "When you call your parents, and then call the sky, you become more and more sad. Reading it makes people sore and hurts their liver." The touching artistic effect of this poem comes from Zhengren's concern for his parents. Blood ethics and feelings.

In the history of ancient poetry, there are many works about wandering people missing their relatives, so I won’t list them here. This strong ethical family affection contained in nostalgia has an obvious influence on new poetry. "He" by the lakeside poet Pan Mohua expresses the wanderer's deep nostalgia for his deceased father and his thoughtfulness for his mother who lost her husband and son. It shows the young poet's infinite love for his parents! Wu Tianlai's "Deepness in the White Clouds" expresses his deep love for the white clouds. Missing his hometown, "Mother with silver temples" is the focus of his memories and concerns when he is homesick. Taiwanese poet Qiu Zhenrui's "Homesick Rain" describes how he felt homesick in the rain in a foreign land and felt that "the blood of mother and son are so close." Zhang Mo's "Drinking the Gray Hair" is about an elderly wanderer pouring out his heart to his mother's photo after the cross-strait isolation and being unable to hear his mother's "distant instructions" for "thirty cold and summer months" and "more than 10,000 days". The undying love between mother and son is very touching.

Similar to the situation in which nostalgia and family affection are indistinguishable in ancient and modern nostalgia-themed poems, the first stanza of Yu Guangzhong's "Nostalgia" is expressed from the perspective of the wanderer's Oedipus' family affection:

When I was a child/Nostalgia is a small stamp/I am here/My mother is there

Writing about a young wanderer who left his hometown, conveying the attachment and concern of mother and child through letters, one piece