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The highest flame in Flog Farohzad's fissure



  Oh,breaking news your eyes are my pasture. Your eyes have branded my eyes-Love Poems.

  At night, like a suspicious ghost, it keeps blocking all the pale windows, and the road banishes itself in the darkness. -"Poetry of the World"

  You came from far away, from the land of fragrance and light, and let me sit on the boat of ivory, glass and clouds. Now please take me, my hope, my comfort, to the place where passion is surging, to the city of ecstasy and rhythm.

  -"Sunrise"

  Don't worry anymore, now I can safely suck the milk of our past glory in the embrace of my motherland and be hypnotized by the lullaby of civilization and culture and the rattle of the legal rattle. Ah, yes, don't worry anymore ...

  -"The Kingdom with Gem Edges"

  As a brand and a cultural soil, nationality is a birthmark that artists can't escape. Just like Milan Kundera, who spent most of his life in France, began to write in French in the middle and late period of his creative career and became a French citizen, the French still think that he is an Eastern European writer, and they often ask about the relationship between the Czech Republic and his writing. People always try to analyze his attitude towards his motherland from his writing. Even though his focus has repeatedly fallen on the novel ontology (that is, what is a novel and how to write it) and has repeatedly explored the writing methods of modern novels, people will inevitably look at his works with a vision. I think even a Chinese writer who is excellent in all aspects will encounter this kind of "vision" and "expectation" in the English world. People preconceived that this writer can become the spokesperson of that ancient civilization and can analyze, review and describe the special land he grew up in his works. Some readers even read the works of a minority writer who may not be inferior to any contemporary writer in the West in terms of artistic techniques and avant-garde, and hope that the writer can match their cultural imagination ... This is a deeper "gaze" than "ancient hostility" and an inevitable "other" vision.

  As an Iranian poet, Flog Farohzad will face this kind of "gaze" from readers. Iran, a political label that first entered people's field of vision, seems to have more connotations and extensions than the poem itself. Based on this unique "origin", people naturally expect this poet to write "rebel" (or heretical) poems belonging to Iran. At the same time, as a female poet, people seem to expect her to make different voices. This kind of "gaze" and "expectation" not only risks instrumentalizing the poet's writing, but also loses the opportunity to identify more textures in the colorful poetic art of this unique poet. It prevents readers from entering the poet's diverse and rich poetry core.

  The ancient hostility between poetry and life

  Flog Farohzad is a short-lived poet. Sylvia plath died at the age of 31, Rambo lived to be 37, and Haizi was 25 ... More short-lived poets like this can be found in history. Farohzad's life ended at the age of 32, which is too early. For the writer, it is the time when more and more life and literature are ready to be built. The stoppage of the wheel of fate has undoubtedly killed more possibilities for this talented muse. Life seems to have always been hostile to talented creators, and female poets are often threatened by cracks from all sides than male poets. In 1967, the chance of fate staged the cruelest and most dramatic scene on Farohzad. A jeep collided with a school bus in a sharp turn. This seemingly accidental mechanical event took away the young and creative life of the poet muse. Before the final mechanical shutdown, Farohzad's creative career was at its peak, and she was burning her own poems vigorously, writing her own representative poems "Rebirth" and "Let us believe in the dawn of this cold season".

  In fact, "hostility" is not very old. Sometimes it comes into every aspect of our lives with changeable features, such as pervasive bacteria and ghosts. As early as 1960, seven years before Faroukhzad died in a car accident, she was depressed because of divorce and subsequent economic problems, and almost embarked on the road of suicide. Fortunately, the goddess of fate did not throw her off the flywheel, but grabbed her by herself. This retention gave her seven more years to write the rest of her life poems.

  Flog Farohzad is a poet with the same religious belief as simone weil. Unlike Wei Yi's pursuit of Christian belief, Farohzad's belief is poetry. Throughout her short poetic career, we will find a burning core-that compelling creative passion. It can be said that almost all her life is prepared for poetry creation. She is a female artist who not only has the piety of poetry, but also has great creative passion. She is a serious writer who goes all out for the art of poetry. In a letter to her father, she said, "Poetry is my God. I love poetry to this extent. I have been thinking about writing a new and beautiful poem day and night. " This is a woman who has high ambitions for poetry. She even equates poetry with God, which undoubtedly shows her infatuation with the art of poetry. "The days when I am alone and don't think about poetry are wasted time." She said very flatly. Sometimes poetry is even a kind of fate, which haunts her, making her both love and unable to break free, as if the muse has firmly predetermined her as her "beloved daughter": "Why did God create me like this and put the devil of poetry in my heart …" "I want to be a great poet, and I have no other goal." It can be seen that poetry exists as a double fetter in Farohzad's heart. On the one hand, she loves poetry, and poetry can confirm that her soul exists in the world. On the other hand, she also realized the ancient hostility between poetry and life.This hostility has dual connotations: first, the fetters at the secular level, the cracks and tensions between the poet's self in the spiritual kingdom and the secular self in life; A deeper layer is the creative fate of "Poetry is about me". In mature poets, I can always feel a kind of manipulation that seems to be "passive". The poet seems to be manipulated by some kind of "hand of poetry" to write down those unexpected and amazing lines of poetry ... Through these speeches, we can see that poets in their early thirties are highly conscious in their creation. These issues, in my opinion, on the one hand, confirm Farohzad's determination to devote himself to the road of poetry as his lifelong career, and at the same time, disprove her as ".

  Farohzad's poems are rich in themes: existential problems, erotic problems, death, time, national storms ... In all her themes, she expressed great passion in generate, which made her language strong, arbitrary, unforgettable and decisive, and possessed an irrefutable conclusion. She often uses subjective and strange metaphors, which makes her poems suddenly rise to a decisive height and talk to existence. For example, "You sailed on your own river and left this land-/Oh, click and break the branches of my passion storm." (Sorrow) "My finger generate sparks/ignites the silence of a blank page." The combination of these highly subjective imaginations and the creative passion of language has improved the space in her poems and engraved the core quality of her poems.

  Farohzad kept asking about death, existence and future in the collection Let's Believe the Dawn of this Cold Season. Her poems are precise and meaningful. For example, in the short lyric poem After You, the "you" here is revealed at the beginning of the poem: "You, my seven years old". This distinction was later called "a wonderful moment of departure" by the poet. It seems that this time is a watershed in the world of life, engraving a fracture. The poet wrote: "After you ... the bright and vivid connection between us and the breeze/and the birds/broke,/broke,/broke/". Three consecutive "breaks" formed three thumping sound effects, which were folded three times in our mind. In the following stanzas, the poet further clarified this metaphor and brought us back to the symbolic world of "cold season". "We become each other's murderers" is a fatal accusation and exposure of "cold season". At the end of this poem, the poet can't help asking: "How much does a person have to pay?" From it, we can see the poet's sadness that it is difficult to shed his shell.

  At the same time, her poems not only point to enriching women's inner world, but also expand infinitely to the rich world outside. Let us believe the dawn of this cold season is the longest poem in the collection. The whole poem is shrouded in a sad but persevering tone, in which women's sensitive self swings in this world, and at the same time it extends the accusation against unreasonable surroundings and the world. The poem begins with "and this is me,/a lonely woman/on the threshold of a cold season."

  This lyrical tone of confession began to blend into the eternal theme of the passage of time. At the same time, it used the "cement hand" to fight against the "useless and powerless dawn" and put the poet in the position of a frustrated Prometheus to look at this incomplete world, thus making a spiritual inquiry into complex issues such as existence and fate. Farohzad's poetic language is changeable, his imagination is bizarre and his cognition of things is alert. "The route of bird imagination", "the perceptual breath of tender leaves" and "the pure heart of the window" completely recreate the image, which fully embodies the poet's ability to control imagination and language, and is the perfect combination of command passion and a female poet's natural perceptual creativity. Through the singing tone, the whole poem seems to be talking to an unknown and unique friend, supporting the inner scenery that the poet keeps weaving, and progressing step by step in it, fully realizing the expressive force of language. "People pray through my voice" seems to be restoring part of the poet's ability as an "ancient prophet". Therefore, we can "believe in the dawn of this cold season" in a mutilated living state full of "dead bodies" and "rotten fruits".

  "Continue to create in decline"

  It is worth noting that Flog Farohzad has always regarded essential exploration as the core of his artistic creation. She said, "I want to penetrate everything and go as far as possible into everything." I want to reach the depths of the earth. My love is there-seeds grow there, roots meet there, and continue to create in decline. It's like my body is a short-lived form of this activity. " This passage is very important, shocking and eye-catching, which can almost be regarded as Farohzad's view of poetry, showing her unique thinking on her own problems. She regards herself as a form of "the seed of the earth" (maybe it is short-lived). At this time, the artist puts her fate behind "creation" and shows her determination as an intermediary and means. It can be said that Faroukhzad's writing has a certain sense of firm consciousness and even sacrifice.

  What needs to be seen is that although Farohzad's creation is rooted in the complicated and embarrassing social reality, she does not stick to this quagmire, but aims to become a pure artist, and all her "actions" point to an "art" core. This ensures the purity of her poetry creation. In my opinion, Farohzad has provided a true sample for all female creators. She never flaunts her genius, but constantly seeks and confirms herself in her creation. This is the sincerity of an artist.

  After writing the third book of poetry, Farouhezad inevitably had a kind of self-doubt: "I don't know if these are poems, I only know that there were many me at that time, and they were all sincere." I know they are casual, too. I haven't formed yet. I haven't found my own language, my own form and my mental world. " We should never regard this passage as Farouhezad's lack of confidence in his works, but as a sincere and self-determined artist who is exploring his own poetic path.

  It is true that there are many poets around us who are "confident" in their own poetry writing. They talk about their poems as if they are already formed works. Their concept of poetry is closed and arrogant. They don't think they are a flowing and gradual process, but blindly feel confident in themselves and their poems. In fact, in essence, all poems are unfinished, and the artist himself should be a constantly updated individual, and the megalomaniac is doomed to miss the real art. Farohzad is not such a person. Her discussion on her own artistic path is precisely her great respect for art and her profound understanding of human development, because art is "happening" rather than "already happening". There is a big "future" in it, which is the most exciting, and therefore it is worth working hard for.

  In my opinion, Flog Farohzad is an original writer. This type of writer will accumulate enough energy pool after absorbing a certain amount of materials, and then begin to express himself. After writing the third book of poetry, she sincerely said: "I am saturated because I read one book after another, and because I am saturated and at least have a little talent, I will inevitably let them pour out in some way." Such an attitude gives her poetry a depth and breadth, without becoming a tool. Farohzad had to leave Iran before the publication of the third book of poetry, Rebellion, on the one hand, because she was interested in film production at that time, and on the other hand, because her perceptual poetic style, liberal lifestyle and complicated emotional entanglements caused criticism and uproar in Iranian literary and art circles at that time.

  Farohzad has always been in a crack. In my opinion, she established her own poetry in the situation of individual and social separation. As a woman, she writes frankly about her personal experience, but she does not simply describe these experiences, but uses them as a background to enhance the spiritual dignity of people under special systems.

  As a woman in Iranian society, Farohzad certainly recognizes the identity of women in the social system and observes the experiences and difficulties of women as a community of destiny. However, it is worth noting that she has never regarded this kind of writing as a privilege or a convenient means to obtain the legal status of literature, and feminism has never been used to flaunt the literary status rhetoric, but it is actually an inevitable situation (in Dai Jinhua). This situation, as a writer with an isomorphic social situation, is empathetic and painful. It is a kind of "fatalistic pursuit" that you can't get rid of and can't escape. No matter how much you want to get rid of this social and creative double bondage as much as possible, you are always in a crack.

  As a female poet in Iran, Farohzad writes almost in a natural state. Her heart and spirit are no different from those of women in any country. In other words, she did not regard her political situation as a separate conceptual presupposition to construct her own artistic world, but recognized and observed it as an inevitable part of the whole experience of life. We should not simply treat her as a special woman in a special system, but should see the huge mineral deposits of women's creation in her, which makes her soul whirl and linger on the fertile soil of the country of poetry.

  Write poems for a civilized society

  It is true that in the social form of politics and conservative culture, people's freedom is often restricted, and artists, as a group of people who believe in freedom, experience two kinds of divisions in it. One is that the flaunting of classics and traditions by the external environment will make innovative art suffer heavy losses; The other is that artists are suffering from Prometheus-like mental pains in the conservative tradition. Even artists who are not very rebellious will become different in this environment and "appear" to be very rebellious.

  We usually have a synchronic view of the world, for example, countries with different longitudes and latitudes exist synchronically on the earth. After all, under normal circumstances, you can buy a plane ticket and fly to any corner of the world you want to go the next day … but this is not the case. The seemingly synchronic countries and nations have great time differences in all aspects. In other words, what is regarded as a provocation in a country full of legislators and regulators may not mean anything in other countries. The paradox and tension often make the integrity of human beings suffer heavy losses at a certain moment.

  "Farohzad wrote poems for a civilized society." This is the poet adonis's evaluation of Farohzad, who belongs to the same nation and civilization system. Among Farohzad's many titles, one is a feminist pioneer and the other is rebellion. These two words make me feel a little uncomfortable. The word "pioneer" has obvious political revolutionary color, and I feel that I need to shed my blood and fight the bourgeoisie to the end at the next moment. This is a terrible position, as if a woman who writes poetry and thinks in an "abnormal" political system and makes her own judgments and choices is "rebellion" and will be labeled as a "feminist pioneer". This title seems to be a kind of praise. In fact, this crown of thorns has a painful background, which is unsafe and unfair to the female artists who are placed in this position. Who will take the road of rebellion if they are not forced? What's more, in an "abnormal" society, even the normal needs, choices and actions of a "civilized country" will be considered as an "abnormality". This is the common situation of Farohzad!

  "Writing Poems for a Civilized Society" reminds us of many poets, almost all of whom are writing poems for a normal and civilized order and society, including Akhmatova, Pasternak, brodsky, milosz, Celan and Wang Ou Xing (Vietnamese poet) ... I even thought of Li Bai, Qu Yuan, Tagore, Javier and Milan Kundera. Many people think and write hard for human beings to live in a healthy and civilized society, and write hard for the richness, uniqueness and dignity of human spirit. These people are not only working for a "civilization" in a political and social system, but also for a better "future of mankind". It can be said that those black reflections on the present situation of human beings and golden visions for the future of human beings all point to a "future" and a "bigger and better tomorrow".

  From Farohzad, we can see that poets, as real workers of human souls, want nothing more than a more "human" and just world. If they can't live in such a world, at least they can seek peace and build such a world in their poems! Many of the poets mentioned above do not live in different times, and some are even thousands of years apart. However, from the perspective of human community, they are a whole, a real whole with a high degree of pointing to the future. However, no matter what age you were born in, there are always shackles tied to the feet of these elves, and you can't leap. But perhaps it is this paradoxical shackle that gives birth to the double wings of poetry and literature-just like the huge angel wings behind Flog Farohzad.