At the end of 1995, my first solo album was released. I gave the book what I thought was a poetic name: "A month, a cloud". I also asked Miao Deyu, a teacher whom Chairman Mao Zedong called a baby poet and who had been received by party and state leaders five times, to write a preface. Teacher Miao's first sentence in the preface is: poetry friend Li Guilong is my Yimeng Mountain fellow-townsman, excited me to dance, but also wrote an article "appreciate the teacher's concern". I am 31 years old.
The hen who just laid the first egg, although the egg is not big, and there are still a few strands of blood on the eggshell, the hen is domineering and singing, cackling, flying on the haystack, jumping on the eaves, jumping on the wall, flying, jumping, jumping, accidentally, turning a basin of undried noodle sauce askew, the porcelain basin is broken, and the noodle sauce is dripping all over the floor. The master scolded angrily: it is not as big as Hawthorn to lay an egg. Seeing that she had caused trouble and was scolded by her master, the little hen immediately reined in a lot, and then followed the old hens to look for food on the dunghill. Gradually, the loud and loud cluck also died down.
At that time, I showed off as much as this little hen. He appeared on TV, published newspapers, sent bookstores, and signed books, which became popular for a while, and won the so-called poet title. What calmed me down later was a sentence from my father: the level of junior high school students. This sentence of my father basically has the same meaning as that of the owner of the hen.
The first literary books I came into contact with were my father's three collections: the Water margin, the History of Entrepreneurship and the Biography of Ostrovsky (Ostrovsky is the author of how Steel is made and the prototype of Paul Kochagin, the protagonist of the novel). These three books represent classical literature, modern literature and foreign literature respectively. My awe of my father comes from his knowledge and dignity. I always sincerely admire and absolutely obey his words, with no intention of giving in.
Ever since my father said this, I don't know what to do as soon as I pick up the pen.
As the old saying goes, it is better for Linyuan to admire fish than to retreat and form a net. If you want to write a good article, you'd better read first. What are you reading? Chinese and foreign classics and classical literature. There happened to be a book "Children Learning Poetry" bought for his son in primary school, and he began to read it with relish. As I read it, I was deeply attracted by the ancient poems in this booklet. As it is for children to learn poetry, the choices are all four sentences of five unique and seven unique, the first classic, the text is easy to understand, if so, easy to remember and easy to memorize. It is said that Wang Wei has pictures in his poems and poems in his paintings. Almost all the ancient poems in this book "Children's Learning Poems" are oncoming pictures.
Such as Wang Wei's "Luchai": you can't see anyone in the open mountain, but you can hear the voice of speaking. The light of the setting sun shines into the deep forest and shines again on the moss. Only 20 words, but the writing is very vivid, vivid, vivid and clear. First there was the freshness and serenity of the empty mountains and deep forests in the evening, and then a sudden turn of the pen led to a human voice. The sound of the empty valley feels more empty, and there is more and more silence after the human language. A big landscape painting popped up on paper.
Another example is Meng Haoran's "Spring Dawn": spring is good to sleep and dawn unwittingly, suddenly awakens to birds singing everywhere. After one night of wind and showers, How many are the fallen flowers. A few words vividly describe the rainy and sunny spring morning. Its artistic charm does not lie in the splendor of words and techniques, but in its charm. It is also a lifelike square.
The so-called poem and painting are of the same origin. Isn't it true that Zhang Ruoxu's "Spring River Flower Moon Night" and Bai Juyi's "Pipa Line" are not a long scroll? Isn't it true that Zhang Xeduan's "along the River during the Qingming Festival" and Huang Gongwang's "Fuchun Mountain residence" are not a long poem?
Later, I bought a large number of classical books, including the Dictionary of Tang Poetry appreciation, the Dictionary of Song ci appreciation, the Dictionary of Yuan Opera appreciation, the View of Ancient Literature, Confucius and Mencius Laozhuang, the four masterpieces, and so on. Because he is familiar with 300 Tang poems and can make up poems even if he can't write them, he specially bought a copy of the three Tang Poems in comparison with Chinese and white.
I didn't learn to write ancient poetry because my favorite is prose. But my prose is mixed with the charm and painting of classical poetry.
In the article "you Spring and Light Rain", I directly quoted a large number of verses like beads:
Listen, Xiao Yu smiled. Laugh in the spring, sleep, sleep, suddenly wake up with birds singing everywhere, laugh in the spring sun so beautiful that the rivers and mountains are so beautiful and laugh with the wind blowing the fragrance of all kinds of flowers and plants, laugh so that the old friends leave the Yellow Crane Tower in the west and laugh to go to Yangzhou in the bright spring, laughing so that two orioles cry in the green willow branches and a line of egrets fly into the blue sky, laughing so pitifully that Yan Xiang smiles and marries Dongfeng without a medium.
In the article "knocking on the door of the season", there are fewer direct citations and more piecemeal grafting:
The remnant plum knocking on the door of spring stands modestly by the broken bridge outside the post, reading the poems of the prophet of the warm duck in spring, waiting for the moment when the spring rain competes with the sesame oil. The light rain in the crisp heavenly street arrived as scheduled, blowing the sound of suona for the far-married woman. The red apricot that came out of the wall has already become a bride falling all over the ground. Quietly came the fine silent good rain, doing the work of moistening things very hard. Unfortunately, there is a lack of an audience named Lu you. Perhaps, he went to the broken bridge to look for the broken plum? In the distance, there is no grass in the distance, and the peach blossom is still laughing at the spring breeze. But I don't know where the human face has gone, and only the incense is lingering.
Although many original verses have been grafted, there are obviously fewer sentences quoted directly. I really cherish these sentences too much. I sometimes think, with these incomparably beautiful sentences, why should I rack my brains again!
In other articles, of course, I will not continue to quote and engraft a large number of articles, but integrate the artistic conception beauty and picture feeling of ancient poetry into the text, giving the reader a sense of elegance and obscurity, so that readers can look for the charm of ancient poetry in these words.
In the essay "speechless", I used a series of parallels to draw a set of character cartoons:
Eloquence is not necessarily erudite, chatter is not necessarily profound, garrulous is not necessarily approachable, eloquence but talk is not necessarily elegant demeanor, mysticism is not necessarily known to heaven and earth, wild lies are not necessarily respected officials, self-showing off is not necessarily resourceful, excessive modesty is not necessarily sincere, fierce words are not necessarily truth in hand.
When I wrote the lyric prose "imagine, rippling in the Wetland of Wuhe", one of them was about lotus, but all I could think about was Yang Wanli's "Little Pool":
The lotus leaf pasted on the surface of the water swam serenely, and the water ballet of the lotus came out of the pond. On the first bud, a dragonfly is taking a nap, and the early blooming lotus is in the green of the lotus leaves. A weeping willow poked a leaf into the stamens of the lotus and scratched it so that the lotus really sneezed and startled the dragonfly sleeping in the morning.
Teacher Jing Yimin said in the preface "returning Literary Talent to Literature" carefully written for my collection of essays: the beauty of prose language is not just red and beautiful, but its beauty appears in many forms. Or beautiful dust such as a trickle, or desolate and cold as the west wind of the ancient road, or clear and open-minded as the language and literary talent of Li Guilong, a wise man with vicissitudes of life, should belong to the latter. His language looks like a light ink sketch, peaceful and soothing, but in fact it is meticulous and calm, elegant and euphemistic. This kind of language seems to be very casual, but in fact, it is tempered by the author through his long-term observation of life, seemingly as plain as water, but like pebbles rinsed by the river, simple and warm, people can not bear to release. It is precisely because he has been using this language to describe his understanding of life, which makes his prose full of life flavor, unique charm, vertical and horizontal literary talent, and very readable.
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