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以梦为马

Take Dreams as Your Steed

海子

Hai Zi

我要做远方的忠诚的儿子和物质的短暂情人和所有以梦为马的诗人一样我不得不和烈士和小丑走在同一道路上万人都要将火熄灭我一人独将此火高高举起此火为大开花落英于神圣的祖国和所有以梦为马的诗人一样我借此火得度一生的茫茫黑夜此火为大祖国的语言和乱石投筑的梁山城寨以梦为土的敦煌——那七月也会寒冷的骨骼如雪白的柴和坚硬的条条白雪横放在众神之山和所有以梦为马的诗人一样我投入此火这三者是囚禁我的灯盏吐出光辉万人都要从我刀口走过去建筑祖国的语言我甘愿一切从头开始和所有以梦为马的诗人一样我也愿将牢底坐穿众神创造物中只有我最易朽带着不可抗拒的死亡的速度只有粮食是我珍爱我将她紧紧抱住抱住她在故乡生儿育女和所有以梦为马的诗人一样我也愿将自己埋葬在四周高高的山上守望平静的家园面对大河我无限惭愧我年华虚度 空有一身疲倦和所有以梦为马的诗人一样岁月易逝 一滴不剩水滴中有一匹马儿一命归天千年后如若我再生于祖国的河岸千年后我再次拥有中国的稻田和周天子的雪山天马踢踏和所有以梦为马的诗人一样我选择永恒的事业我的事业就是要成为太阳的一生他从古至今——"日"——他无比辉煌无比光明和所有以梦为马的诗人一样最后我被黄昏的众神抬入不朽的太阳太阳是我的名字太阳是我的一生太阳的山顶埋葬诗歌的尸体——千年王国和我骑着五千年凤凰和名字叫"马"的龙我必将失败但诗歌本身以太阳必将胜利。

Show full original poem

我要做远方的忠诚的儿子和物质的短暂情人和所有以梦为马的诗人一样我不得不和烈士和小丑走在同一道路上万人都要将火熄灭我一人独将此火高高举起此火为大开花落英于神圣的祖国和所有以梦为马的诗人一样我借此火得度一生的茫茫黑夜此火为大祖国的语言和乱石投筑的梁山城寨以梦为土的敦煌——那七月也会寒冷的骨骼如雪白的柴和坚硬的条条白雪横放在众神之山和所有以梦为马的诗人一样我投入此火这三者是囚禁我的灯盏吐出光辉万人都要从我刀口走过去建筑祖国的语言我甘愿一切从头开始和所有以梦为马的诗人一样我也愿将牢底坐穿众神创造物中只有我最易朽带着不可抗拒的死亡的速度只有粮食是我珍爱我将她紧紧抱住抱住她在故乡生儿育女和所有以梦为马的诗人一样我也愿将自己埋葬在四周高高的山上守望平静的家园面对大河我无限惭愧我年华虚度 空有一身疲倦和所有以梦为马的诗人一样岁月易逝 一滴不剩水滴中有一匹马儿一命归天千年后如若我再生于祖国的河岸千年后我再次拥有中国的稻田和周天子的雪山天马踢踏和所有以梦为马的诗人一样我选择永恒的事业我的事业就是要成为太阳的一生他从古至今——"日"——他无比辉煌无比光明和所有以梦为马的诗人一样最后我被黄昏的众神抬入不朽的太阳太阳是我的名字太阳是我的一生太阳的山顶埋葬诗歌的尸体——千年王国和我骑着五千年凤凰和名字叫"马"的龙我必将失败但诗歌本身以太阳必将胜利。

I want to be the loyal son of the faraway,
and the passing lover of material things,
and, like all the poets who take dreams as their steed,
to walk the same road as martyrs and clowns.
Ten thousand men will extinguish the fire —
I alone will hold this fire aloft.
This fire is the great one,
it flowers and it scatters in the sacred motherland.
I cross the trackless night of my whole life by this fire.
This fire is the great one:
the language of my country, and the Liangshan stockades built of thrown rocks,
the Dunhuang built of dream-still earth — that skeleton cold even in July,
like white firewood, like hard white bars of snow,
laid across the mountain of the gods.
I throw myself into this fire;
these three are the lamps that imprison me and still spit out splendour.
Ten thousand men will pass through the edge of my blade
to build the language of the country.
I am content to begin everything again,
and, like all the poets who take dreams as their steed,
I would sit out the bottom of a prison too.
I decay faster than anything the gods made,
with the uncontrollable speed of death.
Only grain do I cherish,
and I will hold it fast, and in the homeland let it bear children.
I would be buried on the high mountains that ring the land around,
watching over a quiet home.
Facing the great river I am ashamed without measure:
my years wasted, nothing but weariness in my body.
The years slip away, not a drop left;
in one drop of water a horse dies.
A thousand years from now, if I am born again on the riverbank of my country,
a thousand years from now, if I own again the rice fields of China,
and the snowy mountains of the Zhou kings —
heavenly horses prancing.
I have chosen an eternal vocation:
my vocation is to be the whole life of the sun,
from ancient times to now — 'Sun' — resplendent, resplendent.
At last the gods of dusk carry me into the undying sun.
The sun is my name.
The sun is my whole life.
On the sun's summit lie the dead body of poetry, the thousand-year kingdom and I —
riding the phoenix of five thousand years, riding the dragon named 'Horse'.
I must fail —
but poetry, by the sun, will surely triumph.
Listen

Meaning

Hai Zi declares a vocation. He wants to be the faithful son of distance and the transient lover of matter, and, like every poet who rides upon dreams, to walk the same road as martyrs and fools. While ten thousand would put the fire out, he will hold it up; the fire is what lets him cross the dark of a life, what makes of his language and his country and his relics a body to be entered, and what finally makes him a sun. The poem ends on a division rather than a victory: the self must fail, but poetry, through the sun, will triumph.

我要做远方的忠诚的儿子和物质的短暂情人和所有以梦为马的诗人一样我不得不和烈士和小丑走在同一道路上万人都要将火熄灭我一人独将此火高高举起此火为大开花落英于神圣的祖国和所有以梦为马的诗人一样我借此火得度一生的茫茫黑夜此火为大祖国的语言和乱石投筑的梁山城寨以梦为土的敦煌——那七月也会寒冷的骨骼如雪白的柴和坚硬的条条白雪横放在众神之山和所有以梦为马的诗人一样我投入此火这三者是囚禁我的灯盏吐出光辉万人都要从我刀口走过去建筑祖国的语言我甘愿一切从头开始和所有以梦为马的诗人一样我也愿将牢底坐穿众神创造物中只有我最易朽带着不可抗拒的死亡的速度只有粮食是我珍爱我将她紧紧抱住抱住她在故乡生儿育女和所有以梦为马的诗人一样我也愿将自己埋葬在四周高高的山上守望平静的家园面对大河我无限惭愧我年华虚度 空有一身疲倦和所有以梦为马的诗人一样岁月易逝 一滴不剩水滴中有一匹马儿一命归天千年后如若我再生于祖国的河岸千年后我再次拥有中国的稻田和周天子的雪山天马踢踏和所有以梦为马的诗人一样我选择永恒的事业我的事业就是要成为太阳的一生他从古至今——日——他无比辉煌无比光明和所有以梦为马的诗人一样最后我被黄昏的众神抬入不朽的太阳太阳是我的名字太阳是我的一生太阳的山顶埋葬诗歌的尸体——千年王国和我骑着五千年凤凰和名字叫马的龙我必将失败但诗歌本身以太阳必将胜利。

Appreciation

[Plain Paraphrase] The poem is a single declaration repeated under a refrain. The speaker says what he wants to be, what he will endure, what he is willing to build with, and what he believes in; the only concession is the final admission that he will fail.
[Structure] The refrain — 'like all the poets who take dreams as their steed' — divides the whole poem into sections and holds it together, and since it carries neither argument nor imagery its repetitions function as an thematic metronome. Between the returns of the refrain the poem moves through fire, stone, language, grain, river, and finally the sun, so that the reader feels a rising rather than an exposition.
[Imagery] The fire is the center of gravity; everything else is either what the fire touches (the motherland, the language, the grain) or what the fire overcomes (prison, night, death). The last section changes register: from the fire to the sun, which is fire made permanent, and the poem's closing rhythm — must fail / will triumph — is the same divergence the whole poem has been building.

【白话串讲】 海子写《以梦为马》:“我要做远方的忠诚的儿子和物质的短暂情人”——“和所有以梦为马的诗人一样,我不得不和烈士和小丑走在同一道路上”——“万人都要将火熄灭,我一人独将此火高高举起”——他写以梦为马的追求。 【意象与手法】 “我要做远方的忠诚的儿子和物质的短暂情人”以“远方”与“物质”对举;“和所有以梦为马的诗人一样”反复点题;“万人都要将火熄灭,我一人独将此火高高举起”以“火”的意象写孤独坚守;“但诗歌本身以太阳必将胜利”以太阳写诗歌的力量。意象雄浑、语言炽烈。 【情感与主旨】 海子以“以梦为马”自喻,写诗人对理想、对远方、对诗歌的忠诚与追求,在孤独中坚守精神的火种,是海子诗歌精神的宣言,体现其“麦地之子”式的浪漫与决绝。 【名句点睛】 常考“万人都要将火熄灭,我一人独将此火高高举起”以举火写孤独坚守;“我的事业就是要成为太阳的一生”以太阳写诗人理想。

Background

Hai Zi (1964–1989), born Cha Haisheng in Anhui, was the most celebrated of the late-twentieth-century poets who came out of Peking University in the mid-1980s; after graduating in 1984 he taught and then worked in Beijing, publishing the long poem 'Land' while writing a sequence of works centred on the sun. He died in 1989 at the age of twenty-five. This poem is usually dated to 1987 and has become the most quoted of his short pieces, in part because its language is neither obscure nor strictly personal.

《以梦为马》为当代诗人海子所作诗。海子(1964—1989),原名查海生,安徽怀宁人,当代诗人。此诗写理想咏志,为咏志之作。诗中「我要做远方的忠诚的儿子,和物质的短暂情人」写我要做远方的忠诚的儿子,和物质的短暂情人;「万人都要将火熄灭,我一人独将此火高高举起」写万人都要将火熄灭,我一人独将此火高高举起;「此火为大,开花落英于神圣的祖国」写此火为大,开花落英于神圣的祖国;「但诗歌本身以太阳必将胜利」写但诗歌本身以太阳必将胜利。海子此诗以理想咏志、但诗歌本身以太阳必将胜利写其咏志之情,雄浑咏志,是海子诗中的名篇。此篇《以梦为马》在历代选本中多被收录,其艺术价值与流传之广,正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事,遂使此作历千载而犹有生气,为后人所称赏不绝。此篇《以梦为马》在历代选本中多被收录,其艺术价值与流传之广,正可见此诗在同类题材中的重要地位。诗人以匠心独运之笔写寻常之情事,遂使此作历千载而犹有生气,为后人所称赏不绝。

Art

Three techniques do nearly all the work. The first is the refrain: the clause about the poets who take dreams as their steed returns again and again, unchanged, and its persistence is what makes a poem of ~fifty lines feel like a short lyric. The second is the escalation of one symbol — the fire becomes the light, the light becomes the sun, and the sun becomes the speaker's own name — so that the poem finishes by having the poet's identity and the element in it coincide. The third is the catalogue of Chinese things (Liangshan, Dunhuang, the rice fields, the snow mountains of the Zhou kings) which functions not as scenery but as the raw material of a vocation. The closing couplet is the poem's hinge in miniature: two sentences, and the first denies the speaker everything the second grants to poetry.

此诗艺术上以「雄浑咏志、以火写情」见长。全诗由我要做远方的忠诚的儿子而万人都要将火熄灭而此火为大。起「我要做远方的忠诚的儿子,和物质的短暂情人」写我要做远方的忠诚的儿子:我要做远方的忠诚的儿子,和物质的短暂情人;「万人都要将火熄灭,我一人独将此火高高举起」写万人都要将火熄灭:万人都要将火熄灭,我一人独将此火高高举起;「此火为大,开花落英于神圣的祖国」写此火为大:此火为大,开花落英于神圣的祖国;结「但诗歌本身以太阳必将胜利」写但诗歌本身以太阳必将胜利:但诗歌本身以太阳必将胜利。全诗以火写情,由我要做远方的忠诚的儿子而但诗歌本身以太阳必将胜利,雄浑咏志,是海子诗中的名篇。通篇以少总多之法出之,章法严谨而用意深曲,意象凝练而情韵悠长,读之愈久,愈觉其构思之精与笔力之健,堪称同类诗作中不可多得之佳篇,足见诗人炉火纯青的艺术功力。

Allusions

The poem's borrowings are mostly native and mostly material. Liangshan, the stockade of thrown rocks, is the banner hill of the outlaw Zhang Song Jiang; Dunhuang is the desert cave city built of earth; the mountain of the gods is the axis of northern Chinese myth; and the dragon named 'Horse' is a piece of wordplay, since the character for horse is also a syllable that can stand for the animal itself, so that the poet rides a creature whose name is also the word for horseness. The grain that must be held and that will bear children in the homeland is the oldest of Chinese poetic obsessions. The sun, however, is not Chinese in origin: it is the figure of the Western symbolic order, and the poem's devotion to it — the naming of it, the becoming it — belongs to the modern lyric's absorption of European romanticism.

诗中「我要做远方的忠诚的儿子和物质的短暂情人」「万人都要将火熄灭我一人独将此火高高举起」「此火为大开花落英于神圣的祖国」「但诗歌本身以太阳必将胜利」等语,皆含典故故实。「我要做远方的忠诚的儿子和物质的短暂情人」写我要做远方的忠诚的儿子和物质的短暂情人;「万人都要将火熄灭我一人独将此火高高举起」写万人都要将火熄灭我一人独将此火高高举起;「此火为大开花落英于神圣的祖国」写此火为大开花落英于神圣的祖国;「但诗歌本身以太阳必将胜利」用太阳之典(太阳写光明与不朽),写但诗歌本身以太阳必将胜利。诗人用太阳之典入诗,不着痕迹,而把理想咏志之情写得真切可感,是善于熔铸典故的体现。此等用典之法,熔铸古今而不着痕迹,既不炫博以示学,亦不拘泥于旧解,正见诗人学养之深与运思之巧。读者于此等处尤当细心玩味,方能领会其言外之旨与味外之味。

Commentary

The poem is the clearest statement of the vocation that Hai Zi preached and, in his sense of the word, died for. It has had an unusually long life outside poetry criticism: its line about holding the fire aloft is on the walls of Chinese schoolrooms and on the covers of anthologies, and the final couplet is the one most often quoted at funerals and farewells by readers who have never read the rest. Critics have differed about its value — some read it as a authentic declaration of the poet's mission, others as the most successful piece of a self-conscious poet culture — but almost all agree about its technique: one symbol carried to the point of identity with the speaker, one refrain holding the whole in place, and a closing which refuses to resolve the poem's own contradiction.

这首《以梦为马》,是海子写理想咏志之作,写我要做远方的忠诚的儿子、万人都要将火熄灭、此火为大、但诗歌本身以太阳必将胜利之情,雄浑咏志。起「我要做远方的忠诚的儿子,和物质的短暂情人」——我要做远方的忠诚的儿子,和物质的短暂情人。写我要做远方的忠诚的儿子:我要做远方的忠诚的儿子、和物质的短暂情人——忠诚的儿子、短暂情人;「万人都要将火熄灭,我一人独将此火高高举起」——万人都要将火熄灭,我一人独将此火高高举起。写万人都要将火熄灭:万人都要将火熄灭、我一人独将此火高高举起——将火熄灭、高高举起;「此火为大,开花落英于神圣的祖国」——此火为大,开花落英于神圣的祖国。写此火为大:此火为大、开花落英于神圣的祖国——此火为大、神圣的祖国;结「但诗歌本身以太阳必将胜利」——但诗歌本身以太阳必将胜利。写但诗歌本身以太阳必将胜利:但诗歌本身、以太阳必将胜利——诗歌本身、必将胜利。这「但诗歌本身以太阳必将胜利」,是全诗之结:以太阳必将胜利写其咏志。全诗雄浑咏志,以火写情,正是海子诗中的名篇。

Prosody

Form Modern free verse (a long lyric in irregular lines)诗(现代自由诗)
Rhyme No rhyme is used and none is needed: the poem is held together by the refrain and by the recurrence of key words — fire, dream, sun, country, grain — rather than by sound. The effect is that of a chant rather than of a song.此诗为现代自由诗,共五十三行。不押韵,而靠反复与迭句构成声情,正与写理想咏志的雄浑咏志相称,也见其以自由诗写咏志的凝练。
Tone pattern The tone rises as the poem proceeds: declaration, endurance, plunge, catalogue, confession, and finally the named identity of the sun. The closing two sentences fall together like a verdict, one denying and one affirming.句式上,「我要做远方的忠诚的儿子,和物质的短暂情人」写我要做远方的忠诚的儿子,音节雄浑;「万人都要将火熄灭,我一人独将此火高高举起」写万人都要将火熄灭,音节奔放;「此火为大,开花落英于神圣的祖国」写此火为大,音节高亢;结「但诗歌本身以太阳必将胜利」写但诗歌本身以太阳必将胜利,音节雄壮。全诗音节随情起伏,由雄浑而奔放、由高亢而雄壮,正合自由诗「凝练」之妙,读来如理想咏志、但诗歌本身以太阳必将胜利之音,雄浑而动人。
Reading note The music of this poem is the music of the refrain. Because the same clause returns untouched, every part of the poem is measured by it, and the ear learns to expect it the way it expects a chorus. Within the long stretches the line lengths are free and the sentences often run across more than one line, which gives the poem its forward surge. The last third of the poem should be read slower and with the pitch higher, so that the naming of the sun sounds like a declaration of identity rather than a metaphor; the final two sentences should then be dropped back to plain speaking, and the force of the ending lies in that contrast.此诗为现代自由诗,是海子写理想咏志之作,也是其诗中的名篇。全诗的艺术特色在于「雄浑咏志、以火写情」:「我要做远方的忠诚的儿子,和物质的短暂情人」写我要做远方的忠诚的儿子、「万人都要将火熄灭,我一人独将此火高高举起」写万人都要将火熄灭、「此火为大,开花落英于神圣的祖国」写此火为大、「但诗歌本身以太阳必将胜利」写但诗歌本身以太阳必将胜利。全诗雄浑咏志,以火写情。尤为精妙者,是「万人都要将火熄灭」写尽将火熄灭;而「以太阳必将胜利」用太阳之典,正是海子诗「雄浑咏志」的典范,为历代选本所常收。

Line by line

我要做远方的忠诚的儿子

I want to be the loyal son of the faraway,

我要做远方的忠诚的儿子

I want to be a loyal son of the distance,

起句写我要做远方的忠诚的儿子,起笔即见其忠诚。「我要做远方的忠诚的儿子」写我要做远方的忠诚的儿子,「我要做」写我要做、「远方的忠诚的儿子」写远方的忠诚的儿子。一句写我要做远方的忠诚的儿子,以我要做写我要做、以远方的忠诚的儿子写忠诚的儿子,写尽我要做远方的忠诚的儿子之情。以忠起兴,雄浑而咏志,是「以忠起兴」的妙笔。

Haizi's poem opens with a filial vow. I want to be a loyal son of the distance. Distance is made a fatherland, and the poet its devoted child—the wanderer's devotion to far places rather than to home. The word loyal is odd applied to a place, and that oddness is the romance. To have said I love faraway places would be a preference; the loyal son of the distance is the devotion.

万人都要将火熄灭

Ten thousand men will extinguish the fire —

万人都要将火熄灭

All ten thousand are about to put out the fire,

此句写万人都要将火熄灭,是全诗写万人之态的关键。「万人都要将火熄灭」写万人都要将火熄灭,「万人」写万人、「都要将火熄灭」写都要将火熄灭。一句写万人都要将火熄灭,以万人写万人、以都要将火熄灭写将火熄灭,写尽万人都要将火熄灭之情。以火写情,雄浑而咏志,是「以火写情」的点睛之笔。此句以寥寥数语写尽深意,情韵兼胜,正是全诗点睛之笔。其于字句之间暗藏波澜,于平易之中寄寓曲折,尤当反复涵泳,方能得其三昧。

The scene darkens. All ten thousand are about to put out the fire. The mass, the crowd, the age, wants the flame extinguished. The fire is poetry, vision, light—the poem will name it next. The scale of the threat (ten thousand) sets up the scale of the solo resistance. To have said people wanted to extinguish the light would be allegory; the ten thousand putting out the fire is the threat.

我一人独将此火高高举起

I alone will hold this fire aloft.

我一人独将此火高高举起

and I alone hold this fire high.

此句写我一人独将此火高高举起,是全诗写举起之态的关键。「我一人独将」写我一人独将,「我一人」写我一人、「独将」写独将;「此火高高举起」写此火高高举起,「此火」写此火、「高高举起」写高高举起。一句写我一人独将此火高高举起,以我一人独将写独将、以此火高高举起写高高举起,写尽我一人独将此火高高举起之情。以举写情,雄浑而咏志,是「以举写情」的点睛之笔。

The counter-image is famous. And I alone hold this fire high. The single person against the ten thousand, the lifted flame in a room being darkened. The alone and the high are the poem's two heroic positions—outnumbered, but above. This is the most quoted line in modern Chinese poetry. To have said I kept the light alive alone would be a claim; holding this fire high is the keeping.

我的事业就是要成为太阳的一生

My vocation is to be the whole life of the sun,

我的事业就是要成为太阳的一生

My life's work is to become the lifetime of the sun.

此句写我的事业就是要成为太阳的一生,是全诗写事业之态的关键。「我的事业」写我的事业,「我的」写我的、「事业」写事业;「就是要成为太阳的一生」写就是要成为太阳的一生,「就是要成为」写就是要成为、「太阳的一生」写太阳的一生。一句写我的事业就是要成为太阳的一生,以我的事业写事业、以就是要成为太阳的一生写太阳的一生,写尽我的事业就是要成为太阳的一生之情。以阳写情,雄浑而咏志,是「以阳写情」的点睛之笔。

The vocation is cosmic. My life's work is to become the lifetime of the sun. The fire becomes the sun; the poet's task is not to write poems but to live the whole arc of a sun, from rising to setting. The grandiosity is the point of Haizi's style. To have said my mission was to shine would be metaphor; to become the lifetime of the sun is the mission.

太阳是我的名字

The sun is my name.

太阳是我的名字

The sun is my name,

此句写太阳是我的名字,是全诗写太阳之态的关键。「太阳是我的名字」写太阳是我的名字,「太阳」写太阳、「是我的名字」写是我的名字。一句写太阳是我的名字,以太阳写太阳、以是我的名字写我的名字,写尽太阳是我的名字之情。以名写情,雄浑而咏志,是「以名写情」的点睛之笔。此句以寥寥数语写尽深意,情韵兼胜,正是全诗点睛之笔。其于字句之间暗藏波澜,于平易之中寄寓曲折,尤当反复涵泳,方能得其三昧。

The identification is total. The sun is my name. After becoming the sun's lifetime, the poet is now named after it—identity surrendered to the star. The line is the climax of self-immolation into light. To have said I identified with the sun would be comparison; the sun being his name is the identification.

但诗歌本身以太阳必将胜利。

But poetry, by the sun, will surely triumph.

但诗歌本身以太阳必将胜利。

but poetry itself, by the sun, is bound to triumph.

结句写但诗歌本身以太阳必将胜利,是全诗立意的落点。「但诗歌本身」写但诗歌本身,「但诗歌」写但诗歌、「本身」写本身;「以太阳必将胜利」用太阳之典写以太阳必将胜利,「以太阳」写以太阳、「必将胜利」写必将胜利。一句写但诗歌本身以太阳必将胜利,以但诗歌本身写诗歌本身、以以太阳必将胜利写必将胜利,写尽但诗歌本身以太阳必将胜利之情。以胜写情,雄浑而咏志,是全诗最动人处,也是「以胜写情」的点睛之笔。

The closing is the prophecy. But poetry itself, by the sun, is bound to triumph. The but turns the personal myth back into a historical hope: the fire the ten thousand would put out, the sun that is the poet's name—all of it declares poetry's inevitable victory. The bound to is the unshakeable grammar of faith. To have said poetry would win out would be a prediction; bound to triumph by the sun is the faith.

Study

Word focus

远方 Yuanfang, 'the faraway', is the first word of the poem and the direction that the speaker's loyalty faces. It is not a foreign country but an unreachable distance, and that unreachability is the condition of the loyalty: he is the son of a place he cannot return to. The word also sets up the whole poem's oneiric geography, in which distance and dream are the same element. 「远方」写我要做远方的忠诚的儿子,是写远方之态的关键。「我要做远方的忠诚的儿子」着一「远方」,写远方——着一「远方」,写我要做远方的忠诚的儿子,见其方之远。两字写尽远方之态,是「以词写远」的妙笔。「远方」一字之用而全篇生色,与诗中情韵相为表里,正见诗人炼字之精与匠心之独运。读者于此等处若细细体会,自能领会其于平淡之中见功力、于寻常处见神奇之妙。
此火 Ci huo, 'this fire', is the poem's central symbol and the thing that is at once held and entered. It survives by being lifted and propagated rather than by being possessed; it lights, it warms, it saves him from the night, and it destroys him. Because the poem never defines it, the reader is left to hold it as the vocation itself. 「此火」写此火为大,是写此火之态的关键。「此火为大」着一「此火」,写此火——着一「此火」,写此火为大,见其火之此。两字写尽此火之态,是「以词写火」的点睛之词。「此火」一字之用而全篇生色,与诗中情韵相为表里,正见诗人炼字之精与匠心之独运。读者于此等处若细细体会,自能领会其于平淡之中见功力、于寻常处见神奇之妙。
祖国 Zuguo, the motherland, appears most often in the poem as the place where the fire flowers and scatters, and where the grain is to bear children. It is not an abstraction but a set of material things — language, rice fields, mountains, a river — and the poem's love for it is expressed by naming those things rather than by praising it. 「祖国」写开花落英于神圣的祖国,是写祖国之态的关键。「开花落英于神圣的祖国」着一「祖国」,写祖国——着一「祖国」,写开花落英于神圣的祖国,见其国之祖。两字写尽祖国之态,是「以词写国」的点睛之词。「祖国」一字之用而全篇生色,与诗中情韵相为表里,正见诗人炼字之精与匠心之独运。读者于此等处若细细体会,自能领会其于平淡之中见功力、于寻常处见神奇之妙。
太阳 Taiyang, the sun, arrives as an image and leaves as a name. The poem uses it first as what the fire becomes, then as what the gods of the dusk carry him into, and finally as the speaker's own identity: the sun is my name, the sun is my whole life. Nothing in the poem prepares this identification formally, which is why it reads as a revelation rather than a metaphor. 「太阳」写但诗歌本身以太阳必将胜利,是写太阳之态的关键。「以太阳必将胜利」着一「太阳」,写太阳——着一「太阳」,写以太阳必将胜利,见其阳之太。两字写尽太阳之态,是「以词写阳」的点睛之词。「太阳」一字之用而全篇生色,与诗中情韵相为表里,正见诗人炼字之精与匠心之独运。读者于此等处若细细体会,自能领会其于平淡之中见功力、于寻常处见神奇之妙。

Related Reading

水调歌头·明月几时有 Prelude to Water Melody: When Will the Bright Moon Appear? 苏轼 · 同写咏志感怀、雄浑旷达,一写人有悲欢离合、一写万人都要将火熄灭我一人独将此火高高举起,皆于咏志之中见雄浑 Both are long lyrics of vocation and feeling in the face of separations: the Song one accepts change, the modern one refuses it

Su Shi's 'Prelude to Water Melody', with 'so men in sorrow part, and the moon wanes and waxes, and this has been true since of old', teaches that change is the order of things and ends by exhorting the reader to be content with the moon he has — a poem that consoles by lowering its demands. Hai Zi's poem begins with a road shared with martyrs and clowns, keeps the fire aloft while ten thousand would put it out, and ends by saying that poetry will triumph which by the sun even though the poet will fail. The Song poem finds its relief in accepting the world; the modern poem finds its in a vocation that the world cannot grant. Read together, they show what Chinese poetry does with the same matter at two removes of a thousand years.

苏轼《水调歌头·明月几时有》「人有悲欢离合,月有阴晴圆缺,此事古难全」,写咏志感怀、雄浑旷达,是宋词长调的名篇;海子《以梦为马》则以「万人都要将火熄灭,我一人独将此火高高举起」「但诗歌本身以太阳必将胜利」写高高举起、必将胜利。两诗同写咏志感怀、雄浑旷达:一写人有悲欢离合、以悲欢写离合,一写万人都要将火熄灭我一人独将此火高高举起、以此火写咏志;一为苏轼之旷达、一为海子之雄浑,并读正可见诗写「咏志感怀」的两种笔法,皆于咏志之中见雄浑。

八声甘州·对潇潇暮雨洒江天 Eight Beats of a Galloping Horse: Over the Drizzling Evening Rain that Sweeps the Sky 柳永 · 同写山川凝望、雄浑清丽,一写对潇潇暮雨洒江天、一写千年后我再次拥有中国的稻田和周天子的雪山,皆于山川之中见凝望 Both begin by looking at a river scene and move through it to a self-indictment: the scenery is in both cases the witness rather than the setting

Liu Yong's long lyric opens with the rain sweeping a sky washed clean of autumn and goes on to describe the wanderer who, leaning on the horizon, regrets that an aspiration has made him a man in another place. Hai Zi's poem also opens in landscape, moves through river, mountains and grain, and arrives at a confession — my years wasted, nothing but weariness in my body — which is addressed to the same river. The difference is that Liu Yong's complaint is resolved into an old age that can still be lived, while Hai Zi's is resolved only into the sun. Both poems use the scenery as something that cannot answer, which is what makes the speaker's self-judgement the only event.

柳永《八声甘州·对潇潇暮雨洒江天》「对潇潇暮雨洒江天,一番洗清秋」,写山川凝望、雄浑清丽,是宋词写羁旅的名篇;海子《以梦为马》则以「千年后我再次拥有中国的稻田,和周天子的雪山」「天马踢踏」写中国的稻田、天马踢踏。两诗同写山川凝望、雄浑清丽:一写对潇潇暮雨洒江天、以暮雨写清秋,一写千年后我再次拥有中国的稻田和周天子的雪山、以稻田写咏志;一为柳永之清丽、一为海子之雄浑,并读正可见诗写「山川凝望」的两种笔法,皆于山川之中见凝望。