What is the meaning of Gu Cheng's poems?

Speaking of the representatives of Chinese mainland misty school, everyone knows Gu Cheng is one of them. If you want to understand the hazy poet Gu Cheng more comprehensively, you must first have a certain understanding of hazy beauty. The so-called "hazy beauty" is an implicit beauty that can be understood but difficult to express. It is characterized by fuzziness and abstraction of image, fuzziness and uncertainty of content, confusion, uncertainty and strangeness of form. It enables people to gain special aesthetic enjoyment through speculation, imagination and understanding. In art, symbols, metaphors, metaphors, melodies and deformations are often used to create hazy artistic images or artistic conceptions. "(see Shanghai Dictionary Publishing House" Ci Hai ")

Obscure poets have more or less melancholy temperament, and some even have occupied their thoughts, resulting in inexplicable or pessimistic pioneering works; The poet Gu Cheng's melancholy is unprecedented. Killing his wife or even committing suicide because of depression has become a great regret in contemporary poetry circles. Another point must be made clear: most obscure poets regard themselves as spokesmen of the times and pin their hopes on the future and destiny of the country and the nation. This task is really too heavy. Once the reality and ideal are out of balance, they will feel desperate and will naturally make unusual moves. Talk less and get to the point.

First, Gu Cheng's four misty poems were praised by the poetry circle

"The night gave me black eyes, but I used them to look for light." (See Generation)

"Spring/do you blow your handkerchief/let me leave/or come back right away? //No, nothing/nothing, because/Like a flower falling into the water,/Like dew on a flower ...//Only a shadow can understand it,/Only wind energy can understand it,/Only a butterfly that leaves with a sigh/Flowers still dancing in the heart ... "(See" Don't ")

You,/look at me for a while/look at the clouds for a while//I think/you see me far away/you see the clouds close. (See "Far and Near")

Alleys/long and winding/no doors/no windows//You use keys/knock on thick walls. (see alley)

"Generation" describes the confusion of a generation; "Farewell" is to say goodbye to a sad feeling; "Far and near" expresses a man's "bitterness"; Alley tells a deeper emotion than Generation. Can it be understood as a kind of black melancholy? The above are Gu Cheng's early works and representative works. Of these four poems, I prefer Farewell and Far and Near. They are profound, subtle and charming.

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Third, Gu Cheng's later poems.

Relatively speaking, Gu Cheng's poems in his later period are more mature and sophisticated, and his skills are becoming more and more perfect. Most of them are difficult to understand and become more and more obscure. During the period of 1993, Gu Cheng also wrote many works about Kyoto, pinning Gu Cheng's attachment to the motherland, such as Zhonghua Gate, Temple of Heaven, Donghuamen, Zhongguancun, Dongling and Hufang Bridge. Gu Cheng's later works have reflected the poet's feelings of loneliness and world-weariness, interpreted his painful and helpless thoughts, and foretold his sudden fate-

"I shouldn't be alive/I opened the box for the first time/the bird flew" (see "Error")

"My dream won't last long/she has prepared fireflies ..." (see)

"Poetry walked out of my heart/accepted my fate/I groaned alone for a long time ..." (See Poetry Walking Out of My Heart)

Gu Cheng died of disillusionment of dreams, despair of reality, exhaustion of Jiang Lang, his multiple roles, his melancholy personality and loneliness of genius, which became a gray landscape in poetry.

Fourthly, I appreciate Gu Cheng's classic poems.

They are highly figurative poems of Gu Cheng, and are his classic works from 1964 to 1970. Such poems are comely and meaningful, lively and free and easy, and almost everywhere:

"Pine branches are like green lacquer towers, and dewdrops hang silver bells" (see Pine Tower)

"When the sun goes down, the world looks like a huge silhouette" (see Dusk).

"The chimney is like a giant standing on the ground, smoking and thinking about something that no one knows" (see chimney)

"The moon and stars are holes poked by branches when they tear the sky, and light appears" (see The Origin of Stars and the Moon).

"White clouds are snow-capped mountains/blue sky is the ocean/sunshine is the melting pot/haze is the coal mine/cluster is the city/meteor is the wheel of the sky/... the sky is the hometown of fantasy" (see "heaven")

"The car shoots two lights/turns the dark road/into a bright corridor ... two rows of poplars stay up all night, and the branches and leaves spread out/like a tunnel" (see Night Walk)

"Stars and candlelight are mixed together/the Milky Way is connected to the canal/our little hut/becoming neighbors of the Moon Palace" (see Night in the Country)

"Pure white clouds/shyly walking out of the village/melting into the swaying river/light brown sand dunes/wearing bathrobes/waiting on the shore." (See "Summer")

What a vivid language, what a wonderful and mysterious imagination! People have to be amazed.

In this collection of poems, I like a magnificent poem written by Gu Cheng at 197 1, which won the posthumous work of the poet Li Bai. This poem is called Fantasia of Life:

"The sun is my tracker/I left the new moon/the anchor of gold/the sun baked the earth, just like baking a piece of bread ... printed my footprints/spread all over the earth like a seal/... I want to sing/a human song,/thousands of years later/in the universe."

"I want to sing/a human song,/a thousand years later/in the universe * * *" vividly outlines the ideal in Gu Cheng's heart, with a soaring heroism and domineering, showing another spiritual level of an indecisive poet, which is exactly the necessary temperament of men.

Gu Cheng is gone, but his poems will go down in history forever!