Modern Poetry Self-Study Course.
Intellectual language is the essence of poetry.
Wen Jingtian. Poetry must return to intellectual language, otherwise poetry is used as a carrier, various opinions, stories, legends, rhapsodies, ** fragments, script bridges, as if as long as there is generalized poetry, it is considered poetry. Without the full immersion of the language arts, I don't think it's poetry, because the languages there are dumb and don't have the superpowers to awaken them.
What is the difference between judging poetry and other genres? Quite simply, the standard is language, and the difference in language, the agency, and the functionality are different. Lacking the strength of poetic language, the kind of tiled narrative cannot form a structure, and the author only treats words as pawns, but does not produce the concept of words, that is, once the words lack elasticity, they cannot create associative space.
The establishment of poetic language requires a unique way of speaking, and each word and form should not be responsible for a single declarative task, but at least they can be named, identified, devoured, digested, crossed, transported, switched, exchanged, and woven with various consciousnesses. Moreover, the intensity, energy, and speed of poetic language are not comparable to those of the literary sappers of prose narratives.
The meaning is greater than the words, and it is a generalized poem. In fact, from the late 90s to the present, there has been a kind of non-poetry that has been relaxed, and this kind of non-poetry is not a postmodern experimental non-poetic arbitrary model, but a narrative non-poetry. It is a branch written in prose language. People think that as long as there is a good poetic sense brewed in it, or there is a certain philosophical sense, or there is an emotional resonance, it is considered poetry, and this is the definition of a broad kind of poetry.
But the problems here are: First, the poetic breakthrough and covers the poetic body. The ontology of poetry (language and form) is neglected and even hollowed out. Second, the poetic style is equated with the prose style, and the term prose culture is narrowed. It is important to know that the linguistic characteristics of all modern poetry are the language of prose, not the language of prose. Thus poetry is prose language, but not prose. The key is how prose culture shapes poetry, which is rarely innovatively studied and analyzed.
Let's go back to the analysis of meaning over words. However, poetry is the art of intellectual language, and the so-called meaning is greater than words is not poetry. Because many things are poetic, not all poetic things are poems, at most they are just poetic elements without poetry in a broad sense. Poetry has been generalized for too long. What is needed now is the narrow theory of poetry, and no longer the broad theory of poetry. That's an act of putting gold on your face.
The conclusion is that mere poetic narrative stories are not poems. It is necessary to emphasize the efficacy of poetic language, and the scattered flat narrative reflects the material information, rather than the meaning of the poem and the contradiction of meaning. The lack of semantics in language means that what is at its core is just words, and it does not reach the minimum program of language, that is, meaning. The supreme principles of language are literary meaning (spirituality) and aesthetic value (artistry). How can words be called poetry without vitality?
The intangible structure shaped by language is the feedback of the organic space of language. Language itself feeds back the blocking and sliding forces of the way of speaking. Language is the mother of poetry. The two opposing forces form a semantic movement, and the invisible consciousness space generated by the structure is rotated, which is the holographic rotation of the poem. Structure is the dark energy of poetry. Some people say that consciousness is the matrix, but in fact, the essence of consciousness is also matter, and it is also the realization of energy caused by the movement of matter. Since language can be named and recognized, it carries intellectual information, and when the information is encrypted by the intellect, it will be transformed into behavior, changing the world or the self.
If you think about language, it means meaning or meaninglessness. These things are the essence of poetry. Under the premise of this ontology, there are ** elements, drama elements, art elements, ** elements, prose culture and narrative elements, and various categories of poems with pre-predicate words can also be established. If poetry can really be classified, and once the ontology of poetic language is lost, the coverage of the above elements will swallow up the poem, then it is not a category that poetry can govern. And I obviously think that poetry doesn't need any preposition. I hope that the definition of poetry can be narrower and narrower!
The concretization of intellectual language lies in the focus of the overall idea, so that the expression of the poem will not always be extended and will not be dissipated too quickly. Then there is the fusion of rhetoric and imagery and psychology. And why is depth imagery one of the intellectual languages?
It's in the scene of life, it's transitive, it's flying in mid-air, like the dead doe blocking Willem Stafford's drive, like the old couple in the opposite window who turned off the lights because of coughing when Charles Simic was a teenager, like Bray making tea after hearing the kettle boiled, like a butterfly resting on the bronze above James Wright's head.
But you don't just write about the object, but let the object be spiritual, not spiritual, but intellectual, and at the same time become an objective image, and produce a movement trajectory in the poetic language programming of the mental code, so that the object has the soul of the subject, which is the result of the image diving into the depths of the object, and the wings of the image fly with the object present, leading the reader into the associative space. That's what I understand as deep imagery.
Let's talk about the order of poetic language. When perception is preserved in the text in the form of a gestalt, the semantic context is also encoded in the process of compiling the text. Thinking is also secretly taking shape. At this time, we must not alarm the mode of thinking, because it is constantly absorbing information and words and constantly transforming into the aesthetic experience of intellectual language. Once the text is completed, the earth mother of thought quietly gestalts, and this gestalt is of course also due to the brewing of the author's psychological level, and the gestalt is the gestalt. Therefore, in the revision stage, the poem can be fine-tuned or partially trimmed, and the multiple modules of the poetic language in the text try not to change the order of their appearance in the two-dimensional world, the main reason is that the logic of the poem and the order of the presentation of images are very important.
In addition, poetic language must consider the effect of semantic communication. If there is a suspense intention, it is necessary to keep the effect in its proper place. The so-called suspense is what we call suspense, and the combination of suspended thinking information is suspense. This is a physical spatial state of the text, and it is also the psychological spatial state that the author provides for potential readers to read. Used in verse, it is the question of where to place a word or phrase in the poem, whether it is a single place, unconnected, visually prominent, or automatically highlighted from the starting context. Suspense does not need to be ambushed on all sides, it only needs to be dispatched once, and the seemingly random settings of the author in the writing are actually bound to stand out, and they are only released when they should be released. However, if this suspense (suspension) is a sentence, then the order of the lines of the poem has to be adjusted in order to stand out. The prominence of important parts is also to ensure the integrity of the poem's text. Because wholeness necessarily includes organicness.
The language of a true poem must be dismantled. To learn poetry, you must disassemble the masterpieces of famous artists and find their respective categories, characteristics, rules, and principles. However, the difficulty of dismantling poetry lies in the fact that personalization is too heavy, and many characteristics can be found, but it is difficult to summarize into a unified underlying logic. This is where poetry is distinguished from other literary genres.
Finally, we introduce the master of intellectual language, who has three doppelgangers. The master is the being. The doppelganger is the subject, the object, the relational field. Existence = Subject + Object + Relational Field. We usually think that the subject and object are the whole of the world, and that is a dualism. In my opinion, the phenomenology of Lacan and Merleau-Ponty is the most valuable study of contemporary poetry writing, because phenomenology studies the force of the subject on the object in the relational field, and the reflection of the object on the subject. Therefore, when others chatter about the cognition of Kafka, Heidegger, Sartre and other 200-year-old existentialist thoughts, they fail to find that the fundamental defect of existentialism is that it dilutes the relational field and overemphasizes the ontological exploration of the subject, which is finally broken by Wittgenstein. Real knowledge comes from thinking training, not simply reading and absorbing what you already know. Break, reorganize, add, reorganize, build. It takes these five stages to complete the cultivation of poetic language. And that's just the tangible lesson of poetry. On this basis, we need to ascend to the dimension in order to understand the power and efficacy of the invisible parts—form and structure, breath and vein—beyond the manifestation of language. Keep up with your homework.
2024-1-18Laba Festival.
Finishing was added to Guangzhou.