"You use red chopsticks at the wedding; I went to the sunny slope and planted two rows of bamboo. " It means that when you are frustrated in searching for the moon in the fishing market, the wedding should be happy, but this "wedding" is a sad extension. You can't leave the fish market, and you have to live in such an environment all the time. At the wedding, bamboo chopsticks painted with red paint are secular symbols, and you have long been numb and indifferent. Red paint covers the simplicity and nature of bamboo chopsticks, just as the secular blinds your eyes and takes away your innocence. At this time, I am planting two rows of bamboo on the sunny slope, feeling the fragrance of bamboo, bathing in the warm sunshine, and sending a sincere heart and simplicity. In sharp contrast to you in the fishing market, I only pursue my own way of existence and appreciate the warm sunshine and life now.

grasp

Master is a poem by Haizi.

project overview

Title: Master

Creation time: 1985. 1

Author: Haizi

Type of work: poetry

original work

You are in the fish market.

Looking for the last quarter moon

I'm in the moonlight

Cross a small river

You attended the wedding.

Use red chopsticks

I am on the sunny slope.

Plant two rows of bamboo

Your night

Beauty dashi

My daytime

The guests are all thumbs.

Make an appreciative comment

This "Master", from which you can't find the cold despair of a suicide lying on a railroad track, is written peacefully and quietly. The first reading reminded me of Tao Yuanming, "I walked across a small river in the moonlight" and "I planted two rows of bamboo on the sunny slope". We have probably read some of Tao's poems. Are these two sentences like the modern version of Drinking or Returning to the Garden? The language looks very similar, and the spirit of leisure and self-sufficiency is very similar; Moonlight, rivers, sunny slopes and two rows of bamboos easily remind us of Dongli, Nanshan, virtual room and cooking smoke. Simple in image and rich in meaning, just like a little dyeing in Chinese painting, the taste comes out in a few minutes, which shows that the charm of this art is the same.

There are still some differences. The "I" in Tao Yuanming's poems is too lazy to care about others, weeding me, picking my chrysanthemums, drinking my wine and reciting my poems. I don't know Qin and Han Dynasties, regardless of Wei and Jin Dynasties. This poem is written for you, and there is also concern for you between the lines. Because of this, it reminds me of Bian's broken chapter: "You stand on the bridge and watch the scenery/people watching the scenery are watching you upstairs//The bright moon decorates your window/you decorate other people's dreams". On the other hand, I think this association is hasty and out of context. You can say yes, or you can say no. This poem can be regarded as both a seemingly ethereal and profound emotional experience and a domino-style impromptu philosophical thinking. The "master" is different. My concern for you is clear, earnest, responsible, kind and persistent. "I" and "you" may not be familiar with each other and have never met each other, but they have the simplest fate, and they are by no means two dominoes standing together by chance. "The simplest fate" is a clumsy and embarrassing expression, and I can't avoid this embarrassment and embarrassment. Whenever you encounter something like "true meaning" mentioned by Tao Yuanming, it is a bit troublesome to say. I guess this is not just a clumsy personal feeling.

Fortunately, once the poem is published, it does not belong to him. Brother Haizi has a famous saying, "All your dishes are here." I'll eat them.

You are in the fish market/looking for the last quarter moon. "You" sell fish, of course, the most likely. The image of poetry can never reject the greatest possibility, but it cannot satisfy the greatest possibility. Almost every word here is worth pondering-and so are other places. Why choose the fish market as a symbol of secular society? A fish may be alive, but in the fish market, you can only smell the fishy smell. "You" may be a fresh fish, but you are trapped in the fish market, so you look for the moon that can prove yourself, and the moon with defects, the first quarter moon and the broken moon is not the full moon in the future, so you can only look for it but can't expect it. Everyone has only one reincarnation, and the next full moon already belongs to others. A moment that should last forever has come and gone before I know it.

The tragedy of "swimming" lies not only in losing the same fate as human beings, but also in the fact that fish has become a commodity in the fishing market, and its value can be calculated by the weight of the two places. In fact, fish should be an angel sent by God, and its mission is to make up for the regret caused by the loss of the full moon. Therefore, watching the moon in the fish market can only increase the sense of loss. In the moonlight, "I" walked across a small river, and the fish in the river were completely happy. "I" seemed to be Zhuangzi swimming on the fish beam, but in the moonlight, I didn't have to worry about the difference between fish and me, so I forgot my words and just walked silently.

You use red chopsticks at the wedding. In the second quarter, your situation is completely different from that in the first quarter. "You" who looked at the moon in the fish market was lost, and "you" at the wedding should be proud. However, the "you" at the wedding is more tragic than the "you" at the fish market. In the fish market, fish makes you think, but it is endowed with strong commercial value, so that "you" can't leave the fish market. At the wedding, bamboo was made into chopsticks and painted with red paint, which became a secular expression symbol. "You" have been indifferent to bamboo, even you don't realize that chopsticks are made of bamboo, simple and simple. "I" planted two rows of bamboo on the sunny slope, which made people feel warm and grateful to the sun-this was expressed by Haizi in many poems, but it was not strengthened here-and the distance between "I" and bamboo was closer than that between fish, but you were just the opposite. Planting bamboo on sunny slopes should be a metaphor. The more grateful you are, the more you should pursue a solemn lifestyle like bamboo.

Obviously, the sustainers of the simplest fate between "you" and "me" are fish and bamboo. These two defenders are superficial and must be denied. Fate is destined to deny everything that supports them: time, place, lineage ... If this denial is not completed, this fate will be a floating cloud, almost a real illusion. We are both fish and bamboo, thousands of miles apart. Distance can even be regarded as the difference of essential attributes, but we have the same writing symbols. After this negation, the simple fate of "you" and "me"-this is the flash of the quality of poetry-appeared. At a certain moment, "you" and "I" opened the window with the hands of the owner who thought they had the right to decide freely, only to find that "you" and "I" were face to face, back to back, not in the same direction.

So, who is the owner? Look at the last section "Your evening/host is beautiful//My daytime/guests are clumsy". I think this is all the wisdom of this poem. In these sixteen words, there are obviously four opposing relationships: you and me, night and day, host and guest, beauty and clumsiness. At first, these four relationships puzzled me. I was embarrassed to put these four words in the wrong place. For example, the poem "Your day/host is beautiful//my night/guests are clumsy" and "Your night/guests are beautiful//mine" used a little banter and irony to express a serious will, and almost every word could be understood repeatedly. My dislocation did not cause serious damage to the will of the poem. Why does Haizi play a game he is not used to at the end of the poem? He wants to balance "you" and "I" in the first two sections. "You" is lighter than "I" and there is an imbalance in value examination. Now, Haizi wants to subvert this impression in the reader's mind with a vague ending, so poetry is placed in a broader value background. Who is the master? This is what poetry is all about. Clever Haizi holds the key in his hand and the door is not closed-is this the great wisdom of poetry? I think of Kundera, who thinks that writers should set up a "realm where moral judgment hangs" through novels. So, does poetry also need this kind of intelligence? I'm not asking Haizi, I'm asking all the people who write poems a possibility.

The reason why I want to talk about this poem is because I think it has a rare interest in Haizi's poems. When reading Haizi's poems, I always feel that his language is wise glass, while his thoughts are melancholy bronze. The contrast between glass and bronze is the style of Haizi's poetry. At the same time, this contrast-refusing mediocrity-has also caused enough troubles to readers, and frankly, it even made me feel humiliated. In this poem, Haizi abandons his usual style and appears much gentler. After reading it, I was thinking, in what good mood did Haizi write this poem full of sense and interest that almost everyone can feel? How many times has he had such a good mood?

reference data

Zhihu:/