1985 Who is the lyricist of a campus song "Towards the Sea"?

To the Sea was written at the 7th Youth Poetry Meeting of Poetry Publishing House in August 1987, and it was Liu Hong's early masterpiece.

Female Discourse in Liu Hong's Poems

-from "to the sea" to "to the chest"

There are always some people in the music world who are neither red nor black, relying on calm strength. Similarly, in China's poetry circle, there are also some poets who are unmoved by the trend and move forward steadily regardless of the east, west, north and south winds. They rely on their firm stance of poetry writing and clean poetry spirit. Liu Hong is one of the singers who wander in the noisy poetry world. We can study her representative works "To the Sea" and "To the Breast" from the perspective of female discourse, so as to outline the variation process of her spiritual persistence.

To the Sea was written at the 7th Youth Poetry Meeting of Poetry Publishing House in August 1987, and it was Liu Hong's early masterpiece. There is no affectation in the character of poetry, but it is full of rough and unrestrained power, which makes the value of both sexes to the extreme. "The sea" became the symbol carrier of Liu Hong's ideal man, and the "male blood" containing "deep suffering" gave out "deep sigh" and "heroic monologue", which strongly shocked the poet's soul. "Sea" is a metaphor for the tenacious soul forged by suffering;

"When the boat's plow tip and lightning whip take turns/writing tyrannically on your skin/when the afternoon sun pulls your vocal cords into epic pieces/and that face used to being worshipped by strangers/you show it again and again-/a quiet glance/your unruly freedom is a rejection of the strings"!

This male song1980s is still very exciting to read! Her admiration for the ideal man even gives people a misunderstanding. It seems that women give up their female self in front of men: "I only obey your authority, with the attitude of the queen of the underworld." I hope this misunderstanding will be eliminated as soon as possible, because what I want to say is precisely-this is a poem in the true female sense! We have always had a misunderstanding, as if the liberation of women must reflect the hegemonic stance of women. In fact, what we are pursuing is neither dragon over phoenix nor phoenix over dragon, but the androgynous poetic space where dragons and phoenixes appear, which is a concentric circle completed by men and women.

"When the storm lifts up your exuberant passion, such as the tide/holding up men's caress with the arm on the shore/I tremble, lying on the beach with unprecedented meekness/unfolding my clean body into a love book/slipping through my youthful poems like moonlight/being carefully read or extracted by you".

This is not a one-way dedication, but a two-way mutual integration based on self-independence: on the one hand, men enter women: "You will become an obsessed wanderer/a blood vessel that will haunt me all your life"; On the other hand, it is women's tolerance for men, and it is the realization and development of women's self in men: in the face of men like the sea, "I can outflank them from all directions" and "your vastness/just an outlet of my soul". However, this ideal state is not so easy to obtain, but "painful love for the skin, deployed on death." This light of human nature born of awakening and suffering on the blade implies both a spiritual "noble" and another "sad". If I can't reach this ideal state, "it will be a fiasco in my life!" ..... "This sad mystery is so deep in Liu Hong's soul. Perhaps the more idealistic she is, the more sadness lurks in her soul, and it is in the sad living situation that her idealism is even more dazzling.

If "To the Sea" is Liu Hong's outward publicity of gender expression idealism and her pursuit and appeal for the ideal object, then "To Breast", which has been widely reprinted at home and abroad, has become a self-examination of the fate of introverted women. From 1987 to 16 in 2003, how many seas wandered in China and how many mulberry fields surged in Liu Hong's mind! In Shenzhen, where material desires are highly inflated, Liu Hong still sticks to a pure and truth-seeking desire. To the Breast contains all the painful experiences and despair of an idealist, which represents Liu Hong's latest thinking: from the perspective of gender, to achieve a deep analysis of the value base of "capitalized people". The "breasts" in her works are not the "good breasts" in the lower body poems, but the symbolic carrier of female personality. This poem was written on the night of March 8, 2003. The poet was suspected of breast cancer and needed surgery the next day. This night of fear and loneliness is the day for the poet to see off "the beauty of a woman". This night, she experienced all the peak experiences of her life. How ridiculous it is to juxtapose "kill" and "elegance" from the beginning! This is the real experience of the poet, and life begins to kill an idealist in an "elegant" way. Maybe love is illusory, and you just leave/all or nothing. You believe in idealism as much as I do. This is an idealist's decisive attitude! In the poem, the poet abandons the "moon model" defined by traditional culture for women, and only after she abandons the decorative images describing the moon, such as "tenderness, softness and perfection", can she reach the essence of "breasts". Not only did she see the persistence of breast self-worth: "it is beautiful rhetoric at night" and "narcissism and admiration for flawless things", but more importantly, she saw the inner "self-immolation" and deep "conspiracy" The poet expanded his personal pain into a historical survey of the nation and the country;

"I have a scar constitution, like this country//and you are history. I will eventually immigrate the trauma of my heart to my skin/and keep my dual nationality, so I have the obligation to hurt everywhere."

This "bust" of "the Yellow River comes from you and the Yangtze River comes from you" is not only a witness to the persistence and failure of personal ideal ethics, but also a historical metaphor of our nation's scars. Its implied value has been sublimated from gender consciousness to the consideration of human intrinsic value. "Your curtain call on the blade will be reopened in my poem ..." Yes, the poet effectively transformed her poet's living experience into human experience, and the beauty of her body disappeared, but she was reborn in another essential sense in her poem. Therefore, this poem is different from the current lower body poem, and it has become a successful example of in-depth poetry creation, which embodies Liu Hong's firm idealistic stance in poetry creation. As Liu Hong said, what is revealed in her poems is "a capitalized person, holding high the standard higher than the secular, examining life and the world and singing loudly, especially conveying that a woman with noble heart and rich spirit and soul in this land is responsible for the painful fate."

Liu Hong's theme of gender examination also runs through other poems and enriches her thoughts in many ways. She has always been clearly aware of the embarrassing situation of women being "looked at", refused to be examined by men and called for "returning to her eyes" (review). She made an incisive attack on the harm of feudal secular ideas to life (imagination on the windowsill). Her imaginary "daughter" in To My Daughter is actually her ideal self: "I grew up in Shan Ye, talking to the sky/looking for my true self ... motionless, firm, more unyielding, supporting my head and bones/later becoming a woman. Be a man first. " What is revealed here is the integrity of a free intellectual. Liu Hong especially likes such words as "spiritual cleanliness", "pain", "persistence and struggle of human nature" and "deep sympathy for the world" in her writing, which shows that she is harsh and demanding on her spiritual realm. If we put her and the name "Working" together, it will be easier to grasp her humanistic concern, which is also the rebirth superposition and deepening of her later creative theme "The pain of existence" to her earlier theme "Worried about the earth".

Reading Liu Hong's poems reminds me of a sentence by Cang Di: "Poetry is a kind of slowness". We can also understand that poetry is not so much revolutionary and radical in nature as a slow and profound accumulation. When the wave of poetry rolled over and over again, when the names of the poetry groups were turned out one by one, Liu Hong did not drift with the tide, but took root calmly. This is because she has a solid foundation of humanistic philosophy. She constantly draws nutrition from humanistic philosophy, constantly opens her heart and accepts the "pilgrim's soul" in Russian literature. It is precisely because of the spirit of poetry writing that Liu Hong has a spiritual "cultural fit" with Russian masters. Therefore, some critics say that some of her works are like "Akhmatova in China", which makes sense.