What is Niu Han’s information?

Niu Han, a famous modern and contemporary poet, was originally named Shi Chenghan (because Niu Han missed one stroke when writing the word "Cheng" during an exam, so he did not get 100 points, so he changed his name. In his works Mentioned in "My First Book"), once used the pseudonym Gu Feng. The ancestors are Mongolian. Born in October 1923 into a poor peasant family in Dingxiang County, Shanxi Province. Before the age of 14, he had been living in the countryside, herding cattle, collecting firewood, singing yangko, practicing boxing, wrestling, making clay sculptures, playing the sheng, and fighting in groups. He was the most naughty child in the village, with scars all over his body that would never fade away throughout his life. After attending primary school for two years, I couldn't even write my own name correctly. I always wrote the word "成" wrong. My father was a middle school teacher with artistic temperament and democratic and liberal ideas. He attended Peking University during the Great Revolution and wrote old poems with considerable skill. Since he was ten years old, he has been fascinated by reading the books and periodicals collected by his father that he seemed to understand but not understand. His mother taught him to read Tang poetry. His mother was straightforward and stubborn by nature, and he inherited some of her emotional qualities. After the outbreak of the Anti-Japanese War, he fled to Shaanxi with his father. He hawked newspapers in Xi'an, studied painting for a few months, climbed Longshan Mountain on foot to Tianshui, and entered a middle school for exiled students from war zones. He was obsessed with painting and writing poems. He wanted to study Lu Yi in northern Shaanxi several times but failed. He began to publish poems in 1940. In 1941, he published the poetic drama "Sorrow of Wisdom" in Chengdu. In 1942, he published "Ordos Grassland" in Guilin's "Poetry Creation", which attracted the attention of the poetry world. At the same time, he was strongly attracted by the fresh poems of a group of young poets such as Zou Difan, Ah Long, Zeng Zhuo, Ji Zhi and Lu Yuan in "Poetry Reclamation". In 1943, he was admitted to the Russian major of Northwest University in Chenggu, Shaanxi. In early 1945, he edited the literary journal "Liuhuo" in Xi'an. In the summer of 1948, he published the poetry collection "Colorful Life" and entered the North China Liberated Area in August 1948. In the early days of the founding of the People's Republic of China, he worked in universities and the army. In May 1955, he was arrested and interrogated for the Hu Feng case. He was not vindicated until the autumn of 1980. While working at the cadre school in Xianning, Hubei Province in the 1970s, poetry suddenly arose from his grief and anger. Since 1979, he has written about two to three hundred poems. He once wrote "Hutuo River and Me", describing his past experiences with Hutuo River when he was a child.

Niu Han is a poet who grew up in the 1940s. "After a Long Mourning for a Maple Tree" won the 1981-1982 Literary Creation Award, and "Hot Springs" won the National Outstanding New Poetry Award.

After the ups and downs, in the new era of Chinese literature, he regained his poetic vitality. His collection of poems "Hot Springs" won the Outstanding Poetry Collection Award from the Chinese Writers Association. Niu Han's poems have both historical depth and spiritual depth, experience of social reality and life, and both ideological and artistic qualities. Niu Han said in his own words that for thirty or forty years, he has liked and pursued a kind of poetry that combines situations and images. This kind of poetry, with its feelings about reality, history, nature, ideals, etc., has the object image and tangibility after long-term precipitation and condensation or instantaneous sublimation and explosion. Poetry is not about recreating life, but about constantly discovering and creating situations that are not found in life through hard work and sincere exploration and thinking step by step. Niu Han said that every time he writes a poem, he always feels that it is the first time he has written it. Poetry, which has nothing to do with any poem in the past, has a sense of piety and mystery that is almost the same as when you first learn to write poetry. In the field of life and poetry, constantly struggle, explore, transcend, and discover. Never write a line of poetry without discovering new situations. Critics can of course see traceable trajectories from his decades of poetry, but in fact his life's creations were rapid and rapid, not a river with banks. He would rather remain immature, unsophisticated, and never come to an end in his creation, with his life always bearing new and deplorable traumas. The poems in the collection "Hot Springs" can be said to be situational poems. Most of the poems here were written in the "May 7th Cadre School" during the "Cultural Revolution". If these poems are separated from life situations and regarded as general nature poems, it will be difficult to understand the suggestiveness and pertinence of these poetic images, and it will be difficult to understand the life situations that produce these emotions. In the "May 7th Cadre School", these poems he wrote silently had the same emotional trends and conceptual context, and almost became a conditioned reflex. Many ordinary little things often suddenly ignited certain emotions hidden deep in his heart.

My two companions and I sat on a stone bench to rest under the shade of some oleander trees. ——The oleander in Guilin is not a potted plant, it is a tall tree, three to four feet high, full of pink flowers, which emits a sweet smell that I am familiar with, otherwise it would be hard to believe that it is an oleander. Opposite is the Guilin Zoo. Because we were bored, we walked into the park. The scorching sunshine is steaming the iron cages, which are mostly filled with pythons, snakes, and a few monkeys. In the last row of iron cages, we saw this South China tiger. Just as I wrote in the poem, it stretched out its limbs and fell into a deep sleep(?). I saw bloody claws, broken and without claw tips. I didn’t realize it at first. I remember someone told me that tigers in zoos have to have their teeth, toes and claws cut off or sawed off. This tiger used its four broken toes to angrily and desperately dig out deep and shallow bloodstains on the cement wall. From a distance, it looked like a print of a desperate poem. I stood outside the iron cage for a long time, wanting to see the tiger's eyes. Human eyes are the windows to the soul; tiger’s eyes should also be the windows to the soul. But it never turned around. These four tiger claws are enough to put my soul to shame. I think that when I came to Guilin from the far south bank of the Yangtze River, I originally just wanted to relax in the innocent embrace of nature. Now, as a spectator, I am actually interested in appreciating the imprisoned tigers. I didn't have the rebellious spirit of the tiger. Not only did I feel ashamed, but I also felt that my soul was despicable, so I left in a hurry. I did not hear the roar of a tiger, but I was looking forward to the roar of the Siberian tiger that I heard on the banks of the Nen River in 1951. I have never heard a louder sound than the roar of a tiger. No matter how sad and angry I am and with all my life, I still can't roar such a powerful sound.

When I returned to the cadre school, I hurriedly wrote the song "South China Tiger" that day. It's quite long, about a hundred lines. I have a weakness in writing poetry, it is not concise. Luyuan reminded me many times that no matter whether I am a person or a poet, I should try my best to be concise, and lyric poems should generally not exceed one hundred lines. I have a loose style of life, and my poetry writing is often procrastinating, not profound, emotionally unfocused, and very unstructured. Lu Yuan's words are very pertinent. Therefore, when I compiled and transcribed this poem in 1979, I deleted the branches and branches, leaving less than fifty lines. When I compiled the collection last year, I made a few changes to the text and added two lines at the end:

There are also bloody ones,

Huge and broken toe claws!

I feel that the unruly soul of the South China tiger, passing over people's heads and flying away in the sky, is always illusory. Even if people see its "flame-like markings and flame-like eyes", they always feel... The most shocking and special image has not yet been written. We should let the bleeding toes fly through the air, and let the wounded blood of the tiger's claws, drop by drop, be like hot molten lava, burning those dull and numb souls. ! I'm satisfied with the last two lines added. A poem must leave an unforgettable and distinctive image to the reader. It is often said that every poem has a "core" and an emotional breaking point; only with this can the emotions between the author and the readers be blended. There is some truth to this statement. I believe that the song "South China Tiger" would be bland if it lost its bloody claws and the dynamic image of flying through the air at the end.

In this poem, one part may be too simplistic. The first two lines of the last stanza, "I finally understand...I left the zoo in shame," were originally written more specifically, touching on what I felt at that time. I feel guilty; but I don't want to analyze myself too much. I feel that "connecting thoughts" like that is a bit general and formulaic. It is better to just go over it in one stroke and leave a blank for readers to think about. My consideration cannot be said to be unreasonable, but it is too painful to delete it. "I finally understand..." uses ellipsis to hide many of my inner activities, and only uses the word "shame" to highlight my mood. It might be better if the first two lines of the last stanza of the poem become a separate stanza, with a blank line before and after, so that readers can pause and think about the complicated feelings I have hidden.

In the poems I have written in the past few years, including this one "South China Tiger", I have tried hard to develop a deeper artistic conception in the poem.

Every poem, from the first verse to the end, is a complete artistic life. Every line and every word is an organic part of the complete life. It should not be more or less. Its expression form (not only It is the external form) that is related to the situation, image, and rhythm of the poem, and is completed at once. Of course reaching this point is difficult. This is just an ideal that I strive for.

Goethe said that every poem should indicate the time of creation, which has important significance for understanding poetry. The emotions expressed in "South China Tigers" can only be understood from the characteristics of that historical period. Personally, I could only write about tigers in this way at that time, and then I saw this tiger by chance, and this tiger was so similar to the situation I was in at that time!

(Selected from "Sleepwalker's Poems", Chinese Publishing House, 2001 edition)

Hutuo River and Me

Since I was three or four years old, my grandmother often With fixed eyes, he sighed at me and said, "You are such a little Hutuohe with your temper." Whenever I am extremely naughty, my mother and sister also say the same thing about me. But from their voices, I couldn't tell that they were scolding me, and there seemed to be a little bit of praise; but their stern eyes and tone clearly meant warning. I really don’t understand why Hutuohe and I are mentioned together.

The Hutuo River is only one mile away from our village. I had never seen the Hutuo River at that time. I have no idea what a river is. All I know is that the Hutuo River is wild and difficult to control. I really want to see it and see what similarities it has with me. I think it's probably a person, more powerful than me, and maybe it's the only one that can control me.

……

When we walked towards a wilderness with no end in sight, Aunt Bao pointed in front and said, "That's the Hutuo River." But I didn't see anything, where Is there Hutuo River? There is nothing there. It was a gray beach, lying there unconsciously. Apart from the sand, there were actually large and small stones. I feel extremely disappointed, Hutuohe, you have embarrassed me! How could I be like this Hutuohe who couldn't wake up after shouting that he shouldn't be beaten?

My sister and Aunt Bao were chatting and laughing as they picked wild vegetables in the woods on the shore. I walked towards the Hutuo River they were talking about with full of sadness. I am looking for my lost dream, and I am looking for the Hutuo River in my heart in the Hutuo River.

……

Hutuo River is my natal river. It is big and I am small. I will never grow as big as it, but I can hide it deeply in my heart, including its dark brown river water like the crawling earth, its trembling and uneasy banks, and its full space between heaven and earth. The roar and atmosphere.

Edit this paragraph to interpret Niu Han’s poems

Yu Wei

“My poem is not a personal autobiography, but a tiny detail of a historical biography. , is a fruit produced by history. All my works, including prose, are a living and fresh break in history, with a sense of epic pain.” He also said: “That’s why I and my poetry are so tenaciously alive. , It is not to chew the pain, nor to take revenge on history. My poems are just to let history come out of the disaster soberly." ——Niu Han

"I am. His poems only allow history to emerge from the disaster soberly."

Witnessing "suffering"

In Niu Han's situational poems, his beautiful images of life are often placed in danger. Among the situations: some are at a critical juncture of being targeted by a gun, such as "The Muntjac"; some have been "killed" by violence, such as the maple tree that was cut down; but many more are still in danger. In the harsh living conditions, they were ravaged by evil and became disabled, such as "South China Tiger", "Half Tree", "Huge Root" and so on. But they did not fall. Instead, they survived the distortion and deformation, and fought against the dangers with perseverance and determination. In short, the aesthetic relationship between images and situations in Niu Han's situational poems is often the conflict and struggle between the resisting power of life images and the cruel violence in dangerous situations. The heavy sense of suffering and powerful sense of power in Niu Han's situational poems are derived from this.

The works will be derived from the sorrow of life and the pursuit of personality until death, and will be embodied in animals and plants that have experienced similar experiences, and will be expressed in a symbolic image or artistic conception.

Ai Qing said: "Suffering is more beautiful than happiness." Ai Qing is the first great poet in the history of new poetry who does not make suffering weightless in his writing. Back then, the hot-blooded man carried Ai Qing's "North" poetry collection in his pocket and embarked on the road of resisting Japan and writing poetry. Ai Qing's influence on Niu Han was decisive and lifelong. The reason why Ai Qing's collection of poems "North" has epic weight is that it has created many original situations embodying the suffering of the nation. Niu Han, like Ai Qing, strives to create unique suffering situations in poetry. He said: "If I have not discovered a new situation, I will never write a line of poetry."

Niu Han said: "My poem is not a personal autobiography, but a tiny detail of a historical biography. A fruit produced by history. All my works, including prose, are a living and fresh break in history, with a sense of epic pain.” He also said: “That’s why I and my poetry are so tenaciously alive. It is not to chew on the pain, nor to retaliate against history. My poem is just to let history come out of the disaster soberly. "As a witness, I express the national suffering in a specific historical period and hope that the Chinese nation will never suffer again. Repeating such a catastrophe is the "customization" of Niu Han's poetry creation.

People who have truly experienced catastrophes can best understand happiness.

Happiness is not enjoyment

"I was arrested in 1955 and wore the label of counter-revolutionary for 25 years. I had no citizenship rights, let alone the right to publish my works. I was constantly undergoing labor reform and worked in the unit. As an editor, we would be asked to copy cards whenever there was a movement. Then we would work in the countryside for two or three years. When the holidays came, we would be sent to Badaling to work... That era was very ridiculous and ridiculous. , let alone happiness.” Niu Han said: "Perhaps a grieving person, a person who has experienced so many misunderstandings, distortions, persecutions and blows, a person who has truly experienced catastrophes, can best understand happiness. Real happiness is not empty or realistic. Enjoyment. Happiness is a spiritual pursuit from the heart and an ideal state." Niu Han suffered too much in his life: exile, hunger, persecution, and arrest. , imprisonment, prison, trial, reform through labor, all kinds of hard work... It can indeed be called a "painful and rich life", and his poems are a true record of the pain of this life. If his early poems were too intense and explicit when conveying this sense of pain, then his poetic style became deeper and more dignified after the ordeal of purgatory life. "It's too easy for me to talk about suffering. It's all in my poems, including blood, tears, anger, and accusations... But the reason why I didn't bow to suffering, didn't retreat, didn't flee, didn't fall, didn't surrender, didn't betray myself Conscience has not betrayed the humanistic spirit or poetry. It is because I believe that there must be a higher humanistic realm and humanistic spirit that transcends all realistic norms and all calculations of interests, which is worthy of my pursuit. This is part of happiness in itself. You can also call it happiness.”

In Niu Han’s view, happiness is the process of constant pursuit, discovery, breakthrough, and pursuit again. "For poetry and literature, I will give everything. I have never given up poetry or stopped literary creation under any circumstances. My poems are inseparable from my life experiences, and they are written about autobiographical inner activities. , the poem reflects my state of life.”

I never consider myself an outstanding person, but I am indeed an unusual and pious trekker.

The power of life

He said that poetry is the power of his life. Without poetry, he would not be what he is today. In May 2003, Slelevsky, the chairman of the Macedonian Writers Association who visited China, awarded the "Literary Scepter Award" to Niu Han at the Chinese Writers Association. The award is an international literary award established by the Macedonian Writers Association. “When I learned that the Macedonian Republic’s ‘Literary Scepter Award’ had been awarded to me, I immediately felt very ashamed and uneasy.

The scepter is a broad and lofty image in my mind. It not only symbolizes solemnity and holiness, but also shows awe-inspiring authority. And I am just an ordinary old man trudging towards the holy land of human poetry; in the past half century of turbulent and harsh life, I have longed to burn myself clean with all my heart for the creation of an ideal world: plasma , tears, muscles and bones, and a soul unwilling to perish, all dedicated to it without regrets. Perhaps it is because of this persistent and infatuated spirit that I have gained the understanding and trust of readers; it can also be said that it is precisely because personal destiny is always closely related to the safety of the country and the belief in the immortality of the nation that my true person and poetry have been molded. temperament. ”

In the modern and contemporary poetry world, Niu Han is an unavoidable name. Among middle school students, no less than 10 of his poems have been selected into the People’s Education Press textbook and student textbooks in Hong Kong, China and South Korea. , and has countless fans. In the recent China's first poetry reader survey held by Sohu.com, 680,000 readers voted for him, and Niu Han ranked fifth among the top ten most popular poets. "I am very happy to be recognized by readers. "

"Among the many poets in China, I never consider myself to be an outstanding person in the field of poetry creation, but I am indeed an unusual and pious trekker. Although I am ordinary, I am very determined. Niu Han said: "I have never counted how many poems I have written in my life, but one thing is clear to me. Most of my poems are heavy. This is indeed my lifelong regret." For many years, I have been eager to write some sweet and gentle poems. I wrote poems painstakingly just to taste a drop of honey I have never tasted. In the history of China for nearly a hundred years, as a sincere poet, there are almost no poets who have not written a bitter poem. If someone calls himself a poet but has never written a bitter poem, I have absolutely no confidence in the quality of this poet, and I will certainly not appreciate his or her poetry. How I long for my poems to make readers taste a little bit of the sweetness of the future. ”

“It was not because experts identified this stone that it suddenly became precious. I felt its spirituality the moment I encountered it underground. ”

Author of poetry collections "Colorful Life", "Motherland", "In Front of the Motherland", "Hot Springs", "Love and Song", "Earthworms and Feathers", "Selected Lyric Poems of Niuhan", etc. He has more than ten books, including seven prose collections, including "Childhood Idylls" and "Chinese Prose Collection: Niu Han Volume", and two poetry collections, "Notes on Poetry Learning" and "Sleepwalker's Poems", compiled and published in Japan and South Korea in recent years.

Award-winning works

"In Memory of a Maple Tree" won the 1981-1982 Literary Creation Award, and "Hot Springs" won the National Outstanding New Poetry Award.

"The Hutuo River and Me"

This article is a profound narrative essay. The text describes an incomprehensible complex about the hometown river - Hutuo River when I was young. It expresses the author's passionate love for his hometown.

The full text can be divided into four parts.

The first part (paragraphs 1-2) writes about what his grandmother said when he was young. "I" is like Hutuo River, so I had the idea of ??meeting her.

The meanings of "scold", "praise" and "admonition" in the article are only when "I" is extremely naughty. They gave me a kind of loving warning and admonishment.

At first, "I" understood what my grandmother and others said was that I was a bit wild and was often not controlled by adults. . It was probably for this reason that I was compared with Hutuohe. So "I" thought that Hutuohe was probably a person who was stronger than me and could control me.

Part 2 (Part 2) 3~9 natural paragraphs), not long after writing, "I" saw the Hutuo River for the first time, but the Hutuo River became "my" lost dream

Because of the Hutuo River in "my" mind. The river should be a rushing water with majestic momentum. However, the Hutuo River in front of me is actually a Hutuo River with no water visible at all. "Except for the sand, it is full of large and small stones." Extremely sad. Hutuo River has become my lost dream.

In this part, the author uses a description method that combines reality and fiction. First, I wrote about the Hutuo River in my mind, then I wrote about the Hutuo River that I saw without water, and then I wrote about the Hutuo River in my imagination, which highlighted the important position of the Hutuo River in my heart.

In the third part (paragraphs 10 to 17), write "I" finally saw the majestic, roaring and flying Hutuo River, and my wish came true.

This part first writes about the grand momentum when the flood comes.

When the river flooded, I finally saw the Hutuo River that I had longed for.

"Yigulu", "Without any clothes on, running out the door", "Running and shouting", these actions express my eagerness to see the Hutuo River.

The mood of the dog, the sound of the river, and the shouts of people all highlight the momentum of the Hutuo River when it floods.

Writing about my grandmother trying to stop me and my sister looking for me not only describes people’s panic and uneasiness when the Hutuo River floods, but also highlights my temperament of “whatever I say, no one can say anything” "Clear, I'm afraid I can't explain clearly." It is indeed like the Hutuo River, which cannot be stopped.

Then write about the roaring and galloping momentum of the Hutuo River. Writing "I" stretches out my hand to touch the water of the Hutuo River, which expresses my affection for the Hutuo River.

Then I wrote about "my" feelings when seeing the Hutuo River.

Finally, a few days later, the flood subsided, and "I" once again went to visit the Hutuo River, which was inseparable from me.

The fourth part (paragraph 18) expresses his inseparable attachment to the Hutuo River.

Although Hutuohe is so great and I am so small, "I" feel proud that I have a character similar to Hutuohe